Royal Ballet: Manon, autumn 2019

[Bluebird]

52 minutes ago, JNC said:

 

Oh and the article also clears up that Clarke was down to do Romeo and Juliet last year but didn’t because of an injury (although I forget if this was common knowledge or not, but at least it wasn’t for me!). I wonder who he was down to be partnered with?

 

He was scheduled to partner both Marianela Nuñez and Melissa Hamilton.

[JNC]

1 hour ago, Bluebird said:

 

He was scheduled to partner both Marianela Nuñez and Melissa Hamilton.

 

Ah I see.

 

Did Hamilton dance Juliet in the end, I thought she didn’t do it last time? 

[Bluebird]

38 minutes ago, JNC said:

Did Hamilton dance Juliet in the end, I thought she didn’t do it last time? 

 

Yes.  She danced it with a guest dancer, Timofej Andrijashenko.

[JNC]

14 minutes ago, Bluebird said:

 

Yes.  She danced it with a guest dancer, Timofej Andrijashenko.

 

Thank you!

[Rob S]

3 hours ago, Bluebird said:

 

Yes.  She danced it with a guest dancer, Timofej Andrijashenko.

 

I'm not sure my phone will ever let me forget that....just because I typed his surname a few times when I posted some photos of their R&J performance my phone's autocomplete now offers his surname every time I type 'and' 🤣

[Bruce Wall]

6 hours ago, JNC said:

 

Whilst obviously this makes clear O’Hare has the final day (as one would expect!) it seems to indicate that dancers (principals at least) are given a preference on who they partner with and that feeds into O’Hare’s decision which I think is quite nice. (Subject to it being fair and certain dancers not always getting their way above others in the same rank at least!

 

 

 

 

 This is most interesting. Reading this I began to wonder if the new RB permanent guest artist, David Hallberg, will ever be let to partner someone other than Osipova at the RB?   Certainly he does partner a variety of other dancers - or certainly has - at ABT and the Bolshoi.  C. Acosta in a similar role at the RB also danced with different ballerinas. I think a Hallberg combination in an appropriate setting with Cuthbertson could be quite interesting. I'd also be interested to see what McGregor might draw out of him.  If he is to be about it would be interesting to see him stretched in the most creative ways.

Edited October 26, 2019 by Bruce Wall

[capybara]

1 hour ago, Bruce Wall said:

 

 This is most interesting. Reading this I began to wonder if the new RB permanent guest artist, David Hallberg, will ever be let to partner someone other than Osipova at the RB?   Certainly he does partner a variety of other dancers - or certainly has - at ABT and the Bolshoi.  C. Acosta in a similar role at the RB also danced with different ballerinas. I think a Hallberg combination in an appropriate setting with Cuthbertson could be quite interesting. I'd also be interested to see what McGregor might draw out of him.  If he is to be about it would be interesting to see him stretched in the most creative ways.

 

I think that he has been announced for the 2019/20 season only and there is virtually nothing left for him to be cast in.

I know that this sounds rather mean of me (and, of course, no disrespect to you, Bruce), but Hallberg's recent performances  with the RB have not encouraged me to be 'interested' in him having other partnerships, in seeing what McGregor "might draw out of him" or seeing him "stretched in the most creative ways". Whereas, I am interested in younger, resident dancers being given the kinds of opportunities that he has already enjoyed throughout his career.

[Bruce Wall]

1 hour ago, capybara said:

 

I think that he has been announced for the 2019/20 season only and there is virtually nothing left for him to be cast in.

I know that this sounds rather mean of me (and, of course, no disrespect to you, Bruce), but Hallberg's recent performances  with the RB have not encouraged me to be 'interested' in him having other partnerships, in seeing what McGregor "might draw out of him" or seeing him "stretched in the most creative ways". Whereas, I am interested in younger, resident dancers being given the kinds of opportunities that he has already enjoyed throughout his career.

 

I wholeheartedly agree with you, capybara - as I know I have had the lucky occasion to say to your good self personally - on ALL scores.  It is only that I was somewhat surprised that a ' PERMANENT guest artist' was taken on AT ALL with such a limited scope as per the overall Company.  Grateful to know where you saw that this was only for the 2019/20 season.  Perhaps it was in the Times interview which I must confess I did not read.  No disrespect taken I promise you ... and believe me I also don't wish to be mean.  

