Royal Ballet's Giselle - Autumn 2021

[Sim]

Fab photos as always, Rob.  Dare I say…bravo!  👏

[AnticaFiamma]

While I was watching Sarah Lamb's final steps on stage all I could think of were Salieri's words in the scene in Amadeus in which he watches Le Nozze di Figaro: "I heard the music of true forgiveness filling the theatre, conferring on all who sat there perfect absolution". It is an extraordinary performance, and I adore her Giselle: she's the most ethereal, the most compassionate, the most forgiving. Pity shone in every movement, and the moment in which she raised her arms one final time after the Wilis were gone to instil strength in Albrecht was so sweet and touching that it moved me to tears. And I loved the moment in which she started stepping back into her grave and the look of surprise she gave to her feet as if they were moving against her will. Her acting alone would make her an unforgettable Giselle, but her technique is so pristine and her dancing so perfect that her portrayal of the role is a true masterpiece.

 

I watched their first show together last week, and I'm glad to say Lamb and Sambé have great chemistry. They're still not always in sync, and it's somewhat noticeable in the jumps and hops in act 1 and the middle of act 2, but their unique acting and dancing skills combined can make one overlook such things, which will naturally improve with time. Sambé is such a lovely Albrecht, very gentle with both Giselle, the townfolks and even Wilfred: it's very sweet how he immediately repents after having scolded him off in the opening scene! His second act is just terrific and heartbreaking, he brought a great depth of despair to a truly touching ending. He had a couple of funny mishaps, one with the sword at the beginning and one at the very end, when he threw himself so forcefully at Giselle's tomb that the whole thing seemed to tremble. But honestly, it was a great performance and I'm looking forward to seeing him again in this role.

 

Gina Storm-Jensen improved a lot since last week and her Myrtha is truly terrifying. Her Myrtha is the coldest and cruellest of all the great potrayals we saw during this run, her icy queen has almost a reptilian edge in the brisk way she moves her head. There is this terrific moment after the morning bell rings in which she outstretches her arm, as if trying to get a hold of Albrecht even if she knows her power has ended. She's very reluctant at letting him go, and their love does not inspire pity in her, but horror and disgust. While her dancing felt slightly underpowered last week, she was absolutely on top form tonight: comparing her to Magri or Nunez would be very unfair considering all their experience with the role, but I'm sure than in no time her Myrtha will rank among the very best.
 

Romany Pajdak and Isabel Lubach were both very fine as Moyna and Zulme, and Luca Acri is an endearing and spectacularly fast Hilarion, as always. Always great to see Kristen McNally as Berthe and the pas de six was quite strong too as led by Melissa Hamilton and Nicol Edmonds. I'm going back tomorrow for the last show and I have to say I'll really miss having Giselle playing at the Royal Opera House, it brings the best out of the RB.

[Geoff]

21 hours ago, zxDaveM said:

 

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

 

As there have been a couple of performances with Dhr. Bravo recently at which he was (so far as I could tell) silent throughout, I wonder how much in control of this behaviour he is? Maybe it depends on whether he has a drink before the show, or the phases of the moon or whatever?

[LinMM]

Well he could have Tourette’s Syndrome where people feel compelled to shout out certain words or phrases ....very often swear words ...but his word is Bravo! 

[bridiem]

6 hours ago, AnticaFiamma said:

While I was watching Sarah Lamb's final steps on stage all I could think of were Salieri's words in the scene in Amadeus in which he watches Le Nozze di Figaro: "I heard the music of true forgiveness filling the theatre, conferring on all who sat there perfect absolution". It is an extraordinary performance, and I adore her Giselle: she's the most ethereal, the most compassionate, the most forgiving. Pity shone in every movement, and the moment in which she raised her arms one final time after the Wilis were gone to instil strength in Albrecht was so sweet and touching that it moved me to tears. And I loved the moment in which she started stepping back into her grave and the look of surprise she gave to her feet as if they were moving against her will. Her acting alone would make her an unforgettable Giselle, but her technique is so pristine and her dancing so perfect that her portrayal of the role is a true masterpiece.

 

Thank you so much for this beautiful and definitive description of Sarah Lamb's Giselle, AnticaFiamma.

