Royal Ballet's Giselle - Autumn 2021

[maryrosesatonapin]

1 hour ago, redshoesgirl2 said:

and i think it is just fine you mentioned it. aesthetics are more than just ballet steps. 🙂

I couldn't agree more.  Ballet is a visual art and ideally dancers should be pleasing to look at even when they aren't dancing (although of course their artistic abilities are the most important thing).  I've always thought Lukas BB was beautiful even as a teenager but actually didn't like the beard, except that it helped in his characterisation of course!  However one could always feast one's eyes on Reece Clarke....

[maryrosesatonapin]

Someone else I thought was performing well last night, but forgot to mention, is Marianna Tsembenhoi who was both a village girl and a Wili.  She danced very prettily in the first act and very competently in the second.  I think she is one to watch.

 

[LinMM]

I’m pretty sure Marianna had some solo parts in one of the Student shows often an indication of future talent. 

[JennyTaylor]

2 hours ago, maryrosesatonapin said:

I couldn't agree more.  Ballet is a visual art and ideally dancers should be pleasing to look at even when they aren't dancing (although of course their artistic abilities are the most important thing).  I've always thought Lukas BB was beautiful even as a teenager but actually didn't like the beard, except that it helped in his characterisation of course!  However one could always feast one's eyes on Reece Clarke....

I saw Lucas BB in rehearsal and thought how interesting it was to have a Hilarion who was both young and handsome (not always the case, and sorry if this is non PC). In addition, Lucas both acted and danced beautifully.   This made the choice Giselle has to make, much more complex. In the rehearsal, she had to choose between an imperious Vadim and a more rustic Lucas. Now both Vadim and Lucas are pleasing to the eye in my opinion, so it made for a greater dilemma and more pathos, than might always be the case.  (Feel like I am treading on hot coals even writing this) but it did cross my mind during the performance, not as a result of this thread.  The lady sitting next to me, who I didn't know, also commented to me on Lucas, which led to a lovely discussion between us in the interval.    

[Tony Newcombe]

3 hours ago, maryrosesatonapin said:

Someone else I thought was performing well last night, but forgot to mention, is Marianna Tsembenhoi who was both a village girl and a Wili.  She danced very prettily in the first act and very competently in the second.  I think she is one to watch.

 

Saw her at a RBS open day during her year three. The students were preparing for their assessments. She danced one of Kitri’s solos from Don Q. It was quite obvious that she was a special talent. During lockdown she was prominent in quite a few streaming events

[Dawnstar]

1 hour ago, JennyTaylor said:

I saw Lucas BB in rehearsal and thought how interesting it was to have a Hilarion who was both young and handsome (not always the case, and sorry if this is non PC).

 

I thought something similar when I saw him as Prince Gremin in Onegin. I'm much more familiar with the operatic version, when Gremin is usually sung by basses who are at least middle aged if not heading towards elderly. To suddenly see the character portrayed by a good-looking young man made his marriage with Tatyana, & her choosing him over Onegin, have potentially completely different motives: that she didn't necessarily marry for position & kindness and then stay with him due to social requirements of the time, but that she could actually fancy him more than Onegin!

[jmhopton]

44 minutes ago, Tony Newcombe said:

Saw her at a RBS open day during her year three. The students were preparing for their assessments. She danced one of Kitri’s solos from Don Q. It was quite obvious that she was a special talent. During lockdown she was prominent in quite a few streaming events

Yes I've been rewatching the Aud Jebsen Insight and the new work created for the Aud Jebsen dancers in this year's WBD and was struck by her commitment, talent and good humour. Was pleased to see her in one of Rob's photos for Giselle's curtain call. I really like all the Aud Jebsen dancers in her intake and hope they all are given places at the RB. Incidentally, Hanna Park, who featured in the original Aud Jebsen Insight, hosted and taught by Christopher Saunders didn't seem to be in the WBD new work. Is she still with the RB? I hope so as I really liked her.

