The Royal Ballet: Firebird Triple Bill June 2019

[LinMM]

Have finally watched this video so wonderful to see Seymour and Dowell in this!! This video only gives three three main soloists names unfortunately not all of them as far as I can see but definitely looks like Denise Nunn!! 

I was just wondering what makes Seymour such an almost unmatchable dancer .....in Ashton anyway. I think it's the final use of the head in the upper back movements throughout all the choreography ....there's a letting go of the head that you don't often see so much....but also her beautiful phrasing especially in this with Dowell ....as well as exquisite feet( just a minor detail!) 

so glad this is available for all to see so Thankyou Geoff for posting.....just gearing up for Wednesday 's performance now and not seen Cuthbertson or Muntagirov in these roles but expecting good things!

 

[Bruce]

Foteini Christofilopoulou was at the The Firebird, A Month in the Country and Symphony in C photocall...

Itziar Mendizabal in The Firebird
© Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr
 
 

Marianela Nuñez and Matthew Ball in A Month in the Country
© Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr
 
 

Sarah Lamb and Nicol Edmonds in Symphony in C
© Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr
 
 
See more...
Foteini Christofilopoulou: Royal Ballet in The Firebird, A Month in the Country and Symphony in C
Courtesy of DanceTabs / Flickr

[JohnS]

 

A few late thoughts about last Friday’s matinee before this evening’s performance.  I very much enjoyed the matinee and it was good to see the Triple Bill from the Balcony Stalls, particularly Firebird and Symphony in C.  

 

As regards Month, I loved Osipova and Kish but was not as taken with some of the others. Osipova suggested real pathos at the end.  I found Hallberg ok but I thought he struggled lifting Vera, and I don’t think he was ‘acting’ the struggle.  I prefer Beliaev to have some feeling for Vera and for it not just to be Vera’s infatuation - and I don’t want Vera to come across as simply besotted as surely we want to feel some sympathy for her position.  I thought Acri good but Hay better.  I did like Bhavnani’s Maid but I found Howells pretty nondescript.  I’m afraid Hinkis seems to me to be putting in so much effort it rather gets in the way of the performance.  I always feel she’s in danger of getting behind whereas some dancers are so clearly on the beat if not that fraction of a second ahead which gives the impression of lightness, never rushing and driving the performance.  

 

Symphony in C was good.  I may well be wrong as I certainly never look at the times but I did think the tempi a bit slower than on opening night and thought certainly the first movement could have had more panache.  It was a shame about Kaneko’s first opening but she recovered well and she’s a real gem.  Sissens was excellent and I thought Corrales better than on opening night.  Ball isn’t Muntagirov but no one is.  I liked the second movement and I was very impressed with Campbell in the third movement - Choe seemed somewhat earthbound in comparison.  O’Sullivan seemed so much more naturally on the beat than Hinkis.  I really enjoyed the fourth movement which seemed to have a real zip to it and more relaxed (if that’s possible) than on the opening night.

 

As regards comments about the lack of synopses, I’ve put something on the ROH website lauding the Triple Bill but bemoaning the lack of printed (or accessible) synopses on either the Cast Sheet or Programme - not very ‘Open Up’.  I also noticed that there was a similar comment and I do hope the ROH takes note.

 

[Blossom]

Loved Naghdi’s firebird tonight. This production really emanates the golden age of Russian ballet- the music, the style, the wonderful wedding scene at the end which is so powerful and of course the beautiful backcloth in the finale.

 

Month in the Country was wonderful to see again, got so much more from the story with Cuthbertson as Petrovna. Realised that she only wanted the attention of Belaiev and not Ratikin and her emotions were very clear. David Yudes was the star of the show though as Koloa. Anna Rose Sullivan was a lovely Vera, role really suited her. Love the sets and the music, the wonderful Ashton port de bras, the oh so obvious ‘Fred step’ (minus the pas de chat?) and the wonderful Ashton comedy. Still trying to work out why I don’t get Vadim and I wish I did. I don’t think this was really his role and much preferred Ball’s interpretation who came across as a complete womaniser! 