[alison]

Talking of swords, what is this with various Albrechts pulling the sword partway out of the scabbard when doing the "oh silly me I've left my sword on" mime at the beginning?  Are we supposed not to know that there's a sword in there until we see that?

[Rob S]

28 minutes ago, alison said:

Talking of swords, what is this with various Albrechts pulling the sword partway out of the scabbard when doing the "oh silly me I've left my sword on" mime at the beginning?  Are we supposed not to know that there's a sword in there until we see that?

 

Sambe's sword end hit the floor and bounced back up quite noticeably during the transition from shed to this mime so he was probably checking it was still in one piece and not bent. 😄

 

Sambe also had the most polite 'no Wilfred, I don't need my cape right now' I've seen too.🙂

Edited December 3, 2021 by Rob S

[Fonty]

1 hour ago, alison said:

Talking of swords, what is this with various Albrechts pulling the sword partway out of the scabbard when doing the "oh silly me I've left my sword on" mime at the beginning?  Are we supposed not to know that there's a sword in there until we see that?

 

Yes, I've noticed that too.  Also, both times I was there the Albrechts seemed to struggle to get their swords off.  Maybe they take them off so rarely the buckle has got a bit rusty? 🙂

[KyleCheng]

I thought Sarah Lamb was on the top of her game last evening, both in terms of acting and dancing. She looked very at ease holding her arabesque en pointe and, because of the oft-mentioned ethereal quality she seems to exude without effort, those slightly-held-longer poses enhanced rather than got in the way of characterisation and storytelling. It really felt as though she was something out of this world. At one instance her famous photo from Afternoon of a Faun, where she did a stunning 2nd arabesque, was invoked.

 

Her acting was precisely the right balance between theatricality and realism for me. When Berthe caught her dancing with the villagers, the voice and mannerism of a naughty valley girl kept springing to mind (though I am aware she is not from that part of the United States!). What hit me particularly hard was the extent by which she transformed during the mad scene. When she stood up with her hair down, one felt as if one was staring into the eyes of a psychopath; the usual stunningly blue hue of her eyes was no where to be found. As the scene progressed, hysteria was replaced by despair and there was no more burning fire in her eyes, only blackness. The process, which felt like textbook psychological trauma, was almost unsettling to watch.

 

I have previously watched a talk given by her, Kevin O'hare, and Marcelino Sambe at Cambridge (ICYMI: https://www.youtube.com/watch?v=Y_srNXcPfAM) but it wasn't until I rewatched it today did I notice that she actually talked about the theatricality/realism duality. One cannot help but admire the contextual and philosophical manner in which she approaches her roles, the works, and dancing as an art form, which, at least to me, really shows in her performance and sets her apart from the others in the business.

 

 

Praise must also be given to the absolutely magnificent corps. Perfectly in sync (from my SCS perspective) and properly scary, it was one of the most satisfying act II I've seen during this run. I share the delight of seeing Romany Pajdak with many fellow forum members and was glad to report that I thoroughly enjoyed her well rounded technique and reserved but beautiful style.

[MrsBBB]

11 hours ago, LinMM said:

Well he could have Tourette’s Syndrome where people feel compelled to shout out certain words or phrases ....very often swear words ...but his word is Bravo! 

I’m praying to the theatrical gods that he’s not there tonight to ruin the celebration of Morera’s 25th anniversary at the RB. 

[capybara]

17 minutes ago, MrsBBB said:

I’m praying to the theatrical gods that he’s not there tonight to ruin the celebration of Morera’s 25th anniversary at the RB. 

Oh, wow. That will be special. Wish I had a ticket.

Please cheer her loudly for me as well.

[AnticaFiamma]

35 minutes ago, MrsBBB said:

I’m praying to the theatrical gods that he’s not there tonight to ruin the celebration of Morera’s 25th anniversary at the RB. 

I brought a blowgun just in case 

[LinMM]

AnticaFiamma you wouldn’t now...would you 🤔 

[MJW]

2 minutes ago, LinMM said:

AnticaFiamma you wouldn’t now...would you 🤔 

 

He was sitting at the end of the stalls circle on Wednesday -  a quick shove and he would be in the orchestra pit!