[Rob S]

Talking of Aud Jebsen dancers I need your assistance….who is the dancer that isn’t Mica? 
 

 

[Rob S]

You’re all scratching your heads but pretending you’ve gone to bed, aren’t you.

[Balletfanp]

Not me! Is it Katherina Nikelski?

[Rob S]

10 minutes ago, Balletfanp said:

Not me! Is it Katherina Nikelski?

No, she's standing to her right

[Balletfanp]

Oh. I don’t know then.

[Rob S]

 

 

 

 

 

 

Edited November 6, 2021 by Rob S

[Ingrid]

4 hours ago, Rob S said:

Talking of Aud Jebsen dancers I need your assistance….who is the dancer that isn’t Mica? 
 

 

 

could she be a student? Because I don’t believe she is one of the Aud Jebsen dancers.

 

[Richard LH]

7 hours ago, jmhopton said:

Hanna Park, who featured in the original Aud Jebsen Insight, hosted and taught by Christopher Saunders didn't seem to be in the WBD new work. Is she still with the RB? I hope so as I really liked her.

I am pretty sure she is  recovering from injury.

[capybara]

Of the four ballerinas in the 2021 group of Aud Jebsen Young Dancers (not yet listed on the website), the Wili in the picture is not Ava May Llewellyn, Alix Van Tiggelen or Olivia Findlay. Maybe she is Viola Pantuso?

 

Such radiant pictures of Annette Buvoli.............

[Rob S]

19 minutes ago, capybara said:

Of the four ballerinas in the 2021 group of Aud Jebsen Young Dancers (not yet listed on the website), the Wili in the picture is not Ava May Llewellyn, Alix Van Tiggelen or Olivia Findlay. Maybe she is Viola Pantuso?

 

Such radiant pictures of Annette Buvoli.............

Viola is front left 

[Sim]

Any comments on the Cuthbertson/Bonelli cast from last night please?  How did Annette do in her unexpected debut?  Thanks!

[alison]

Can I just say that, in her unfortunately somewhat premature debut as Myrtha, Annette Buvoli looked as though she'd been dancing the role for years?

[Rob S]

I thought Annette was fantastic....would never have known that was a debut!!

 

Federico's entrechats tally: 32ish

 

Mystery Wilis Woman...according to someone stood right next to her at the time of the photo....Isabella Boyd from the RBS🙂

[Anna C]

8 minutes ago, alison said:

Can I just say that, in her unfortunately somewhat premature debut as Myrtha, Annette Buvoli looked as though she'd been dancing the role for years?

 

I agree.  While she didn’t quite have the terrifying presence of some Myrthas I’ve seen, Buvoli was wonderfully assured and authoritative, showing no sign of nerves whatsoever.  I thought it was an excellent debut, especially given the short notice.  Really lovely to see her receive flowers and lots of well-deserved cheers. 

 

Cuthbertson and Bonelli are one of my all-time favourite partnerships and having never seen them together in Giselle, I’m glad I chose last night to go.  It’s no secret that I think these two are among the best, if not *the* best actors in the company, and so they proved again last night.  They have wonderful musicality together too, which made them a joy to watch, especially in Act 1. 

 

In Act 2, Lauren seemed to struggle a tiny bit with the two horribly difficult developpés (I think they go round to arabesque) and one of the ladies in the Corps had a battle with those horrid hops, but other than that, the dancing was seamless, with Bonelli dancing with age-defying stamina.  His Entrechats were fabulous and he faded convincingly towards the end, making the fall to the ground nicely realistic.  

Bonelli is not a rotter; I can’t dislike his Albrecht (Kobborg was a really convincing cad) even at the beginning.  He seems to be playful and enjoying the fun of pretending to be Loys, but I don’t feel as if he’s playing around with Giselle in any sense other than genuine affection.  It makes his grief immediately after her death more convincing but there is less of an obvious character change from arrogance to remorse.  That works for me, as the change happens gradually during Giselle’s mad scene (outstanding from Cuthbertson, as you’d expect).

