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3 hours ago, HelenLoveAppleJuice said:

 

By saying Osipova's 2nd solo, does Raymonda have 2 variations in RB Act III?

 

Plus do we have the famous multiple entrechats...

 

Raymonda has only one true solo here (bourrees & claps). She also dances alone for 15-20 seconds within the Coda of the Classical Grand Pas (the sharp relieves-passes to a famous Hungarian folk tune).

 

No entrechats solo for Raymonda here, as in Act II of the Vikharev La Scala version.

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7 hours ago, alison said:

I suspect Xandra was thinking of dancers other than Osipova, Jeannette :) 

 

This inference makes no sense to me.
As written, Jeannette's observation that Osipiova dancing (in Pure Dance at Sadlers Wells) on the opening night of the Triple Bill at the ROH was the reason the 'creme-de-la-creme' cast from last night and the Nov 5th broadcast (which includes her) could not open the ROH series does not imply that Xandra Newman's earlier post, which did not mention specific dancers, had Osipova in mind.

Osipova was the reason it couldn't happen, not the reason it should have happened.

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9 hours ago, HelenLoveAppleJuice said:

Raymonda can end in two different ways. One way is the couple happily marry together with a proud Raymonda. Another is that Raymonda marries Jean de Brienne but she has hidden sadness for the Abderakhman because she grows an affection of him before he dies.

 

The original novel has Raymonda falls in love with Abderakhman but after Abderakhman dies, some magic removes Raymonda's love memory but she will never be the same girl as before.

 

What "original novel" do you have in mind? What ballet called "Raymonda" has that "another" ending? The libretto of "Raymonda," according to what I know, was an original work of Lydia Pashkova, a well traveled literary figure of the late Imperial Era, and wasn't an adaptation of any novel. Are you perhaps talking about the 1938 Soviet production? That production discarded the original libretto and replaced it by a new one. Whatever the source of the inspiration for the authors of that production, in the context of "Raymonda", the ballet, it cannot be considered "the original novel".

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14 hours ago, Jeannette said:

 

Raymonda has only one true solo here (bourrees & claps). She also dances alone for 15-20 seconds within the Coda of the Classical Grand Pas (the sharp relieves-passes to a famous Hungarian folk tune).

 

 

I called the latter a solo because I didn't know what else to call it.  I suppose technically  it is solo dancing, rather than dancing a solo? 🙂

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"relieves-passes".  I like it! :)  Not sure how relief-ful they are, though, especially if you stay on the one leg!

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1 hour ago, alison said:

"relieves-passes".  I like it! :)  Not sure how relief-ful they are, though, especially if you stay on the one leg!

 

Good ol’ spellcheck.

I think that Raymonda alters legs in that section?

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11 hours ago, assoluta said:

 

What "original novel" do you have in mind? What ballet called "Raymonda" has that "another" ending? The libretto of "Raymonda," according to what I know, was an original work of Lydia Pashkova, a well traveled literary figure of the late Imperial Era, and wasn't an adaptation of any novel. Are you perhaps talking about the 1938 Soviet production? That production discarded the original libretto and replaced it by a new one. Whatever the source of the inspiration for the authors of that production, in the context of "Raymonda", the ballet, it cannot be considered "the original novel".

 

Thanks for the information! Apologize if my comment causes any confusion. 

 

My knowledge came from an introduction video of Raymonda from a Chinese ballet instructor who made some videos online to promote ballet. He said that Raymonda has a weak story line comparing to other classical ballets because it cut off the most exiting part (Raymonda falls in love with Turkish) from the "original novel" when the story was adapted into ballet. I made some comments yesterday asking him about the data resource. Either it was true or it was likely caused by translation because most of Chinese ballet textbooks are translated from Russian. There is some confusion between a "story" "novel" or "legend" in the translation. I guess perhaps it should be a "legend" not a "novel". 

 

I also did some research yesterday and found this article on nytimes in 2016 https://www.nytimes.com/2016/02/25/arts/dance/review-mariinsky-ballet-in-raymonda-searching-about-for-a-perfect-suitor.html It says "The creaky story line of the 1898 “Raymonda” was shaped by Countess Lydia Pashkova and Petipa along the lines of the Romantic historical fiction popularized a century earlier by Ann Radcliffe (the novelist satirized by Jane Austen in “Northanger Abbey”)." 

However it sounds strange because the none of Ann Radcliffe's novels has a similar story line like Raymonda. 

 

Searching Russian sites, I see info like this one http://www.pro-ballet.ru/html/r/raymonda.html attributes "scenes. L. A. Pashkova (on the plot of a knight's legend)". 

 

Edited by HelenLoveAppleJuice
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20 hours ago, HelenLoveAppleJuice said:

I also did some research yesterday and found this article on nytimes in 2016 https://www.nytimes.com/2016/02/25/arts/dance/review-mariinsky-ballet-in-raymonda-searching-about-for-a-perfect-suitor.html It says "The creaky story line of the 1898 “Raymonda” was shaped by Countess Lydia Pashkova and Petipa along the lines of the Romantic historical fiction popularized a century earlier by Ann Radcliffe (the novelist satirized by Jane Austen in “Northanger Abbey”)."...Searching Russian sites, I see info like this one http://www.pro-ballet.ru/html/r/raymonda.html attributes "scenes. L. A. Pashkova (on the plot of a knight's legend)". 

 

To add a little more about Lydia Pahkova. The always impeccable Roland Wiley, who never goes beyond his voluminous sources, writes this of Pashkova in "The Ballets of Lev Ivanov":

 

"A Parisian bohemian and occasional correspondent for Le Figaro who (as rumour had it) was related to Vsevolozhsky, Pashkova wrote...libretti for St Petersburg, one of which - Raymonda - brought her such recognition as she enjoys in the history of the ballet."

 

A footnote: the claim that Pashkova was Vsevolozhsky's wife - repeated this Sunday during the live transmission of Raymonda by the delightful and multilingual head of press at the Bolshoi, Katerina Novikova - is not correct.

 

Edited by Sebastian
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re Raymonda Act 3

Always a treasure as far as I am concerned.

I still recall the original RB Touring Company performances with Doreen Wells and David Wall with great pleasure 

Forgive me if this has been mentioned in the previous  posts but it should not be forgotten that the Touring Company performed the full length ballet at the Spoleto Festival with Nureyev and Wells replacing Fonteyn in the mid 60s.The first UK performances were announced for the next regional tour opening i n Coventry  but the production was withdrawn because of scenic difficulties and never seen.and was replace by "Sleeping Beauty" with Fonteyn.

Act 3 was then presented in the Autumn 1966 tour  in the present gorgeous designs .......I am pleased to hear that once again there is applause on curtain rise.....at the last BRB revival the audience sat on its hands!

 

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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.

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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.

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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.

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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.)

 

 

 

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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 by AnneMarriott
To add quip.
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6 minutes ago, Mary said:

 

 

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

 

 

 

 

Thank you !

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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.

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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 by Jamesrhblack
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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! 

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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.

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

 

ar1

 

ar2

 

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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.

 

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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...

 

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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. 

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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 by Jane S
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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.

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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. 

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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.

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