Royal Ballet - Coppelia (Dec. 2019 - Jan. 2020)

[Irmgard]

On 06/12/2019 at 20:23, Lizbie1 said:

 

I happen to have Julie Kavanagh's Ashton biography next to me (not an unusual occurrence), which mentions a "riotous" performance of Coppelia on VE day itself - featuring Helpmann "improvising his own celebrations on stage".

 

So - 1945 at least!

The  company (firstly as the Vic-Wells ballet) performed Acts I and II from 1933 until 1938, staged by Sergeyev. The whole ballet, again staged by Sergeyev, was performed from 1940  until 1953 (with Fonteyn giving over forty performances as Swanilda), with De Valois revamping the production the following year.  The second company (through all its many changes of names) has been performing a production based on the Sergeyev staging since 1951. This information is from my Royal Ballet 'bible': "The Royal Ballet, The first 50 years".

[Sim]

13 minutes ago, JohnS said:

 

Many thanks RuthE - lovely to see this again, a real gem.

Indeed.  I think it's time for me to watch Giselle again...I do so fairly regularly so the time has come.  Otherwise, withdrawal symptoms will set in.

 

Does anyone know if BRB's version is on DVD??  Sorry to divert from Coppelia...

[Fiz]

Last night was pure joy. There is very little that I can usefully add except that I too was impressed again by the principals and thought that Annette Buvoli danced Prayer beautifully. I shall keep an eye out for her in future. 

[Tessie]

I watched the character dances carefully (in light of earlier comments on this forum) and while I cannot comment on technical aspects, I also felt that the limited space detracted from these dances a little.

 

Thank you Helen LAJ. I agree with you about the yellow blouses. They clashed a bit with the other colours, in my opinion. I loved most of the other costumes, but was not so keen on the shape of the men's huge sleeves (or maybe it was lack of shape that bothered me?)

[Two Pigeons]

32 minutes ago, Sim said:

Indeed.  I think it's time for me to watch Giselle again...I do so fairly regularly so the time has come.  Otherwise, withdrawal symptoms will set in.

 

Does anyone know if BRB's version is on DVD??  Sorry to divert from Coppelia...

No, it's not.  I was filmed by the BBC in the mid 90s but never issued on either VHS or DVD.

[LinMM]

Annette Buvoli had a fairly major role in the RBS student performance a few years back and then “disappeared” into the Corps so if she is now starting to get small solo parts then that’s good to hear. 
Thanks for the Bolshoi clip Stevie enjoyed that and the music was up to speed to! 
Im also pretty sure I saw some final year students in Sleeping Beauty last week as well. 

 

Edited December 11, 2019 by LinMM

[Springbourne3]

I’ve been wishing to see this ballet (Coppélia) again for so long and was so pleased that the RB brought it back in the repertory this season - so glad that I got to see last night’s livestream.

 

I just love those Osbert Lancaster sets and costumes - they so reflect the early years of the RB and how stunning are the Polish and Hungarian influenced ones.  This ballet fills me with with so much nostalgia in many ways.

 

I think Nunez is probably the best Swanhilda I’ve seen (and I’ve seen a few!) - perfect technique and full of mischievous joy.  She is now so technically secure that she can fully immerse herself into the character she is performing.  I thought the Swanhilda role really suited her. I think she streets above any other principal female in the company and during the interval break it was enchanting to see a film clip of her perform the Swanhilda solo aged 12 years old - and with so much aplomb! 

What can I say about Muntagirov in this ballet? Perfection! His variation was all beautiful style, lines, crystal clear batterie (beats) and beautifully held balances - I think he’s probably one of the greatest males dancers currently.

 

A beautiful Dawn variation from Calvert - she’s really blossoming into what must be a future principal.  She’s so strong on her pointes and has a beautiful soaring grand jété. 

I was so glad to see Annette Buvoli at last dancing a variation - what a lyrical and gentle performance of the Prayer solo she gave with those smooth bourées en pointe.  

Other dances were the beautiful Waltz of the Hours (that music and those costumes) which gave some opportunity for some of the more junior members of the company to shine - I noticed one of this year’s Prix de Lausanne recipient, Sumina Sasaki,  who showed confidence  and grace at the front of the ensemble. 

The mazurka and czardas were full of colour and performed by the corps with well placed style - Reece Clarke shone throughout.  

Gary Avis was as usual, gave a brilliant characterisation of the role of Dr Coppelius.  This ballet has many mime sequences and some of which was helpfully explained during the interval featuring company members, Charlotte Tonkinson and Téo Dubreuil.  There was also an interview with ROH conductor, Barry Wordsworth, about the composer, Léo Délibes’s beautiful and well-known score for Coppélia.

