Royal Ballet Onegin 2020

[CCL]

I’m mostly in agreement with @JohnS, I think Yasmine Naghdi’s Tatiana loves Gremin, although she is perhaps not ‘in love’ with him. The resting of her head on his shoulder touched me;  I think he makes her feel safe. It was a very moving and sympathetic portrayal by Bennet Gartside. I’m not sure I can add anything to what has already been said about Yasmine - she was stunning: her dancing was glorious and her characterisation of Tatiana so thoughtful and credible. She and Federico Bonnelli made a memorable partnership- he was electrifying in Act 3,  the intensity of emotion was heart-stopping. The final moments where Tatiana was clutching a piece of Onegin’s letter, her mouth a buckle of anguish - well, the poignancy of it will stay with me for a long time. I thought Anna Rose O’Sullivan was radiant as Olga, and Joseph Sissens a most dashing Lensky. I sincerely hope ‘Onegin’ is revived again soon, because it’s a ballet I’d love to get to know better. 

[JohnS]

2 hours ago, CCL said:

The resting of her head on his shoulder touched me

Thank you CCL. I also had in mind the end of the PDD where Tatiana rests her head in Gremin’s hands - deeply moving and I can’t believe that gesture is out of a sense of duty. I think the ‘head on shoulder’ is just before the PDD and then repeated in the middle. 

[maryrosesatonapin]

5 hours ago, CCL said:

I thought Anna Rose O’Sullivan was radiant as Olga, and Joseph Sissens a most dashing Lensky. 

 

I hope it isn't too off-topic to mention an article in this month's Dance Europe magazine, which I found rather touching.  Sissens describes his ballet journey from childhood; he came from a mixed-race family in a Hertfordshire village where he encountered both cruel racism and wonderful generosity.  His mother had no spare money, but he was able to train at Tring thanks to a maximum scholarship.  It was then suggested that he should train at the Royal Ballet School but it seemed out-of-reach financially until a supportive local person offered to pay the fees.  He got a day place but his mother couldn't even afford his travel costs.  She rang the RBS who then offered him a boarding place in the year above - a real challenge as he had so much catching up to do, both dancing-wise and academically, to keep up with the other boys in this higher  year.  But he said this just 'put fire under his belt' and made him work ten times harder.  He mentions Anna Rose O'Sullivan as a fun partner, and they 'feed off each other.'

When I watch young dancers (or not so young) I often wonder about their backstory, and what struggles and adventures they might have had along the way; many of course are far from 'home' and it can't be easy.  I feel such gratitude not only to them for giving us, the audience, such joy, but also to their unsung supporters who have doubtless worked in the background to get them where they are today.

[Don Q Fan]

A week since I saw Yasmine Naghdi and Federico Bonelli's super performances as Tatiana and Onegin.  The music is still going around in my head.  The show was lovely and I enjoyed Anna Rose O'Sullivan and Joseph Sissens very much as O&L.  Onegin is clearly a ballet that gives the dancers so much and we as the mere viewers are very lucky indeed to be able to watch them.  Every single dancer at stage door said how much they love this ballet.  I'm pleased to see Onegin will be on again in Amsterdam next season too.

A few pics from last Friday.

Ensemble

Naghdi/Bonelli

O'Sullivan/Sissens

 

O'Sullivan/Sissens/Naghdi/Bonelli

 

[Fonty]

I was just looking at the height difference between O'Sullivan and Sissens.  Is she very short, or is he very tall?

[Tango Dancer]

1 hour ago, Fonty said:

I was just looking at the height difference between O'Sullivan and Sissens.  Is she very short, or is he very tall?

Both I think I saw the pair of them when I was at the insight event on Swan Lake. He has lovely long legs and is on the taller side. She's quite petite but taller than Wayne Sleep so at least 5'3 I think.

 

They had really good chemistry together so the height may not work but the energy does.

[Richard LH]

Did anyone  else see the truly wonderful performance last night from  Nunez/Takada/Hirano/Edmonds/Braendsrod  and the rest of the dancers?

