Royal Ballet's Giselle - Autumn 2021

[Rob S]

1 hour ago, Fonty said:

 

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

 

If you are going to use this kind of lift you need to combine it with the RB's Wilis graveside gathering to cover this rather mechanical entrance.

 

[Dawnstar]

4 hours 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? 

 

The cast sheet synopsis says "Exhausted, he is driven into the lake and drowns." I suppose there's no room on stage for even the edge of a lake! Maybe it would look more convincing if Moyna & Zulme pursued him up the slope, rather than let go of him & left him to climb up it by himself, as that would make it look more like they were driving him into the lake.

[maryrosesatonapin]

5 hours ago, CCL said:

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

I meant to have a quick watch of the trap door part and found myself watching the whole of the second act.  How magnificent Zakharova and Polunin are!  I adore Polunin's spellbinding combination of athleticism and elegance.  And Zakharova is utterly beautiful, as always.  Re the trap door - the way it's filmed it looks quite spooky, but I imagine in a live production it might look a trifle clunky.  I think they should add just a little dry ice at the moment of Giselle's emergence from the tomb.

 

And now I must go to bed, much later than intended! 

[Fonty]

11 hours ago, Dawnstar said:

 

The cast sheet synopsis says "Exhausted, he is driven into the lake and drowns." I suppose there's no room on stage for even the edge of a lake! Maybe it would look more convincing if Moyna & Zulme pursued him up the slope, rather than let go of him & left him to climb up it by himself, as that would make it look more like they were driving him into the lake.

 

Ah, does it?  I have seen Giselle so often, it has been a very long time since I have looked at the synopsis.  

[Shade]

I think Giselle emerging from the grave is very effective and atmospheric. I do prefer it

[alison]

Better than the old Kirov version, where she just stepped out from the wings (although admittedly that may have had something to do with the constraints of the Coliseum).

[Pas de Quatre]

In some early versions she was actually lying horizontal in the tomb which then pivoted to become vertical - then she steps out.  This also happens in The Pharaoh's Daughter.

[alison]

Oh, that's a point.  What did they do in the Dance Theatre of Harlem's "Creole" version?  I think there was some camera trickery on the recording, but she somehow went back into the ground at the end - at the opposite end of the stage from usual.

[MJW]

On 26/11/2021 at 16:22, LinMM said:

Oh that’s good MJW as will be Takada and Corrales on Wednesday and would love to know what you think of their performance so hope you better by then. It’s always a bit nerve wracking the few days before going to a performance in case one becomes ill....goodness knows what it’s like for the performers themselves!! 

I see Irmgard experienced Corrales performance in a similar way to myself although I didn’t quite connect with his despair at the end because I didn’t think his connection with Giselle as the spirit was quite there in Act 2 but it was their first attempt together ....I know I keep saying that! 
But Cesar always lights up the stage for me and I did think he contained his more showy style in Act 2 very well and loved him in Act one. 

 

I am very pleased to say that they were both marvelous! I should also say that Mayara Magri was imperious as Mythra - however I did think she looked a bit startled when a "bravo" was shouted out near the start of the second act!

 

I was also very pleased to see Giocomo Rovero (as part of the Pas de Six) and Harris Bell - its nice to see people one follows on IG get bigger roles on stage.

 

[Rob S]

24 minutes ago, MJW said:

 

I am very pleased to say that they were both marvelous! I should also say that Mayara Magri was imperious as Mythra - however I did think she looked a bit startled when a "bravo" was shouted out near the start of the second act!

 

 

 

Yep...Mr Bravo decided to do his thing in that complete silence immediately before Myrtha threw her twigs towards the wings. 🤦‍♂️

Edited December 2, 2021 by Rob S

[AnticaFiamma]

I was there too tonight and thought it was lovely. I don't know what was the issue last week, but Corrales was a lovely partner tonight. They weren't always in sync in act 1 – the same issue with Lamb & Sambé, he jumps so high that he always lands a bit later – but it's a budding partnership that looks like will be very rewarding.