It was good to see the RB Upper School students given an opportunity to dance in the Act 3 celebrations too.  It must be an inspiration for them to dance alongside such incredible dance artistes as Nunez and Muntagirov - and I think it showed.

 

All in all a great evening of glorious music and dance - even though the cinema screen went blank towards the end of Act 2 so this was part was unfortunately missed - the perils of a livestream sometimes I think.

(Also the stage lighting seemed a bit dark at times, but that could be because it was viewed via the cinema screen).

 

 

 

 

 

 

 

[jm365]

Oh how I agree with the above remarks about Nunez.  When I bought my tickets, I fully expected that Hayward and Campbell would be the ideal casting  and I was a little worried that Nunez and Muntagirov would not be as suitable.  How wrong I was!!  I'm so glad I saw Hayward/Campbell first, as although they were very good they were eclipsed by Nunez/Muntagirov..  (I am referring to the stage performances that I saw in the Opera House, not to the transmitted one).

[Bruce Wall]

The round table is up on line - 

 

 

[maryrosesatonapin]

55 minutes ago, jm365 said:

Oh how I agree with the above remarks about Nunez.  When I bought my tickets, I fully expected that Hayward and Campbell would be the ideal casting  and I was a little worried that Nunez and Muntagirov would not be as suitable.  How wrong I was!!  I'm so glad I saw Hayward/Campbell first, as although they were very good they were eclipsed by Nunez/Muntagirov..  (I am referring to the stage performances that I saw in the Opera House, not to the transmitted one).

I had the same qualms as you, @jm365, similarly quashed. I went to the live Nunez/Muntagirov performance expecting Nunez to be brilliant, which she was.  I've never seen Muntagirov dance less than beautifully but wasn't sure how he'd fit the role of a humorous  peasant.  He exceeded my expectations with his comedic skill.  They are a wonderful pairing.  (My second choice would've been Hayward/Campbell but I didn't want to go to two performances although now I wish I had seen them too.  I'm not a fan of Campbell in princely roles but knew he'd be great in this, which by all accounts he certainly was. And Hayward is always gorgeous.)  

 

[EVWS]

1 hour ago, LinMM said:

Im also pretty sure I saw some final year students in Sleeping Beauty last week as well. 

 

 

They're in all the performances Sleeping Beauty and Coppelia at the moment and were also in all the Manon performances earlier this season 

[Balletfanp]

I don’t think Muntagirov’s comedic skills were ever in doubt to those of us who follow the Campbell/Muntagirov dressing room antics on Instagram! 😂

 

He was equally as good in Don Q.

[capybara]

2 hours ago, Springbourne3 said:

It was good to see the RB Upper School students given an opportunity to dance in the Act 3 celebrations too.  It must be an inspiration for them to dance alongside such incredible dance artistes as Nunez and Muntagirov - and I think it showed.

 

It's not only the students who feel the privilege of being on stage with this pairing: you only have to look at the faces of the company members (the men in particular) to know that they feel the same sense of awe.

This interview with Christopher Carr might have been posted elsewhere but, if so, I can't locate it. I also says much about the artistic amazingness of Nunez and Muntagirov and their personalities but it alludes, too, to the chequered preparation which Hayward had prior to her debut: https://www.gramilano.com/2019/12/interview-the-royal-ballets-ballet-master-christopher-carr-on-mounting-coppelia-the-companys-dancers-and-technique/

I find it verging on the parsimonious that the Nunez/Muntagirov combo has only two shows but, then, the most any couple have been afforded is 3 (with Campbell doubling up at 6).

[HelenLoveAppleJuice]

48 minutes ago, capybara said:

 

It's not only the students who feel the privilege of being on stage with this pairing: you only have to look at the faces of the company members (the men in particular) to know that they feel the same sense of awe.

This interview with Christopher Carr might have been posted elsewhere but, if so, I can't locate it. I also says much about the artistic amazingness of Nunez and Muntagirov and their personalities but it alludes, too, to the chequered preparation which Hayward had prior to her debut: https://www.gramilano.com/2019/12/interview-the-royal-ballets-ballet-master-christopher-carr-on-mounting-coppelia-the-companys-dancers-and-technique/

I find it verging on the parsimonious that the Nunez/Muntagirov combo has only two shows but, then, the most any couple have been afforded is 3 (with Campbell doubling up at 6).