 

Lovely work from the Act 1 Pas de six, especially considering that all six are often First Soloists and Soloists and last night’s was a relatively “young” six, especially in terms of rank (Isabella Gasparini, Benjamin Ella, Mica Bradbury, Charlotte Tonkinson, Joseph Aumeer and the excellent David Donnelly).

 

Really nice to see Olivia Cowley and Hannah Grennell’s Moyna and Zulme, they danced beautifully together, as did the wonderful Corps (all that sweating during rehearsal paid off).  Loved Christina Arestis’s mime and grieving; I’m not convinced she looks old enough to be Giselle’s Mother but perhaps she was a child bride.  In any case, she’s another dancer who is always outstanding and who I look forward to watching.

 

So for me, a wonderful performance.  If this run is Bonelli’s last as Albrecht, I’m immensely glad I got to see him and Cuthbertson together.  

 

Finally, the absence of ushers in the auditorium was alarmingly evident when a man near us stood up during the curtain call, walked towards the front of the stalls and tried to throw a bunch of flowers onstage - his throw failed spectacularly and I think a poor unsuspecting member of the orchestra got hit on the head with them.  Not great for him or her, and really bad from a security point of view (by which I mean he could have thrown anything).  Bizarre. 

 

 

 

 

[Shade]

Thanks Anna for that review. Very shocked about the flower throw!

[Anna C]

3 minutes ago, Shade said:

Thanks Anna for that review. Very shocked about the flower throw!

 

It was bonkers!! 😱

[maryrosesatonapin]

36 minutes ago, Anna C said:

I’m not convinced she looks old enough to be Giselle’s Mother but perhaps she was a child bride.  In any case, she’s another dancer who is always outstanding and who I look forward to watching.

 

If this run is Bonelli’s last as Albrecht, I’m immensely glad I got to see him and Cuthbertson together.  

 

In the programme notes, Peter Wright suggests that Giselle might be the product of 'droit de seigneur' - ie the lord of the manor has first dibs at the bride.  What a disgusting tradition - shades of Figaro!  But that might explain the mother's youth.  

I agree that Bonelli is far too much of a gentleman to be a 'nasty' Albrecht, but his interpretation is just as satisfactory to me.  How wonderful that he can still dance so well.  I have thought over the last 3-4 years that he actually improved! I have booked for this pair later in the run and you have made me look forward to seeing them even more.  I can almost feel my tears welling up already...

[jmhopton]

5 hours ago, Richard LH said:

I am pretty sure she is  recovering from injury.

Thanks Richard.  I wondered if it was illness or injury. Hope she's back son.

[SheilaC]

33 minutes ago, maryrosesatonapin said:

In the programme notes, Peter Wright suggests that Giselle might be the product of 'droit de seigneur' - ie the lord of the manor has first dibs at the bride.  What a disgusting tradition - shades of Figaro!  But that might explain the mother's youth.  

I agree that Bonelli is far too much of a gentleman to be a 'nasty' Albrecht, but his interpretation is just as satisfactory to me.  How wonderful that he can still dance so well.  I have thought over the last 3-4 years that he actually improved! I have booked for this pair later in the run and you have made me look forward to seeing them even more.  I can almost feel my tears welling up already...

In the Paris Opera Ballet production of Giselle some of the Dukes look searchingly into Berthe's face (they don't all) as though they are recalling a past dalliance, and at Giselle, as if to speculate if she could be his daughter.. Which would be a case of history repeating itself.

