Royal Ballet: Manon, autumn 2019

[Richard LH]

1 minute ago, Lizbie1 said:

 

Except that they are incentivised by ACE to do exactly that.

 

Really? How does that madness work then, Lizbie1?

[Lizbie1]

26 minutes ago, Richard LH said:

 

Really? How does that madness work then, Lizbie1?

 

From the ACE mission and strategy (https://www.artscouncil.org.uk/about-us/our-mission-and-strategy-0), Goal 2 (of 5) is:

 

“We encourage our funded organisations to be more focused on audiences – to reach more people, broaden the groups they come from and improve the quality of their experience.”

 

The simplest way for funded organisations to demonstrate this and thereby attract future funding is to attract more first-time visitors - and you can only be a first-time visitor once.

[Richard LH]

5 minutes ago, Lizbie1 said:

 

From the ACE mission and strategy (https://www.artscouncil.org.uk/about-us/our-mission-and-strategy-0), Goal 2 (of 5) is:

 

“We encourage our funded organisations to be more focused on audiences – to reach more people, broaden the groups they come from and improve the quality of their experience.”

 

The simplest way for funded organisations to demonstrate this and thereby attract future funding is to attract more first-time visitors - and you can only be a first-time visitor once.

 

Do they really look at funding in such a simplistic way? I can see that the number of first-time visitors can be one measure to consider, but surely  Goal 2 (of 5)  in itself does not require,  or even imply,  that ACE funding levels depend  solely, or indeed mainly,  on the number of first-time visitors. The goal also includes "improving the quality of their experience"  which implies that first-timers (and indeed others) should be  returning, so  you would think that being able to show sustainability of such attendances plays a part as well.  

[Lizbie1]

There’s been a fair amount of comment on it recently from people better placed to understand these things than me; the first link in this thread from earlier this year puts some flesh on the bones.

 

(This thread has strayed far from the topic - apologies!)

Edited October 15, 2019 by Lizbie1

[Richard LH]

15 minutes ago, Lizbie1 said:

(This thread has strayed far from the topic - apologies!)

 

My apologies too! Thanks anyway Lizbie. 

[bridiem]

I find myself struggling to express how I felt about this evening's Manon. Osipova was brilliant and fascinating - manipulative, passionate, abandoned, bereft - the whole gamut of emotions and then some more. Hallberg often danced so beautifully that it was as if time stopped; but I didn't feel a real connection with his character, some of the partnering didn't look wholly secure, and there was less physical abandon in his dancing than I have become used to in this and other MacMillan ballets. He was a very aristocratic, prince-like, classical Des Grieux. Perhaps he needs more time to really get hold of the role (though he was very touching at the end). I suppose it was a slightly passive portrayal (which is an easy trap to fall into with Des Grieux, who can seem a bit wimpish if you're not careful). So I couldn't quite believe in the story; I think this Manon would eat this Des Grieux for supper. But they did ultimately 'sell' the performance very well, aided by an excellent supporting cast (Hirano, Saunders, Avis, Calvert). And the sheer beauty of Hallberg's dancing makes me long to see more of him.

[daisydance]

I agree totally with bridiem about this evening's Manon: Hallberg's dancing was so beautiful and his solos were stunning, but I couldn't feel any connection until the very last few minutes. I thought that his partnering had a few dodgy moments. Osipova for me was absolutely brilliant and utterly credible, and it's a shame really that they're not doing more performances together of Manon in this run, as I felt sure that they'll just get better and better together. Special praise for Hirano this evening. His death was shockingly convincing. 

[Rob S]

He didn't drop her

 

 

[Richard LH]

Back to Manon bookings, interestingly I see that there are suddenly very few tickets left  for tonight (Takada/McRae) and for tomorrow night (Cuthbertson/Ball) apart from in the Amphi. 

Presumably student standby has kicked in?

Anyway it is good that the auditorium should now be  be pretty full. 

[bridiem]

Great photo, Rob S. But I identified with your comment; I felt a degree of anxiety every time a lift or complex partnering moment was imminent, and sometimes the reality at least partly justified the anxiety. (Which may be one of the reasons it was difficult to really believe in his characterisation.) Hallberg's partnering brings home just how difficult it actually is; I'm constantly aware of that in my head, but most male principals make it look incredibly easy. With Hallberg, you really know he's being asked to effortlessly lift another human being above his head... Perhaps this is a post-injury phenonmenon (I didn't see him pre-injury), in which case it's very sad to see. But it seems to be quite a problem.

