Royal Ballet: The Dante Project - October 2021

[alison]

Casting up for tomorrow's performance already - I guess it would be a bit late to do it by the time the ROH opens, given the extremely early start.  Let's hope there's no need to change it.

 

And can someone remind me of the change of cast in Purgatorio last night?  I didn't think the name mentioned was the one currently on the cast sheet, although I could be wrong.

[Lizbie1]

5 minutes ago, alison said:

Casting up for tomorrow's performance already - I guess it would be a bit late to do it by the time the ROH opens, given the extremely early start.  Let's hope there's no need to change it.

 

 

And there's a nice note about it being Ed Watson's "final performance as Principal dancer".

[alison]

Oh yes, missed that - thanks.

[Rob S]

 

 

 

 

 

 

 

[Sim]

Thanks for these lovely photos, Rob.  It gives those of us who weren't there the chance to feel as if we were! 

 

[LACAD]

Back home from the superhuman Ed Watson’s farewell performance. You could get a real sense of the affection the dancers in the company have for him in a lovely video shown to the audience at the end, many referencing his warmth and sense of humour, as well as of course his flexibility.

 

Since moving here this is only my second time seeing Ed perform, the first being the premiere of the Dante Project. And while I’m quite late to the game, his presence is one that is unshakeable. And totally unique.

 

That being said, I couldn’t help but feel that this performance was not only a touching send off, but a way to pass on the torch for the future male stars of the royal ballet. Which made the evening all the more emotional. In particular, Joseph Sissens and Calvin Richardson seem to be able to emulate something exquisitely different to their fellow male colleagues. Ed Watson is inimitable, but he’s certainly opened the door for new possibilities for the male dancer.

 

As for the ballet, my opinion hasn’t changed too much. Though I have warmed to the latter half of Paradiso (though I still think it is the weakest act of the ballet, I’m still not sold on its music and design aspects). Inferno, to me, remains the most intriguing of the three. 

[LinMM]

Great piccies again Rob S! 
Looks like an emotional occasion for all. 
Was it Adès conducting this afternoon? 

Did you make it in the end JohnS? 
Some of the pictures from the Lake District do look a little scary. 

Edited October 30, 2021 by LinMM

[Fiz]

There are some beautiful written tributes to Ed Watson on Instagram from Olivia Cowley and Frankie Hayward.

[Lizbie1]

1 hour ago, LinMM said:

Was it Adès conducting this afternoon? 

 

 

No, Koen Kessels.

[bridiem]

1 hour ago, LinMM said:

Looks like an emotional occasion for all. 
 

 

It was very emotional, and impossible as the work progressed not to make the association between Dante and Edward Watson. As Gary Avis/Virgil retreated in love before Beatrice took over as Dante's guide, he was saying farewell not just to the poet but also to the dancer. Sarah Lamb/Beatrice was not only guiding Dante into Paradiso but Edward Watson into his new future. The whole company was dancing not only in the presence of the poet but in the presence of, and with, a clearly much loved colleague and friend. And at the end, Watson danced on his own bathed in the light of heaven at the end of a stellar performing career. Absolutely wonderful performance by the whole company, and great tributes in person and on film after curtain down. 

Edited October 30, 2021 by bridiem

[ChrisG]

 

Fabulous morning/afternoon. Wonderful piece/wonderful dancer! The view from the amphitheatre.

[LinMM]

Sounds like a truly wonderful end to his main dancing career ....wish I could have been there ❤️ 

 

[bangorballetboy]

[LinMM]

Aaaah! 
Goodbye Ed Watson and Thankyou for the dancing 🌟🌟🌟🌟🌟

[capybara]

A breathtaking, wonderful performance with Calvin Richardson in particular signalling his claim to be Ed’s heir.

Plus a very well-orchestrated, revealing and touching salute to the retiree.

As others have said,”Thank you for everything Ed., especially for being mesmerisingly and uniquely you in every role you have danced.”

[Rob S]

17 minutes ago, capybara said:

A breathtaking, wonderful performance with Calvin Richardson in particular signalling his claim to be Ed’s heir.