[capybara]

Come now, everyone😊……….

We are talking about a real live ballet fan here………

I did once talk to him about his eccentric cheering. Maybe someone sitting near him could have another try?

[Meetmeatthebarre]

Excuse the slightly disjointed notes. I'm literally stood in CG processing, make up a mess, shaking. What a night. 

 

I've never been a huge fan of Giselle before this run, and mostly went out of a sense of duty. And I've never cried before this evening. 

 

I've seen Laura's Giselle before and she's been my preferred in many of the story ballets for her nuanced, mature interpretations. 

 

Laura's Giselle is older - def in her late teens or more - her relationship with her mother is one of the latter refusing to accept she's grown up. Her Giselle isn't scared of the Wili folklore - it's Mum at it again, and she is the one comforting the latter. She's old and mature enough for a proper love. Bonelli too feels like he truly loves her - when it comes out that he is a nobleman, she doesn't bothered - it seems just to be something they haven't got round to discussing, as soon he reassures her that he can still love her despite the divide in class. It's only the knowledge of his engagement that shakes her. Laura's "mad" scene doesn't feel mad so much as an allegory for how heartbreak feels - once lovely memories now soured and deformed. 

 

Bonelli literally feels a different character in those few steps with Bathilde - it seems like he could find the strength to break free with Giselle - and they're mature enough to work it out - so it feels like a tragedy that she dies suddenly (she doesn't stab herself). I loved Bonelli's Albrecht trying to stop a jealous, possessive Hilarion who suddenly is overcome with guilt at the events set in motion - from impaling himself on the sword. 

 

Act 2 had the corps as on form as ever this run. Some interesting nuances: first time I've noticed the Wilis give Giselle the cold shoulder for protecting Albrecht; you get a real sense that she is sacrificing her afterlife for him as a result. The look of relief that she's succeeded with her gamble when the bells ring was stunning. I was bawling.

 

Many Giselles I've seen feel technically brilliant, but the Act 1 and 2 seem disjointed; Giselle is played too naive for Act 2 to be believable and/or Act 2 seems like a redemption for a nobleman who preys on underage girls. At best, one gets a "Romeo and Juliet" tragedy, where it's heartbreaking that two characters too young to understand what love really is, die by their own hand after being consumed by lust. This was a true, grown-up romantic tragedy. 

 

Topped off by the flower throw, speeches and a bittersweet sense that this might be Laura's last Giselle, truly an ROH night to remember and cherish.

 

 

 

[Jamesrhblack]

I agree with you meetmeatthebarre: I had to go for a walk and process too.

 

I’m probably still doing so, but enjoyed reading your response very much and agree that there was a very valedictory feel to the evening, even if Kevin O’Hare was at pains to point out, “She’s not leaving.”

Edited December 3, 2021 by Jamesrhblack

[Meetmeatthebarre]

4 minutes ago, Jamesrhblack said:

I agree with you meetmeatthebar: I has to go for a walk and process too.

 

I’m probably still doing so, but enjoyed reading your response very much and agree that there was a very valedictory feel to the evening, even if Kevin O’Hare was at pains to point out, “She’s not leaving.”

 

I have to confess that it felt somewhat odd to hear KOH make the speech, given how much Laura has been under-cast since he took over from Monica. I would have loved to have seen Laura finally have a go at Odette/Odile next run, which she's said for years has been an unfulfilled dream, but then again, she adds so much power to her dramatic roles. I'd love for her - hopefully after many more years on stage - go out on a Tatiana, Natalia Petrovna, Masha, or even Lise. 

 

PS James - whilst I did go to a bar alone post-performance to process, I'm normally very much a barre girl 😉 

[Jamesrhblack]

Sorry for auto spell name correction. I doubt she’ll dance Tatiana again, having been taken out of it last time, and I think if there were a time for Swan Lake it has past, but I think Natalia Petrovna would be perfect for a dance actress who is also a superb Ashton dancer.

[capybara]

Anastasia would be my favourite.

 

But I have a feeling that she might go out on a Lise 😊 because Fille feels due for an airing in the 2022/23 season.

