Royal Ballet's Giselle - Autumn 2021

[FionaM]

5 hours ago, Richard LH said:

Tomorrow's casting

https://www.roh.org.uk/tickets-and-events/giselle-by-marius-petipa/cast-list/49072

thank you!  
 

What a delight this pd6 will be…

Dias, Richardson, Maeda, Ella, Allnatt, Junker 

[Rob S]

 

 

 

 

 

 

 

 

 

 

Edited November 19, 2021 by Rob S

[bridiem]

Wonderful photos as always, Rob S! Especially the last one - Albrecht and Giselle united happily in life after all. Oh well...

[Richard LH]

Rob if you are not already attending today's matinee, I insist you get a last minute ticket, or else one for the 1st December! 😉 

Edited November 19, 2021 by Richard LH

[Rob S]

47 minutes ago, Richard LH said:

Rob if you are not already attending today's matinee, I insist you get a last minute ticket, or else one for the 1st December! 😉 

 

I am indeed attending today's matinee!! 🙂

[alison]

That's good to know.  I hope someone will report back, too - I'd been hoping to go, but having got back so much later than expected last night and then having overslept, I couldn't make such an early start

[Nina99]

11 hours ago, oncnp said:

These lifts in Act 2 (sorry - don't know the proper name but here is Dancer's Diary's https://www.instagram.com/p/CWLWhTWgJWf/ lovely slow motion) were different tonight.  Is one or the other "right" or can the dancer's chose whichever they want? 

 

 

I was surprised to see the lifts done that way especially since Dancer's Diary on IG had posted them rehearsing the lifts in the traditional way.  Not being a ballet expert wouldn't know if the ones they did last night were easier but if so I wondered if maybe Muntagirov has a slight injury and he's saving himself bearing in mind the three Nutcrackers that he and Nunez have coming up in quick succession.  

 

Otherwise I thought it was a really sublime evening with great performances all round and it confirmed my opinion that this is my favourite of the classic ballets.   I agree with JennyTaylor that Lukas BB was excellent as Hilarion and in fact I think that the choreography and the music in Act 2, where he is being danced to death by the Wilis is one of the most effective in the whole ballet, especially when viewed from a more elevated seat. 

 

The corps were superb as usual although this time they weren't applauded in the middle of  their hops in Act2.  Otherwise the audience was very enthusiastic and in fact Muntagirov's big moment in Act 2 was almost hijacked when the solo that Nunez did beforehand got such huge applause that, after he ran on stage Muntagirov had to wait before he could perform his variation - which he did, very beautifully.  

 

Since it's been discussed before I paid special attention to the music and I agree that it is lovely although I still think that it could be more evocative in parts especially the music for the Wilis and Myrtha at the beginning of Act 2.  My only other criticism was that the tempi, especially in Act 1 seemed rather slow at times. 

 

 

 

 

[emmarose]

Rob, thank you so much for those beautiful photos here and in Insta, you capture every dancer so well, that last one particularly is just wonderful.

 

I was lucky enough to be there last night, and it was a real treat of a performance. I'm not sure there's anything more beautiful on any stage as the second act of Giselle, I feel like I'm holding my breath throughout it. The corps were truly stunning and haunting and Mayara led them beautifully. I love her as a dancer and performer.

 

Obviously so much is said about Nela and Vadim and I don't need to add to it, but they really are something special. All of that technique just sits so beautifully on Marianela and it frees her. The steps just seem to live inside her and are as natural as walking and nothing is ever strained. 

Vadim danced beautifully, and I know there has been a lot of discussion about the entrechat six, well I didn't count but there was nowhere near 30 and I would take them any day as he performed them last night. They were beautifully done, the height and beats, so crisp. 

 

A lovely night all round.

[emmarose]

11 minutes ago, Nina99 said:

 

I was surprised to see the lifts done that way especially since Dancer's Diary on IG had posted them rehearsing the lifts in the traditional way.  Not being a ballet expert wouldn't know if the ones they did last night were easier but if so I wondered if maybe Muntagirov has a slight injury and he's saving himself bearing in mind the three Nutcrackers that he and Nunez have coming up in quick succession.  