[JNC]

27 minutes ago, Richard LH said:

Back to Manon bookings, interestingly I see that there are suddenly very few tickets left  for tonight (Takada/McRae) and for tomorrow night (Cuthbertson/Ball) apart from in the Amphi. 

Presumably student standby has kicked in?

Anyway it is good that the auditorium should now be  be pretty full. 

 

Correct Richard - why they therefore didn’t offer this for the earlier performances when clearly it is quite effective is strange. 

 

I’m pleased there will be fuller houses tonight and tomorrow! 

[capybara]

1 hour ago, Richard LH said:

Back to Manon bookings, interestingly I see that there are suddenly very few tickets left  for tonight (Takada/McRae) and for tomorrow night (Cuthbertson/Ball) apart from in the Amphi. 

Presumably student standby has kicked in?

Anyway it is good that the auditorium should now be  be pretty full. 

 

I'm glad if there will be fuller houses. The dances deserve it.

 

[Something strange seems to be happening with regard to the Sleeping Beauty bookings as well. At one point yesterday, just by chance, I saw that the Takada/McRae shows on the 15th and 23rd Nov were showing as sold out when, apart from Osipova's Auroras on the 20th Nov and 2nd Dec, there was plenty of availability for all the other performances. How can it be that Takada/McRae sell poorly for Manon but way better than other casts for Sleeping Beauty? If that means that the ROH has 'woken up' to the need to find new ways of shifting tickets, then I'm all for it.]

[Richard LH]

26 minutes ago, capybara said:

 

I'm glad if there will be fuller houses. The dances deserve it.

 

[Something strange seems to be happening with regard to the Sleeping Beauty bookings as well. At one point yesterday, just by chance, I saw that the Takada/McRae shows on the 15th and 23rd Nov were showing as sold out when, apart from Osipova's Auroras on the 20th Nov and 2nd Dec, there was plenty of availability for all the other performances. How can it be that Takada/McRae sell poorly for Manon but way better than other casts for Sleeping Beauty? If that means that the ROH has 'woken up' to the need to find new ways of shifting tickets, then I'm all for it.]

 

It all depends on the dates.....as I think I mentioned elsewhere, you will see there are  few tickets left for any SBs on Saturdays.  Would it be tickets for  family members taking school  children?

[capybara]

I realise that I have made this thread go 'off-piste' again. So, returning to Manon itself..................

 

I am actually disappointed to be writing this because I really hoped that last night's performance would justify the hype about the Osipova/Hallberg partnership 'blossoming' and the Principal Guest appointment which preceded it. I'm afraid it didn't to me - not by a long way!

 

Osipova is one of those dancers who is always capable of being 'interesting'. She wasn't sufficiently naive at the beginning (maybe she could have cast her eyes down a little more to reduce her natural perkiness?) but she was deliciously seductive in Act 2. Overall, I liked her take on the character very much.

 

Hallberg's execution of the first, tricky solo was a really promising start technically, although I didn't receive any feeling through his movement or his facial expression. If I had been his Manon, I might not have realised that this was a dance of love and yearning. His later solos were similarly well-executed but I missed the necessary sense of anguish running through his body in the one towards the end of Act 2; and this reduced the drama of the moment.

 

From the two of them together I got .............nothing really. The chemistry they speak of didn't reach me in their faces or from their bodies. The rapture of the bedroom pas de deux simply didn't seem to be there. Unfortunately, there were several missed or fudged lifts, but I think that the underlying problem was the partnering generally. Hallberg not only fumbled rather a lot but somehow seemed to have misjudged his position and/or his balance  when he was supporting Osipova at 'ground level'. This had the effect of undermining their storytelling.

 

There were sterling performances from the rest of the cast (of course!), including an excellent Mistress from Claire Calvert. But I guess that the majority of the audience had booked to see Osipova/Hallberg and, together, in my view, they did not deliver at anywhere near the level of the other casts so far this season. 