 

[Meetmeatthebarre]

2 minutes ago, Jamesrhblack said:

Sorry for auto spell name correction. I doubt she’ll dance Tatiana again, having been taken out of it last time, and I think if there were a time for Swan Lake it has past, but I think Natalia Petrovna would be perfect for a dance actress who is also a superb Ashton dancer.

 

Please don't apologise - I found it hilarious, and obviously a pun I'd spent too long trying to concoct when registering

 

I was sure she danced Tatiana in the 2019-20 run, or is my memory failing me? But on further thought - a Lise would be best. A full story ballet, and the image of her running into her happily ever after, forging her own new path. 

[JennyTaylor]

What an absolutely marvellous evening.  As soon as I saw the cast change, I haunted the ROH website to get a late ticket to see this pairing.  I've always loved Laura Morera  and thought this partnership with Bonelli would be perfect. So it proved. and I was very happy with Row C of Orch Stalls where I had a wonderful view. 

 

All things seemed to come together this evening. Stunningly good from everyone. I'm so pleased I've seen the multiple entrechats. Actually I loved them and they went so well with the music. The tempi seemed to have increased this evening, so much so, I looked to see if it was the same conductor (it was). 

 

For the first time in all the wonderful Giselle's I've seen this time round, I shed a tear at the end as the curtain closed. Absolutely perfect. 

 

Lovely to see all the flowers for Laura's 25th celebration and the flowers for all the wonderful corps too.  Such a well deserved ovation for a beautiful ballerina   

[Jamesrhblack]

4 minutes ago, Meetmeatthebarre said:

 

Please don't apologise - I found it hilarious, and obviously a pun I'd spent too long trying to concoct when registering

 

I was sure she danced Tatiana in the 2019-20 run, or is my memory failing me? But on further thought - a Lise would be best. A full story ballet, and the image of her running into her happily ever after, forging her own new path. 

The Tatianas last time were Mendizabal, Naghdi, Nuñez and Osipova. I recall being astonished that she wasn’t cast with Bonelli after their sensational Mayerling and she mentions the hurt she felt about this in her her most recent Ballet Association interview.

[Meetmeatthebarre]

2 minutes ago, Jamesrhblack said:

The Tatianas last time were Mendizabal, Naghdi, Nuñez and Osipova. I recall being astonished that she wasn’t cast with Bonelli after their sensational Mayerling and she mentions the hurt she felt about this in her her most recent Ballet Association interview.

 

Thank you, James. That rings a bell now. Perhaps it is highest praise that I only really see her in that role.

[Sim]

This was a very special and emotional night.  What a beautiful way to end a spectacular run of this ballet.  

[maryrosesatonapin]

20 minutes ago, JennyTaylor said:

The tempi seemed to have increased this evening, so much so, I looked to see if it was the same conductor (it was). 

 

I did exactly the same, Jenny!  It sounded so much better.

LIke the other forumites above, I was deeply touched by tonight's memorable performance from Laura Morera and Federico Bonelli.  I loved watching them together. Laura always oozes personality on stage and Fede is such a gentleman. I tend to think of him as a reliable stalwart, but in fact he is so much more than that.   During the adagio pas de deux in Act II his slow, tender lifts of his Giselle were extraordinarily moving.  The whole performance was a delight, and ended with an air of festivity as flowers were thrown onto the stage as Laura received her 25 year medal of which you can see a photo here: https://maryrosedouglasuk.wixsite.com/ballet

So the 2021 run of Giselle comes to an end.  I went to the first and the last performances and several in between.  Standouts for me were Osipova's fast, exciting and original performance with the excellent Reece Clarke; Francesca Hayward's exquisite second Act ethereality; and tonight's very special combination of two of my favourite dancers.  

I saw a lot of Mayara Magri as Myrthe and she just seemed to get better and better.  I had hoped to see Marianela but she wasn't in any of the performances we went to, although when I bemoaned the fact, my partner reminded me that we had in fact seen her dance the role ages ago - maybe 15 or 20 years even?  And of course she can be seen on the streamed performance, I hope.  

So that was my last ballet of 2021 and one to savour and remember for a long while to come.  Thank you, Royal Ballet, for a fabulous autumn.