Plus a very well-orchestrated, revealing and touching salute to the retiree.

As others have said,”Thank you for everything Ed., especially for being mesmerisingly and uniquely you in every role you have danced.”

 

 Was he doing that long solo? The extra hair really threw me when trying to identify who it was...I couldn't work out who was doing that in the other cast either!

 

Edited October 30, 2021 by Rob S

[capybara]

8 minutes ago, Rob S said:

 

 Was he doing that long solo? The extra hair really threw me when trying to identify who it was...I couldn't work out who was doing that t=in the other cast either!

 

Yes - that was Calvin being absolutely amazing!

The character is Ulysses, danced in the other cast by Harry Churches, I think.

Edited October 30, 2021 by capybara

[San Perregrino]

8 minutes ago, Rob S said:

.I couldn't work out who was doing that t=in the other cast either!

Calvin Richardson in cast 1
Harry Churches in cast 2

[LBC]

Edward Watson, alongside Leanne Benjamin will be talking to the LBC this coming Tuesday (2nd November) at 7.30pm at The Royal Ballet School.

Admission is by prior booking only but there are still a few spaces available for guests as well as Members. To book, please go to: https://www.tlbc.org.uk/events/in-conversation-with-leanne-benjamin-and-edward-watson

[maryrosesatonapin]

Aw, goodbye Edward Watson!  You were complex, arresting and brilliant.  I only wish the final costume in which I now have to remember you for ever more wasn't akin to my Mum's old dressing gown.  But the part of Dante was ideal as your last role - you were indeed a purgatorial poet of movement!

[JohnS]

5 hours ago, LinMM said:

Did you make it in the end JohnS?

Yes thanks LinMM. 40 minutes late into Euston getting in at 10:55 so a quick walk to ROH. A truly memorable occasion and such a fitting way to celebrate Ed Watson’s phenomenal career. Fabulous photos and posts above and just delighted to have made it.

[alison]

Thank you to everyone for the photos: although I thought I'd managed to get myself a ticket with a reasonable view it turned out that I hadn't allowed for the people in front of me, so I was desperately trying to see over/between people's heads.  And my photos were rubbish, too

[LinMM]

So glad you could make it JohnS one of those not to be missed occasions if you could possibly make it! 
 

[LinMM]

Just been watching a ROH video of Ed Watson’s curtain calls and see there was a flower throw! I thought these had been banned ( on health and safety grounds) but glad to see obviously have not.  

[JennyTaylor]

I went to the performance yesterday, specifically as it was Ed Watson's final performance. What a wonderful send off they gave him. Perfect in every way. 

 

First to the ballet. It was my first viewing and I did try and do some research beforehand which helped to a certain extent.  However, despite trying to memorise the cast sheet and the names of each dance, I failed dismally to remember what they all were, so when the Stream eventually comes up, I will watch it with the cast sheet to make more sense of it.  Only by knowing what characters are being depicted can one then make sense of the dance movement (I hope).  I was also playing "spot the dancer" which is somewhat distracting. 

 

I'm not a Wayne McGregor fan but for me, this was by far the best ballet I have seen of his in terms of enjoyment. That was down to the phenomenal performances of all the Royal Ballet dancers, who were completely stellar, and the fact that there was some decent orchestral music. Would I go and see it again?  Yes, but I wouldn't book for several performances in a run, as I do for some other ballets. 

 

Ed's opening solo was just wow, wow, wow! I found myself wondering why he was retiring as he could still out dance anyone on stage. Oh, the grace and beauty of those long legs and arms. 

 

However, I had (once again) severe issues with the lighting in Act 1 even though I was in row 5 of the Orchestra Stalls.   It was really difficult to make out the dancer's faces although I could see a lot of puffs of chalk dust.   Calvin Richardson was superb as Ulysses but my favourite piece was the Thieves performed by  Luca Acri, Matthew Ball, Leo Dixon, Benjamin Ella, James Hay, Joshua Junker, Paul Kay, Giacomo Rovero, Marcelino Sambé, Joseph Sissens and Stanisław Węgrzyn.  The speed of attack was phenomenal and Joe Sissens climaxed the piece with the fastest turns I think I have ever seen. The rest of the audience loved this dance too and greeted it with rapturous applause. 