Must related to their busy international commitments. 

And they will dance Raymonda next week. 

[Amelia]

5 hours ago, Stevie said:

I feel that all the performers were heavily restricted by the lack of available dancing space on stage. This also appeared to be a factor with the original choreography. It was most evident in the Mazurka, where cross stage movement was severely limited. Removing a couple of the large buildings in the set would have helped. I couldn't help make comparison with the recent Bolshoi production , where the performers had much more available space. I attach the Bolshoi equivalent for comparison. Of course the Bolshoi stage is bigger anyway, but all the more reason to have a more appropriate set size.

 

I agree, Stevie, that the group dancing was restricted in "Coppelia" by the lack of space - there is too much scenery. Btw Bolshoi performs "Coppelia" on the New Stage, which is much smaller than the historic one. Here is a video of Yevgenia Obraztsova rehearsing with Motta Soares and Yanin first in a studio, then on the New Stage and then performing. Repetiteurs: Vladimir Nikonov and Nadezhda Gracheva.

However, it is not only the space that matters but the feeling for the character dance where the whole body (shoulders, head, neck, waist, etc.) are 'alive' with dancing.

 

Edited December 11, 2019 by Amelia
Changed layout.

[Beryl H]

Wished I had gone to the cinema last night now, like a few others I didn't think it would be the perfect cast, but I do think Nunez and Muntagirov will be the best couple in Raymonda, seeing them next week!  Hope to see Annette Buvoli dance Prayer too!

[capybara]

That is very, very lovely from Obratsova, @amelia, but did you see Nunez and, perhaps particularly, Muntagirov?

 

I understand, @HelenLoveAppleJuice, that the primary consideration here was sharing out performances equitably. International commitments are normally negotiated by dancers in the light of their 'home' company's schedule. But there are interesting examples where Directors themselves have been approached to provide or lend dancers.

Edited December 11, 2019 by capybara

[Shade]

Lovely and charming Obraztsova - I was so disappointed that she wasn’t in London this summer.

[alison]

54 minutes ago, Beryl H said:

Wished I had gone to the cinema last night now

 

There may well be Encore or Recorded showings in the next week or so, if anyone missed it.

[Odyssey]

A very enjoyable evening. I echo the delight and admiration for the dancing of Nunez and Muntagirov . I don’t love this production - my preference is for the BRB one. But you can’t doubt the enthusiasm and joy that radiates from the dancers at all levels. I particularly enjoyed the interval features. I would have liked Barry Wordsworth to have had the opportunity to elaborate about conducting for different dancers, but Darcey seemed to answer the question for him! 

[maryrosesatonapin]

@capybara thank you for the link to the interview with Christopher Carr.  Wow, Hayward did well coping with her debut after so little opportunity to practice!  But I loved this more than anything: 'Vadim is a fantastic technician, a beautiful dancer, and he has the most incredible jump. Also, he is one of the nicest people I’ve ever met in my life. When I did The Two Pigeons, which was the very first time I worked with him, we were about two weeks into the rehearsals when I said to him, Vadim, are you really as nice a person as you seem? Nobody is as nice as that. And you know what? He is! There’s not a bit of venom or malice or anything in his body at all. He is goodness beyond belief and a fantastic dancer.'

I've never met Muntagirov but I had a strong feeling that he was a really lovely chap.  It's funny how you can gauge a certain amount about dancers' personalities just from the way they present themselves and relate to others on stage.  We are so lucky to have him dancing here.

[Amelia]

1 hour ago, capybara said:

That is very, very lovely from Obratsova, @amelia, but did you see Nunez and, perhaps particularly, Muntagirov?

 

Yes, Capybara, I saw that cast on 29 November and I generally admire Muntagirov for his almost faultless technique.

[HelenLoveAppleJuice]

I attended last night performance and it must be one of the best moment I have enjoyed in RB this year.

 

Coppelia is one of my favourites but RB production is not my like. I understand the company probably is willing to "keep" some old traditions but this is not for me.

 

- The lacking of space on the stage. Result in limitation of corp dancing space. Several occasions you can see corps trying to squeeze though others during the dance. Also it limits the number of corps to dance the Mazurka. I really afraid Vadim will run out of stage when he danced the solo. Yep many other companies dance on an even smaller stage. But considering the raising prince, audience have some sort of expectation for something "grand" enough when stepping inside Royal Opera House.

