RB Concerto / Enigma Variations / Raymonda Act III, 2019

[MJW]

 

Well not a good start as missed Concerto due to train delays as a result of fallen trees on the line, and, despite running up 193 steps at Covent Garden, it had already started. Watching on a big screen in the Crush Bar is not quite the same thing ! Anyway despite not being in the best frame of mind, I thoroughly enjoyed Engima and Raymond - Osipova clearly having a ball. I can hopefully watch it all when I see the cinema screening on Tuesday night.

[bridiem]

4 minutes ago, MJW said:

 

Well not a good start as missed Concerto due to train delays as a result of fallen trees on the line, and, despite running up 193 steps at Covent Garden, it had already started. Watching on a big screen in the Crush Bar is not quite the same thing ! Anyway despite not being in the best frame of mind, I thoroughly enjoyed Engima and Raymond - Osipova clearly having a ball. I can hopefully watch it all when I see the cinema screening on Tuesday night.

 

What a shame, MJW! I hope you enjoy the screening.

[JohnS]

An enjoyable matinee and I very much agree with Capybara and others regarding Enigma and Nimrod.  The more times I see Enigma, the more I want to see it and I am looking forward very much to the cinema relay and hopefully a DVD.  I don’t think Valentino Zucchetti is dancing in the cinema relay - if he is I trust he’ll be dancing as well as in the matinee but I hope there’s chance to repair his costume as there seemed to be a rather worrying malfunction.  Benjamin Elia impressed, recovering very well from early slips as if in character, and I very much like Alexander Campbell’s Troyte.

 

I do enjoy Concerto and Francesca Hayward was mesmerising.  It demands real crispness and finesse and I think there’s more to be done to ensure precision.  Hopefully we’ll get that in the cinema.

 

I still find Raymonda a curious choice.  Great to see Natalia Osipova and Vadim Muntagirov, and Mayara Magri was astonishing in variation 4.  But given the absence of any sense of narrative or character, I think Act III can only work if it is executed with absolute precision.  To my eye it wasn’t and having seen it three times (albeit once was the General Rehearsal), I have yet to be persuaded that the Pas de Quatre are in unison at the end.  A bit disappointing as the Finale shows what can be done and we’ve become so used to really well executed Manon gentlemen and fabulous Romeo/Mercutio/Benvolio combinations.  I do wonder if Raymonda quite fits the Royal Ballet style where character is so important but the Royal Ballet delivers fabulous Swan Lake White Acts, Giselles and Bayadere Shades so it ought to convince me more in Raymonda.

[Mary]

I loved the triple bill- the sheer variety of style and tone, two of my great favourites and Raymonda as something we rarely see, -interesting to compare with the Bolshoi screening; and  the wide range of dancers. There were a lot of cast changes- I made some notes somewhere...mainly Fumi Kaneko being out I think. ( What a shame.)

 

For me it was Concerto where in some places more precison would have been welcome: Francesca Hayward was 'perfect' but I felt Corrales, whose energy and power I much appreciated, could have been more precise and perhaps especially in the arms? but am very happy to stand corrected..it was my perception though.

 

Enigma is such a joy: and to see Gary Avis ( who I was delighted to spot peering out of the stage door on Floral St before the show) bringing every ounce of experience and acting finesse such that a gentle shift of balance on one foot spoke volumes. This is the highest class of dance acting, needs to be recorded. He and Christina Arestis - whose beautiful feet are displayed in such  poignant lifts- really made magic on the stage and tears were shed.

Alexander Campbell's super, fizzing Troyte was a real highlight for me:  it should make you almost laugh, and it did.

 

Raymonda was glitteringly beautiful- there are no real words left for Muntagirov but watching him soar in flight and as someone said 'in full grand pas mode' is surely one of life's best joys. Osipova 's hand clapping solo was pure  soul ( hand claps very audible as has been said, as were the thigh claps from the corps earlier - sounded a bit painful!) I am not 100% sure these two fabulous dancers work best together- it is just a slight feeling that they do not together add up to more than the sum of their parts. Is that just me?