 

Otherwise I thought it was a really sublime evening with great performances all round and it confirmed my opinion that this is my favourite of the classic ballets.   I agree with JennyTaylor that Lukas BB was excellent as Hilarion and in fact I think that the choreography and the music in Act 2, where he is being danced to death by the Wilis is one of the most effective in the whole ballet, especially when viewed from a more elevated seat. 

 

The corps were superb as usual although this time they weren't applauded in the middle of  their hops in Act2.  Otherwise the audience was very enthusiastic and in fact Muntagirov's big moment in Act 2 was almost hijacked when the solo that Nunez did beforehand got such huge applause that, after he ran on stage Muntagirov had to wait before he could perform his variation - which he did, very beautifully.  

 

Since it's been discussed before I paid special attention to the music and I agree that it is lovely although I still think that it could be more evocative in parts especially the music for the Wilis and Myrtha at the beginning of Act 2.  My only other criticism was that the tempi, especially in Act 1 seemed rather slow at times. 

 

 

 

 

 

I was glad nobody clapped the hops, because I felt they were weaving such a spell, it would have ruined it, they were captivating during that sequence.

 

The applause at the end of the solo did get a sustained applause, all VERY worthy.

 

I so agree about ACT 1, there was a couple of moments which felt very slow, particularly at the end of Giselle's solo variation, it didn't seem to speed up and when Giselle breaks apart Albrecht and Bathilde it felt a little slow as well, it didn't come in with much impact.

[Rob S]

8 minutes ago, emmarose said:

Rob, thank you so much for those beautiful photos here and in Insta, you capture every dancer so well, that last one particularly is just wonderful.

 

I was lucky enough to be there last night, and it was a real treat of a performance. I'm not sure there's anything more beautiful on any stage as the second act of Giselle, I feel like I'm holding my breath throughout it. The corps were truly stunning and haunting and Mayara led them beautifully. I love her as a dancer and performer.

 

Obviously so much is said about Nela and Vadim and I don't need to add to it, but they really are something special. All of that technique just sits so beautifully on Marianela and it frees her. The steps just seem to live inside her and are as natural as walking and nothing is ever strained. 

Vadim danced beautifully, and I know there has been a lot of discussion about the entrechat six, well I didn't count but there was nowhere near 30 and I would take them any day as he performed them last night. They were beautifully done, the height and beats, so crisp. 

 

A lovely night all round.

 

Thank you emmarose, I was pleased to see them do that little trip towards the other side of the auditorium. 
I plead guilty to one count of counting the entrechat six and it was 11-12.

 

Really enjoying Takada and Corrales today, her mad scene was particularly emotional.

 

I’m stood very close to a very enthusiastic orchestral version of an air guitarist! 

[emmarose]

1 minute ago, Rob S said:

 

Thank you emmarose, I was pleased to see them do that little trip towards the other side of the auditorium. 
I plead guilty to one count of counting the entrechat six and it was 11-12.

 

Really enjoying Takada and Corrales today, her mad scene was particularly emotional.

 

I’m stood very close to a very enthusiastic orchestral version of an air guitarist! 

 

They really are beautiful, but they always are!

 

I would imagine Akane will be stunning in the second act, she always has such a naturally ethereal quality to her dance it must lend itself well to this part.  

[Richard LH]

1 hour ago, emmarose said:

 

They really are beautiful, but they always are!

 

I would imagine Akane will be stunning in the second act, she always has such a naturally ethereal quality to her dance it must lend itself well to this part.  

She was amazing...🥲🥲

[Sophie_B]

I'm not sure I can add anything except to say that I don't regret booking for both Nuñez & Muntagirov last night and Takada & Corrales today! Such perfection from Nela and Vadim as always (I sometimes think I've hyped them up too much in my head and then they bring the magic every time). I did sort of forget about the story of the ballet at some points in Act II because I was so busy admiring the perfection happening on stage. With a smaller audience at the matinee today the atmosphere was less giddy than last night, but I enjoyed that there was never any danger of people clapping in the middle of a scene. Corrales got the loudest cheers for his rather spectacular Act II solo, although Takada certainly would have deserved them too, some truly ethereal moments in there. Lots of enthusiastic cheering for everyone in the end though!

