Jump to content

Alina Cojocaru - Sadler's Wells, Feb 2020


Recommended Posts

I enjoyed the evening, with the highlight for me being Les Lutins, just before the interval - I hadn't seen it before, and it was great fun and brilliantly danced by Marcelino Sambé, Takahiro Tamagawa, and Cojocaru. Marguerite and Armand was its usual OTT self, but I do increasingly appreciate the quality of much of the choreography and both Cojocaru and Francesco  Gabriele Frola were excellent in the title roles. The evening started with Handel's Passacaglia for Violin and Cello, played live on stage, and although it was beautiful it seemed a slightly unusual way to start the programme (i.e. no dance for quite a while!). I enjoyed the first piece (Reminiscence, by Tim Rushton - a pas de deux for Cojocaru and Kobborg) at first, but gradually found it a bit winsome; but lovely to see them dancing together again, and their chemistry is still palpable. There were 2 short films by Kim Brandstrup in the first half, which were very slow and solemn; it was sweet that in the second film Cojocaru was paying tribute to her teachers (I assume - I didn't get a programme, because even if I had it wouldn't have listed who was dancing each piece in the programme, so I just took a photo of the cast list up on the wall - no cast lists were available either in the programme or separately), but it was all rather funereal. I didn't much enjoy Journey, choreographed by Juliano Nunes and danced by Cojocaru, Nunes and Dominic Harrison. But even if this sort of evening is inevitably a bit of a mixed bag, it did showcase the (still evident) beauty of Cojocaru's dancing.

  • Like 10
Link to comment
Share on other sites

I have decided that I will dedicate my first ever post to this program. Having been a balletomane for a fairly short time, I've always felt a bit apprehensive sharing my doubtlessly very amateur thoughts. After enjoying so many helpful reviews on this forum, though, I feel like I should pluck up my courage and contribute whatever I have.

 

I was very touched and thoroughly impressed by Alina and Johan's Reminiscence, in which the admiration and trust they have towards each other were, as bridiem put it, fascinatingly palpable. It was so full of emotion that it was almost a bit melancholic, where two people deeply in love simultaneously renounce their ego in order to become a part of the other person's self. But I could have just been too carried away by Alina's stunning versatility; she really was flying! I also quite enjoyed Les Lutins, especially the adorable plot twist. It struck me as an attempt to break the traditional dichotomy between the dancers and the musicians in a ballet performance (I will not spoil anyone by elaborating on how it was done), a deconstructing ambition I may go as far as saying!

 

Though I actually found the interpretation of Handel's Passacaglia to be slightly underwhelming. I must start by applauding the musicians; as a Cello player myself, I can tell that it is not an easy piece for both instruments, but there seemed to be little communication and chemistry between the duo. The tone color also sounded cold, although I wonder if the venue was at least partly responsible. Sadler's Well certainly is not Barbican Hall when it comes to acoustics. 

 

Overall, I find the program delightful and a wonderful showcase of Alina's technique, professionalism, beauty, and, if I am not just making things up in my head, inner world. If not for the many approaching deadlines at work, I will happily go again just to rewatch Reminiscence!

Edited by KyleCheng
  • Like 16
Link to comment
Share on other sites

Welcome to the forum, Kyle.

 

I thought the best thing about this programme was actually Marcelino Sambé in Les Lutins - think he may have been even better than Steven McRae in the role!  Was intrigued by the Nunes piece, which I thought had some interesting choreography, and I'd have liked to have seen it again. Marguerite and Armand seemed a bit like a work in progress still on the first night, but I'd be interested to see how the dancers have developed into it since.

  • Like 3
Link to comment
Share on other sites

I'd happily never see any of the programme prior to Les Lutins again.

 

Les Lutins was charming, whimsical and beautifully choreographed and performed.

 

Marguerite and Armand is not exactly my favourite ballet, but I couldn't take my eyes of Frola (who I managed to not recognise after only seeing him from balcony levels previously - so he holds the dubious honour of persuading me twice of being an exquisite dancer) and Cojocaru is always beautiful in emotional roles. As mentioned upstream in this thread, the performance could settle in a bit more, but even if it didn't,  I'd happily see it and Les Lutins again. So I decided to keep my second ticket, hopeful that knowing what is to follow will make it less painful to sit through the first part of the bill again.