 

I agree with JohnS that Mayara Magri really stood out in her variation. (I think perhaps the variations might be broken up a bit? Rather a long row of them.)

 

And once again -  my eye was drawn to and held by Joseph Sissens with his lovely lines and elegant precise dancing and I do want to see a LOT more of him SOON in more major roles, please.

No there is no narrative really in Raymonda 3, but  there is acting, as they portray a quite different sort of bizarre fairy tale character -  I thought very convincingly and it was, for me, a great lift  to the spirits especially that gorgeous finale.

 

A wonderful afternoon that lousy weather and unpleasant trains could not spoil- (sorry for MJW - bad luck.)

 

 

 

[AnneMarriott]

30 minutes ago, JohnS said:

An enjoyable matinee and I very much agree with Capybara and others regarding Enigma and Nimrod.  The more times I see Enigma, the more I want to see it and I am looking forward very much to the cinema relay and hopefully a DVD.

 

 

Sorry to be a party pooper but I saw the triple bill this afternoon and it just served to confirm that the more times I see Enigma the less I want to see it.  I enjoy the music and designs but the ballet itself just leaves me cold.  It appeals to so many balletgoers that I can only assume the problem is mine. (Puts on tin hat).

 

 

Edited November 2, 2019 by AnneMarriott
To add quip.

[MJW]

6 minutes ago, Mary said:

 

 

A wonderful afternoon that lousy weather and unpleasant trains could not spoil- (sorry for MJW - bad luck.)

 

 

 

 

Thank you !

[Mary]

I would just like to add that I thought my  near centre/front amphi ticket was sensationally good value at £35 for a varied show of such top class dancing - and playing.

[Jamesrhblack]

37 minutes ago, Mary said:

I loved the triple bill- the sheer variety of style and tone, two of my great favourites and Raymonda as something we rarely see, -interesting to compare with the Bolshoi screening; and  the wide range of dancers. There were a lot of cast changes- I made some notes somewhere...mainly Fumi Kaneko being out I think. ( What a shame.)

 

Quote

 

I did wonder if the change was because Nicol Edmonds was out (as he was of Raymonda) and the rehearsed partnership needed to be maintained (and it would have been lovely to se Fumi Kaneko dancing with Reece Clarke too, not that Beatriz Stix-Brunell wasn’t very charming in her second jump-in of the afternoon).

 

I also agree re Mayara Magri. Gallantry prevents my naming the first three female soloists but I don’t think any of them could be said to have enjoyed a particularly good afternoon.

Edited November 2, 2019 by Jamesrhblack

[ctas]

I managed to grab a full list of the cast changes from today — if no one else has them I can post later as the photo is sadly too big to post. Just off to BRB Giselle now though! 

[Lizbie1]

4 minutes ago, Jamesrhblack said:

I also agree re Mayara Magri. Gallantry prevents my naming the first three female soloists but I don’t think any of them could be said to have enjoyed a particularly good afternoon.

 

I like all three parts of this triple and I think they work well together... except I wonder whether the large number of featured roles and solos has overstretched the company, with the Raymonda variations being the most conspicuous casualty IMO.

[Rob S]

What a fantastic show this afternoon...really enjoyed it

 

 

 

[capybara]

1 hour ago, Lizbie1 said:

 

I like all three parts of this triple and I think they work well together... except I wonder whether the large number of featured roles and solos has overstretched the company, with the Raymonda variations being the most conspicuous casualty IMO.

 

I just have a feeling that the start of the 2019/20 season is proving a tad too heavy for many dancers:

•  Manon is a BIG company piece and there were 8 casts for the leading roles
• the Concerto/Enigma/Raymonda Triple (which I am loving)  makes very heavy demands on Principals and Soloists - and on coaching time, especially with 3 casts for each
• Sleeping Beauty is another massive company piece; and
• Coppelia is new to almost everyone on stage

Focusing on just one dancer amplifies the point. Francesca Hayward was a delightful Dorabella on Monday, a devastating Manon on Tuesday and a sparkling lead in the first movement of Concerto today. But she must also, surely, have been rehearsing Aurora this week as she is 'on' next Saturday. And what about preparing for the opening night of Coppelia as well - has she even got a partner yet?