 

Symphony in C was star studded again- a real celebration of RB talent. A delight to see Gasparini as always and some of the other more junior dancers taking the soloist roles. Fumi Kaneko was outstanding- would love to see her promoted at the end of this season. Great partnership with Matthew Ball. Someone seems to have replaced Meaghan Grace Hinkis tonight but I didn’t see any cast changed. Can anyone shed any light?

[JohnS]

On 09/06/2019 at 16:51, Sim said:

In the next run of Month, which I hope will be in the not-too-distant future, I would love to see David Yudes as Kolya (hopefully sans wig!).

 

On 09/06/2019 at 17:19, JohnS said:

 

And I’d love to see Laura Morera as Natalia.

 

Well Sim had her wish come true with David Yudes as a spectacular Kolia (even with the wig).  We’ll have to wait for the next run for any chance of Laura Morera’s Natalia but I did enjoy Lauren Cuthbertson.  At first I thought there was just a sense that her Natalia might be heading for the sherry a little too frequently but her portrayal of boredom and the excitement offered by Beliaev was wonderful to see.  The final moments, discarding Beliaev’s flower and the slow walk towards the front, were achingly poignant.  And a fabulous cast.  Vadim Muntagirov danced wonderfully and brought much more to the role, delighting in flirting with Katia (Lara Turk) and, having checked either that he couldn’t escape or that no one was coming, I thought he showed a real tenderness for Vera.  But of course his heart was broken by Natalia and he left the Yslaev country estate sadder but much wiser.  I found Anna-Rose O’Sullivan’s Vera delightful, a sparkling debut, and her dancing with Vadim Muntagirov was exquisite.

 

Firebird of course was first with fabulous, utterly compelling performances from Yasmine Naghdi and Gary Avis.  Symphony in C really fizzed for me.  Joseph Sissens again standing out in the first movement, I loved Sarah Lamb’s second movement, great to see Mayara Magri and Marcelino Sambé in the third movement, and Francesca Hayward and James Hay scintillating in the fourth movement.

 

This Triple Bill has provided a really fitting end to a fabulous season, sadly my last performance.  So congratulations and many thanks to the Royal Ballet and looking forward to October.

[Saodan]

35 minutes ago, Blossom said:

Someone seems to have replaced Meaghan Grace Hinkis tonight but I didn’t see any cast changed. Can anyone shed any light?

 

Chisato Katsura replaced Hinkis in 3rd movement

Kevin Emerton replaced Dyer in 4th movement

Edited June 13, 2019 by Saodan

[Blossom]

5 hours ago, Saodan said:

 

Chisato Katsura replaced Hinkis in 3rd movement

Kevin Emerton replaced Dyer in 4th movement

Thank you!

[BeauxArts]

7 hours ago, Blossom said:

Still trying to work out why I don’t get Vadim and I wish I did. I don’t think this was really his role and much preferred Ball’s interpretation who came across as a complete womaniser! 

 

I have seen all 3 casts now, and last night was by far the most accomplished  performance  of Month for me. I was mesmerised and truly moved by the sheer beauty of Cuthbertson and Muntagirov's dancing and their interpretations. I really do think this is his role, and very much not Ball's or Hallberg's in comparison. He danced the first solo as well as Baryshnikov, who is probably the only other dancer I personally have seen to have equalled Dowell for the seamless quality of movement  that the steps demand. There was so much light and shade in his performance, drawing out all the inner turmoil  and impulsiveness in the character through his dancing. In other ballets, I have often  found Vadim not entirely convincing dramatically, but here I thought he acted well - his portrayal was subtle and thoughtful,  and he was perfectly matched by Cuthbertson: her portrayal was elegant, nuanced  and under-stated but there was no doubt that under her sophisticated demeanour very powerful feelings were stirred. I thought she danced beautifully - her footwork and port de bras especially fine.  This is a partnership I would like to see more often. Conversely, I thought Nunez had danced well but her portrayal  was just too obvious and melodramatic  for me. Osipova was - I thought - surprisingly muted; in the performance I saw last Friday the central pdd with Hallberg was well danced by both of them, but I felt he - like Ball - was very ill at ease with  the demands of the choreography.  I hope we will not have to wait so long to see the ballet again: it is a masterpiece and I never tire of seeing it.