I am so pleased to have been able to see this cast again  for the third time, plus in  General Rehearsal!   🤭

Exemplary dancing and acting from Takada  and Nunez in particular... I suspect the  familiarity of these two with the ballet now, over quite a few runs, has helped them to really  inhabit  their roles, almost without having to think about the choreography too much. So many little nuances to enjoy...they really came across as devoted sisters.

[LinMM]

Thanks for that info on Jo Sissens Maryrosesatonapin 

Ive always followed him since seeing him at the Yorkshire Ballet Summer School just before he went to the Royal. He stood out then when pretty young. Next time I saw him and he signed my cast list he had grown considerably!! 
such a lovely young man and beautiful dancer. 

[Tango Dancer]

13 minutes ago, Richard LH said:

Did anyone  else see the truly wonderful performance last night from  Nunez/Takada/Hirano/Edmonds/Braendsrod  and the rest of the dancers?

I am so pleased to have been able to see this cast again  for the third time, plus in  General Rehearsal!   🤭

Exemplary dancing and acting from Takada  and Nunez in particular... I suspect the  familiarity of these two with the ballet now, over quite a few runs, has helped them to really  inhabit  their roles, almost without having to think about the choreography too much. So many little nuances to enjoy...they really came across as devoted sisters.

Yes, I was also present. I liked the performance very much.

 

I loved Nunez and Takada. I thought Hirano danced beautifully but I didn't find his acting in the third act as convincing as Onegin still seemed like a tosser. I was in the amphitheatre so perhaps missed the facial expressions that may have helped in the storytelling.

 

I also really liked Edmonds as Lensky. He and Takada were lovely together. 

[Richard LH]

1 hour ago, Tango Dancer said:

Yes, I was also present. I liked the performance very much.

 

I loved Nunez and Takada. I thought Hirano danced beautifully but I didn't find his acting in the third act as convincing as Onegin still seemed like a tosser. I was in the amphitheatre so perhaps missed the facial expressions that may have helped in the storytelling.

 

I also really liked Edmonds as Lensky. He and Takada were lovely together. 

 

Yes it is difficult, I find,  to get the full sense of the acting in a ballet liked this unless you can get reasonably  close to the stage.  From closer up  I found Hirano's  acting excellent, partly for the very reason that it  was quite  subtle, but  perhaps the subtlety  hampered the effect further  back. I suppose its always  difficult to find the right balance in this respect.

One particular part of his acting that stood out for me last night was his expression and body language when first confronting Tatiana after shooting Lensky - transforming from a haughty and proud  sort of "how do you like THAT then" !, to an anguished  "what have I just done" !  - a realisation that he comes to under Tatiana's steady and powerful gaze. I think this is  the  pivotal moment for the change in both their characters, in some respects representing role reversals  towards each other. 

Edited February 28, 2020 by Richard LH

[ninamargaret]

2 hours ago, LinMM said:

Thanks for that info on Jo Sissens Maryrosesatonapin 

Ive always followed him since seeing him at the Yorkshire Ballet Summer School just before he went to the Royal. He stood out then when pretty young. Next time I saw him and he signed my cast list he had grown considerably!! 
such a lovely young man and beautiful dancer. 

I first,saw him in Symphonic Variations, not the simplest ballet in the world, and was impressed by his lovely clean lines. I think he made a very good,Lensky and I look forward to seeing him in the future.

[LinMM]

Me too!! Was so glad he got Lensky even though didn’t get to see him 

[MJW]

Just now, MJW said:

Hope this works (and is in order to post) - this is from ROH's IG. I found this incredibly poignant with it being Soares' last performance:

 

 

 

[Rob S]

What a great evening and a fantastic farewell for Thiago Soares 🙂

 

 

 

 

I hope these aren’t too big or small, I’ve posted them via my phone for a change.

