Bolshoi Ballet: London 2019 - Spartacus

[FionaM]

Agree Act 3 is the best act.  The narrative is the most cohesive in it.  The rest narrative wise is terrible! 

 

Just back from Thursday 1/8 performance.  Impressed by Yulia Stepanova as Aegina and Artemy Belyakov as Crassus - they both portrayed their roles effectively and pulled off some difficult dancing confidently.  I can also see why Eleonora Sevenard is highly regarded. She gave an emotionally charged performance as Phrygia. 

 

Sadly the beautiful and lithe Denis Rodkin as Spartacus did not move me. I think the role requires for more muscular form in the legs and buttocks.  I wish I’d been around to see Irek Mukhamedov live, and I am thankful for video of him to show us how it can be done.  

 

IF the RB were to do it, Federico Bonelli would be a poor choice for the same reason as Denis is.  Matthew Ball, William Bracewell and Cesar Corales would be my picks to give Spartacus a go.  Federico and Ryo Hirano would be great as Crassus.  Pipedreams!

Edited August 1, 2019 by FionaE
Typo

[capybara]

If Cesar Corrales is to play Spartacus and Matthew Ball Crassus (my picks) they will surely have to do so as guests elsewhere. I can't see this being a ballet which will ever be in the rep. of The Royal Ballet. ENB also has some candidates for these roles.

Of course,  both Ballet Vlanderen (Belgium) and the Bavarian Staatsballett  perform it with Osiel Gouneo, Yonah Acosta and ? (guest) Sergei Polunin among the Spartacuses in Munich.

[maryrosesatonapin]

9 hours ago, FionaE said:

Sadly the beautiful and lithe Denis Rodkin as Spartacus did not move me. I think the role requires for more muscular form in the legs and buttocks.  I wish I’d been around to see Irek Mukhamedov live, and I am thankful for video of him to show us how it can be done.  

 

I saw Mukhamedov as Spartacus but so long ago (too long ago to remember his buttocks, if I noticed them in the first place!) all I can remember now is that the stage seemed filled with a human firecracker! He was quite a short chap but seemed to expand when dancing.  But Rodkin on Monday touched me more emotionally - he was subtle, graceful and nuanced.  I really felt he and Denisova conveyed the tragic tenderness of a husband and wife cruelly parted.  Mukhamedov epitomised wild passion whilst Rodkin embodied the deep and loving devotion that comes in a long term relationship.  And I think DR has a perfect male ballet body - just virile enough without losing elegance.

Of course, I am not in any way arguing with how you responded - one of the interesting things about ballet (and other art forms) is how it touches people differently, and indeed - the same people diversely at different times.  I did wonder on Monday whether my response was due to having got older rather than due to the interpretation.  I went expecting to feel amazed at the energy and skill of the dancers and perhaps a little cringing at the 'blockbuster' nature of the ballet, and came away instead feeling thoughtful and quite emotional.

 

[annamk]

2 hours ago, capybara said:

If Cesar Corrales is to play Spartacus and Matthew Ball Crassus (my picks)

 

Exactly my picks too  

[alison]

2 hours ago, capybara said:

ENB also has some candidates for these roles.

 

 

Wasn't it rumoured a few years ago that ENB were considering an in-the-round version of Spartacus?

[capybara]

10 hours ago, FionaE said:

Sadly the beautiful and lithe Denis Rodkin as Spartacus did not move me.

 

Nor me. I felt that his gestures were not coming from his heart, even though he danced amazingly and looked every inch the hero.  I see that a couple of critics found him somewhat one-dimensional too whereas other heaped him with praise.

Soooo interesting how different everyone's experience of the same performance can be.

[HelenLoveAppleJuice]

I went on the opening night and returned the Thursday night ticket because I was not feeling well yesterday.

I wish I could attend another performance but it seems that completely sold out

Powerful performance and very refreshing after seeing many ROH more "reserved" style

 

There are some here-and-there mistakes, small faults during the whole performance. Especially I don't feel that  Spartacus(Denis Rodkin) and Phrygia(Anastasia Denisova) give enough emotions. Have to admit that I was spoiled by the recording of Carlos Acosta & Nina Kaptsova. Denisova seems to be not up enough with Rodkin level. 

 

I am not being criticizing because to my eyes it is one of the best performances I have had this year. But I want to hold the bar high for Bolshoi. 

 

Something else

1. Svetlana Zakharova made a lot of efforts in her solos. Although not 100% perfect, but the difficulty and the control of her body is truly amazing. I am a bit sad that the audience responded quite lukewarm.  The role of Aegina is considered to be quite difficult. But the audience seems to be more excited with male dancers high jumps than the female part. 