 

I saw Corrales playing Albrecht in 2017 with ENO, it was my very first ballet and it was lovely to see him again dancing it. His Albrecht is very aristocratic and used to get things his way, he bossed around the country lads as if they were his servants. There was great chemistry between him and Takada, and there is a strong sexual tension between their Albrecht and Giselle: they always seem one second away from kissing. I see what people mean when they say that Takada's technique is not perfect, but she's such a terrific actress and can convey so much doing so little. Her radiant face when she heard the morning bells is unforgettable.

 

Mayara Magri is really wonderful as Myrtha, I think I saw her doing it half a dozen times and she keeps getting better and better. Kristen McNally is my favourite Berthe, I just love the mime scene and her grief at the end of act 1. The Wilis are always pitch-perfect and the pas de six was very good too. I really enjoyed Calvin Richardson's dancing, I can't wait to see his Romeo. The orchestra was in very fine form as well and the strings, in particular, were excellent. I love the violin solo in act 2.

 

But yeah the whole experience was somewhat marred by the "bravo" guy, who kept shouting every ten minutes. He performed more than some people on stage, I'm surprised he didn't get his bow at the curtain call.

[Sim]

Yes, Mr Bravo was particularly vocal tonight and it really got on my nerves.  I hissed at him when he “brava’d” in the middle of Myrthe’s solo.  🤬

 

I also loved tonight’s performance.  Corrales’ dancing was sensational, and I was very touched by his Albrecht.  Takada is such a sweet Giselle, and the perfect contrast to Corrales’ noble yet earthy Albrecht.  
 

Takada was not as strong technically as the other Giselles, but this is only her second classical main-role performance in a very long time because of injury and the cursed virus.  However, with such a moving performance, it matters not.   

[Rob S]

 

 

 

 

 

 

 

[Richard LH]

Apart from another tussle with the flower pot, the only real technical issue I spotted for Akane Takada was in not quite doing the full sequence of hops across the stage  on one leg in the Act 1 solo, but she adapted her steps accordingly.

She gave us her usual lovely, evocative, airy  dancing, with such beautiful arms and feet… so well balanced in every sense, and fully in tune with the music. Sparkling in her  pirouettes and jetés, and her back was nicely  flat in the two  “Bolshoi” lifts !

I did appreciate Cesar Corrales more tonight – I was very impressed with his solo technique and I think his partnering was more sensitive – his placement of Akane after their  lifts seemed very gentle, so perhaps he was taking notes from FionaE! Anyway Akane was very appreciative of him this time, giving him big hugs and a rose from her bouquet.

I also love Mayara Magri’s Myrtha and the Corps were again just sensational. Another wonderful evening… and thanks again for the super curtain call photos Rob S.

Edited December 2, 2021 by Richard LH

[zxDaveM]

7 hours ago, Rob S said:

 

Yep...Mr Bravo decided to do his thing in that complete silence immediately before Myrtha threw her twigs towards the wings. 🤦‍♂️

 

he seemed to 'brava' or 'bravo' not only at totally inappropriate moments, but also some utterly unwarranted ones as well. The one in the middle of Myrthe's set of dances was unforgivable; some of the ones at the end of other variations were baffling, as the recipient of the brava/bravo hadn't danced it particularly well, as far as I could tell

[Rob S]

57 minutes ago, Richard LH said:

Apart from another tussle with the flower pot, the only real technical issue I spotted for Akane Takada was in not quite doing the full sequence of hops across the stage  on one leg in the Act 1 solo, but she adapted her steps accordingly.

 

 

She also had a problem at the start of the last week, having to go back on to two feet although still en pointe.

 

Cesar had the best 'key out of the pouch challenge' I've seen in several performances too....if it were me I'd probably just start the performance with it in my hand just to avoid it

 

[bridiem]

9 minutes ago, Rob S said:

Cesar had the best 'key out of the pouch challenge' I've seen in several performances too....if it were me I'd probably just start the performance with it in my hand just to avoid it

 

 

I don't remember Albrechts having this trouble before - presumably the pouch has been changed somehow? Perhaps it could/should be changed back?!