 

And the worst cold I have experienced for years is running through the company as well - witness all the replacements over the last few performances.

 

It can't be easy for anyone in the RB at the moment and I tend to agree with Lizbie1 that there are moments when that shows.

 

[Mary]

Good point capybara, and the first half of the year seems very top-heavy compared to a very much thinner spring and summer ( much cheaper as well for me). Presumably there are reasons...

 

[Scheherezade]

I wasn’t going to give my views on the triple bill until I’d finished my triple viewings - opening night, today’s matinee and this coming Tuesday - but felt I had to add my voice to everyone who found the interaction between Arestis, Avis and Whitehead in today’s Enigma Variations so very moving.

Magri impressed every bit as much as on opening night; she is one of those dancers who brings something extra to every performance, impossible to look away.

Muntagirov was, as always, impeccable and Frankie Hayward as delightful as ever although I, too, was in two minds about partnering her with Corrales yet I’m not entirely sure why. Their mutual timing was razor-sharp and we know from R&J how devastating they can be together. Was it the disparity in size? Would James Hay have been a better match in this piece? (Rhapsody anyone?)

I did, however, fully enjoy all three parts of this triple bill and am now looking forward to Tuesday night but before winding up can I please give a big shout out for the frequently under-appreciated Melissa Hamilton, whose sinuous lines brought an achingly beautiful quality to the slow movement of Concerto. 

[Jane S]

3 hours ago, AnneMarriott said:

Sorry to be a party pooper but I saw the triple bill this afternoon and it just served to confirm that the more times I see Enigma the less I want to see it.  I enjoy the music and designs but the ballet itself just leaves me cold.  It appeals to so many balletgoers that I can only assume the problem is mine. (Puts on tin hat).

 

 

 

Anne, I believe that if you really don't like a ballet after 20 years of trying, you probably never will. Just stop going to it - it' s a huge relief, as I found myself with Manon , decades ago!

Edited November 2, 2019 by Jane S

[capybara]

4 hours ago, AnneMarriott said:

..... the more times I see Enigma the less I want to see it. 

 

 It's really interesting to read how you feel @AnneMarriott because I more or less avoided Enigma for years too. But something about it has captivated me during this RB run. Although I would like to pick my ideal cast from amongst the three available!

One of the things which has helped, I think, is the judicious mix of the bill as a whole. I go into Enigma, invigorated by Concerto and leave it waiting for .......(yes, you've guessed it!)........ Muntagirov.

[Geoff]

26 minutes ago, capybara said:

I more or less avoided Enigma for years too. But something about it has captivated me during this RB run.

 

The same thing happened to me a couple of years ago with Jewels. Never liked it, then one night, having decided to give it just one more go, my eyes opened during Emeralds...and I went out afterwards and got tickets for the rest of the run. So one never knows. 

[alison]

6 hours ago, Mary said:

For me it was Concerto where in some places more precison would have been welcome: Francesca Hayward was 'perfect' but I felt Corrales, whose energy and power I much appreciated, could have been more precise and perhaps especially in the arms? but am very happy to stand corrected..it was my perception though.

 

 

That was my perception at their first show, too - except I may have said "feet".

 

Quote

And once again -  my eye was drawn to and held by Joseph Sissens with his lovely lines and elegant precise dancing and I do want to see a LOT more of him SOON in more major roles, please.

 

Onegin's on in January.

[AnneMarriott]

8 hours ago, Jane S said:

 

Anne, I believe that if you really don't like a ballet after 20 years of trying, you probably never will. Just stop going to it - it' s a huge relief, as I found myself with Manon , decades ago!