 

 

[LinMM]

I agree with JNC regards Manon....I usually like a bit of a gap ....I don't think I could go to more than two performances in one run to be honest as it does put you through the wringer! 

However this time I was tempted by Hayward in particular .....but in combination with Campbell and Corrales thought it was one not to miss. Will be looking forward to what people think of this cast on Saturday.

I had hoped to see them on the 29th but unfortunately not quite ready for London just yet! It's amazing just how far you walk in London just getting about. 

In case anyone hasn't seen it I've advertised this rather expensive ticket ......well by some people's standards who go to a lot of performances.....in the Ticket Exchange. I could do a special deal on this ticket......especially for any students on here if you want to PM me. 

Am rather hoping people who go on Saturday will be inspired to want to see this cast again!! 

[redshoesgirl2]

will vadim be dancing in manon again this year? does it seem wasteful to have guest artists in when there is the most marvelous dancer already in residence?

i think vadim needs more aggressive marketing. modeling gigs maybe. something that gives him the kind of exposure sergei or bolle had. something to generate excitement other than he is a very good dancer.

[LinMM]

Perhaps he just doesn't want to be marketed though! 

Maybe as an artist he hopes his dancing speaks for itself and he's happy with that.

[redshoesgirl2]

Just now, LinMM said:

Perhaps he just doesn't want to be marketed though! 

Maybe as an artist he hopes his dancing speaks for itself and he's happy with that.

perhaps. he does a lot of guesting around the world which speaks to an agent putting things together. maybe he only wants to appeal to ballet lovers. which, in the overall scheme of things, is a very small audience.

to market himself more broadly would be to bring dance into the eye of those who aren't normally aware of it.

[LinMM]

In real life I believe Vadim has always been on the shy side ....though this is second hand info though a good source!!

Ive only engaged with him a couple of times ....and only briefly ....but this would be my impression too....he's a real sweety.....meant in the very best sense. A very natural person. 

I know it's more the modern thing to do all these photo shoots and marketing etc but there are some people who find this sort of thing more difficult or are just not that attracted to it. 

To get back to Manon I'm sure he will have more than one performance. I haven't counted but off the top of my head it seemed like everyone had two performances at least but am not sure. 

 

[capybara]

I do agree that having the leads in Manon dance only two shows seems odd, especially when, as in the case of Lamb/Muntagirov, both their shows were over within 3 days of the start of the run. On the other hand, there are those of us who have bemoaned the fact that Hamilton/Clarke didn't get a public showing. Having danced Des Grieux so well in 2018 and as a strong dancer, Clarke could arguably have partnered Osipova.

With regard to the RB 'marketing' its stars, I sense that it is averse to any one of them being actually promoted by the RB itself as 'first among equals'. But this has happened anyway (with the recruitment of Osipova) and is currently happening, for various reasons, some of them external, with Hayward, Ball and Sambe.

I think that it would be unfortunate if we were to speculate as to what Muntagirov does, or doesn't want. But I, for one, was rather surprised that the RB did not make more of the prestigious awards he won this year - 3 in total indicates that there is something special to be celebrated,

Oh dear, this is not really about Manon per se.................

[Rob S]

14 minutes ago, LinMM said:

 

To get back to Manon I'm sure he will have more than one performance. I haven't counted but off the top of my head it seemed like everyone had two performances at least but am not sure. 

 

 

I thought he just had the two performance with Sarah Lamb, one of which was opening night.

[Nogoat]

I adore Manon and I adore Osipova, so when the two combine it probably amounts to love!

 

And like someone in love (and possibly slightly blinded by it), I can find little or no fault with her performance last night; she lives Manon, she is Manon.

She powers up a narrative arc that blasts off from a wide-eyed, innocent start to reach giddy heights (that Act 2 solo!!!) before crashing back to earth, life ebbing away, submerged (and literally submerged, last night!) in the miasma of the swamp. 

 

My feelings for Hallberg are more mixed. When he partners Osipova, I feel a bit like a parent worrying, perhaps needlessly, about their daughter's choice of boyfriend. Such a putative daughter might well be an adult, might like the boyfriend's company, and even be in love with him, but that wouldn't stop me worrying about whether or not he is 'good' or even 'the best' for her, or even if she'll end up getting hurt!
Such were my feelings going to the ROH last night - happy for Osipova, but worried nevertheless.