[ToThePointe]

I absolutely loved last night's performance, it was definitely up there with one of my favourite shows from this run (my fave being Yasmine Naghdi and Matt Ball I think!) Following reviews on here from their first show together, I wasn't sure how I would feel about Cesar's Albrecht or his chemistry with Akane, but they must read this forum or something because last night I found them both superb and completely at odds with many of the previous comments. This was the only performance I've seen in this run where I felt that Albrecht and Giselle are mutually in love. A deep, young, blissful naive type of love that was reminiscent of Romeo and Juliet. Cesar's Albrecht is incredibly noble and the way he holds himself and his body language makes it clear that he's from the castle on top of the hill.

 

However, unlike other Albrechts who eye roll at the peasants and have a sarcastic undertone (I must say I also love this interpretation), Cesar's Albrecht seemed to love spending time in the peasant village, getting stuck in with their dances and enjoying a freedom that he can't get at home. I felt that he hated duty, being a nobleman and the constraints that come with it and seemed to revel in spending time with the 'real' people in the village. I imagined his Albrecht to have frequently been escaping the castle to have some fun and freedom, and it was during one of these excursions that he first met Giselle who he quickly fell in love with. I really believed that they were in love, and that this wasn't just a sexual conquest. When he must kiss Bathilde's hand, he looks directly at Giselle and rather than smiling during any of these moments with Bathilde, he is visibly hurt and uninterested in being with her. Again showing his deep love for Giselle. 

 

Once Giselle dies, his anger and despair made me think that their relationship could have been saved if he had just had time to explain it all to her. It felt like a huge waste and a mistake turned catastrophic. It reminded me of Romeo and Juliet - if he had just waited a little longer until she woke up etc. This obviously made Act Two extremely moving, as he really grieved the loss of love and was distraught by his mistake. 

 

Akane's Giselle is a delicate and beautiful young girl, blissfully in love with Albrecht. Sure, technically it didn't match some of the others, but that didn't matter much to me. I loved her hysteria at realising Albrecht's betrayal and I thought that her mad scene was beautifully timed and incredibly moving. For me, though, she really shone in Act Two. She has such beautiful high jumps and the way that she moves her arms is just unreal. It reminded me of how much I'm looking forward to seeing her Odette again. She was one of the few Giselles that I felt really stands off with Myrtha. She isn't as solemn, and seems to be standing her ground the whole way through. Once Albrecht falls to the floor, she runs in and firmly shields him against Myrtha, then desperately tries to wake him. I also really felt her energy and desperation in trying to keep him alive which I found very moving. Cesar's jumps, twists and turns were all huge and full of bravado. The height in those jumps - he almost flew away! I don't think it's in his nature to tone this down, much like with Osipova, but the joy of seeing different casts is that it doesn't really matter. I'm happy to have a couple of OTT virtuoso dancers in the company - I think it's needed. 

 

Mayara's Myrtha is outstanding - she really deserves a spa break once this is all over! And Gina's Bathilde is my favourite by far - she beautifully encapsulates the role and her sly demeanour also made us understand why Albrecht wanted to turn his back on that superficial and bitchy environment. 

 

I have to say that although I loved this pairing, I would love to see Frankie and Cesar dance in this ballet together...

[Richard LH]

16 minutes ago, ToThePointe said:

She was one of the few Giselle's that I felt really stands off with Myrtha. She isn't as solemn, and seems to be standing her ground the whole way through.

Yes I noticed that she seemed to be taking a degree of command, as far as she could,  e.g. pointing to Albrecht to go back while she dealt with Myrtha... Great review by the way!

Edited December 2, 2021 by Richard LH

[Jan McNulty]

14 minutes ago, ToThePointe said:

I absolutely loved last night's performance

 

What a lovely, evocative review TTP.