Edited February 29, 2020 by Rob S

[bridiem]

Thank you for posting these very poignant photos, MJW and Rob S. They are a reminder of a performance I will never forget. I found Soares' Onegin absolutely heartbreaking. Very different to the other Onegins I've seen, and revelatory. In Act I, he isn't cold or arrogant or contemptuous; he's immediately sympathetic towards and attracted to Tatiana, he encourages her to dance with him, and he sees her worth. Only then does he realise that if he allows himself to acknowledge this, he will have to drop his façade, his armour of indifference and boredom that protects him from others and from living a proper life. And that terrifies him and forces him to pull back. The bedroom pas de deux - beautifully performed by both Soares and Mendizabal - is therefore not just Tatiana's dream/fantasy - it's his too. It's how they could have been if he'd had the courage. In Act II, he is constantly drawn to Tatiana and wants to show his love for her, but cannot; he wants to accept and delight in her letter, but cannot; whenever he's tempted to do so, he pulls back. And when he finally tears the letter up, he knows how much he's hurting her and can barely do it; he's full of shame and self-hatred. And the more he loathes himself, the more he pursues Olga and the more atrociously he behaves. He's rejected Tatiana's goodness and love, and he turns to casual cruelty as if to prove to himself that he didn't deserve Tatiana anyway. When Lensky challenges him to the duel, he tries not to go through with it but when Lensky continues to provoke him his pride and anger explode and he carries it through. And then, only then when it's too late, does his façade come down. He sees Tatiana, in effect his conscience, and collapses. The tragedy is his and hers as much as Lensky's (and Olga's). In the final act, Mendizabal's pas de deux with Gremin (Lukas Bjorneboe Braendsrod - excellent, but I do think I prefer an older Gremin) was intensely moving, as we see how Tatiana has found a peaceful and grateful love with her husband. Soares' face as he watched them dance was so full of pain, dismay and grief that it was unbearable. This wasn't him realising his love too late; he'd known it all along, and had lost Tatiana through his own pride and fear. When they finally express their mutual love, the dam bursts for both of them. But it is too late - for him, and for her. And the only way she can convince him of that is to tear up his letter, although it causes her as much pain as it causes him. He finally flees, and Tatiana is left in a state of shocked and agonising turmoil.

 

Soares' performance was that of a truly great dancer and actor. Complex, nuanced, convincing, gripping and altogether brilliant. And Mendizabal was a worthy Tatiana for this magnificent Onegin. She portrayed a young woman taken out of her introverted, bookish world by her love for this man, whose inner being she sees better than he does. She acts always out of love and goodness (looking after elderly guests at the ball, comforting Olga, trying to dissuade Lensky from duelling, etc), and then builds a loving marriage when she accepts she has lost Onegin. Her dancing was terrific too. David Donnelly was excellent as Lensky - young, handsome and impetuous, but some of his landings were so noisy that they were a distraction. Meaghan Grace Hinkis did well as Olga, but I didn't find her particularly interesting or moving.

 

I so hope that Onegin will come back soon, preferably next season. The sadness being that Soares will not come back too. He got a tremendous reception, and Kevin O'Hare made a very warm and appreciative speech with many other members of the company coming on stage too (and Dame Monica Mason). Flower throws, bravos and tears. Magnificent.

Edited February 29, 2020 by bridiem

[alison]

Indeed, a very satisfying farewell for Soares.  I only wished I hadn't had to return my ticket for his first performance as well.

[Sim]

Thank you for your lovely assessment Bridie, with which I wholeheartedly agree. A wonderful night.  

[Rob S]

53 minutes ago, bridiem said:

 

 

I so hope that Onegin will come back soon, preferably next season. The sadness being that Soares will not come back too. He got a tremendous reception, and Kevin O'Hare made a very warm and appreciative speech with many other members of the company coming on stage too (and Dame Monica Mason). Flower throws, bravos and tears. Magnificent.