[Sim]

Getting back to Thursday night's Giselle...just a few random thoughts:

 

I have loved Osipova's Giselle since the first time I saw her dance it when she was here with the Bolshoi.  She has of course changed her interpretation over the years, and it's so exciting because you never know what you are going to get.  I love the way she tweaks the choreography as she goes along.  Normally I don't like it when that happens, but Osipova knows what she is doing and IT WORKS!  She doesn't have classically beautiful arms, but oh those arms told a story on Thursday night.  Her arms went up, they went out, they went everywhere...but this was to show her/Giselle's joy in Act 1, and her sadness in Act 2.  They matched her jumps and her hops, both of which are still incredible.  How can a human being seemingly float like that?  Contrasted with the attack of her twirls and maneges, it gives us the full picture of a gleeful, naive peasant girl full of the joys of Spring (or Autumn), and then an ethereal, mature woman who knows the meaning of forgiveness.  There are so many little touches she brings to the role that I don't have time to enunciate them all here, but it is very hard to take your eyes off her.    Luckily her Albrecht is Reece Clarke, so of course moving one's eyes away isn't actually too difficult...!!

 

Reece is a true danseur noble in the making.  There aren't too many of those anymore.  His dancing has improved so much over the past couple of years (let's face it, Osipova can probably choose her partners, and she clearly saw something in him a good while ago), and his partnering is exemplary.  He and Osipova are perfect contrasts and complements in this ballet;  he so noble and graceful, she so lusty and peasanty.  He steps back and lets her be, well, Osipova.  He doesn't try to compete, he doesn't try to rein her in (let anyone try!!) and he allows her to shine.  Conversely, she really brings him out of himself and adds a physicality to the acting that perhaps wasn't there before.  I got the impression that this Albrecht really cared about her from the get-go;  it wasn't just a remorseful love.  I felt much more angry with Hilarion for some reason!!  I mentioned his entrechats six further up the thread, and I am still picturing them.  No, I didn't count them, but if I had known how long they were going to go on I might have...although I don't usually count these things (nor the 32 or however many fouettes) as I am too excited in the moment to do so!  I am so pleased it sounds like they have relaxed the 'rule' about how many can be done.  I never understood why they had to stop when the music allows for them to continue...and after all, poor Albrecht is supposed to be dancing to his death. 

 

I loved Mayara Magri's Myrthe when she debuted it in 2018, and Thursday's performance confirmed my feelings.  Again, what an incredible jump she has...she literally seems to be a spectre flying around the stage.  I really liked her interpretation too.  Instead of just a cold face throughout, she often had a smirk...she heard what was in the woods (a haul of two men!) and thought she was in for a satisfying night of man-killing so was a happy ghost.   I think for the first time ever, I saw a Myrthe at the front of the stage (whilst Giselle was doing her best to save Abrecht and begging for mercy) staring into the distance with a wistful look on her face and, seemingly, about to cry.  She was perhaps remembering that she too had once had these feelings of love...and those feelings destroyed her...so she snapped out of it and turned to ensure that these men would never get the chance to do that to someone else....

 

....however, the bell rings to herald the dawn, and Albrecht gets to live another day.  And a whole lifetime, unlike poor Giselle.  I love the way Osipova immediately starts to fade away as soon as we hear the first ring of the bell.   The contrast between Albrecht getting to hold her and feel her body for the last time, and then her disappearing into a ghostly dust is so convincing and utterly compelling. 

 

I mentioned above that I was more angry with Hilarion than with Albrecht.  That shows what a believable interpretation Lukas B-B gave.  He conveyed jealousy and suspicion from the start, and although I normally empathise with Hilarion as I like to think that he is saving Giselle from herself (as well as for himself), here there was also a tinge of the nasty to his character, which I liked!  Christina Arestis was a wonderful Bathilde, looking as if she had a bad smell under her nose the whole time she was in the presence of the villagers.  

 

A final word about the corps.  They are world class. They are beautiful.  They are in sync both physically and spiritually.  They make me weep with their beauty and their power.  Thank you, Samantha Raine.  Thank you lovely ladies of the corps.  The hard work and dedication is worth it, and I hope that the loud applause shows how much we appreciate you.