 

- Some costumes seems not blend in, re, the yellow blouses for the school girls. And the white wedding costumes for Act III for the leading couple. The big round sleeve prevents me to see more of Marienela's beautiful arms and shoulders. And as other said, hardly to see the male's leg if you are watching from screen or sitting on the ground level. From higher levels it works well as the floor is in bright color.

 

- Old choreography for Swanilda variations. Unlike the popular version, the Swanilda variation in Act I has half mime and half dancing. The Spanish dancing in Act II and the Swanilda variation in wedding PDD in Act 3 both focus on feet work and could add more of arms or other things into it. Especially for the Act III Swandilda variation, it makes me feel that suddenly the outgoing sunny Swandilda becomes a shy bride while Frank is over his top... lol Even though Nela danced perfectly and beautifully. Still not my cup of tea.

 

- I don't think that every history details should be kept just as it is. For example Sir Peter Wright added the new version Chinese dance into his Nutcracker with new technic and more opportunities for male dancers. And Makarova's great temple act into the Bayadere. Let alone, the recent success of the new Swan Lake final act PDD by Royal Ballet. Although I don't like Royal Ballet's new approach of Don Q. But I think that Royal Ballet should keep on the creative mode and invest on bring the old classic into a new level. 

 

Last night is about Nela and Vadim. Like many of pervious comment, I also quite hesitated to see she was chosen for Swandilda. It is not about her age. She is great as the 16 year old princess in Sleeping Beauty. But I never like her in non-princessy, non-goddness, peasant style or childlike style roles, even in her younger years. Sometimes I feel she has too much "knowning" or too smart and mature. I know many like her Giselle but I don't like her acting in Act I. It gives me a feel that a very smart women is over acting to be a peasant girl. And same goes her Juliet. Don't mistake me, I am a great fan of her! Thus I was quite concern. But last night, it is a success. The whole product is a jolly comedy, thus her a bit of over---acting, just suit the atmosphere and makes everything right. Perfection and wonderful acting. The only thing I regret is that they don't bring back Coppelia back earlier and film her several years ago. I see her slightly tired sign towards the end of that great wedding PDD. Talking about the en point jump in the Coda, if comparing to the similar part in 2018 Swan Lake or every earlier her Sleeping Beauty, it is not as that amazingly strong as before. Dear Royal Ballet could we make sure to film more and even not put it into live cinema,. there are plenty of other options like YouTube and Now TV, to display your great dancers and bring more fame to your brand, please! 

 

Vadim is beyond word. I will buy the DVD as soon as it comes out. His dancing and acting even exceeds his usual self. Oh how good can you go? And Franz is the perfect role, a nice and young guy, for him. He danced the Russian version of Franz variation in Prix de Lausanne. Surely it is his role!

 

[Ivy Lin]

I saw the cinema relay of the Coppelia. I really enjoy the Royal Ballet production. I thought Nunez was caught maybe a few years past her best in this role. She now has a mature glow to her dancing. Can;t explain it but it's like she seems like a wise, knowing woman now rather than a feisty girl. I also thought Vadim Muntagirov seems too sensible as the foolish Franz. Still happy to see this production. 

[Odyssey]

I found this TV recording of the BRB production from 1995. . More dancing for Franz in act one and the set design allows more space for the traditional dances.

 

 

[Jan McNulty]

7 hours ago, Odyssey said:

I found this TV recording of the BRB production from 1995. . More dancing for Franz in act one and the set design allows more space for the traditional dances.

 

 

 

Gosh, that's bringing back some happy memories!!

 

Of course this production (which still looks as fresh as a daisy) was designed for touring and, indeed, touring to theatres with stages somewhat smaller than the ROH so I would expect more space for dancing.  It has even fitted into the Sunderland Empire which I would guess is about a 1/3 of the ROH stage!

 

It will be interesting to see how Carlos Acosta's Don Q is adapted for the Birmingham stage - the current set wouldn't fit on it!

[Odyssey]

3 minutes ago, Jan McNulty said:

 

Gosh, that's bringing back some happy memories!!

 

Of course this production (which still looks as fresh as a daisy) was designed for touring and, indeed, touring to theatres with stages somewhat smaller than the ROH so I would expect more space for dancing.  It has even fitted into the Sunderland Empire which I would guess is about a 1/3 of the ROH stage!

 

It will be interesting to see how Carlos Acosta's Don Q is adapted for the Birmingham stage - the current set wouldn't fit on it!

If you want to get a fix of some BRB stalwarts from the 90’. Here is  the lovely final act

 

[Jan McNulty]

Stop it Odyssey - I'm supposed to be taking Chipdog for a walk!!!