[LinMM]

Hayward and Corrales in Giselle a wonderful idea ToThePointe!! 
It’s harder not to get the giggles when performing with a real life partner though I imagine!!! 
Im so glad it went well yesterday I’d thought they just needed more time to gel. 
Also good that apparently they seemed more pleased with their performances at the curtain call as it all seemed to be quite polite on the day I went. 
Am looking forward to seeing these two in Nutcracker next week. 

[ToThePointe]

24 minutes ago, LinMM said:

Hayward and Corrales in Giselle a wonderful idea ToThePointe!! 
It’s harder not to get the giggles when performing with a real life partner though I imagine!!! 

 

Have a listen to this episode of Open Barre with Lauretta Summerscales and Yonah Acosta - a great chat about performing as a real life couple! https://www.spreaker.com/user/openbarre/open-barre-s4-03

[Sim]

I was going to write a few more words but after reading TTP's review above I don't need to!  I totally agree with everything said and all that I can add is how much I loved watching Leticia Dias in the pd6.  She is always so classy and classical and it wouldn't surprise me at all to see her on the Principal list one day.  

[Rob S]

The cast for tonight is up and I’m very pleased to see Moyna and Zulme will be Romany Pajdak and Isabel Lubach 👏

[alison]

And I'm not going

[Sim]

1 minute ago, alison said:

And I'm not going

Neither am I, darn it!! 

 

[alison]

3 hours ago, Sim said:

 I totally agree with everything said and all that I can add is how much I loved watching Leticia Dias in the pd6.  

 

And I'd like to give a shout out to Sophie Allnatt and Sae Maeda for being so incredibly well together that I could effectively only hear one set of pointe shoes striking the stage   - and despite quite a difference in height, too.

Edited December 2, 2021 by alison

[Richard LH]

37 minutes ago, Rob S said:

The cast for tonight is up and I’m very pleased to see Moyna and Zulme will be Romany Pajdak and Isabel Lubach 👏

Pleased, as I was getting a bit concerned as to  why Romany had not featured in this yet; and a good opportunity for Isabel.

[Richard LH]

Just now, alison said:

 

And I'd like to give a shout out to Sophie Allnatt and Sae Maeda for being so incredibly well together that I could effectively only hear one set of pointe shoes striking the stage  

Yes I thought they were really good together.

[alison]

I've kept wondering during the last few performances whether there is a suitable National Dance Award that the RB corps de ballet could be nominated for: they certainly deserve it! 

[Rob S]

1 hour ago, Richard LH said:

Pleased, as I was getting a bit concerned as to  why Romany had not featured in this yet; and a good opportunity for Isabel.

They were M&Z in the schools matinee but I’d not seen Romany in any of the 9 performances I’d seen so far. 

[Dawnstar]

2 hours ago, Rob S said:

the 9 performances I’d seen so far. 

 

9 performances? Aren't there "only" 8 casts? Who've you seen twice then?

 

3 hours ago, alison said:

And I'd like to give a shout out to Sophie Allnatt and Sae Maeda for being so incredibly well together that I could effectively only hear one set of pointe shoes striking the stage   - and despite quite a difference in height, too.

 

I'm interested to see that Sophie Allnatt has appeared in the pd6. On Saturday, as I watched Ashley Dean being partnered by David Yudes & her being about half a head taller than him when she was en pointe, I was thinking Allnatt might have been a better pairing for him but didn't know if she'd been cast in the pd6. As she evidently has, I wonder why they didn't pair her with Yudes.

[Rob S]

2 hours ago, Dawnstar said:

 

9 performances? Aren't there "only" 8 casts? Who've you seen twice then?

 

 

I miscounted...today makes a final tally of 11 and I think today may have been my favourite overall performance. No flower pot or key dramas, no Mr Bravo, my favourite Giselle and very pleased to see the Pajdak/Lubach duo that I assumed would be in tomorrow's cast as that's usually my luck.

 

 

 

 

 

 

 

 

 

Edited December 3, 2021 by Rob S