 

Leticia Dias made a lovely peasant lead today. I know a lot has been deservedly said about Mayara Magri's fantastic Myrthe already, but Annette Buvoli did a great job as Myrthe as well, she really owned that stage. I was impressed with Buvoli when she had a solo in Coppelia 2019 (which also involved a lot of bouréeing across the stage), happy to see her again. Oh, and edited to say I almost forgot to mention Gina Storm Jensen as Zulme last night, I thought she hit that balance between willowy and fluid and threatening well. And she then transformed into a marvellously disdainful Bathilde today, to the point where I didn't think she'd want to rest in the peasant house, surely it would have been too dirty for her...

Edited November 19, 2021 by Sophie_B

[emmarose]

2 hours ago, Richard LH said:

She was amazing...🥲🥲

 

I am not surprised.

 

Trying to see if I can sneak in a visit for her performance.

[Rob S]

 

 

 

 

 

 

 

 

[Balletfanp]

I went to the performance last night. I had forgotten what a thing of Beauty Act 2 is, and that alone is enough to make me feel emotional - add that to the wonderful performances right down to the newest members of the Corps and you have a recipe for restrained blubbering from me! In particular the sequence following Giselle’s first ghostly appearance to Albrecht - I always find that especially moving. As well as the end, of course…..

 

I think Nunez’s Act 2 is phenomenal. She has the control and the technique to make it look effortless and for a dancer who is not naturally ethereal, she manages to appear so beautifully and convincingly. I had watched the 2016 DVD before coming (to get in the mood) and it was interesting to see how the characterisations from both Nunez and Muntagirov had developed from there - last night, her initial defence of Albrecht had a real edge of defiance to it that wasn’t there a few years ago. And, although she never 100% convinces as the innocent ingenue of Act 1, she was still excellent - more natural than in the recording and she did all the right things, but she is perhaps too mature (and I don’t mean her age, more just the way she is) to entirely convince. However, I do love her mad scene - it’s not overdone and is played very much for realism, which I find far more upsetting than histrionics 🥲.

 

Muntagirov was superb and I found him terribly moving. His acting and characterisation has come on in leaps and bounds since the recording, and his expressive face was bang on the money last night and showed every detail of what was going on. His Albrecht is not a cad - more an entitled aristocrat used to taking pleasure where he finds it, with no thought at all that there might eventually be serious consequences. His face of dismay and horror upon being confronted by Myrtha and realising that the Wilis are not just a legend (which he was evidently whispering to Giselle in Act 1 when her mother is telling the story!) was perfect. There were lots of little touches I hadn’t seen before, such as at the end, when Giselle was drifting away from him and he realises it’s for good this time, he broke down in tears (which finished me too!). Needless to say his dancing was as superb as ever - he positively exploded onto the stage in his Act 2 variation (huge applause - someone behind me muttered “Wow, he is amazing!”). As for the entrechats, they were crisp and perfect, and Muntagirov is one who will put artistry above tricks if he feels it is more appropriate - and actually, the following sequence he then has time for, of the leaps and pleading arms to Myrtha are extremely effective in the context of the story.

 

Mayara Magri is currently my new favourite Myrtha! She may not be tall but my goodness, she commanded that stage and everything on it. As others have said, those bourrées were phenomenal - one could really believe she was an ethereal being, so rapid and smooth were they. And she has a wonderful jump - in her entrance with the grand jetés in the Wilis sequence, she pretty much tore up the stage. I loved her little touches too - the anticipatory smirk as she sneaks off when she sees Albrecht approaching (“I have some prey to kill tonight!”) was wonderful. You could almost see her rubbing her hands!

 

Lukas Braendsrod was excellent as Hilarion. A friend pointed out to me afterwards that he was the oerfect foil to Vadim - Vadim elegant and aristocratic, Lukas more muscular and earthy - pretty representative of the choice Giselle has to make! Again, great acting from him.

 

Olivia Cowley (how nice to see her back!) and Gina Storm-Jensen as Moyna and Zulme were both convincingly stern and both danced beautifully.

 

And what can I say about the Corps? Absolutely wonderful. I love the sequence where they are all hounding Hilarion to his death! They deserved all the applause they got - which was a lot.

