Royal Ballet's Giselle - Autumn 2021

[Irmgard]

15 hours ago, Jamesrhblack said:

A most interesting post.

 

On a musical question, does the Bonynge Monte-Carlo recording reflect the musical score for Mary Skeaping’s production? I’ve always wondered how the Fugue for the Willis works dramatically and there are other extended / altered passages from what is played at the ROH including an extended version of Myrthe’s Coda.

Bonynge's recording is of the complete 1841 score using Adam's own orchestration and I believe (but cannot swear to without getting out my copy of it) that it includes Giselle's Act I solo attributed to Minkus (the only one for her in Act I in most productions) which was interpolated into the Russian production in the 1860s plus the Act II waltz solo (probably by Pugni) interpolated around the same time, plus the Burgmueller peasant pas de deux (or pas de six in Wright's version) interpolated into the 1841 premiere. Mary Skeaping's production uses the original order and almost the whole score (with the Minkus solo and the peasant pas de deux interpolated at different places from Wright's production), apart from the Act I Galop, a very slightly shortened version of the mad scene (but still longer than most productions, or so I have been told by guest artists), and some smaller cuts in a few other numbers.  She also uses the original ending composed by Adam, rather than the one used by Wright which is probably a rewrite for a later Russian production.  As to the Fugue, it works extremely well because it leads seamlessly into the Act II pas de deux and therefore obviates the need for a bridging passage (or a silence) into  the key change.  Skeaping also followed very closely the directions in the piano reduction of the score (published just after the premiere) which gives dramatic instructions by Adam for this whole scene.  For Myrtha, Skeaping uses all the music Adam composed for her, giving her probably almost 75% more dancing than the current Wright version, again following the dramatic instructions, so that it really is a tour de force performance, and I know dancers who have done her Myrtha, followed by other productions (including Kathryn Wade who danced the role in the 1971 LFB premiere), find the other productions very easy!  Incidentally, as Skeaping had been using the original score since the mid-1950s, she was about fifteen years ahead of Bonynge's recording.  I hope that answers your query.

[Fonty]

5 hours ago, LinMM said:

It does seem with Giselle that dancers seem to be slightly better at one Act or the other and maybe it even depends on each performance how that balance goes. 
 

 

Yes, generally I would agree with that.  Which is why I was so impressed with Morera's performance yesterday.  I knew she was good in Act 1, she is such a brilliant dramatic dancer.  However, I was so impressed with her in Act 2, I was moved to tears at the end. 
 

I thought Bonelli was magnificent in the role.   I suppose it isn't fair to make comparisons with Sambe, who was making his debut, but I loved the way this experienced pair took care to match each other's elevation and line when dancing together.  They looked terrific, especially as he was a last minute replacement for her original partner.

  I couldn't help wondering if this might possibly be the last season that Morera gets to dance Giselle, which made the occasion even more poignant.  The heaps of flowers she received at the end added to this feeling.  If it was, then I saw something very special that I shall remember for a long time.  

 

 

[Anna C]

2 hours ago, theorist said:

She is listed as Moyna on the cast sheet for the Schools Matinee, but not subsequently as far as I can see.

 

🙁 Thanks, theorist - I wonder why? Hope she’s not injured.

[Richard LH]

2 hours ago, Dawnstar said:

 

Thanks. A proper camera, but a compact one. I'd love to be able to afford one of those big SLR cameras to get really good photos but then I wouldn't be able to afford all my theatre tickets!

Let's hope Father Christmas follows this Forum!

[Anna C]

1 hour ago, Fonty said:

 

Yes, generally I would agree with that.  Which is why I was so impressed with Morera's performance yesterday.  I knew she was good in Act 1, she is such a brilliant dramatic dancer.  However, I was so impressed with her in Act 2, I was moved to tears at the end. 
 

I thought Bonelli was magnificent in the role.   I suppose it isn't fair to make comparisons with Sambe, who was making his debut, but I loved the way this experienced pair took care to match each other's elevation and line when dancing together.  They looked terrific, especially as he was a last minute replacement for her original partner.

  I couldn't help wondering if this might possibly be the last season that Morera gets to dance Giselle, which made the occasion even more poignant.  The heaps of flowers she received at the end added to this feeling.  If it was, then I saw something very special that I shall remember for a long time.  

