Royal Ballet, Swan Lake, 2020

[JohnS]

Fabulous performance this afternoon, for me much more compelling a Swan Lake than last night’s. Takada is such a dream to see and she and Bonelli gave us real depth in their portrayals, supported by a consistently strong cast. Last night was luxurious but this afternoon provided the emotional roller coaster. Last night the audience were more enthusiastic but at times I thought Nuñez a little too keen to milk the applause. This afternoon Takada remained in character as Odette/Odile when acknowledging the audience, wonderfully supported by Bonelli. I thought there was more of a flow to the entire performance and the ending seemed the most fitting of performances I’ve seen to date including the first run. Bonelli seemed to have a little more time and I thought was more purposeful in what he was doing in those final moments. Lovely to see so many cast take their curtain calls at the end. It may be because it was a matinee or perhaps more likely  because the performance was being filmed, I assume for Japanese television -  what a fortunate audience they are as they will surely enjoy this most exquisite of pearls.

[Lizbie1]

44 minutes ago, JohnS said:

the performance was being filmed, I assume for Japanese television

 

Isn't this the cast for the live broadcast? Maybe they're planning a DVD so are looking for cover.

[San Perregrino]

10 minutes ago, Lizbie1 said:

 

Isn't this the cast for the live broadcast? Maybe they're planning a DVD so are looking for cover.

Cast for the live screening is Cuthbertson & Bracewell 😋 a 

[Rob S]

13 minutes ago, Lizbie1 said:

 

Isn't this the cast for the live broadcast? Maybe they're planning a DVD so are looking for cover.

It’s the Cuthbertson performance that is being shown in cinemas, though the next Takada performance is also being filmed, so yes maybe Japanese TV is the intended viewer 

[Lizbie1]

Oops, sorry!

[MJW]

A bit late in the day, but some pics of William Bracewell and Lauren Cutherbertson (looking forward to their cinema screening!)

 

https://photos.alastairmuir.com/Ballet/Royal-Ballet/Swan-LakeCuthbertson/

[annamk]

I also very much enjoyed the matinee cast today.  Takada was delicate and fragile but technically strong. Bonelli was elegant, he partnered beautifully and he danced his solos well. I can't say I felt either more or less chemistry than the Nunez/Muntagirov performance. I was more central this afternoon and could better appreciate how stunningly beautiful the Act II lakeside scene is.

 

A loud shout out for James Hay's Benno - such effortless and elegant dancing. 

 

 

[KyleCheng]

4 hours ago, JohnS said:

Last night was luxurious but this afternoon provided the emotional roller coaster.

 

I cannot agree with this more. 

I feel very lucky to have booked for the opening night as well as today's matinee, having thoroughly enjoyed both. Akane has always been one of the most fascinating RB principals for me. Her elegance and classicism, especially with regards to her upper body, coupled with a delicate physique, never fail to create a transcendent and otherworldly atmosphere, and what other role offers a better showcase of such a quality than Odette? But then she transformed so convincingly after the first interval. One of my favourite bits was when von Rothbart revealed his plot at the end of Act III, Odile immediately and very effectively changed from seductive and cheeky to full-blown evil. On another note, I also found her mime more "articulate" and natural in comparison.

 

That being said, I was absolutely mesmerised by Nunez/Muntagirov too. Marianela's technical excellency is as wonderful as always to witness. The exact same can be said about Vadim and his stunningly effortless jumps. I also thought Melissa Hamilton was brilliant in both performances, yesterday as the Hungarian princess and today as one of the big swans.

 

How fortunate are Londoners to be able to enjoy two performances so brilliant in different respects within 24 hours.

Edited March 6, 2020 by KyleCheng

[Candleque]

8 hours ago, Odyssey said:

Rob S, really appreciate you taking the time to post the cast sheet

Ditto. Want to echo this. Thanks @Rob S 👍
Makes up for the lack of cast info on the ROH site.

[Rob S]

 

 

 

 

Edited March 6, 2020 by Rob S

[capybara]

8 hours ago, Rob S said:

I’m sure I didn’t see Siegfried’s sisters in the curtain call last night, certainly not the red run...but they were there today 😍

 

Their appearances for curtain calls was sporadic last time round. I guess that last night's sisters were conscious of there being an early matinee today whereas this afternoon's pair would have been at work until well past the show's end.