[capybara]

 

Actually, I don't think that Beliaev is meant to be a womaniser. A dancer who essayed the role some years ago told me that he needs to 'arrive' somewhat tentatively in terms of his relationships with the family and grow in confidence as he realises his attractiveness to the women in the household and 'responds' to that.

I thought that Muntagirov captured the character and nailed the very difficult choreography in spades last night. He was a believable young tutor and, as with Dowell, Baryshnikov, Putrov,  Cope, Sansom and Pennyfather (among others) before him, it felt as if he was born to dance Beliaev.

I also found Cuthbertson's characterisation very well drawn and both Anna Rose O'Sullivan and David Yudes a delight.

 

Wasn't it extraordinary that Naghdi could come off her searing Juliet on Tuesday and embody The Firebird so thrillingly last night (less than 24 hours later)?

[Xandra Newman]

Last night was wonderful and I loved Cuthbertson and Muntagirov's interpretation the most out of all the casts. They were very moving.

For Naghdi to dance the role of Juliet as well as The Firebird within the space of 24 hours is a real tour de force, not only physically very demanding but also to have to perform two such very different roles one right after the other. Her beautiful Juliet was still so fresh in my mind and it felt a bit surreal to see her so soon after as an avian mythical creature. 

Symphony in C is always beautiful to watch.

The dancers must be near exhaustion, they have all been amazing, such a long R&J run, followed by this magnificent Triple Bill.

I wish them all much success in Japan, and thereafter a well-deserved rest. What an amazing season this has been for the RB! 

[jmhopton]

I watched the Dowell, Seymour recording on Tuesday before seeing last night's performance and my first reaction was this would be a great role for Vadim and in my opinion it was. I thought he was terrific, a beautifully nuanced performance and Laura Cuthbertson was splendid too as Natalie as was David Yudes as Kolia. However I think the main star of the show was Frederick Ashton. I am constantly in awe of how this man can take a complicated story and distill it into the most beautiful one act ballet that can be followed so easily without needing involved programme notes : sheer genius!

After Month in the Country Symphony in C made the perfect finish to a wonderful evening. The casting and dancing were truly awesome. It's a while since I'd seen it and I forgot how much it fizzed along. Looking forward to seeing it all again tonight though am still very cross it wasn't filmed. Such fabulous performances should be captured for ever. 

[Lynette H]

Something of a tangent, I know, but seeing Firebird again kindled some old memories. Does anyone recall seeing Dance Theatre of Harlem's production of the Firebird which came to the Coliseum sometime in the 80's (I think).  It was very striking. I think the dancer playing the Firebird descended on wires to preside over the final tableau.  Does anyone remember this ? 

[Mary]

1 hour ago, jmhopton said:

the main star of the show was Frederick Ashton

 

Indeed.

[alison]

Sounds as though I was the only one who found that last night's Month didn't quite work for me, then, I can't quite put my finger on why. I have noticed from all 3 casts, though, that the humour of the "lost keys" segment is a bit lacking - the timing could be sharper, I think.

[Beryl H]

I saw Jonathan Howells and thought him very funny, but I fear I was also laughing at myself, I am forever fumbling with keys!

[capybara]

Jonathan Howells features in my 'ideal' selection from the casts on display this run.

[Richard LH]

4 hours ago, alison said:

I have noticed from all 3 casts, though, that the humour of the "lost keys" segment is a bit lacking - the timing could be sharper, I think.