2. It is a higher percentage of audience than usual to be unfrequented RoH audience. Usually the opening night (especially  if with big name principles)  the front row of Balcony and Amphitheater will be occupied by mostly frequent RoH visitors. A lady sitting in the front row of balcony (not the movable seat) in front of me leaned quite forward and basically rested her head and arms, almost all upper body on the ledge during the performance. I kindly asked her to sit more straight after the 1st act but she responded like I was an alien. Then I had to talk to the RoH staff and they talked to the front row to ask them not laying on the ledge before the 2nd act started. When I sat in the front row, once I leaned forward to see the conductor before the curtain up, I was asked by the 2nd row audience to sit straight and I did not object.

3. I went to the stage door. Some Russian reporters were there and they hold really professional camera including lighting devices... A little bit surprise. I guess that ballet news probably is very important in Russia? I never see BBC or ITV come to interview or record like this...

 

Talking about possibility of Spartacus by Royal Ballet. I see it is saying that Spartacus need 40 male dancers and all demanding. Considering that you still have to have some spare dancers in reserved for replacement. I think that the company need to have 50+ male dancers (not including principles). RB usually gets some graduate year student from Royal Ballet School for big performance. But I doubt if it will work on Spartacus. Thus I think that unless RB grows dramatically or cut the Spartacus corps to fewer, otherwise it won't work.

 

Spartacus is too energy consuming. I remembered that in Sergei Polunin documentary "dancers", he drank energy drinks and looked terribly exhausted in the middle of performing Spartacus. I feel that it is a little "overkill" in act 1&2 with those never ending male jumping and fighting. But it is perhaps why they love it. 

Edited August 2, 2019 by HelenLoveAppleJuice

[maryrosesatonapin]

39 minutes ago, HelenLoveAppleJuice said:

1. Svetlana Zakharova made a lot of efforts in her solos. Although not 100% perfect, but the difficulty and the control of her body is truly amazing. I am a bit sad that the audience responded quite lukewarm.  The role of Aegina is considered to be quite difficult. But the audience seems to be more excited with male dancers high jumps than the female part. 

I agree with you here, @HelenLoveAppleJuice   I clapped long and loudly for Zakharova's exquisite performance, but a lot of people in the audience didn't seem to appreciate her fully.

 

39 minutes ago, HelenLoveAppleJuice said:

Talking about possibility of Spartacus by Royal Ballet. I see it is saying that Spartacus need 40 male dancers and all demanding. Considering that you still have to have some spare dancers in reserved for replacement.

I remembered that in Sergei Polunin documentary "dancers", he drank energy drinks and looked terribly exhausted in the middle of performing Spartacus. I feel that it is a little "overkill" in act 1&2 with those never ending male jumping and fighting. 

 

I cannot imagine the RB even managing to fill the main roles, let alone the full complement - whether now or if we drafted in the ghosts of great dancers of the past.  But RB do other things well so it's better to perform what you can than what you struggle with.

I did think during Monday's performance that the role of Spartacus would suit Polunin.  From what you say, it is even more admirable that Belayakov and Rodkin managed to dance unremittingly hard and fast and high right to the end.

[Shade]

Really appreciate these reports since I am not seeing Spartacus this time. The role demands real commitment from all. 

I too remember Mukhamedov so have been spoilt. For this run I think Lobukhin may have the edge but I will have to wait and see!

[Two Pigeons]

19 hours ago, Jamesrhblack said:

 I can’t see the current RB managing this, but had a crazy thought back then (which was impossible) that one could just imagine David Wall as Spartacus opposite Anthony Dowell / Wayne Eagling as Crassus. 

 

Casting would have dictated Antoinette Sibley / Merle Park as Phrygia with Lynn Seymour as Aegina, but I’d have put that the other way round...

 

 

I would have had Stephen Jefferies in either role with Jennifer Penney as Aegina.

[Jamesrhblack]

4 hours ago, Two Pigeons said:

 

 

I would have had Stephen Jefferies in either role with Jennifer Penney as Aegina.

 

Yes, could imagine that too...

[FionaM]

7 hours ago, maryrosesatonapin said:

I did think during Monday's performance that the role of Spartacus would suit Polunin.  From what you say, it is even more admirable that Belayakov and Rodkin managed to dance unremittingly hard and fast and high right to the end.