 

[Scheherezade]

7 hours ago, KyleCheng said:

I also thought Melissa Hamilton was brilliant in both performances, yesterday as the Hungarian princess and today as one of the big swans.

It’s always nice to have some recognition for Melissa Hamilton, too. 

[Richard LH]

Akane was just wonderful yesterday! She is such a mature and accomplished dancer now. The whole performance from this cast was terrific. Whitehead a particularly nasty, snarling Von Rothbart!

[JohnS]

1 hour ago, Richard LH said:

Whitehead a particularly nasty, snarling Von Rothbart!

Quite agreed - I’m afraid I had the image of a certain No 10 Special Adviser come to mind but couldn’t quite work out who was modelling himself on whom. It is great when Benno gives the ‘All clear, he’s gone, let’s enjoy ourselves, and no more saluting’ and also when Siegfried at last says ‘No’ to Rothbart.

[San Perregrino]

14 hours ago, annamk said:

 

A loud shout out for James Hay's Benno - such effortless and elegant dancing

Ive been shouting from the rooftops about James’s ’ performance yesterday matinée From where I was standing he was  flawless in both his technique and his acting remaining in character from start to finish. I rate him No 1 of the two Bennos so far and he has set a very high barre (😉) for Bennos to come.

 

[Fonty]

A quick question.  How much, if any, of Ashton's choreography is there in this production?  I know Dowell got rid of a lot of it when he did his production.  I just wondered if any had been reinstated?

[zxDaveM]

51 minutes ago, Fonty said:

A quick question.  How much, if any, of Ashton's choreography is there in this production?  I know Dowell got rid of a lot of it when he did his production.  I just wondered if any had been reinstated?

 

I think it is just the neopolitan dance now. All the corps dancing that isn't Petipa, is now Scarlett's - or so I believe! (happy to be proved wrong)

[Fonty]

Thanks @zxDaveM  I wonder why the Royal Ballet (or Kevin O'Hare) thinks that Scarlett can provide better choreography than Ashton. 

[San Perregrino]

45 minutes ago, Fonty said:

Thanks @zxDaveM  I wonder why the Royal Ballet (or Kevin O'Hare) thinks that Scarlett can provide better choreography than Ashton. 

I don’t believe that the Royal Ballet (or Kevin O’Hare is claiming that one choreographer is better than another. In fact, much of the Royal Ballet’s  time and attention is given to preserving and presenting the historical choreography in its repertoire. 
I do believe it healthy that choreography evolves over time, whether it’s Ashton’s evolution  of Petipa, Scarlett’s evolution of Ashton, Acosta’s evolution of Petipa etc etc 

As someone once said “To stop growing or learning is to start dying”

[Fonty]

1 hour ago, prs59 said:

I do believe it healthy that choreography evolves over time, whether it’s Ashton’s evolution  of Petipa, Scarlett’s evolution of Ashton, Acosta’s evolution of Petipa etc etc 

As someone once said “To stop growing or learning is to start dying”

 

While I agree with the saying, I am not sure how it applies to the examples you give!  Using a similar analogy, all the Old Masters in the various art galleries in the UK can be replaced with works by new, current artists, to show the evolution of painting.

 

De Valois and Ashton together made the Royal Ballet the great company it is today.  I am not sure that anything I have seen in place of his choreography could be described as an "evolution."  Different, yes, but it takes a very great talent indeed to replace that of a recognised master with something better.  
 

 

[Jane S]

3 hours ago, zxDaveM said:

 

All the corps dancing that isn't Petipa, is now Scarlett's - or so I believe! (happy to be proved wrong)

 

Petipa/Ivanov perhaps?

[Odyssey]

Can someone tell me who danced Odette/Odile and Siegfried at the General Rehearsal last week. Thank you

[Richard LH]

28 minutes ago, Odyssey said:

Can someone tell me who danced Odette/Odile and Siegfried at the General Rehearsal last week. Thank you

Lauren Cuthbertson and William Bracewell.