That worry was compounded when I had a déjà vu moment in the first bedroom PDD. When Osipova/Hallberg did the R&J balcony PDD at the Fonteyn Gala this year, he struggled to lift her, balanced on his shoulder, from him being down on one knee; that happened again last night. And there is a world of difference between a fumbled lift and an inherent deficiency. Muntagirov's fumbled lift of Lamb during opening night did not bother me in the slightest - his underlying strength could not be questioned. The effort required by Hallberg to lift Osipova last night really nagged at me - especially thinking ahead to Act 3! 

 

I was impressed by Hallberg's solos. His slender physique - no doubt coupled with my concern around fitness - gave him a sense of 'fragility'; here was someone who represented the best hope for Manon's future, yet did not possess the strength to overcome the forces ranged against the pair of them.

 

I don't think I've seen a better Act 2 Manon than Osipova's performance last night...
Her protracted balance, en pointe, at the end of her entrance was a balance in name only; it was the balance of a statue - her legs and feet were rock-steady. 

Her solo was a superbly-conveyed exploration of her burgeoning sensuality, epitomised by her fluid arms and shoulders as well as the way she swooped, dived and revelled in the attention of the fawning men carrying her around (a sequence I didn't realise featured in an earlier MacMillan ballet - House of Birds - until I saw it at the Steps Back in Time retrospective at the Barbican last year). The throws from one man to another were clinically and suitably abrupt, and the contrast between her luxuriating in the attention of her many admirers and the awkward encounters with Des Grieux was stark and spoke volumes.

I was also struck by the musicality of both her and Hallberg. Slight discrepancies between music and movement detract from my enjoyment in the same way lip-sync issues do on TV.

A couple of instances come to mind. First, her leap onto the bed when DG leaves at the end of the Act 1 bedroom PDD was millisecond-perfect, and the audience reacted accordingly. Second, during their solo in the brothel scene (when DG is pleading with her to come back to him) his fall to the ground, followed by him looking up and her turning abruptly around was, again, in perfect time with the music. When sight and sound combine so perfectly, the sum is greater than the parts and the emotional impact is enhanced.

Her performance during the PDD at the end of Act 2 was also full of complex detail - from her obvious love for Des Grieux through to a mixture of playfulness and wilfulness when it came to the bracelet:- these were real people working out real issues.

The Act 1 bedroom PDD seemed a little 'serious' in places - something I initially attributed to the pair of them concentrating on their dancing. I soon realised, however, that the abrupt switching from smiles and laughter to more serious, intense stares was the behaviour of two young lovers rejoicing in each other and then being overwhelmed by the implications of the intensity of their mutual feelings. Intense love is serious love!

 

I'm so looking forward to Saturday evening so I can fall in love all over again.

 

 

[maryrosesatonapin]

52 minutes ago, redshoesgirl2 said:

i think vadim needs more aggressive marketing. modeling gigs maybe. something that gives him the kind of exposure sergei or bolle had. something to generate excitement other than he is a very good dancer.

I get the feeling Muntagirov is all about Art; passion for dance, not for commercialisation.  Yes, he was shy as a young man, but he's older now and well used to the limelight so I don't think that would hold him back.  He isn't flashy and I don't think he wants to be.  He isn't even particularly handsome IMO but he is beautiful to watch on stage and I believe him to be beautiful inside too.  Let the man continue to embody good taste and lack of ego.  It serves him well and he serves his Muse well.

[Shade]

Thanks to all Manon commentators - I hoped to see Osipova/Hallberg last night but had work commitments. Nogoat really appreciated your report. I share the same apprehension as you re the lifts (having seen Hallberg struggle in R & J). Glad to hear no mishaps (phew), those ‘ice skating throws’ look very tricky.  But I do worry for the forthcoming performances!

[Naomi M]

1 hour ago, LinMM said:

To get back to Manon I'm sure he will have more than one performance. I haven't counted but off the top of my head it seemed like everyone had two performances at least but am not sure. 

 

 

Vadim will be guesting in National Ballet of Japan's Manon in February, two performances.  He is very hugely popular here as he used to be the season guest principal there as well as appearing in many galas and RB tour. He doesn't need aggressive marketing because that doesn't suit him and he is a well known and brilliant dancer, the very best of his generation and has lots of opportunities to dance all over the world. His art speaks for himself. 