 

I wallowed in the plethora of RB Principals and First Soloists on show as the ballet progressed and was sad that I could not identify all the younger dancers. The climax to the ballet was absolutely perfect in the setting for Ed's final performance and it was very moving when the shaft of light lit up his final steps. There was an immediate standing ovation as the curtain fell and then the wonderful traditional flower throw. I felt that was very emotional, particularly after all we have been through in  last 18 months. A full theatre, cheering one of its heroes. 

 

The farewell ceremony was marvellous. The stage was packed with past and present dancers and staff. A short film was shown featuring short clips of verbal appreciation of Ed.  Contributors included: Deborah Bull, Mara Galeazzi, Thiago Soares, Deborah McMillan, Marianela Nunez,  Kate Shipway, Johanna Adams-Farley,  Gary Avis, Darcey Bussell, Philip Mosely, Christopher Saunders, Christopher Wheeldon, Marcelino Sambe, Monica Mason, Jeanetta Lawrence. Wayne McGregor, Koen Kessels,  Natalia Osipova, Christopher Carr,  Elizabeth Anderton, Zenaida Yanowsky.  (I know I've missed a couple more) 

 

Lady Sarah Chatto presented Ed with a RB Silver Medal, there was a 2nd flower throw, presentations of various bouquets and a second standing ovation before the final curtain came down.  A very memorable afternoon and a wonderful climax to Ed's dancing career. 

 

 

[maryrosesatonapin]

33 minutes ago, LinMM said:

Just been watching a ROH video of Ed Watson’s curtain calls and see there was a flower throw! I thought these had been banned ( on health and safety grounds) but glad to see obviously have not.  

I think we the audience members are still not allowed to present flowers ourselves, but ROH staff carefully throw individual blooms onto the stage from the side boxes so there isn't any health and safety issue.  

[JennyTaylor]

52 minutes ago, maryrosesatonapin said:

I think we the audience members are still not allowed to present flowers ourselves, but ROH staff carefully throw individual blooms onto the stage from the side boxes so there isn't any health and safety issue.  

It looked like a very traditional flower throw to me from the top side boxes as the flowers rained down on Ed.  Whoever did it - did a very good job!

[FionaM]

The tribute video was made by Andrej Uspenski … he told me as he was standing at the front next to me as it was being shown.  

The whole performance and tributes after were wonderfully warm and heartfelt.   I’m sure his dancing days are not totally over.  
 

Ed’s opening solo in Inferno and the tender duet with Gary Avis in Purgatorio were the highlights of Ed’s last performance. 

Edited October 31, 2021 by FionaE
Clarification

[LinMM]

I used to be involved in such flower throws from the boxes a very long time ago now mostly for another charismatic dancer Nureyev ( and Fonteyn of course) 

It was great fun and the big flower market was still close by in Covent Garden. Don’t think I could do the dash from seat to box these days lol!! 

[FionaM]

Regarding other performances in the Dante Project … 

The highlight for me was Calvin Richardson’s truly extraordinary performance as Ulysses.  Off the charts.  His ability to convey emotion and make sense of Wayne’s movements, rather than just doing it, and the quality of his movement!  I’m struggling for the words.  
 

I loved the fabulous virtuoso sequence for the multitude of male thieves where Joe Sissens stole the show with his spins.  Great to see Stanislaw Wegrzyn featured.  Joe Sissens and Paul Kay were also super in the Soothsayers duo, as was James Hay in his adagio with Ed.  

 

Overall It was an embarrassment of riches (aren’t we lucky) seeing so many principals and soloists on stage at once in so many of the different scenes.  For example, in Purgatorio alone one scene had Watson, Ball, Hirano, Bracewell, Richardson, Sissens 🌟 all dancing superbly.  
 

So impressed with Marco Masciari’s emotional depth, as well as his well-known technique, as the young Dante.   I do hope the RB can keep him.  
 

This ballet seemed dominated by the male dancers for me.  Of the ballerinas. Francesca Hayward was lovely as young Beatrice.  
 