 

Indeed Sergei Polunin has performed both Spartacus and Crassus to great acclaim.  Most recently as Spartacus in March with Bayerische Staatsballett in Munich.  He will be performing Crassus alongside Osiel Gouneo with the Novosibirsk company on 13 August in the Chernosesos ancient ruins near Sevastopol.  Hopefully both roles again with BSB in more accessible Munich in near future.  

[HelenLoveAppleJuice]

16 hours ago, maryrosesatonapin said:

I did think during Monday's performance that the role of Spartacus would suit Polunin.  From what you say, it is even more admirable that Belayakov and Rodkin managed to dance unremittingly hard and fast and high right to the end.

I forgot which role Polunin played in his documentary. Indeed that he has played both Spartacus and Crassus . There are some video clips online. I actually prefer his Crassus. Once Osipova was danced opposited to to him i believe. 

 

I would say that if time went back 5 years, Polunin as Crassus paired with Osipova and Carlos Acosca as Spartacus paired with Rojo will make a great Royal Ballet cast.

[Amelia]

On 03/08/2019 at 01:49, FionaE said:

 ... on 13 August in the Chernosesos ancient ruins near Sevastopol.  

 

Chersonesus!! This might be fascinating. https://en.wikipedia.org/wiki/Chersonesus

[Don Q Fan]

Saw Thursday night's Spartacus which was good but nothing compared to when I saw Carlos Acosta and Ivan Vasiliev dance the title role with The Bolshoi. Rodkin did all the moves fine but I didn't get much emotion. I liked Belyakov and Stepanova as Crassus/Aegina and Sevenard did a good enough job as Phrygia. (Apparently she and Rodkin are partners in real life too.) The one handed lifts were pretty amazing although this version pales into insignificance if one remembers the sheer spectacle of The Mikhailovsky Spartacus - I'll never forget the contortions performed by Denis and Anastasia Matvienko.  

Overall this performance was good but it was lacking the usual buzz and atmosphere of anticipation/excitement I usually associate with The Bolshoi. 

 

Some curtain call photos from Thursday night's show:-

Denis Rodkin - Spartacus

Yulia Stepanova (Aegina) and Artemy Belyakov (Crassus)

Eleonora Sevenard (Phrygia) and Denis Rodkin

 

Edited August 4, 2019 by Don Q Fan

[LinMM]

Lovely to see Sevenard getting roles like this as a recent graduate of Vaganova School. 

Great piccies again Don Q

Edited August 9, 2019 by LinMM

[Lizbie1]

Just out of today's matinée. I'd forgotten how vulgar it is in places - though really, who cares? - but I'd also forgotten what an emotional punch the last few minutes pack.

 

As for the cast: I thought Tsvirko as Spartacus started slightly tentatively but got better and better: such leaps at the end! Skvortsov as Crassus was perhaps a little underpowered and his character didn't really project to the back of the amphi IMO. Krysanova was terrific as Aegina, so strong and so feminine.

 

The weakest link was I thought Shrainer as Phrygia: I don't like to write someone off after a single viewing, but based on this afternoon I don't understand why she was cast. The best I can say is that she danced the steps, but it was as if they were independent of each other, like someone singing Mozart without legato. Did I catch her on a bad day? Or is it just me not "getting" her?

 

One other thing: after 50 years the designs still look great except those first act gladiator outfits - they don't get any better!

[AnneL]

Since no one else has left a comment about Friday evening’s show, I will! Firstly, the orchestra deserves full honours, as do the dancers for keeping up with it! For me the standout among the principals was Zakharova, who not only had fabulous technique, but also was utterly convincing as Aegina. I don’t think this will ever be my favourite ballet (maybe Giselle is?) but I am very glad to see performed live at last. Our seats were front row side of the amphitheatre so we missed a little of the action in the corner of the stage, but at least the price was reasonable. I treated myself to the dvd with Carlos Acosta as Spartacus so am now watching it and finding out what happens in that corner! 

[ninamargaret]

I admit to a certain weakness for Spartacus. it's totally over the top, something I don't think the RB ever could, or should have done. A story done in bold, primary colours, unsubtle, and to me totally thrilling. I greatly enjoyed today's matinee, although agree with Lizbie1 about Shrainer. After the first act i commented to my companion that Crassus appeared to be rather understated but I wondered if this was deliberate and intended to emphasise the rather more decadent Romans as opposed to the heroic Spartacus and his gang. Tsvirko I loved - lovely lines, strong partnering and oh! those jumps! Unfortunately my only visit to the Bolshoi, but we'll worth it.