  • Like 5
Link to comment
Share on other sites

And there I was at the stage door at the Birmingham Hippodrome this afternoon after a wonderful performance of Swan Lake.  I started chatting to a chap who, like me, had gone up from London to watch the show. Turns out he was none other than KyleCheng!!  Lovely to meet you, Kyle!

  • Like 9
Link to comment
Share on other sites

15 hours ago, KyleCheng said:

The tone color also sounded cold, although I wonder if the venue was at least partly responsible. Sadler's Well certainly is not Barbican Hall when it comes to acoustics. 

 

It must be all that metal everywhere, I guess?

  • Like 1
Link to comment
Share on other sites

Thank you for the warm welcome, capybara and alison; that means everything to me! I will definitely strive to write more!

 

It really was the most lovely surprise Sim! My first post on the Forum, first BRB performance, first Peter Wright Swan Lake, and meeting you (the first person from the Forum I've known, as you can imagine) all happened on the same day? I will be waiting to report this as my most unforgettable ballet moment at the 2020 end-of-year review.

 

8 hours ago, alison said:

It must be all that metal everywhere, I guess?

I would certainly think so! I also feel like the circles were perhaps designed to optimise view more than acoustics (understandably so I suppose), resulting in people sitting at the front of them (e.g. me on the second circle) being a bit too close to the stage to get a good reverberation.

  • Like 9
Link to comment
Share on other sites

We returned from the Wells tonight with hearts still beating with satisfaction and joy at tonight’s performance. 

 

First: a musical introduction, a Passacaglia by Handel lusciously performed by the Latvian cellist Margarita Balanas and Norwegian/British Charlie Siem on violin. Throughout the evening there were just three instruments, all played with feeling and brilliance, and it struck me how much better is this arrangement than either a poor orchestra or a recording.  I really enjoyed this piece, partly because Handel is one of my favourite composers and also because it served as a mood-setter, a beautiful overture replacement.

 

After this, Alina Cojocaru and Johann Kobborg danced ‘Reminiscence’ (choreographed by Tim Rushton).  How good it felt to be watching this pair together again.  Johan may be semi retired as a dancer, but he still has some good moves.  Alina was as breathtaking as ever and, from the first circle, looked about eighteen years old.  This abstract yet eloquent piece was so moving my cheeks became mysteriously moist.

Next came a film which lingered on Cojocaru’s  face and hands.  I was pleased to have this opportunity to focus on her very particular beauty, completely devoid of cosmetics.  Then came ‘Journey’, choreographed by Juliano Nunes who also danced, which had some interesting sequences but was my least favourite part of the evening.  A second short film, ‘Kiev’, recorded Alina’s visit to her ballet school in Kiev of decades before, and touchingly featured her by now very elderly teachers.  The final item on the first half of the programme was the delightful ‘Les Lutins’, choreographed by Kobborg and danced by Cojocaru, Sambé and Tamagawa, all of whom were brilliant.  This was our favourite piece of all, with its humour and virtuosity.

The second half consisted of Ashton’s ‘Marguerite and Armand’ which was beautifully performed by all, especially Frola taking the role of the passionate Armand.  The difficult Liszt score was superbly performed by pianist Sasha Grynyuk.

 

What an evening!  Cojocaru’s choice of programme was balanced, varied and compelling and I will continue to digest the memory of it for days to come. Before going out this afternoon, I re-read Johan’s programme note about Alina that a forum member kindly shared with us last year:

‘I once met a girl. We weren’t really supposed to meet, but when we did, everything changed…. If ever there was an alignment of lucky stars lined up for me, my Juliet and for us, then this was the moment.’  It was an extremely lucky moment for us, the audience, too.

  • Like 7
Link to comment
Share on other sites

From the British Theatre Guide review in today's Links:

"In 2013, injury prevented Alina and Steve McRae dancing it at ROH (replaced by Alexander Campbell and Yuhui Choe—she is in the audience tonight—who according to me “danced a blinder”)"

 

I have no memory either of the alleged original cast or its alleged replacement - it sounds most unlikely.  Can anyone confirm?

Link to comment
Share on other sites

11 minutes ago, Sim said:

Which piece does this refer to, Alison?  M&A?