I agree, Jane - and I have been doing that with the two other Ashton ballets that I have never liked, namely Two Pigeons and Marguerite and Armand.  However when a piece is in the middle of a triple bill it's hard to avoid unless one sits it out in the bar (as my other half did!).  However I used to wonder what all the fuss was about over Month in the Country and then I saw Genesia Rosato do it and suddenly "got it".  Now it's one of my favourites.  And I know your feelings about Manon which I really love.  It takes all sorts ...

[JNC]

2 hours ago, AnneMarriott said:

I agree, Jane - and I have been doing that with the two other Ashton ballets that I have never liked, namely Two Pigeons and Marguerite and Armand.  However when a piece is in the middle of a triple bill it's hard to avoid unless one sits it out in the bar (as my other half did!).  However I used to wonder what all the fuss was about over Month in the Country and then I saw Genesia Rosato do it and suddenly "got it".  Now it's one of my favourites.  And I know your feelings about Manon which I really love.  It takes all sorts ...

 

I think casting can have a really big impact on how you enjoy a ballet, more than you might expect! So I would always try and catch different casts to see if they illuminate something for me. 

 

For example Manon with Alina Cojocaru earlier this year (ENB) made me believe I loved the ballet Manon. But dare I say, the recent run with the various RB casts hasn’t really done it for me - there have been some great performances (Ball as Des Grieux was great for example) but nothing for me really touched what Cojocaru brought to the role. I like the ballet still but it has gone down a little in my estimations.  I think if I had seen the Hayward/Campbell/Corrales/Magri cast, that would have hit the spot for me.

 

Having said that I think there’s a limit to what casting can do - I really dislike Don Quixote (RB and Bolshoi) and even Nunez/Muntagirov’s excellent dancing/casting wouldn’t tempt me to see them dancing it again. (Though I would like to see others like Takada/Naghdi/Osipova/Sambe in the role so I may be tempted to go see them, but anytime the main two aren’t on stage the plot and dancing just drags for me...) 

 

So I try to be open minded and give things a try with different casts (budget/priorities depending!). 

[bridiem]

I positively hated Marguerite and Armand, and then I saw it with Rojo and Polunin... Mind you, I still have some reservations about it. I've gone through phases with Enigma Variations; it was the first ballet I ever saw and so occupies a very special place for me, but for quite a few years thereafter it didn't really grip me (except for the music). It's only in recent years that I've really begun to appreciate it again. But yes, casting can make a huge difference, and so can the changes in one's own life and perceptions.

[bridiem]

14 hours ago, Mary said:

For me it was Concerto where in some places more precison would have been welcome: Francesca Hayward was 'perfect' but I felt Corrales, whose energy and power I much appreciated, could have been more precise and perhaps especially in the arms? but am very happy to stand corrected..it was my perception though.

 

 

Definitely my perception too - especially his arms and hands. (And hair!!! It was flopping rather too much, exacerbated by his tendency to give a final little flourish with his head after finishing a tricky step, a habit I don't like.)

[Sim]

Gosh...talking about heavy scheduling:  this coming week the RB are doing the triple on Tuesday, Manon on Wednesday and Beauty on Thursday.  Crazy if you ask me, but I am full of admiration for those dancers!

[maryrosesatonapin]

I enjoyed yesterday's matinee and think these three contrasting ballets make for a very entertaining occasion - even if you aren't keen on one you will very likely love another.  Being still under the spell of the previous evening's BRB Giselle, and having seen the Bolshoi's Raymonda on screen a few days ago, my enthusiasm for the RB dancing was somewhat diluted although Muntagirov was as superb as always (but is it my imagination that he is becoming even more slender?  I hope he's not fading away!).  Osipova's Raymonda was very haughty and proud - she is one of those dancers whose personality seems to fill the stage, and indeed the whole theatre.  I can't imagine her ever fading away.

It was good to see what a fine dancer Lukas Bjørneboe Brændsrød is becoming - not to mention what a very handsome young man!  Here he is with Melissa Hamilton.