 

[JNC]

With regards guest artists - I assumed they would only dance pieces in the repertoire already, rather than new works made for the company?

 

I don’t think it’s fair to have work specifically choreographed for the guest artist if the choreographer is there to work for the RB generally. 

 

So whilst I wouldn’t necessarily be opposed to seeing Hallberg doing some more creative things on stage, like contemporary, (although I don’t know if it would be enough to tempt me to book to be honest, but perhaps if he featured in one piece in a mixed bill and I liked the other casting/pieces?) I certainly don’t think he should be in the Dante Project for example  - as a piece choreographed for the Royal Ballet I think it should be for their permanent dancers only as I know the dancers tend to work quite closely and create/influence choreography and this is something that is intended to stay in the RB repertoire; so having Hallberg as part of that stretches the meaning/limit of guest artist in my opinion. Others may disagree though! 

[Bruce Wall]

I agree, JNC, but Hallberg was moved this season by the ROH Director from being a 'guest artist' to a 'permanent' guest artist - (thus the reason I put it in capitals) - the contract that was first developed by Dowell for Guillem - who certainly did participate in new works brought into the Company's overall rep (e.g., various Forsythes) and Acosta - the next in that permanent capacity - certainly created roles in works by Page and Tuckett.  THEREIN I believe  lies the 'permanent' capacity difference.  Certainly Hallberg is now dancing much less with ABT whose Spring 2020 season at the Met was announced last week.  He is only scheduled to dance two performances during the period of its entire rep, a Romeo and an Albrecht - both aside 'guest artist' Natalia Osipova.  Those understandably are her only two assignments in that season - (Guest artists Smirnova and Kim rightly get only one performance in Bayadere) - and Osipova had, of course, herself been a former ABT principal.  Hallberg appeared not at all with ABT during its Winter season at the Koch which closed last night.  There is no question but that he is 'currently' dancing much more with the RB.  

Edited October 27, 2019 by Bruce Wall

[bridiem]

I really don't understand this 'exclusivity' with Osipova and Hallberg. Unless/until the partnering issues improve I would have thought it would be pretty stressful (and so unsatisfying) dancing with him (as it can be stressful, and so unsatisfying, for the audience watching them at times). And there's a danger of becoming artistically complacent by only being willing to dance with one partner in the big roles.

 

I'd have no objection to work being created on Hallberg if a choreographer wished to do so, but he's very much a classicist and I think would look completely out of place and misused in McGregor choreography. (Mind you, I think that about most of the RB dancers most of the time in McGregor work.)

[JNC]

20 minutes ago, bridiem said:

I really don't understand this 'exclusivity' with Osipova and Hallberg. Unless/until the partnering issues improve I would have thought it would be pretty stressful (and so unsatisfying) dancing with him (as it can be stressful, and so unsatisfying, for the audience watching them at times). And there's a danger of becoming artistically complacent by only being willing to dance with one partner in the big roles.

 

Totally agree. I think they can work well together (I liked them in A Month in the Country, but less impressed in Romeo and Juliet so I have mixed feelings but willing to give the benefit of the doubt) but I think it’s rather limiting to demand this level of ‘exclusivity’.

 

I know Osipova is doing Raymonda with Muntagirov, and also Onegin with Muntagirov (and Ball/Hayward), as well as the Prodigal Son apparently with McRae (?),  but for any full length (Onegin aside and it seems there’s a ‘higher power’ for casting there with the Cranko estate?) it seems like going forward pretty much every full length ballet will be with Hallberg...

 

As someone who finds Osipova quite interesting (though perhaps not one of my ‘favourites’), but having mixed feelings about Hallberg, I’m not sure if I’ll be booking to see much of her going forward which is a bit of a shame. Money saved I suppose though?!

Edited October 27, 2019 by JNC

[Fonty]

Slightly off topic, I know, but was the role of permanent guest artist created in the first place?  Was it to allow a Principal to be able to work with other companies as well?  Don't all the top dancers guest in other places anyway?  

And wasn't Fonteyn a guest artist, later in her career?  Or am I imagining that?

[capybara]

I think that the term is Principal Guest Artist rather than permanent!!!!!

 

Bruce - I think that you're correct about The Times mentioning that Hallberg's contract was for the 2019/20 season.