 

Yes, it was M&A. I also thought that casting sounded surprising/unlikely, but since I used to sit out M&A sometimes I couldn't be absolutely sure. After reading Alison's post, I've done some googling and I see that Vera Liber's 2013 review is actually referring to Choe and Campbell in Voices of Spring, when they replaced Cojocaru and McRae; Rojo and Polunin then danced M&A. That's rather embarrassing isn't it?! You'd think someone would at least quote themselves accurately! See https://www.britishtheatreguide.info/reviews/la-valse-med-royal-opera-hou-8542

  • Like 4
Link to comment
Share on other sites

I just about managed to squeeze this in this afternoon, before a frenetic half-hour dash across London to get to a 6.30pm concert start at Cadogan Hall, so I did find it a bit difficult to fully concentrate at times when I was worrying about the near future.

 

I found the first half rather mixed. My favourite piece was definitely Les Lutins, which I really enjoyed. It was good to see Sambe do something quite different from The Cellist only a few days later - he's had a jolly busy week! I thought Reminiscence was alright & I am pleased that I've now seen Kobborg dance live. Faces involved too much modern writhing around for my taste & having 2 blackouts before the end made it confusing knowing when to applaud. Not having read the programme beforehand, I found the second video fairly baffling. I could have also done without the opening Bach, never having found most chamber music to my taste

 

I mostly went to see Marguerite & Armand, as I've not seen it before & when Frola was announced as Armand it suddenly became a must-see for me. Before the interval Cojocaru announced that due to technical issues they would be performing it with only half the set, but not having seen it before I don't know what was missing & the production looked fine to me as it was. The piece itself felt a bit like watching La Traviata on fast forward! I thought the pdds were lovely though & Cojocaru & Frola were terrific in them. To get to see the close-up acting, with Sadler's Wells' pit being so much smaller than the Coliseum's, was wonderful. The ending, with Frola kneeling devastated over his lover's dead body, was like a flashback to the heartbreaking ending of Manon that I saw him do just over a year ago. While I didn't find M&A quite in Manon's league of emotion, perhaps because it's a much shorter piece, it was still very moving.

  • Like 3
Link to comment
Share on other sites

7 hours ago, Dawnstar said:

Faces involved too much modern writhing around for my taste & having 2 blackouts before the end made it confusing knowing when to applaud. Not having read the programme beforehand, I found the second video fairly baffling. I could have also done without the opening Bach, never having found most chamber music to my taste

Handel, not Bach ;)

 

Faces was the close-up film of Alana.  I think your mention of 'modern writhing around' refers to 'Journey' and on that I agree, @Dawnstar!

  • Like 1
Link to comment
Share on other sites

58 minutes ago, maryrosesatonapin said:

Handel, not Bach ;)

 

Faces was the close-up film of Alana.  I think your mention of 'modern writhing around' refers to 'Journey' and on that I agree, @Dawnstar!

 

That shows how little attention I was paying to the opening music! I thought I'd checked the names of the dance pieces but evidently I misread the programme. Though frankly I could have happily not seen either Faces or Journey, which ever was which!

  • Like 1
Link to comment
Share on other sites

I actually loved the two movies in Alina’s programme.  I think they were both emotionally brave and intimate insights to her inner world, accompanied by well-chosen music.  ‘Für Alina’ by Arvo Part used to accompany the Kiev movie in particular, composed in 1976.

 

Much better than some other piece danced by someone else interjected between her dancing.  She could have chosen that, or musical interludes.

 

I also liked the musical start, like an overture to an opera or full-length ballet.   It brought the audience into Alina’s way of thinking that dance is driven by the music.  That’s my my interpretation.

  • Like 1
Link to comment
Share on other sites

As for Marguerite and Armand ....

 

Alina was sublime in this role.  Sensitive to her role in that society. Deportment to match and her full emotional range came across.  
 

Johan Kobborg excels as Armand’s father.   He has considerable aura on stage, not needing to do too much with his gestures for us to feel the force of his will.  
 

Francesco Gabriele Frola was very good indeed from the angry scene onwards.  Beautiful arabesques, lines and sumptuous movements with strong dynamics and connection with Alina.  He was less free in his dancing prior to that.  It was all hugely emotional at the end which both leads contributing to the moving denouement.  I shall look forward to seeing him in dramatic roles with ENB in future.  Best of the current ENB principals in this type of role I’d say.

  • Like 4
Link to comment
Share on other sites

Broadway world review in links today refers to Armand's father as Marguerite's father. Frustratingly incorrect.

 

Without a huge review, M&A is among my favourites when delivered well. I actually didn't think it was at all on Saturday night, but generally I am quite critical of most casts dancing M&A so potentially I am the one with the problem!