 

Quite a crowd outside the stage door last night, of people wishing to show their appreciation of a wonderful performance. Nice to see.

[ChrisG]

1 hour ago, Sophie_B said:

Leticia Dias made a lovely peasant lead today. I know a lot has been deservedly said about Mayara Magri's fantastic Myrthe already, but Annette Buvoli did a great job as Myrthe as well, she really owned that stage. 

After a slow start I thought this afternoon's performance was excellent. Akane and Cesar were wonderful, as expected, but I agree a special shout out should be given to Leticia and Annette.

[KyleCheng]

It was not impossible to find faults in Akane's dancing this afternoon, with some of the moves off-the-beat (at least to my ear/eye), a couple of wobbling instances, and a premature entrance on stage in act II before the Wilis could properly obscure her(Giselle's) grave. But I went away content and filled with happy thoughts because Akane still delivered what I admire the most about her: that trademark classical style and elegance, with her port de bras intricate to the tiniest joints, footworks precise and nimble, and saut de chat weightless and effortless. This, to me, unmatched delicacy in her dancing is what keeps bringing me back to see her performances, despite the unbelievable amount of talent RB now possesses among its principles. She seems to have absolute command over the smallest muscle on her body. I always thought it to be testament to how hard she works and how comfortable she is with her roles. 

[cjp]

4 hours ago, Sophie_B said:

I almost forgot to mention Gina Storm Jensen as Zulme last night, I thought she hit that balance between willowy and fluid and threatening well. And she then transformed into a marvellously disdainful Bathilde today, to the point where I didn't think she'd want to rest in the peasant house, surely it would have been too dirty for her...

 

I agree with the comments above, Gina S-J sketched a wonderful Bathilde today; coldly contemptous and gracefully insolent.  

 

I also agree with another comment upthread on the impact of Takada's mad scene, which I found very moving.  She seemed so lost - childlike and fragile, stunned and uncomprehending at the betrayal by one she had gladly given her heart to.

 

Having said that, and I say this as someone who has been wowed by Takada on many occasions, this afternoon her Act 1 characterisation, except that last scene, didn't register strongly enough for me to really feel the depth of the tragedy of her Act 2, beautiful and ethereal though she was.  

 

Unusually, I also thought that she didn't seem 100% comfortable with some of the demands of the choreography in places.  Given her calibre as a dancer, her performance was of course still wonderful and very well received - I am only comparing with previous recollections of her (somewhat fuzzy now given the length of time the plague put a halt to live ballet watching).

 

I think that I also prefer her paired with Alex Campbell to Cesar Corrales.  Although he gave a strong account of Count Albrecht this afternoon, both dramatically and technically (as far as I could judge) I didn't feel a particularly strong connection between them; they seemed more like very fine dancers dancing in respectful parallel but with no especial resonance or interaction.  

 

I enjoyed Annette Buvoli's Myrtha and she totally commanded the stage.   She seemed to register a fraction of sadness alongside the relentlessness and that touch of humanity made for a more complex and interesting portrayal.  For someone who has only just made her debut in this role, I thought it was delivered with amazing maturity and promise.

 

Nothing previously said about the corps/Wilis overstated how awesome they were as far as I'm concerned; the beauty and synchronicity of their dancing brought tears to my eyes (been too long without live ballet for me!)  They were absolutely chilling and managed - as one - to convey deadly implacability. Ultimately they were the stand out stars of the show.

 

My main niggle about this afternoon though, as others have said elsewhere, was the tempo of the music.  It was excruciatingly slow in places to the point that unfortunately it marred the flow of the performance for me, especially in Act 1 where it was sometimes glaring.  

 

Other than that, it was a very enjoyable performance and lovely to be back watching live ballet.  I am really looking forward to the next couple of casts I'll be seeing.  

 

 

 

[alison]

10 hours ago, Nina99 said:

Otherwise I thought it was a really sublime evening with great performances all round

 

 

I've never been one to indulge in hyperbole, but I have to admit that the word "sublime" certainly floated into my mind a few times during last night's Act II.  I'd even been going to post one of those "darned hayfever" comments that pop up every now and then on here   I came out of the ROH on quite a high last night.  Unfortunately, by the time I'd traipsed all round the (public transport) houses trying to find some way of getting home last night, I'm afraid the glow had rather worn off But it was a marvellous performance by all concerned, I thought.