 

I was wondering  what Yslaev's keys were for, and why does need them at that moment?

[Sim]

Last night, as I was watching Yasmine Naghdi standing very still downstage right towards the end of Firebird, using those incredibly dark expressive eyes to observe all the movements she had initiated amongst the people and creatures, and her arms in classic 'Firebird pose', looking haughty and imperious....I was thinking 'gosh, what an amazing and formidable Myrthe she would make.'   Praying to the ballet gods that she will get both roles in the next run of Giselle....

[LinMM]

Will write a tad more later but I loved Muntagirov and Cuthbertson in the main roles in Month last night ....for me Muntagirov is the best since Baryshnikov in terms of how he brought this role to life ....glorious in that first little solo .....I also don't see Beliave as a womaniser at all....just a somewhat ardent young man beginning to delight in his own attractiveness and in the company of women perhaps ....but his feelings are for Natalia! Have to dash!!

[bridiem]

1 hour ago, Richard LH said:

 

I was wondering  what Yslaev's keys were for, and why does need them at that moment?

 

I've never really thought about that; but maybe it's a) a bit of light relief, b) an indication that Natalia's husband is older than her and a bit absent-minded, and/or c) an indirect reference to the fact that Yslaev has lost the means of keeping things (people?) secure/confined; the fact that it is Natalia who then finds the keys has myriad possible interpretations!

[JNC]

Some quick thoughts from last night's performance:

 

Firebird - everytime I see this I appreciate the music more and more. I love the costumes, the set design, the lighting. Naghdi's technique is flawless but I have to say Mendizabal edged it for me actually, which surprised me because I was really looking forward to seeing Naghdi and only booked Mendizabal last minute. Even from the amphi you could see Mendizabal's eyes and feel her presence, with her arms perfectly bird like. Though Naghdi can jump higher, to me it felt very much like a classical ballerina playing a firebird, whereas Mendizabal was the firebird. This is not to say Naghdi's performance was bad at all, and I see her really developing in this role and I enjoyed both interpretations. 

 

A month in the country - honestly, Vadim is called 'Vadream' for a reason. No wonder all the ladies love him! But he played Beliaev like a real dreamer, not at all a 'playboy' and just someone who is genuinely confused about his feelings but really does care for both Natalia and Vera. Of course he never put a step wrong, and was perfectly 'soft' and elegant in this role (contrasting with his more bold and 'strong' technique in Symphony in C the other evening). Cuthbertson was beautiful as Natalia, flawless technique and whilst a more reserved performance than Osipova, you could still feel her character coming through. O'Sullivan, my gosh she is such an amazing dancer and as others have commented, if she is not principal in two years I will be very surprised. I thought she danced in a very 'Hayward-esque' manner for lack of a better description - the way I would describe this is such charm, an absolute delight and beautiful dancing which is fleet footed and quick, but executed brilliantly and seemingly naturally and without effort. I predict very big things for her and I will be keen to see her in the Autumn season if I can as either Aurora/Swanhilda. David Yudes was great as Kolia, lots of quick turns and he even managed to (somewhat) pull off the wig! Despite an amazing performance, I have to say I actually preferred Osipova/Hallberg for pure emotional connection, but this feels like splitting hairs, and the supporting cast here was much stronger, and I'm glad to have seen two different interpretations. 

 

Symphony in C was practically perfect - literally. The first and second movements were executed with absolute precision, completely in time by the corps as well as the 'principal' pairs. Kaneko/Ball were stunning, Lamb was absolutely dreamy in the second movement. But the thing that really made it was the corps all in perfect harmony, I was loving every minute! Sambe in the third movement proved exactly why he was promoted to principal - my gosh his jumps and leaps are so high and so effortless, and he brings a great presence to the stage, he will be a brilliant principal next year I'm sure. I always feel after the first three movements, the fourth feels a bit short and perfunctory, but Hayward and Hay did a solid job of rounding things off, though admittedly I do think Naghdi is better suited to Balanchine than Hayward is. Interestingly I do always feel when the four principal women dance together in the final section there is always someone slightly out of timing which ruins it slightly, but I presume this is because the corps are dancing to it every evening so get in more practice (?) whereas the four principals mix it up? But this is no excuse because they should be keeping time with the music! But overall, the first two movements being perfect and the final two near to it, what a brilliant end to the evening. It is such a shame there is no Balanchine next year, but I'm hoping for Jewels or at least one or two one acters the 20/21 season, because RB right now is in such a good place to deliver the choreography! 