[San Perregrino]

1 hour ago, Fonty said:

 

While I agree with the saying, I am not sure how it applies to the examples you give!  Using a similar analogy, all the Old Masters in the various art galleries in the UK can be replaced with works by new, current artists, to show the evolution of painting.

‘Better’ has nothing to do with anything as far as I’m concerned. I purposely didn’t use the word ‘better’ in my posting. What is or isn’t ‘better’ is a matter of personal choice and subjective judgement. And,  in my case, very much fluid rather than set in stone as so many factors can influence how I perceive something at any given time.  

I doubt that a choreographer, given a chance to create a work, starts out to ‘better’ a previous version of a ballet. Rather the choreographer sets out to translate his, her or their own vision onto the stage for audiences to watch.  

 

It is, after all, a very small gallery that only has space for one masterpiece and the number of visitors limited. A gallery with two masterpieces will most likely attract more visitors. Of those visitors, some will decide for themselves that one is ‘better’ than the other, equally others may find enjoyment in both works without the need to judge one against the other. 

Works of art are rotated on a regular basis in galleries worldwide and increasingly hung next to their peers and more modern works for people to better enjoy and appreciate them.  This doesn’t detract from the ‘greatness’ of an Old Master. Some even go into storage but are not forgotten. They are often brought out at a later date to be seen by a new audience and reevaluated often to great acclaim. 

Would you have the Royal Ballet frozen at a moment in time some decades ago as a monument to it’s creators churning out the same ballets ad infinitum ? 
I certainly don’t want that and I doubt De Vallois & Ashton would have wanted that either.  I’d rather it be a living thriving organisation which acknowledges and continues to build on its rich heritage whilst at the same time widening and adding to its repertoire by supporting and encouraging the talent of today.  For example,  after seeing her ‘Flight Pattern’ my imagination soars at the idea of Crystal Pite bringing us a Swan Lake at a not too distant date in the future. If this happened it wouldn’t stop me welcoming and enjoying revivals of existing Swan Lakes be it Ashton, Scarlett or indeed if brought into the repertoire those of Nureyev or Wright. The more the merrier. 

 

[Fonty]

1 hour ago, prs59 said:

‘Would you have the Royal Ballet frozen at a moment in time some decades ago as a monument to it’s creators churning out the same ballets ad infinitum ? 
 

 

Certainly not, but the Royal Ballet has had many new ballets since De Valois and Ashton started working together.  A certain Mr MacMillan produced some quite good stuff that has withstood the test of time, I believe. 🙂

 

1 hour ago, prs59 said:

I doubt that a choreographer, given a chance to create a work, starts out to ‘better’ a previous version of a ballet. Rather the choreographer sets out to translate his, her or their own vision onto the stage for audiences to watch.  
 

 Got no problem with that.  I loved Matthew Bourne's versions of all the Tchaikovsky ballets, for example, and Akram Khan did a splendid Giselle.  But they choreographed entirely new ballets based on the classic stories.  What they didn't do was chip bits out and stick in stuff of their own creation.  That is tantamount to a modern artist painting over and altering the figures of Rubens or Botticelli, either because they don't conform to modern ideas of what female beauty should be, or because it is now deemed to be distasteful to show women in the nude and consequently the Old Masters have to be "evolved" to align with the modern world.  
 

Now I know people will say that Ashton did exactly that, by removing established bits and putting in his own choreography.   Well, I don't know what he replaced, but it was done  with the consent and approval of De Valois. And I  think we can say that she knew a thing or two about ballet!   I find it strange that while all (most?) of the original Petipa has remained over the years , the Ashton stuff that has been chipped out.  I haven't seen this new Swan Lake, but I know when Dowell did a new production, Ashton was livid that his work had been removed.  I believe, although I may be wrong, that the majority of people who know anything about ballet thought that Dowell's replacements were inferior.  

Anyway, all I was really asking when I started this conversation is whether everyone who is old enough to have seen the older productions can remember Ashton's choreography, and whether or not they think it is a shame that it wasn't reinstated.  I was genuinely interested to know.   