Looking at my pics I see Marianela Nuñez, Matthew Ball, Mayara Magri, Marcelino Sambé, Claire Calvert and someone I suspect is Ed Watson 

Edited March 1, 2020 by Rob S

[alison]

My photos of his applauding colleagues have unfortunately come out too blurred to be displayable, although I can confirm that Watson was among them.  No idea why the photos below have merged together, but it doesn't look as though I can undo it.

 

[Sim]

Elizabeth McGorian, Monica Mason, Vadim Muntagirov, Alexander Campbell and Federico Bonelli were all there too.  How lovely!

[maryrosesatonapin]

1 hour ago, bridiem said:

I found Soares' Onegin absolutely heartbreaking. Very different to the other Onegins I've seen, and revelatory. In Act I, he isn't cold or arrogant or contemptuous; he's immediately sympathetic towards and attracted to Tatiana, he encourages her to dance with him, and he sees her worth. Only then does he realise that if he allows himself to acknowledge this, he will have to drop his façade, his armour of indifference and boredom that protects him from others and from living a proper life. And that terrifies him and forces him to pull back. The bedroom pas de deux - beautifully performed by both Soares and Mendizabal - is therefore not just Tatiana's dream/fantasy - it's his too. It's how they could have been if he'd had the courage. In Act II, he is constantly drawn to Tatiana and wants to show his love for her, but cannot; he wants to accept and delight in her letter, but cannot; whenever he's tempted to do so, he pulls back. And when he finally tears the letter up, he knows how much he's hurting her and can barely do it; he's full of shame and self-hatred. And the more he loathes himself, the more he pursues Olga and the more atrociously he behaves. He's rejected Tatiana's goodness and love, and he turns to casual cruelty as if to prove to himself that he didn't deserve Tatiana anyway. When Lensky challenges him to the duel, he tries not to go through with it but when Lensky continues to provoke him his pride and anger explode and he carries it through. And then, only then when it's too late, does his façade come down. He sees Tatiana, in effect his conscience, and collapses. The tragedy is his and hers as much as Lensky's (and Olga's). In the final act, Mendizabal's pas de deux with Gremin (Lukas Bjorneboe Braendsrod - excellent, but I do think I prefer an older Gremin) was intensely moving, as we see how Tatiana has found a peaceful and grateful love with her husband. Soares' face as he watched them dance was so full of pain, dismay and grief that it was unbearable. This wasn't him realising his love too late; he'd known it all along, and had lost Tatiana through his own pride and fear. When they finally express their mutual love, the dam bursts for both of them. But it is too late - for him, and for her. And the only way she can convince him of that is to tear up his letter, although it causes her as much pain as it causes him. He finally flees, and Tatiana is left in a state of shocked and agonising turmoil.

 

I agree with @bridiem's reading of the story of tonight's performance (well, last night's now).  Soares portrayed the complexities of Onegin's character with subtlety and feeling, as well as dancing beautifully.  But for me the other stand-out dancer was Hinkis who was delightful as Olga with a lightness and grace that seemed to evade Mendizabal, whom I found to be a good actress but rather stiff and plain dancer. Lukas BB looked very handsome but far too young, and wasn't given much to do.  Donnelly as Lensky was not only very noisy in his landings but technically wobbly - not suited to this part at all. 

 

The last time I saw this ballet was a couple of decades ago I think... and I didn't much like it then but hoped I would this time.  But although it really looks good in the costumes and scenery department there isn't enough meaty choreography for my taste.  I just didn't understand the audience clapping so many really very ordinary group dances etc and came away very pleased to have been present at Suares' farewell, but otherwise somewhat disappointed.  In future I shall stick to the wonderful operatic version of this great story.

[JohnS]

Many thanks for all the photos and to Bridiem for her fabulous post. For Onegin to work as a performance, we have to have sympathy with his character and Bridiem wonderfully explains how sympathetic Thiago Soares portrayal was. What a great way to bring the curtain down on a career that has given so much to the Royal Ballet and brought such pleasure to audiences over many years..

[LinMM]

Great review Bridie ...perhaps Soares would have been the one to convince me Onegin not so bad after all. 