 

 

 

I love the Morera/Bonelli partnership (although, to be fair, Bonelli seems to be a wonderful partner to whomever he’s partnering).  One of the standouts of their “Manon” was the way they anticipated each other, so seamlessly that there was no visible preparation to the jumps and throws in the final pdd.  They just happened, as if the two were thinking with one mind. 

 

[Sim]

27 minutes ago, Anna C said:

 

🙁 Thanks, theorist - I wonder why? Hope she’s not injured.

I believe she has been working with the Yorke Dance Project.  

[Emeralds]

3 hours ago, Dawnstar said:

 

Thanks. A proper camera, but a compact one. I'd love to be able to afford one of those big SLR cameras to get really good photos but then I wouldn't be able to afford all my theatre tickets!

Such great photos, Dawnstar! Please post them even if others are posting pictures too. I enjoy seeing the curtain call photos people post from seats and sections different to mine, and yours are lovely. 

[Emeralds]

1 hour ago, Irmgard said:

Bonynge's recording is of the complete 1841 score using Adam's own orchestration and I believe (but cannot swear to without getting out my copy of it) that it includes Giselle's Act I solo attributed to Minkus (the only one for her in Act I in most productions) which was interpolated into the Russian production in the 1860s plus the Act II waltz solo (probably by Pugni) interpolated around the same time, plus the Burgmueller peasant pas de deux (or pas de six in Wright's version) interpolated into the 1841 premiere. Mary Skeaping's production uses the original order and almost the whole score (with the Minkus solo and the peasant pas de deux interpolated at different places from Wright's production), apart from the Act I Galop, a very slightly shortened version of the mad scene (but still longer than most productions, or so I have been told by guest artists), and some smaller cuts in a few other numbers.  She also uses the original ending composed by Adam, rather than the one used by Wright which is probably a rewrite for a later Russian production.  As to the Fugue, it works extremely well because it leads seamlessly into the Act II pas de deux and therefore obviates the need for a bridging passage (or a silence) into  the key change.  Skeaping also followed very closely the directions in the piano reduction of the score (published just after the premiere) which gives dramatic instructions by Adam for this whole scene.  For Myrtha, Skeaping uses all the music Adam composed for her, giving her probably almost 75% more dancing than the current Wright version, again following the dramatic instructions, so that it really is a tour de force performance, and I know dancers who have done her Myrtha, followed by other productions (including Kathryn Wade who danced the role in the 1971 LFB premiere), find the other productions very easy!  Incidentally, as Skeaping had been using the original score since the mid-1950s, she was about fifteen years ahead of Bonynge's recording.  I hope that answers your query.

I love Bonynge’s work - he was such an inspiration when I was at school. All the rarely recorded and performed works, both ballet and other genres...so many done by him. When I revisit and discover more (thanks, YouTube!) they are carefully chosen and beautifully played gems that are so delightful. I love Skeaping’s Giselle too....hope ENB will stage it again very soon. (Sorry, back to RB Giselle now. ) 🙂

[zxDaveM]

9 hours ago, maryrosesatonapin said:

 Joonhyuk Jun stood out in the pas de six.
 

 

indeed so, nailed all his landings without a wobble, and facing in the right direction (post spinning jumps name of step eludes), generally making it look utterly effortless. There have been lots of the female dancers that looked good in any position in the trio (Leticia Dias was wholly engaging as the middle one the other day), but he has been the best by far of the males

[Sim]

21 minutes ago, zxDaveM said:

 

indeed so, nailed all his landings without a wobble, and facing in the right direction (post spinning jumps name of step eludes), generally making it look utterly effortless. There have been lots of the female dancers that looked good in any position in the trio (Leticia Dias was wholly engaging as the middle one the other day), but he has been the best by far of the males

I agree.  I love the way he uses so much of the space;  he almost seemed to presage the Wilis with his flights across the stage!  As you say, Dave, perfectly placed landings and so silent, too.  And he just looks so darn happy to be there!  I am looking forward to seeing more from him in the future. 

 

[Dawnstar]

20 hours ago, JohnS said:

I enjoyed the PD6 (led by Yuhui Choe and Luca Acri) and all the Wilis but was not that struck by Hilarion who I thought rather pedestrian (although I see others were impressed).