 

I can't wait to see what the next season will bring, and look forward to new pieces and seeing new dancers as well as some 'old favourites' develop even further. 

 

 

 

[Geoff]

7 hours ago, Beryl H said:

I saw Jonathan Howells and thought him very funny, but I fear I was also laughing at myself, I am forever fumbling with keys!

 

At the risk of repeating myself, maybe take a look at the YouTube recording I posted earlier (see https://www.balletcoforum.com/topic/20401-the-royal-ballet-firebird-triple-bill-june-2019/?do=findComment&comment=286956 ) Imho this section of the old recording is funnier because it is so much faster (so there is less of the now-we-dancers-are-doing-something-funny style we have been seeing this run: it is impossible to be mannered when going as fast as they were in the 1970s).

 

If the differences in tempo are linked to who is conducting; whether today's casts are not as versed in Cecchetti as in the old days; or a grumpy Sir Fred got everyone to go as quick as possible, I leave to experts to say.

 

 

Edited June 13, 2019 by Geoff

[Mary]

 

 

17 hours ago, Richard LH said:

 

I was wondering  what Yslaev's keys were for, and why does need them at that moment?

15 hours ago, bridiem said:

 

I've never really thought about that; but maybe it's a) a bit of light relief, b) an indication that Natalia's husband is older than her and a bit absent-minded, and/or c) an indirect reference to the fact that Yslaev has lost the means of keeping things (people?) secure/confined; the fact that it is Natalia who then finds the keys has myriad possible interpretations!

As well as showing that he's going a bit daffy ( agree this is all too familar!) and is no longer 'in charge'  I think there is more symbolism going on here as well- he has 'lost it' in every sense.......

[Geoff]

24 minutes ago, Mary said:

As well as showing that he's going a bit daffy ( agree this is all too familar!) and is no longer 'in charge'  I think there is more symbolism going on here as well- he has 'lost it' in every sense.......

 

Yes indeed Mary, not (as some recent performers seem to have been trying to indicate) that he is forgetful because he is an old man: he’s only in his thirties. 

[bridiem]

I had the interesting experience last night of seeing this bill from the Amphi but without opera glasses. I forgot them, for I think only the second time in 42 years of ballet-going!! I was rather dismayed when I realised I didn't have them, but of course it forced me to allow the bigger picture to prevail instead of spending so much time focussing (literally!) on the leads or other individuals. And it was a great experience! Especially with Symphony in C, where I was much more aware than usual of the way the shapes unfold and complement each other. What an incredible ballet it is. And in The Firebird I got the whole magnificent sweep of the drama all the time. I was even more impressed by Magri's Firebird this time, and it really projected up into the Amphi. Hayward was a brilliant Vera again in Month (those angry, stabbing kicks towards Natalia!) but seemed less secure in Symphony in C. Kaneko, Muntagirov, Lamb and Campbell all shone in Symphony and it got a great roar of approval as the curtain came down. A great evening.

[Guest]

I thought Hayward looked very secure in Symphony in C last night. It felt like the whole ballet was taken at a much faster tempo. It made for a really exciting performance, probably the best I have seen (and I have seen this ballet many times). I wondered if the faster tempo suited Hayward better. 

Firebird was magnificent again. I love the way the ballet unfolds. As Bridiem said, Magri's performance really reached the Amphi, as did Mendizabal's on Saturday. I didn't see the Naghdi cast. 