I didn’t get much idea of lust from Francesca and Matthew Ball as the lovers in Inferno … though it was great to see some super side-by-side choreo from Wayne instead of intertwined bodies.  

[Rob S]

2 hours ago, JennyTaylor said:

 

 

Lady Sarah Chatto presented Ed with a RB Silver Medal....

 

 

 

Thanks for the info, I got pics of Kevin O'Hare when he was saying that someone was going to give him a medal but couldn't hear who it was...then my next pic is of Ed holding it in its box...didn't get one of the giver😆

[bangorballetboy]

[FLOSS]

I was there on the first night , saw the second cast and was present  at Watson's farewell. I find the range of critical response to this piece very telling. It seems to me that nearly everyone has been very careful for fear McGregor's latest oeuvre turns out to be a masterpiece. It is going to be  interesting to find out what Parisian audiences think of it when it is performed by the POB. I just hope that the fish war does not get in the way.As far as the first performance is concerned all the critics save one seem to have been at a performance taking place in a parallel universe to the one I attended. Gerald Dowler is the only critic who was at the performance which I attended. While I tend to think that I might have got more out of this work if it had been better lit and I could have seen more of what was happening on stage Dowler's comments suggest that better lighting might not have improved things that much.

 

McGregor's love of atmospheric lighting always suggests to me that he is still not used to creating works  for such a large space and that he is indifferent to whether his works are visible in the cheaper parts of the auditorium. I still cling to the outdated idea that what happens on stage during the course of a ballet performance tends to be important and should be visible to every member of the audience who is not sitting in a seat sold as having a"restricted view". I am left wondering whether the first act of this new piece is only meant to be visible from the more expensive seats in the lower parts of the theatre. 

 

I think that the score itself is really interesting and deserves more substantial and varied  choreography better aligned to the subject matter which the composer thought he was depicting in his score. I particularly like the deconstruction of some very well known music by Liszt and Ades' orchestration. Whatever I may think of the choreography, and it is distinctly variable in quality as inspiration seems to run out in some places before the musical ideas do, everyone on stage yesterday afternoon danced their hearts out. I agree with those who have commented on the performances given by Sissens and Richardson. They were both outstanding on a stage populated by any number of exceptional dancers. I hope that Watson was satisfied with his final performance in what has been a long and varied career as a member of the company. He made as strong a case for the work as he could by giving an outstanding account of the role of Dante.

 

I was pleased to discover yesterday afternoon that the Royal Opera House still awards silver medals to those performers fortunate enough to enjoy lengthy careers with the opera and ballet companies resident there when Watson received what is a small token marking the end of a truly distinguished career. I somehow thought that with the all the changes in managerial style and culture that have taken place since the theatre was reopened after its lengthy and expensive redevelopment the idea of making awards in recognition of long service to the lyric arts might have been abandoned on some pretext or other. After all if the Chairman of the Opera House Board could convince himself that the reason people were not attending the theatre was because it is called the "Royal Opera House" and had nothing to do with theatre's pricing policy then who was to say that the Board had not abolished the medal on the grounds of cost,the inappropriateness of marking achievement in elite art forms or some other spurious reason such as modern management techniques make such sentimental and old fashioned acts of recognition of long service inappropriate? According to Kevin this award was one of several due to be made to members of the ballet company during this season.

 

For those unaware of the practice, in the past performers at Covent Garden who completed twenty five years of service with either of the resident companies were awarded the Royal Opera House silver medal. Such awards were always more common for singers than for dancers because while ballet careers start early they are notoriously short.Singers generally start their careers at an age when dancers are already mid-career and they can go on performing into their sixties and sometimes into their seventies if they look after their voices and are not tempted into repertory which might damage their voices and shorten their careers. I still remember the evening years ago when Joan Sutherland was presented with her silver medal some years after she would have been entitled to receive it. Somehow management had forgotten her pre Lucia career with the company when the powers that be had not known what to do with her and had mapped out a career for her which would see her develop into a dramatic soprano. At least if you are a dancer significant dates are less likely to be overlooked.