[Richard LH]

10 hours ago, KyleCheng said:

It was not impossible to find faults in Akane's dancing this afternoon, with some of the moves off-the-beat (at least to my ear/eye), a couple of wobbling instances, and a premature entrance on stage in act II before the Wilis could properly obscure her(Giselle's) grave. But I went away content and filled with happy thoughts because Akane still delivered what I admire the most about her: that trademark classical style and elegance, with her port de bras intricate to the tiniest joints, footworks precise and nimble, and saut de chat weightless and effortless. This, to me, unmatched delicacy in her dancing is what keeps bringing me back to see her performances, despite the unbelievable amount of talent RB now possesses among its principles. She seems to have absolute command over the smallest muscle on her body. I always thought it to be testament to how hard she works and how comfortable she is with her roles. 

A lovely description of what this wonderful classical dancer gives us in all her performances!

I was close to the stage and could see very clearly  all the sort of delicate nuances you describe, along with the perspiration that shows how much hard work goes into what then appears effortless to us. 

This is the role that made Kevin O'Hare decide to promote Akane Takada to Principal, saying she could become a great Giselle of our time, and I can now see why.  I was one of those who were moved to tears as she drifted away back into her grave at the end, leaving Albrecht with just a small flower for remembrance.

Akane's  acting was also  superb as well as her technique, and if there wasn't quite the connection between her and Corrales that one would hope, I feel is it because (new to the role) he has not yet developed his own style and interpretation of the character.

I echo the praise for Annette Buvoli's Myrtha who confirmed the promise I had seen at the General Rehearsal.

And again, the Corps in Act II - what more can be said! Sitting close to the stage we felt we were in those dark woods (brilliant scenery) and their dancing was just mesmerising and indeed terrifying at times! 

Finally, thank you again for those pictures Rob, helping to capture memories of a fantastic performance. 

 

[JohnS]

A very enjoyable day trip yesterday for the matinee. Akane Takada brings a touching, ethereal quality to her Giselle. A delicate performance, the finest of pearls, exquisite in the closing bars. I had wondered if Caesar Corales might be too much the extrovert but I thought his performance rather complemented that of his Giselle - restrained, inward looking and focusing on Giselle. That said I still look back with great affection to last run’s enchanting Akane Takada/Benjamin Ella performance. I was very impressed with Annette Buvoli’s Mertha, commanding, steely and rock steady. Sadly not so the pd6. If jumps etc are not precise, the choreography really is unforgiving. I know there were late changes to the cast but that wouldn’t explain the problems. There’s been a fair amount of adverse comment for Boris Gruzin and I share a concern with tempi but I thought that was most pronounced for Giselle’s and Albrecht’s Act 1 pdd which seemed in danger of grinding to a halt, not the pd6. Very good to see another cast and lovely to see Meaghan Grace Hinkis (Moyna), Isabella Gasparini (Zulme) and all the Wilis from the Balcony Stalls again. I’m now looking forward to seeing my final two casts next week, for Francesca Hayward’s & Laura Morera’s Giselles. They impressed me hugely in 2018 and I’m sure we’re in for yet more magic.

[Richard LH]

Great review JohnS !

Edited November 20, 2021 by Richard LH

[LinMM]

Yesterday’s matinee outing was to be my sole one for Giselle in this run so had been really looking forward to it and it didn’t disappoint. 
As soon as the music started I already felt in very comfortable and familiar territory even if Adams music is not the best as has been expressed on this Forum ....I’m sure if I was ever in some sort of Coma the music from Giselle would bring me too pretty quickly as I’d think I must be at the ROH!! 