 

Seriously, millions of thanks for this!!

[maryrosesatonapin]

2 hours ago, Odyssey said:

If you want to get a fix of some BRB stalwarts from the 90’. Here is  the lovely final act

 

Awww. thank you Odyssey!  That's my dear little Sandra Madgwick.  We saw that very cast. It doesn't seem so very long ago....

[Terpsichore]

Just a couple of thoughts about Coppelia.

It is said that drill lyrics encourage street crime. Well in this ballet the local toughs (what we might have called Teddy boys in my youth) rough up an old geezer on his way to the pub. Franz climbs a ladder to break into his workshop.  Swanilda and the ladettes enter the workshop using Dr Coppelius's key. When they are discovered they set off the robots and Swanilda tears out pages from one of his text books to me. At the very least it is elder abuse if not assault and battery or even ABH, burglary, criminal damage .............. What's the difference between that and drill?

Also, whenever I watch Franz flirting with Coppelia I think of the Turing test and human robotic intervention.

This is really a ballet for our times in more senses than one don't you think..

[bridiem]

45 minutes ago, Terpsichore said:

Just a couple of thoughts about Coppelia.

It is said that drill lyrics encourage street crime. Well in this ballet the local toughs (what we might have called Teddy boys in my youth) rough up an old geezer on his way to the pub. Franz climbs a ladder to break into his workshop.  Swanilda and the ladettes enter the workshop using Dr Coppelius's key. When they are discovered they set off the robots and Swanilda tears out pages from one of his text books to me. At the very least it is elder abuse if not assault and battery or even ABH, burglary, criminal damage .............. What's the difference between that and drill?

Also, whenever I watch Franz flirting with Coppelia I think of the Turing test and human robotic intervention.

This is really a ballet for our times in more senses than one don't you think..

 

Yes, it is; in that it is about the growth of love, trust, maturity, humility, understanding, acceptance, joy, social cohesion, reconciliation, etc etc. And all done with a joyous sense of fun and humour. Qualities which often seem to be in short supply currently.

Edited December 12, 2019 by bridiem

[Clara_f]

26 minutes ago, Terpsichore said:

Just a couple of thoughts about Coppelia.

It is said that drill lyrics encourage street crime. Well in this ballet the local toughs (what we might have called Teddy boys in my youth) rough up an old geezer on his way to the pub. Franz climbs a ladder to break into his workshop.  Swanilda and the ladettes enter the workshop using Dr Coppelius's key. When they are discovered they set off the robots and Swanilda tears out pages from one of his text books to me. At the very least it is elder abuse if not assault and battery or even ABH, burglary, criminal damage .............. What's the difference between that and drill?

Also, whenever I watch Franz flirting with Coppelia I think of the Turing test and human robotic intervention.

This is really a ballet for our times in more senses than one don't you think..

And muggings, robbery, assault is only a modern invention and never happened in the past which was idyllic and crime free?

[alison]

1 hour ago, bridiem said:

 

Yes, it is; in that it is about the growth of love, trust, maturity, humility, understanding, acceptance, joy, social cohesion, reconciliation, etc etc.

 

Something which I'm finding somewhat lacking, narratively, in this production.  I initially thought it was down to the first cast's interpretation, until I got exactly the same feeling with the second, so I guess it's a failing of the production.  It seems to me that we have a simple linear narrative: we see Franz behaving immaturely (for someone who's supposed to be about to get married), Swanilda getting sulky and upset about it - then we get the (non-)breaking and entering scene where Swanilda dresses up as the doll, causes chaos and rescues Franz - then suddenly we're onto the bell and wedding celebrations.  Nowhere have I had the feeling that Franz' experiences have actually changed and matured him from a foolish lad into the responsible and devoted husband-to-be suggested by Act III (or that Swanilda has changed for the better, for that matter), and I think that in most other productions I've seen you do get some sense of this transformation which has been wrought.  I'm not asking for MacMillan-esque acting or anything, but something would be nice.

 

Which brings me on to my niggles - again sort of narrative - with Act II.  Swanilda thus far must either be a mindreader, or have eyes in the back of her head, because she keeps eyes front and doesn't turn her head, so how can she see what Dr. Coppelius is doing, and work out how to rescue Franz?  Unless the camerawork on Tuesday was concealing things that I missed, there doesn't seem to be much in the way of logic as to what she does when and why.  And the great piece of "transformation" music seems to be rather wasted: there's no time to realise Coppelius' despondency that his magic doesn't appear to have worked, and then the miraculous apparent transformation goes for very little, too.