 

Thinking about this, as someone who was impressed. Was it his acting or dancing that you found pedestrian? Because for me it was primarily his acting that impressed me. I remember seeing both Donnelley & Sissens as Lensky in Onegin & finding the former's acting better but the latter's dancing better. Because I prioritise acting over dancing I therefore preferred Donnolly in the role but I can imagine that those who prioritise dancing would have preferred Sissens. (Best of all was Ball who had both great acting & great dancing!) So I thought it might be the same here.

 

By the way, did you go to the stage door after the matinee? I heard someone say to Morera something about having to come down the previous day because of the weather & wondered if it might have been you?

 

2 hours ago, Richard LH said:

Let's hope Father Christmas follows this Forum!

 

Defnitely not going to happen. I am getting what I most want for Christmas this year though: I've got my 3rd covid jab booked for Christmas Eve!

 

1 hour ago, Emeralds said:

Such great photos, Dawnstar! Please post them even if others are posting pictures too. I enjoy seeing the curtain call photos people post from seats and sections different to mine, and yours are lovely. 

 

I do put the ones that come out alright on my Instagram each time, just not on here. https://www.instagram.com/aurora_estella_/  if you're interested. (Warning: ballet curtain calls are mixed up with flower pics & screencaps of my joint-favourite improv show!)

[JohnS]

Many thanks Dawnstar.

 

As regards Hilarion, I guess I’ve been spoiled by Bennet Gartside in the past and think of what he brought to the role in terms of theatre and dance. I found David Donnelly a bit underpowered on both counts albeit I enjoyed his end of Act 1. As an example he didn’t seem that bothered by the appearance of the Wilis and rather sauntered off the stage: Bennet Gartside would charge off, breaking the 15m stage dash. I think Kevin Emerton (in the Francesca Hayward cast) was much more involved and projected himself better, with more character, and seemed to me more committed in his Act 2 dancing. I’ve also liked Luca Acri and Lucas Braendsrod. As I say I noted that others were impressed with David Donnelly and I’ve liked him in the PD6.

 

Yes I did go to the Stage Door and I’m sorry we didn’t speak unless I happened to check with you whether Laura had already gone as I’d managed to have my lunch straight after the performance. It was very good to see Laura (and her parents). Staying in London rather than dashing for a train does mean there’s chance to go to the Stage Door and I certainly did after the early evening performance, managing to see both Francesca and Alex.

[Jamesrhblack]

5 hours ago, Irmgard said:

Bonynge's recording is of the complete 1841 score using Adam's own orchestration and I believe (but cannot swear to without getting out my copy of it) that it includes Giselle's Act I solo attributed to Minkus (the only one for her in Act I in most productions) which was interpolated into the Russian production in the 1860s plus the Act II waltz solo (probably by Pugni) interpolated around the same time, plus the Burgmueller peasant pas de deux (or pas de six in Wright's version) interpolated into the 1841 premiere. Mary Skeaping's production uses the original order and almost the whole score (with the Minkus solo and the peasant pas de deux interpolated at different places from Wright's production), apart from the Act I Galop, a very slightly shortened version of the mad scene (but still longer than most productions, or so I have been told by guest artists), and some smaller cuts in a few other numbers.  She also uses the original ending composed by Adam, rather than the one used by Wright which is probably a rewrite for a later Russian production.  As to the Fugue, it works extremely well because it leads seamlessly into the Act II pas de deux and therefore obviates the need for a bridging passage (or a silence) into  the key change.  Skeaping also followed very closely the directions in the piano reduction of the score (published just after the premiere) which gives dramatic instructions by Adam for this whole scene.  For Myrtha, Skeaping uses all the music Adam composed for her, giving her probably almost 75% more dancing than the current Wright version, again following the dramatic instructions, so that it really is a tour de force performance, and I know dancers who have done her Myrtha, followed by other productions (including Kathryn Wade who danced the role in the 1971 LFB premiere), find the other productions very easy!  Incidentally, as Skeaping had been using the original score since the mid-1950s, she was about fifteen years ahead of Bonynge's recording.  I hope that answers your query.

Really useful and interesting, thank you. I will get out my CD of the Bonynge recording and re listen plus work though Beaumont’s Giselle.

[alison]

3 hours ago, Dawnstar said:

Defnitely not going to happen. I am getting what I most want for Christmas this year though: I've got my 3rd covid jab booked for Christmas Eve!

 

 

Wouldn't it be great if everyone was that easy to please?