[capybara]

16 hours ago, Lizbie1 said:

The weakest link was I thought Shrainer as Phrygia: I don't like to write someone off after a single viewing, but based on this afternoon I don't understand why she was cast. The best I can say is that she danced the steps, but it was as if they were independent of each other, like someone singing Mozart without legato. Did I catch her on a bad day? Or is it just me not "getting" her?

 

I'm not sure that Shrainer is as technically secure as some other Bolshoi ballerinas but I liked her characterisation: the role seemed to have more substance with her. Of course, she is much favoured by the Director and has (again!) been given the first night of Don Quixote.

 

10 hours ago, ninamargaret said:

Crassus appeared to be rather understated but I wondered if this was deliberate and intended to emphasise the rather more decadent Romans as opposed to the heroic Spartacus and his gang. 

 

Unfortunately, at aged 39, Skvortsov doesn't seem to have the height in his jumps or the energy to invest in the role as he once did or, say, Belyakov now does. I wish we could have seen Lantratov (and hope he is on the mend).

 

Tsvirko again produced a heartfelt and strongly danced Spartacus and garnered huge applause - some of it (the applause) cutting across the arc and artistry of his performance.

 

[P.S. I think that there was some 'pantomime-style' booing of Crassus yesterday afternoon? I hope the Bolshoi dancers understand that it's nothing personal!]

 

 

Edited August 11, 2019 by capybara

[LinMM]

So damned annoyed to have missed this!

The friend who took my ticket really loved it ( Friday night cast) but hadn't realised quite how over the top it was and well she saw a boy of about eight sitting in front and wondered  with all the suggestive goings on etc whether it should have had an X rating! ..but do bállets have this anyway? She thought Rodkin was terrific on Friday and Zakarova absolutely wonderful. We are both inveterate Royal Ballet fans but she couldn't see them doing this ballet couldn't think of anyone who would really suit the roles because it's not just technique issues more of that raw energy in the soul thing. It just suits the Russian dancers somehow. 

I had a nice autographed programme with all the main dancers names on as a little  prezzie! 

[JNC]

I went last night...my first time seeing the Bolshoi. I saw the Lobukhin/Smirnova/Sevenard/Ovcharenkocast. 

 

To be honest I don’t think Spartacus is my thing but I’m glad to have seen it. Act 2 I thought was the best with some lovely pas de deux between Lobukhin/Sevenard. I enjoyed Smirnova’s dancing and thought she was great and really put energy into the character but thought some of the choreography a bit silly and felt she was wasted here - or rather I would prefer to see her in a different role/ballet. 

 

To be controversial but I found some of the corps a bit ‘sloppy’ (thinking of the Roman soldiers) and timing was not what I expected from the Bolshoi sometimes, but in fairness perhaps this was just to make it more ‘naturalistic’ but I would imagine regimented soldiers need to be in perfect synchrony? Anyway minor point. 

 

The orchestra I thought were great, and I appreciated seeing a slightly different ‘Bolshoi style’ - I am not expert at ballet to explain it but the women in particular were more willowy then RB, with their long slim limbs used to full effect. There were some great jumps among the men and as Spartacus doesn’t come round often it was a good showpiece.

 

Whilst very glad to have seen it and there were moments were I was really impressed, this did make me quite glad that my ‘home team’ (as it were) are RB, as I think I prefer their style as I feel they are great at telling a story. I felt some of the corps of the Bolshoi were just going through the moves - of course excellently done, but I didn’t get a feel they ‘were’ a slave group or that they ‘were’ Roman soldiers. When you see the RB doing Macmillan for example, they really ‘are’ the background characters if this makes sense? Completely subjective and I appreciate MacMillan was known for this individualistic choreography, and perhaps it’s just I’m more familiar with RB which makes me of course likely to be biased towards them! 

 

I do wish I had a chance to see Bright Stream as I think this would have showcased another side of Bolshoi which I think I would have preferred. I may try to get some last minute deals on this forum for swan lake/DQ if the mood strikes as I just think Spartacus wasn’t for me so would like to see the Bolshoi in something else as I think I would enjoy it more (not that last night wasn’t enjoyable, it was, but not ‘up there’ with the greats for me and I wanted to be blown away by the Bolshoi). If not there’s always hopefully a future year I can see them, and my appreciation of the RB only grows in the meantime! Very glad I did get the chance to see Spartacus as it is something that doesn’t happen often in London/U.K., and despite what I’ve said above I definitely wouldn’t mind seeing it again in a few years.  

 

 

 

[Lizbie1]

2 hours ago, capybara said:

I'm not sure that Shrainer is as technically secure as some other Bolshoi ballerinas but I liked her characterisation: the role seemed to have more substance with her.