[Dawnstar]

14 hours ago, alison said:

My photos of his applauding colleagues have unfortunately come out too blurred to be displayable

 

Glad I'm not the only one who had that problem!

 

13 hours ago, Sim said:

Elizabeth McGorian, Monica Mason, Vadim Muntagirov, Alexander Campbell and Federico Bonelli were all there too.  How lovely!

 

Were Muntagirov, Campbell & Bonelli on the right-hand side? I didn't spot any of them. From where I was sitting I could only see the dancers who were on the left & came on with O'Hare. I didn't realise until looking at @Rob S's photos this morning that there were dancers on the right too.

 

12 hours ago, maryrosesatonapin said:

Donnelly as Lensky was not only very noisy in his landings but technically wobbly - not suited to this part at all.

 

I thought Donnelly acted Lensky very well but that his dancing wasn't so good. The complete opposite to Sissens, who I thought danced excellently but who didn't do much for me on the acting front.

 

I feel it was probably a mistake my going to the performance last night. I'd never seen Soares dance before & found that seeing a dancer for the first time at their last performance doesn't work emotionally. I didn't find last night's performance any more moving than the other Onegin performances I've seen during this run & afterwards felt very guilty that I didn't, as other audience members clearly were very moved by it. As was he, of course. I don't think it's just my imagination that there are tears visible in his eyes in this photo.

 

 

 

[Sim]

As you looked at the stage they were all on the left side. 

[Rob S]

On the right I think I only saw Valentino Zucchetti and somebody concealed in the scenery 

[Dawnstar]

I evidently just failed to notice everyone then! I was looking up from the 2nd row of far right stalls so maybe some people were behind & I therefore couldn't see them.

[Silke H]

my photos seem to be too large to upload here, but I posted some on Facebook and on Instagram if anyone is interested (I hope the links work)

If not, my Instagram handle is missbunnyman, feel free to follow, I regularly post curtain call photos from the performances I attend.

 

RB Onegin 2020 - Facebook

 

IG - Onegin Soares farewell

[capybara]

2 hours ago, Dawnstar said:

I evidently just failed to notice everyone then! I was looking up from the 2nd row of far right stalls so maybe some people were behind & I therefore couldn't see them.

 

Edward Watson and Matthew Ball obscured the other male Principals but, on occasions such as this, Vadim Muntagirov always lurks at the back.

[Rob S]

Ahh you are missbunnyman...I've spotted your pics on Instagram🙂

 

I love the last one of the Instagram pics, it looked like he was fake taking a cutting from the curtain as he left, unfortunately I was sat on the wrong side to do that bit of comedy justice

[Silke H]

@Rob I think Thiago kissed the curtain one last time, just like he kept touching the stage floor.  🙂

[Sim]

Yes, he definitely kissed the curtain a few times!

[JennyTaylor]

Thank you Bridiem was a wonderful description of last night's performance. I wish I could write like that!

 

I've always loved watching Soares' interpretation of the dramatic roles and he didn't disappoint last night. I will so miss him in these ballets as I found watching his facial expressions and gestures almost mesmerising.  I first saw him quite by chance as the prince in the Sleeping Beauty when he replaced I think Jonathan Cope, and although I had never heard of him at that point, was very much struck by his stage presence. I then looked for him subsequently and it wasn't long before I was booking specifically to see him.  Other male Principals may have more technical bravura but Thiago always added something special which made his characters alive and fascinating.  He's also a great partner.  

 

Last night was a very fitting end to a marvellous career and the perfect final flower throw, speech by Kevin O'Hare and company celebration.   Also lovely to read Marianela Nunez's tweet of celebration for him on Twitter.  

 

I've sated myself in Onegin's  - 4 in the last 8 days and have loved this run. When I first saw it many years ago, I found parts of it a little dull, but I think the Royal Ballet have so upped their game in all departments, this last run has been exceptional.  Oh well, on to Swan Lake I suppose.