I loved Nunez in Symphony in C, but her Natalia didn't move me - some moments (both dance and mime)  felt just a little forced and abrupt to me,  but there was also plenty to enjoy in her performance.

A wonderful programme, a wonderful company and a wonderful end to the season.  

[Rob S]

Maybe she was ‘extremely secure’ as Vera and ‘very secure’ can be considered ‘less secure’ 🤔😆

[Mary]

1 hour ago, bridiem said:

I had the interesting experience last night of seeing this bill from the Amphi but without opera glasses. I forgot them, for I think only the second time in 42 years of ballet-going!! I was rather dismayed when I realised I didn't have them, but of course it forced me to allow the bigger picture to prevail instead of spending so much time focussing (literally!) on the leads or other individuals. And it was a great experience! Especially with Symphony in C,

Agree SiC is best seen 'whole' and best from the amphi. I find if I try to focus in, I just miss too much and anyway the part does not mean as much without the whole. whereas for Month I want to zoom in at times, eg the pas de deuxs.

My beloved opera glasses have just died and it is not easy to replace them so I might have to start a thread to ask for recomendations...

[Rob S]

16 minutes ago, Mary said:

 

My beloved opera glasses have just died and it is not easy to replace them so I might have to start a thread to ask for recomendations...

 There’s usually an ad in the programme for Leica opera glasses...I guessed they would be priced at a ridiculous level like £350...turned out it was more than double that!! I presume they give a better view than the £5 ones I got from the book club at work though!! 🧐😂

Edited June 14, 2019 by Rob S

[onemouseplace]

20 minutes ago, Mary said:

 

My beloved opera glasses have just died and it is not easy to replace them so I might have to start a thread to ask for recomendations...

 

Please do.  I am also looking for a pair and was thinking the very same thing.

[Lizbie1]

1 hour ago, Darlex said:

I thought Hayward looked very secure in Symphony in C last night. It felt like the whole ballet was taken at a much faster tempo. It made for a really exciting performance, probably the best I have seen (and I have seen this ballet many times). I wondered if the faster tempo suited Hayward better. 

 

I saw Hayward struggling at last Friday’s matinee and wondered if the speed was too slow. I assume it operates just as singers have certain speeds which work best for them when it comes to coloratura - it’s not simply a question of too fast or too slow, things just click in at particular tempi.

[ElleC]

Hayward is a natural "left turner".  Therefore, it must be SO difficult for her to dance this since all the turns are to the right, and she obviously has to turn the same way as everyone else.  I thought she was fabulous last night - at very high speed, as has been pointed out!! 

[MJW]

First of all, a bit of a moan. I went to the Firebird mixed bill last night (Thursday). The website indicated a finish time of approx. 10:40 but the programme indicated 10:30 (interval of 25 and 20 minutes as opposed to two lots of 25 on the website - not sure how the other 5 minutes disappeared off to - perhaps the orchestra were going to be asked to play a bit faster?). In any event it finished at 10:50!

 

Needless to say (and this does annoy me) people were getting up to go whilst the cast were still on stage at the end of the performance (no curtain calls for Symphony in C). Just managed to get my train at 11pm (by about 30 seconds) - not sure how I managed to get to Waterloo in 10 mins.

 

I really can't understand first why the website and programme seem to differ so often, and secondly why can't it start and finish reasonably on time?

 

Any moans over..this was the second time seeing the Firebird (first time on Saturday). I am still not sure what to make of it - perhaps because it is so different from what I have seen before.

 

A Month was lovely and so glad I was able to see Nunez, Hayward, Ball (recovered from R&J on Tues!) and James Hay (what a wig! it needs putting down!). Symphony was equally lovely and was the first time I had seen both of these so wasn't sure what to expect. I would be very happy to see both again. So nice to see such a large part of the company all on stage in such an impressive performance.

 

A lovely way to end the season. Roll on October.