 

He has certainly 'caused a stir' among audience members since, without prompting, so many of my neighbours at recent shows (most of them strangers) have made adverse comments about his performances in Manon and last summer.

[Fonty]

1 hour ago, capybara said:

I think that the term is Principal Guest Artist rather than permanent!!!!!

 

 

Sorry, I meant Principal Guest Artist.  But I think if someone is like Guillem, then perhaps it should be PPGA?  Permanent Principal Guest Artist? She was certainly there for a long time in that capacity, and danced everything. 

 

And perhaps this should be the subject of a separate thread?

[BeauxArts]

So far, I have not enjoyed Hallberg as Romeo or des Grieux although I did feel he danced better in Month than I had anticipated. I do expect him to be better suited to the danseur noble roles in  Sleeping Beauty and Swan Lake.  

I have also wondered if Hallberg might not do better with another partner  from the company and I think potentially  it could work well with Cuthbertson as suggested in posts above, although that does not seem to be on the horizon at this point.

I would much prefer to see Osipova with  Ball or Muntagirov - or Corrales, who I think are a better match for her dramatically and who partner her more securely.  I don't think the "fire and ice" trope, which seems to be the recurring theme of the way Osipova and Hallberg have chosen to be presented in the media here,   actually works in MacMillan - or does not for me, anyway. 

(I am still non-plussed at the failure to invite Shkylarov back for Manon with Osipova - if a guest was to be invited for those performances surely he was the one, but I am at risk of repeating myself so will end on that note!)

[jmhopton]

1 hour ago, BeauxArts said:

 

(I am still non-plussed at the failure to invite Shkylarov back for Manon with Osipova - if a guest was to be invited for those performances surely he was the one, but I am at risk of repeating myself so will end on that note!)

 

You and me both BeauxArts. It seems to be down to Osipova and Kevin O'Hare letting her have the partner of her choice. If it was me I'd choose Shkylarov every time!

Having said that I've been more than satisfied with all the male RB dancers I have seen in this Manon. At the end of the day do we really even need great interpreters like Shkylarov undoubtedly was for me at least, when we've got dancers of the calibre of Campbell, Coralles, Sambe, Ball, Ryio and, of course, Vadim.

[BeauxArts]

Yes JM- it's a valid point. This issue has been mentioned before and I am not sure it has yet had is own thread.

 I probably said it in an earlier debate - I think guest artists can enhance a company and add interest in their own right. I read an exchange  on our French counterpart Dansomanie recently lamenting that company's "failure" to invite any guests to dance with them. Interestingly, no sooner had that view been expressed than Vadim's name appeared in the forthcoming Raymonda casting.. So, overall I think a judiciously chosen invitation can be mutually beneficial, and really does befit a leading company like the Royal Ballet.

[capybara]

2 hours ago, jmhopton said:

 

You and me both BeauxArts. It seems to be down to Osipova and Kevin O'Hare letting her have the partner of her choice. If it was me I'd choose Shkylarov every time!

 

There is, of course, the possibility that Shklyarov   did not want to be ‘chosen’. I thought his face at the end of his 2018 Manon spoke volumes. 

[Fiz]

Do explain!

[Nogoat]

3 hours ago, capybara said:

There is, of course, the possibility that Shklyarov   did not want to be ‘chosen’. I thought his face at the end of his 2018 Manon spoke volumes.

 

I wasn't sure what was being referenced here until I found an earlier post (Oct 2018) referring to a 'distinctly frosty' curtain call between Osipova and Shklyarov at their first Manon (though nothing about it was posted at the time of the April performances as far as I can see). 

 

Such frostiness is the polar opposite  to my binocular-aided recollections (and the many pictures I snapped at the time).

I think he was quite overcome by his debut performance (I remember he was so into that last PDD that he actually screamed at very end, rather than just mime it), so looking a bit drained and 'stunned' at times during the curtain calls was to be expected; but he kept touching her, holding her hand; he kissed her, he knelt on one knee and bowed low to the ground.

She seemed equally 'hands on'. It was obvious to me there was a huge amount of mutual affection between them.

 

The possibility I suggest is that they 'chose' each other because they really, really enjoy dancing together.

[Sim]

The Osipova/Shklyarov Manons were among the most passionate I have ever seen.  If we are never to get a reprise I have the memories indelibly stamped in my head and my heart. 