Loved all the casting for this Act and so nice to see Leticia Dias performing so well in pas de six I’m sure she will get her turn at the main role in the not too distant future! 
I liked Gina’s Bathilde she made her seem younger than usual and had a touch of feistiness to her so a believable match for Cesars Albrecht! 
Akane played Giselle as a rather delicate sweet and naive girl so perfectly possible for her to be thrown by the rejection of a lover even one as fleeting as Albrecht! I really liked Cesars interpretation! I felt he was genuinely torn between his betrothed (and his obvious accepted path in life) and this beautiful little country girl he had come across who so obviously adored him in her shy way.    He was a gentle and sympathetic Albrecht and in the end genuinely shocked by the effect of his inevitable betrayal of Giselle. 
Kirsten McNally was terrific as Giselles mother and really brought the mime to life creating an eerie atmosphere which I noticed Cesars Albrecht was already not comfortable with....who could possibly believe in all this nonsense ...well he soon finds out! 
So everything seemed set up for the second Act. 
This was beautifully danced by all and Akane was in her element here a truly airborne creature melting into nothingness. 
Cesar kept the sensitivity beautifully throughout this Act ....and no showing off with the entrechats though perfectly performed of course ....though I suppose if you are being danced to death there is some room for a bit of licence with the entrechats but Cesar didn’t take it anyway.
I thought Annette was very good as Myrthe and a while since I’ve seen her in a solo role ...not since RBS days I think but had a very good grasp of this role I thought and new to it too! 
So the whole Act beautifully danced ..but ...unfortunately there’s a tiny but...when Giselle melts away at the end back into her grave I did not feel that pang and often tearful sense of loss that I have sometimes had ( notably more recently ...not this run though....with Hayward and Osipova) 

Im not sure why but this is the first time Corrales and Takada have danced these particular roles together. There was absolutely nothing wrong with their dancing  or interpretations ...I loved them both ...but maybe some small nuance of a connection between them as dancers was missing to move me completely and I was certainly in the mood to be moved yesterday. 
Still this did not spoil my enjoyment much ....being moved to tears is not an everytime experience anyway ....it was a lovely performance of Giselle and would see them again. I think they are performing again on Dec 1st so would be interested to know anyone’s view who will be seeing them on both occasions or what they experience on the 1st. 
 

[San Perregrino]

If I counted correctly Fede (rico Bonelli) danced an awesome 32 entrechat sixes (?) if that’s what they’re called this afternoon, and it didn’t interrupt the story at all but rather added to it (IMHO).

[Shade]

Thanks for the full review

[capybara]

5 minutes ago, prs59 said:

If I counted correctly Fede (rico Bonelli) danced an awesome 32 entrechat sixes (?) if that’s what they’re called this afternoon, and it didn’t interrupt the story at all but rather added to it (IMHO).

Yes - he made his 32 and his face told us he had done so 😁. 
 

However, the corps moved as they usually do, so the ‘feat’ wasn’t framed as well as it might be.

 

Interesting, though, that Bonelli was given the licence to do those.

[LinMM]

Do you have to be “invited” to do more entrechats then? 
 

Im sure Cesar could have done more yesterday if he’d wanted to and if anything seemed to break them off just slightly abruptly. 

Edited November 20, 2021 by LinMM

[LinMM]

Can somebody remind me has Kaneko danced Giselle in this run? 
 

[Rob S]

1 minute ago, LinMM said:

Can somebody remind me has Kaneko danced Giselle in this run? 
 

No she hasn’t played any part in Giselle in this run 

[capybara]

31 minutes ago, LinMM said:

Do you have to be “invited” to do more entrechats then? 
 

Im sure Cesar could have done more yesterday if he’d wanted to and if anything seemed to break them off just slightly abruptly. 

Corrales was dancing the Peter Wright version (as did Muntagirov). The other Albrechts so far have given us their adapted versions.

 

Cesar performed the 32 entrechats when he danced Albrecht with ENB, even though there are normally none in the Mary Skeaping version of the ballet.

[LinMM]

Thanks ...that’s a relief!  Its just that back in 2018 I had commented on her performance as Myrthe ( entirely forgotten this) but had expressed a desire at the time to see her as Giselle very soon!! 
So I’m sure I would have booked for her in this run if she had been just worried I might have had a senior moment and missed her. 
So am going to say it again now I’d like to see Kaneko in Giselle ...very soon!!! 
Ive just remembered Hayward performed Giselle with Campbell in a truly wonderful performance I saw in the last run ....their partnership seemed completely magical that evening. 

[Rob S]

 

 

 

 

 

Edited November 20, 2021 by Rob S