[ninamargaret]

14 hours ago, maryrosesatonapin said:

.  Alex Campbell performed well as always but had too much of a ‘boy next door’ look

A fair comment, but I was so involved with his dancing and obvious enjoyment both real and acted in dancing with Francesca that it didn't worry me! He does seem to excel in roles like Manon, Two Pigeons, although I have greatly enjoyed him as Florimund. And I thought his second act was superb - perhaps the comments made by other posters that some dancers seem better in one act than the other also applies to Albrecht?

[FionaM]

@Jamesrhblackin case your question hasn’t been answered … Itziar Mendizabal has been out having a baby … a son born in May 2021.  Perhaps we’ll see her onstage again in the new year. 

[Jamesrhblack]

6 hours ago, FionaE said:

@Jamesrhblackin case your question hasn’t been answered … Itziar Mendizabal has been out having a baby … a son born in May 2021.  Perhaps we’ll see her onstage again in the new year. 

Thanks, good to know. She’s a dancer I like very much and I’d have been sorry if she had left without it being public knowledge (which is what seemed to happen with Tristan Dyer).

[LinMM]

Thanks for that info FionaE as I too had thought haven’t seen her on stage for ages and with the Pandemic etc I was wondering if had quietly left the Company!!! 
I really like her in dramatic type roles. 

[alison]

Thank you, FionaE.  I'd suspected that was the reason, given her long absence, but it's good to have it confirmed at last.

[FionaM]

Itziar’s baby announcement

https://www.instagram.com/p/CPRKZQpg4Os/?utm_medium=copy_link

[Dawnstar]

16 hours ago, JohnS said:

Yes I did go to the Stage Door and I’m sorry we didn’t speak unless I happened to check with you whether Laura had already gone as I’d managed to have my lunch straight after the performance.

 

Actually come to think of it I think you may have done. I know a couple of people asked me & the older gentleman who I got chatting to (he turned out to be an actor who'd appeared as an extra in RB productions so was very interesting to talk to) if Morera & Bonelli had yet exited.

[ToThePointe]

I loved the Hayward / Campbell (oddly timed) 5pm show on Saturday. I saw their debuts a few years ago and I wasn't as keen but this time around I found much to admire. Campbell's Act 1 didn't really do it for me, as mentioned above, his Act 2 was a lot stronger. I have always loved his dancing and I love him in a selection of roles but for Albrecht, and especially following Reece, Matt and Fede, I didn't feel quite as connected to his interpretation. I didn't get a sense that his Albrecht was aristocratic, and so I don't think plot wise the first Act was as clear as maybe it is with some of the other dancers. HOWEVER! Campbell and Hayward have such beautiful chemistry together and I really felt that throughout both acts of the ballet. It was also one of the few times where I had a lump in my throat when Giselle bursts between Bathilde and Albrecht. I think this is because Campbell really made me believe that he had used Giselle, and Hayward really made me believe that she understood this. Of course we all know the inevitability of the situation, but in that moment, Hayward seemed to find it inevitable too and her expression was almost saying "of course this has happened to me, it was too good to be true" and I found that really heart breaking. Their Act Two together was sublime and I think this is where Campbell really came into his own. He's a master at heart break, just look at his Des Grieux, and I found his final walk with the flower incredibly moving. 

 

I loved Hayward's interpretation of Giselle. She is always so 'real' on stage - I never feel like anything is being acted. She is Giselle, she is Juliet etc, whatever the role, she becomes it. In the past I have found her to be a bit too knowing, but on Saturday she was naive, beautiful, full of life and joy - a stark contrast to her ghostly Act Two. I don't think she is the strongest technical dancer, which makes me reluctant to see her in things like Swan Lake (I wasn't a fan of her Aurora as she looked uncomfortable throughout), but with this being said, she has a quality that very few other ballerinas possess, and this makes her enchanting to watch on stage. 

 

Other highlights for me were of course Joon who is one of my current faves to see on stage and Annette Buvoli as Bathilde. I felt she had just the right amount of eye rolling, yawning, sarcasm and sly remarks for us to see the stark contrast between the peasants and aristocrats. Also a mention for Kevin Emerton who I really like as Hilarion. I think he's great at making the mime and narrative clear and easy to follow. I know it isn't a complicated story, but I always like those who project to the back of the amphi when putting the sword and horn together thus clocking Albrecht is an aristocrat...!