[AnneMarriott]

30 minutes ago, bridiem said:

I positively hated Marguerite and Armand, and then I saw it with Rojo and Polunin... 

Snap!  Sadly however the magic disappeared with subsequent viewings and I shan't book to see it again - or at least I'll sit it out ...

[Scheherezade]

36 minutes ago, bridiem said:

I positively hated Marguerite and Armand ... But yes, casting can make a huge difference...

As can costumes and props - reference those dreadful ‘Liszt’ wigs!

[Shade]

Well I have never seen Enigma Variations before so I have an open mind but I do love the music and thanks to all the reports here will have a much better understanding of the production. For me liking the music always helps. 
 

I find the modern works more challenging!

[AnneL]

I really appreciated the varied programme yesterday afternoon. I was most looking forward to seeing Enigma Variations as I have only seen it once before, nearly 50 years ago, with mainly the original cast, and it made an indelible impression on me. I wasn’t disappointed but there were one or two performances in it that could have been a little bit better. As others have said, Arestis, Avis & Whitehead were on top form, Campbell also. 

The other two pieces were new to me but I did enjoy Concerto - lovely music and piano soloist- despite the fact I am not MacMillan’s biggest fan (with the obvious exception of Romeo and Juliet and also Song of the Earth). Melissa Hamilton was superb, although not quite as successful in her Raymonda solo, in my opinion. 

I am hoping to see the programme again at my local cinema! 

[Sassenach]

Thanks AnneL for your thoughts, what exactly did you find unsuccessful about Hamilton’s Raymonda? I find her almost always sensational 

[Geoff]

2 hours ago, bridiem said:

casting can make a huge difference, and so can the changes in one's own life and perceptions.

 

1 hour ago, Scheherezade said:

As can costumes and props - reference those dreadful ‘Liszt’ wigs!

 

As can - to labour a previously discussed point - the conducting (slower is usually worse imho).

[Scheherezade]

1 hour ago, Geoff said:

 

 

As can - to labour a previously discussed point - the conducting (slower is usually worse imho).

Agreed, and I did feel that the first movement of Concerto could have been a bit pacier, particularly for Frankie Hayward. 

Edited November 3, 2019 by Scheherezade

[capybara]

4 hours ago, Sim said:

Gosh...talking about heavy scheduling:  this coming week the RB are doing the triple on Tuesday, Manon on Wednesday and Beauty on Thursday.  Crazy if you ask me, but I am full of admiration for those dancers!

 

And, unbelievably, they have a Sleeping Beauty pre-general (and other full calls, no doubt) at the start of the week and the General Rehearsal of Sleeping Beauty at 1.30pm on Wednesday.

Not to mention the double Sleeping Beauty on Saturday. 

So, as I did earlier, if one focuses on just one or two dancers, excluding studio rehearsals - Yasmine Naghdi will be a (the) central figure in Concerto on Tuesday's Cinema Relay, will doubtless have a full stage rehearsal of Sleeping Beauty at some point Monday to Wednesday, and dances the opening night Aurora on Thursday; Alexander Campbell danced in Enigma yesterday, will doubtless have a Sleeping Beauty stage call Mon/Tues, has an extra Des Grieux on Wednesday (with a different partner from his Aurora) and is Prince Florimund Saturday evening.

But, as for the corps..................phew!!!! We shall have the opportunity to watch 5 shows this week, 3 different programmes, 5 ballets. But what we won't see are all the backstage rehearsals and the stage calls for the various casts - all of which involve the corps. Phew again!!!!!

[AnneL]

2 hours ago, Sassenach said:

Thanks AnneL for your thoughts, what exactly did you find unsuccessful about Hamilton’s Raymonda? I find her almost always sensational 

I just thought the Concerto choreographic style suited her better. I certainly didn’t find her unsuccessful in Raymonda- perhaps I worded this badly- it was more that I thought she was so good in Concerto and had been raving about her performance in it during the first interval, that the Raymonda didn’t quite hit the same peak.