Edited March 7, 2020 by Fonty

[ninamargaret]

First of all, let me say that my knowledge of ballet history is pretty small and someone on the forum will probably be able to correct my comments, for which I will be grateful. It seems to me that we have little detailed information about Petipa's choreography and that most productions of his ballets have been a combination of dancers passing on their memories and teaching younger dancers, notes left by Petipa plus assorted photographs, memoirs etc. Therefore it seems inevitable that choreographers over the years should alter, amend, invent new choreography and while we can lament the loss of the Ashton choreography (which I enjoyed) it is not unreasonable for choreographers to add their two pennyworth to the mix. 

 

[Fonty]

4 minutes ago, ninamargaret said:

First of all, let me say that my knowledge of ballet history is pretty small and someone on the forum will probably be able to correct my comments, for which I will be grateful. It seems to me that we have little detailed information about Petipa's choreography and that most productions of his ballets have been a combination of dancers passing on their memories and teaching younger dancers, notes left by Petipa plus assorted photographs, memoirs etc. Therefore it seems inevitable that choreographers over the years should alter, amend, invent new choreography and while we can lament the loss of the Ashton choreography (which I enjoyed) it is not unreasonable for choreographers to add their two pennyworth to the mix. 

 

 

I might be wrong, but Petipa has been danced for generations, so while we may not have his original notes,  the steps have been recorded so that they can be passed on.  So each generation dances the same steps as the previous ones.  At least, I thought that was how it was done? 

I don't mind new choreographers adding their two pennyworth.  It depends on which existing two pennyworth they cut out to make way for it.  It seems to me that sometimes change is made for the sake of change.  

[alison]

1 hour ago, Fonty said:

I haven't seen this new Swan Lake, but I know when Dowell did a new production, Ashton was livid that his work had been removed. 

 

It's before my time, but I always understood that Ashton disapproved of Dowell's production and wouldn't let his work be performed in it?

[Jane S]

Dowell's was a 'back-to-Petipa/Ivanov' production so he took out Ashton's waltz and Act 4 - he wanted to keep the Neapolitan but Ashton was miffed and wouldn't let him. He (Ashton) gave all the discarded bits to ENB and you can see them in the film with Evelyn Hart and Peter Schaufuss in the leads.

 

Dowell's production was widely admired for the authenticity of the choreography but less so for the staging (truly awful in parts) and the designs, which some people loved but others thought too fussy.

 

[zxDaveM]

4 hours ago, Jane S said:

 

Petipa/Ivanov perhaps?

 

sorry, yes, that's what I meant really...

 

[Sim]

I loved Dowell’s Act IV, especially the ending.  

[annamk]

33 minutes ago, Sim said:

I loved Dowell’s Act IV, especially the ending.  

Oh yes me too, it was so lovely and utterly heart rending. 
 

The Scarlett version (choreography and ending) has destroyed the emotional impact of Swan Lake for me - the only good thing is that I can leave after the Black Act and get home earlier !

[KyleCheng]

4 hours ago, ninamargaret said:

It seems to me that we have little detailed information about Petipa's choreography and that most productions of his ballets have been a combination of dancers passing on their memories and teaching younger dancers, notes left by Petipa plus assorted photographs, memoirs etc.

 

This is an interesting topic that I'd love to learn more about from my fellow forum members. I will share the very little bit of information I've learned from the internet and a book I enjoy revisiting before attending one of the ballets discussed in it: "Tchaikovsky's ballet" by Professor Roland John Wiley.

 

From what I have read, an authoritative record of Petipa/Ivanov's 1895 revival of Swan Lake is the notes made by a certain Mr Nikolai Grigorievich Sergeyev, the regisseur of the Imperial Ballet between 1903-1917, during which the 1895 production was being staged at Mariinsky. Mr Sergeyev later came to London and created the first full-length british Swan Lake production for the Vic-Wells Ballet (1934) based on these notes (and presumably his own recollection from seeing it for a number of times). According to ROH Collections, it was only after Mr Sergeyev's death in 1951 that a new production was staged by Dame Ninette de Valois and Sir Frederick Ashton (1952). It perhaps can be posited that Mr Sergeyev, having worked in both St Petersburg and London, played a crucial part in linking the productions we have been seeing in London back to what Petipa/Ivanov created.

 

Mr Sergeyev's notes have since been obtained and owned by the Harvard University Library.

Edited March 7, 2020 by KyleCheng