Edited November 29, 2021 by ToThePointe

[ToThePointe]

...also something else I have seen a lot of the Hilarions do is dust off the sword so that they can see the crest. It's a miniscule petty thing to pick up on but it makes me laugh because the sword has only been sitting in the shed for like 20 mins and, because it belongs to a noble, I'm sure it was polished that morning. So either that shed is full of falling dust, or maybe Wilfred shoved it under a dusty box, or maybe Hilarion has pretty bad eye sight. Anyway, one to notice for those who have seen every show and want something new to look at..!!!

[Rob S]

26 minutes ago, ToThePointe said:

Anyway, one to notice for those who have seen every show and want something new to look at..!!!

 

I've moved away from counting entrechat six and have now started counting how many seconds it takes Albrecht to get the key out of his pouch🙂

 

[LinMM]

😂 

[Sharon]

On 25/11/2021 at 22:28, alison said:

Oh good, since it looks to have sold pretty well (at least at some price).  You must have been lucky, because there are no standing tickets now. 

 

Of course, if I'd known Simon Keenlyside was in it, I'd probably have booked like a shot.  I don't think the ROH's communications have been as good/effective as in the days when they did it on paper   I was reflecting only earlier today that if I'd known what the Robert Cohan programme was going to be I'd have booked for that too, but I only found that out when I read the reviews earlier.

Me too! Especially as Matt Ball & Romany Pajdak were dancing one of my all time favourite Cohan pieces, that I had longed to see a ballet company perform one day....

[Fonty]

A question I meant to ask before.  I know Hilarion cannot die on stage as his body would be in the way.  But why does he clamber up on top of something and then appear to fall off it?  Is he actually killing himself by jumping off a cliff, rather than face being danced to death?  Would the Willis allow this?  

 

Also, when Giselle makes her first appearance in Act 2, on each occasion I have seen her creeping on stage slightly hunched over.  I know it is a tricky moment, and Giselle has to get there somehow, but suddenly I had an image of her slowly making an appearance up through the grave via a trap door.  Did any production ever actually do this?  Or have I just seen the James Bond film Live and Let Die too many times? 

[bridiem]

7 minutes ago, Fonty said:

A question I meant to ask before.  I know Hilarion cannot die on stage as his body would be in the way.  But why does he clamber up on top of something and then appear to fall off it?  Is he actually killing himself by jumping off a cliff, rather than face being danced to death?  Would the Willis allow this?  

 

Also, when Giselle makes her first appearance in Act 2, on each occasion I have seen her creeping on stage slightly hunched over.  I know it is a tricky moment, and Giselle has to get there somehow, but suddenly I had an image of her slowly making an appearance up through the grave via a trap door.  Did any production ever actually do this?  Or have I just seen the James Bond film Live and Let Die too many times? 

 

My understanding of Hilarion's death is that he is propelled up and off the rock by the power of the Wilis rather than just jumping off it. 

 

Yes, I was wondering why Giselle can't come in through some sort of gap or trap in the grave; I've also seen her come on so often that I now deliberately look away until I know she must have arrived or it spoils the illusion.

Edited November 29, 2021 by bridiem

[alison]

Hmm, it doesn't usually look like it [para. 1]

 

[Para. 2] Or at least have a bit of scenery that blocks the view of her.  Two of the Giselles (not necessarily the tallest - I can't remember) I've seen have been really obvious in taking their position: I haven't spotted Francesca Hayward, but then she does have the advantage of being smaller.

[CCL]

Fonty, Giselle comes up through a trap door in this production 

[Rob S]

Why would they bury her down a lift shaft!?

[Fonty]

34 minutes ago, alison said:

Hmm, it doesn't usually look like it [para. 1]

 

 

Alison, if the Willis force men to dance to death, then that is what I expect his end to be.  Ok, I know that we can't actually see that happening in the case of Hilarion, but personally I think it would be better if he just staggers off stage in a state of exhaustion.  If you don't actually realise it is the force of the Willis, it does look as though he has decided to end it all rather than carry on.  And isn't it handy that a large rock should be standing slap bang in the middle of a forest? 

 

 I like effect of Giselle appearing up through the grave, not the slightest bit comical.  Interesting that she isn't wearing a veil, though.

[Lizbie1]

11 minutes ago, Fonty said:

Interesting that she isn't wearing a veil, though.

 

And already has her wings!