 

Having said that, overall, I think it was under-rehearsed or under-coached. While Alina delivered Marguerite's fragility, I just didn't feel her passion for Armand. There was nothing specific I could put my finger on, it makes me wonder who coached the piece and whether they had danced Marguerite before to pass on their insight (think back to the acting notes conveyed by Zenaida Yanowsky in the Swan Lake insight a couple of weeks ago). Was this simply Cojocaru's personal interpretation?

 

I thought Frola was excellent though, despite some wobbles in the scene where they first encounter each other, and he proves that ENB has some strong actor-dancers. Kobborg, on the other hand, was not. I found him rather wooden and as one review suggested, was just going through the motions. Again, this could suggest a missing link in the teaching/coaching of the role. 

 

  • Like 1
Link to comment
Share on other sites

17 minutes ago, Blossom said:

Broadway world review in links today refers to Armand's father as Marguerite's father. Frustratingly incorrect.

 

Without a huge review, M&A is among my favourites when delivered well. I actually didn't think it was at all on Saturday night, but generally I am quite critical of most casts dancing M&A so potentially I am the one with the problem!

 

Having said that, overall, I think it was under-rehearsed or under-coached. While Alina delivered Marguerite's fragility, I just didn't feel her passion for Armand. There was nothing specific I could put my finger on, it makes me wonder who coached the piece and whether they had danced Marguerite before to pass on their insight (think back to the acting notes conveyed by Zenaida Yanowsky in the Swan Lake insight a couple of weeks ago). Was this simply Cojocaru's personal interpretation?

 

I thought Frola was excellent though, despite some wobbles in the scene where they first encounter each other, and he proves that ENB has some strong actor-dancers. Kobborg, on the other hand, was not. I found him rather wooden and as one review suggested, was just going through the motions. Again, this could suggest a missing link in the teaching/coaching of the role. 

 

As usual, lots of varied opinions on the forum and all the better for that ;)  The thing I would say about M&A is that I could sense a huge connection between Marguerite and Armand's father, more than there was with Armand himself.  However the way Alina danced those faltering on-pointe steps was heartbreaking and beautiful to watch.  Wonderful choreography from Ashton at that point.  I agree with @FionaE that Frola's dancing improved as the ballet went on, and also that Kobborg had huge stage presence.  Just because - and remember he is from the Danish tradition - he isn't showy and extreme doesn't mean he doesn't completely inhabit the character he is dancing.  I didn't at all get the feeling he was 'going through the motions'.  But I admit to being a huge fan of his and Cojocaru's going back many years, so maybe I am prejudiced :)

  • Like 4
Link to comment
Share on other sites

As no-one else has posted any curtain call photos. (More on my Instagram)

 

 

8 hours ago, FionaE said:

I actually loved the two movies in Alina’s programme.  I think they were both emotionally brave and intimate insights to her inner world, accompanied by well-chosen music.  ‘Für Alina’ by Arvo Part used to accompany the Kiev movie in particular, composed in 1976.

 

Much better than some other piece danced by someone else interjected between her dancing.  She could have chosen that, or musical interludes.

 

I wonder if the films would have worked better for people who are long-term fans of her? I've only seen her dance once before - ENB's Manon last January - so don't have the sort of emotional connection to her that I'm sure people who are big fans of hers would have. I would have much rather had some of the other dancers do other pieces while she was busy changing than the films.

  • Like 3
Link to comment
Share on other sites

17 hours ago, Dawnstar said:

I wonder if the films would have worked better for people who are long-term fans of her? I've only seen her dance once before - ENB's Manon last January - so don't have the sort of emotional connection to her that I'm sure people who are big fans of hers would have. I would have much rather had some of the other dancers do other pieces while she was busy changing than the films.

 

I think that might well be the reason for our disparate views, @Dawnstar :)

  • Like 3
Link to comment
Share on other sites

I have some curtain call pics from the Saturday matinee - I enjoyed most of the programme and especially loved Les Lutins and M&A.  Frola was great and Alina was...Alina! Great to see Johann and Alina dancing together as well. 

ERfBXWoXYAAQ8lp?format=jpg&name=4096x409

Sorry not great quality - the first half bows.

ERfBXWyWAAI16U8?format=jpg&name=4096x409

Alina and Francesco 

ERfBXWyXsAIrlEY?format=jpg&name=4096x409

Alina

ERfBXW1XUAgey56?format=jpg&name=4096x409

Conductor/Johann Kobbaorg/Alina/Frola/Marriot after M&A

 

 

  • Like 6
Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...