 

[AnticaFiamma]

What a glorious closing night! Really strong performance from everyone on stage and in the pit, I have never heard the score played better during the run. Last week someone complained about David Donnelly's Hilarion, and I don't know if he improved a lot or I have very low standards, but I thought he was exquisite. Perhaps not as spectacular as Luca, but surely not inferior to Lukas Bjørneboe Brændsrød or Tomas Mock.

 

The pas de six was very strong too and there was lovely chemistry between Mariko Sasaki and Joonhyuk Jun; the latter in particular was truly outstanding and I'd love to see him dance the scene of Hilarion's death.

 

I can't really add anything to what has been said about Laura Morera, it was an exquisite performance and she would have deserved the truly lovely celebration at the end of the show even just for what she did on stage tonight.

 

And I definitely second @maryrosesatonapin, Bonelli is no mere porteur. He's an exceptional partner, able to change his style and performance according to the needs of the ballerina, while also preserving a strong individuality. His technique and stamina are not inferior (and, often, are better) than the ones of Albrechts who are fifteen years younger than he is. Apart from the 30 entrechats (perfectly executed, with his arms very still), he doesn't show off and his loving and grieving Albrecht is coherent and wonderfully characterised. I think no other Albrecht during this run manages to convey desperation as he does in the final moments of the second act: his performance is the one that only an extraordinary dancer can deliver.

 

The beautiful celebration was joyous but bittersweet, as there is a sense that maybe both Morera and Bonelli might not return to these roles again. If this is the case and this was indeed their last performance as Giselle and Albrecht they should be immensely proud of themselves, because what they did tonight cannot be topped easily. 

Edited December 4, 2021 by AnticaFiamma

[alison]

Somewhere in this run there was, I think, an error on the cast sheet which needed to be corrected: I think it might have been Christina Arestis playing Berthe rather than Kristen McNally. Can anyone remember which performance it was, so I can check and possibly correct my cast sheet?

[bangorballetboy]

5 hours ago, alison said:

Somewhere in this run there was, I think, an error on the cast sheet which needed to be corrected: I think it might have been Christina Arestis playing Berthe rather than Kristen McNally. Can anyone remember which performance it was, so I can check and possibly correct my cast sheet?

 

27 November 1130

[JohnS]

Yet again a fabulous Giselle fittingly bringing the curtain down on this run where there’s been so much to cherish. For me the high point was Kevin O’Hare’s comment that Laura’s ‘not leaving’ as I’d been led to believe that this was Laura’s final performance. On arriving I’d said how pleased I was to be at this extra performance for me and to find out that Laura was being presented with her silver medal so was aghast to be told it was her final performance. Perhaps too much had been read into the flower throw? So I spent the performance simply marvelling at Laura’s artistry, thinking how could this possibly be her farewell performance given her astonishing stage presence and accomplishments, and hence was delighted to hear Kevin O’Hare’s comment. I wish I’d said something to him in the interval as I’d managed to get Grand Tier A15 so was just in front. 
 

Anyhow Laura isn’t leaving and hopefully there’ll be many more magical performances to come: and with good notice of any farewell.

 

I fully agree all the plaudits for last night’s performance for the whole cast. The PD6 were a joy and the Corps have been wonderful throughout. But I still think Hilarion could be more animated and desperate to get away from the Wilis at the start of Act 2.

 

I also realised I should add an extra mask to my pocket as I found the whole performance deeply affecting. Different tears in Nutcracker but best be prepared.’

[alison]

10 minutes ago, JohnS said:

 For me the high point was Kevin O’Hare’s comment that Laura’s ‘not leaving’ as I’d been led to believe that this was Laura’s final performance. On arriving I’d said how pleased I was to be at this extra performance for me and to find out that Laura was being presented with her silver medal so was aghast to be told it was her final performance. Perhaps too much had been read into the flower throw?

 

I should hope not: I have tickets for her sugar plum fairy!

[JohnS]

4 minutes ago, alison said:

 

I should hope not: I have tickets for her sugar plum fairy!

 

I’d asked: ‘What about Nutcracker?’ but the reply was pretty categoric.

[Jamesrhblack]

52 minutes ago, JohnS said:

 

I’d asked: ‘What about Nutcracker?’ but the reply was pretty categoric.

May I ask who was answering the question?