[Fonty]

On 15/10/2019 at 10:22, alison said:

 

I haven't been on the Underground that much recently, but I have to say that I don't remember seeing a single poster advertising Manon (and, given the "iconic" poses they usually use to advertise it, I think I would have recognised them easily enough if they were there).

 

Alison, I travel on the tube at least twice a week, if not more.  The only posters for the Royal Opera House are the ones showing that wavy image that seems to be their logo.  It may have details of current performances written on it, but flying past amongst crowds of people I can't say I have noticed any.

[maryrosesatonapin]

If ROH placed a well designed poster in just the top three Tube stations (passenger-wise) they would attract the attention of many hundreds of thousands of people.  I know I've been attracted by posters in the past!  They need to use an iconic, powerful image.  I imagine few organisations possess a better library of photos fit for this purpose.  What is the matter with their marketing department?  Even those of us who regularly browse the Internet are more likely to be drawn to a large, mesmerising image whilst waiting for a train.  Busy people with disposable income but a lack of joy in their lives are the perfect target.

 

[redshoesgirl2]

16 minutes ago, maryrosesatonapin said:

"If ROH placed a well designed poster in just the top three Tube stations (passenger-wise) they would attract the attention of many hundreds of thousands of people. ... Busy people with disposable income but a lack of joy in their lives are the perfect target."

exactly! they've done some amazing posters in the past.

 

 

 

[redshoesgirl2]

1 hour ago, Naomi M said:

 

Vadim will be guesting in National Ballet of Japan's Manon in February, two performances.  He is very hugely popular here as he used to be the season guest principal there as well as appearing in many galas and RB tour. He doesn't need aggressive marketing because that doesn't suit him and he is a well known and brilliant dancer, the very best of his generation and has lots of opportunities to dance all over the world. His art speaks for himself. 

popular in japan is one thing, popular and well-known world wide outside of ballet circles is another. 

let's put it this way, when i got back into watching ballet it was because of polunin's "take me to church" and the other films, advertising, etc he did. the poster ROH made with him leaping into the sky was amazing. it grabbed your attention, made you say "whoa!"

i used to be part of this forum when bruce ran it years ago.

art may speak, but it doesn't necessarily translate to $$ which can be put away for when the art is silent.

[maryrosesatonapin]

4 minutes ago, redshoesgirl2 said:

popular in japan is one thing, popular and well-known world wide outside of ballet circles is another. 

let's put it this way, when i got back into watching ballet it was because of polunin's "take me to church" and the other films, advertising, etc he did. the poster ROH made with him leaping into the sky was amazing. it grabbed your attention, made you say "whoa!"

i used to be part of this forum when bruce ran it years ago.

art may speak, but it doesn't necessarily translate to $$ which can be put away for when the art is silent.

What you say is very valid, @redshoesgirl2.  But different artists have different strengths.  I have actually used Polinun's magificent 'Church' video to gain new converts to ballet.  Given them dinner, good wine, forced them to watch and now they buy tickets!  Organisations and individuals do need to drum up the dollars/pounds/euros  in order to keep the wonderful art of ballet (and opera etc) going.  Sometimes less talented dancers are actually more able to help with this than the most brilliant.  I don't think Vadim is cut out to be anything other than a supreme ballerino.  He's not pushy, he's not self-aggrandising, he's just a hard-working disciple to his Art.  I am grateful to those who are willing to be 'stars' and push ballet out to the wider world, but it doesn't suit everybody.  And sometimes having a particular star shine out to the wider audience doesn't necessarily translate to that wider audience appreciating other, more authentic, dancers gaining appreciation unfortunately.

[Rob S]

Akane Takada and Steven McRae are fantastic tonight! 😍 

[maryrosesatonapin]

3 minutes ago, Rob S said:

Akane Takada and Steven McRae are fantastic tonight! 😍 

I have huge admiration for McRae.  (This comment is not meant to take away from Takada.)

 

[Rob S]

Disaster!!! Steven has just injured himself in the last scene of act 2 when he’s on his own before a bloody Lescaut turns up!!

 

Mr O’Hare has announced a delay.

Edited October 16, 2019 by Rob S