[redshoesgirl2]

4 hours ago, Sim said:

The Osipova/Shklyarov Manons were among the most passionate I have ever seen.  If we are never to get a reprise I have the memories indelibly stamped in my head and my heart. 

there is the most wonderful video on you tube - brought me to tears this evening. and i see i commented on it a year ago. i think i was not familiar with him. the two of them are SO joyful, so inhabiting the roles they are real. there is also a video of the curtain call. they don't seem frosty at all.

i think shklyarov is the best i've seen in this role, of course being in california, i am talking on video. he has a wild way of emoting that is fabulous, but still in control. as much as i love vadim, sometimes he is just too precise and flowy with his hands.
 

 

Edited October 29, 2019 by redshoesgirl2
spelling

[Shade]

Lovely video clip thanks. As far as I am concerned shklyarov  is always welcome in London. However, wasn’t he injured earlier in the year and he is much in demand.

[RobR]

Just back from tonight so, two things. 

First, Hayward & Campbell and Corrales & Magri we’re terrific! The whole cast was pretty good too. 
 

Second, my apologies to all of you who said that there were five courtesans. You were right and I was wrong, and it was Storm-Jensen. 

[capybara]

Francesca Hayward touched greatness as Manon tonight. A simply astounding performance from her! 

[ninamargaret]

Agree totally about tonight's performance. All four were really excellent. Campbell and Hayward are so suited to each other they make the whole,thing look so easy. For me, it's one of the great partnerships. One small point - did Corrales and Magri  actually stumble at one point in Act2? They seemed to get somewhat,tangled up towards the end of their pas de,deux near the card table. It was either a stumble or a very realistic piece of dance!

[capybara]

3 minutes ago, ninamargaret said:

Agree totally about tonight's performance. All four were really excellent. Campbell and Hayward are so suited to each other they make the whole,thing look so easy. For me, it's one of the great partnerships. One small point - did Corrales and Magri  actually stumble at one point in Act2? They seemed to get somewhat,tangled up towards the end of their pas de,deux near the card table. It was either a stumble or a very realistic piece of dance!

 

Quite a while after their pas de deux, there is a reprise and they both hit the ground in that - unintentionally, I think.

Corrales was fantastic and Magri and great Mistress for him.

[Sim]

Another searing, emotional performance from Hayward and Campbell tonight.  What a wonderful partnership they make. You can see the closeness, the empathy, the understanding of each other with every look, every touch and the abandon with which they dance together. That final pdd, with Campbell so hopeful and encouraging, and Hayward so physically broken with despair, was utterly heart-wrenching.  
 

Great performances too from Magri and Corrales. Their Coppelia should be joyous. But the night belonged especially to Francesca Hayward, whose intelligent and deeply emotional portrayal in both of her performances showed me that she is THE Manon of this generation, with Alexander Campbell a worthy partner for her. Huge thanks and congratulations to them both. 

[alison]

14 minutes ago, Sim said:

But the night belonged especially to Francesca Hayward, whose intelligent and deeply emotional portrayal in both of her performances showed me that she is THE Manon of this generation

 

Yes indeed.  There's so much written on her face at all times that I could have spent the whole ballet just watching her (well, I did for a lot of it, I must admit).  I hope that sooner or later she'll get a cinema broadcast so that everyone can catch it in closeup.

[Rob S]

What a fantastic evening

 

 

[alison]

That reminds me: of all the stupid things which have been going through my head while I've been watching this run of Manon, the most frequent has been to wonder, given the relative newness and, I think, increased length of the other deportees' dresses in recent years, what on earth happened to Manon's to get it so torn and shortened?  Perhaps it got caught up in some of the ship's (possibly fairly rudimentary) machinery and got ripped?

[redshoesgirl2]

1 hour ago, alison said:

That reminds me: of all the stupid things which have been going through my head while I've been watching this run of Manon, the most frequent has been to wonder, given the relative newness and, I think, increased length of the other deportees' dresses in recent years, what on earth happened to Manon's to get it so torn and shortened?  Perhaps it got caught up in some of the ship's (possibly fairly rudimentary) machinery and got ripped?

i always wonder, why are they so short-waisted. makes the dancer look deformed. but that's a fun question you asked.