 

Interesting - maybe I was too far back to appreciate it but I didn't perceive any characterisation at all.

 

(FWIW, of the Phrygias I've seen live Nina Kaptsova is my favourite.)

[capybara]

7 minutes ago, Lizbie1 said:

 

Interesting - maybe I was too far back to appreciate it but I didn't perceive any characterisation at all.

 

(FWIW, of the Phrygias I've seen live Nina Kaptsova is my favourite.)

 

For me, expressive face and arms!

I loved Nina Kaptsova too - also, In Mukhamedov's era, Liudmila Semenyaka and Nadezdha Pavlova.

Aegina is obviously regarded as the main female role as she takes her bow after Phrygia. Indeed, I have seen performances (including that by Denisova on the first night of the current run) where the level of applause at the end seemed to indicate that the character had hardly registered with the audience. That wasn't the case yesterday with Shrainer although Krysanova's Aegina scored more highly on the 'clappometer'.

[Lizbie1]

7 minutes ago, capybara said:

Aegina is obviously regarded as the main female role as she takes her bow after Phrygia

 

Yes, and brought the conductor on stage, I noticed - though I did wonder whether that was due to Krysanova's rank.

[Amelia]

2 hours ago, capybara said:

I loved Nina Kaptsova too - also, In Mukhamedov's era, Liudmila Semenyaka and Nadezdha Pavlova.

 

Mukhamedov also danced with Natalia Bessmertnova. Her tragic Phrygia is remaining as an iconic image for the following interpreters of this role. She was swift and fearless in high lifts and her cantilena adagio dancing was seamless. The lamentation scene was flowing like an epic poem. Unforgettable!

https://ok.ru/video/1142712830608

[alison]

9 hours ago, capybara said:

I'm not sure that Shrainer is as technically secure as some other Bolshoi ballerinas but I liked her characterisation: the role seemed to have more substance with her.

 

Tsvirko again produced a heartfelt and strongly danced Spartacus

 

Agree on both counts, although I wonder how far Shrainer's interpretation "travelled".  I certainly didn't have a problem with it from the lower half of the house, and fairly close to the stage.

 

I did rather find myself regretting that I'd booked only the one performance, because I'm unable to compare and contrast, although I suspect I would agree with capybara about Skvortsov, too.

[assoluta]

5 hours ago, Amelia said:

 

Mukhamedov also danced with Natalia Bessmertnova. Her tragic Phrygia is remaining as an iconic image for the following interpreters of this role. She was swift and fearless in high lifts and her cantilena adagio dancing was seamless. The lamentation scene was flowing like an epic poem. Unforgettable!

https://ok.ru/video/1142712830608

Bessmertnova had something tragic about her. Her most memorable role, Giselle, moved me beyond description. I always felt a special sympathy towards Kaptsova, yet her recent Phrygia (with Tsvirko, Belyakov and Stepanova) was no more than a shadow of what I expected.

 

[Scheherezade]

If asked to describe the Bolshoi’s Spartacus I would probably settle for a performance of leaps, lifts and spectacle. I saw the Saturday evening cast of Lobukhin, Sevenard, Ovcharenko and Smirnova from the seats by the side of the stage so instead of my usual perch in the distant amphitheatre I was right in there with the sweat and the dust and the flashing eyes and the emotional angst.

Having seen Smirnova massively miscast as Kitri last time round (no soubrette she), I was much more impressed by her Aegina on Saturday. This was a role that really suited her and she brought a diamond-sharp, glittering sexuality to her take on a woman who was not for one second in any doubt as to her power over any and every man who crossed her path.

As her consort Crassus, Ovcharenko smouldered dangerously. His was a lascivious Crassus, arrogant and entitled, but beneath the entitlement there was the sense that this Crassus might actually be a bit of a chancer. He and Smirnova cranked up the villainy with obvious relish and quite clearly loved every OTT minute of it.

At the other end of the scale, Sevenard looked prettily pained as the long suffering Phrygia. She had the right air of loving constancy and much-abused innocence and there was a youthfulness and freshness to her performance that felt absolutely right but apart from the last act, which was genuinely moving, there was still something missing. Perhaps what I’m trying to say is that she lacked the heart-rending poignancy of the magical Kaptsova.

Which leaves Lobukhin’s towering Spartacus. This was a man of conscience and conviction and from where I was sitting Lobukhin was mightily convincing - and not just to me if the thunderous applause was anything to go by.

Many in the audience were on their feet for the final bows and deservedly so. Bold, brash and over the top this ballet might be but, my goodness, when the Bolshoi are on this form who could really settle for anything less?