 

  

[Jane S]

1 hour ago, Anna C said:

 

 

 

Finally, the absence of ushers in the auditorium was alarmingly evident when a man near us stood up during the curtain call, walked towards the front of the stalls and tried to throw a bunch of flowers onstage - his throw failed spectacularly and I think a poor unsuspecting member of the orchestra got hit on the head with them.  Not great for him or her, and really bad from a security point of view (by which I mean he could have thrown anything).  Bizarre. 

 

 

 

 

 

i remember there was a man who used to toss little bouquets onto the stage quite often - but he was quite a good shot and it was before  people worried much about security.

 

Also, there used to be a net over the orchestra pit didn't there?

= which caught and held the no-longer-slender David Drew when he fell off the stage in Sleeping Beauty.

[capybara]

17 minutes ago, Sim said:

Getting back to Thursday night's Giselle...just a few random thoughts:

 

I have loved Osipova's Giselle since the first time I saw her dance it when she was here with the Bolshoi.  She has of course changed her interpretation over the years, and it's so exciting because you never know what you are going to get.  I love the way she tweaks the choreography as she goes along.  Normally I don't like it when that happens, but Osipova knows what she is doing and IT WORKS!  She doesn't have classically beautiful arms, but oh those arms told a story on Thursday night.  Her arms went up, they went out, they went everywhere...but this was to show her/Giselle's joy in Act 1, and her sadness in Act 2.  They matched her jumps and her hops, both of which are still incredible.  How can a human being seemingly float like that?  Contrasted with the attack of her twirls and maneges, it gives us the full picture of a gleeful, naive peasant girl full of they joys of Spring (or Autumn), and then an ethereal, mature woman who knows the meaning of forgiveness.  There are so many little touches that she brings to the role that I don't have time to enunciate them all here, but it is very hard to take your eyes off her.    Luckily her Albrecht is Reece Clarke, so of course moving one's eyes away isn't actually too difficult...!!

 

Reece is a true danseur noble in the making.  There aren't too many of those anymore.  His dancing has improved so much over the past couple of years (let's face it, Osipova can probably choose her partners, and she clearly saw something in him a good while ago), and his partnering is exemplary.  He and Osipova are perfect contrasts and complements in this ballet;  he so noble and graceful, she so lusty and peasanty.  He steps back and lets her be, well, Osipova.  He doesn't try to compete, he doesn't try to rein her in (let anyone try!!) and he allows her to shine.  Conversely, she really brings him out of himself and adds a physicality to the acting that perhaps wasn't there before.  I got the impression that this Albrecht really cared about her from the get-go;  it wasn't just a remorseful love.  I felt much more angry with Hilarion for some reason!!  I mentioned his entrechats six further up the thread, and I am still picturing them.  No, I didn't count them, but if I had known how long they were going to go on I might have...although I don't usually count these things (nor the 32 or however many fouettes) as I am too excited in the moment to do so!  I am so pleased it sounds like they have relaxed the 'rule' about how many can be done.  I never understood why they had to stop when the music allows for them to continue...and after all, poor Albrecht is supposed to be dancing to his death. 

 

I loved Mayara Magri's Myrthe when she debuted it in 2018, and Thursday's performance confirmed my feelings.  Again, what an incredible jump she has...she literally seems to be a spectre flying around the stage.  I really liked her interpretation too.  Instead of just a cold face throughout, she often had a smirk...she heard what was in the woods (a haul of two men!) and thought she was in for a satisfying night of man-killing so was a happy ghost.   I think for the first time ever, I saw a Myrthe at the front of the stage (whilst Giselle was doing her best to save Abrecht and begging for mercy) staring into the distance with a wistful look on her face and, seemingly, about to cry.  She was perhaps remembering that she too had once had these feelings of love...and those feelings destroyed her...so she snapped out of it and turned to ensure that these men would never get the chance to do that to someone else....

 

....however, the bell rings to herald the dawn, and Albrecht gets to live another day.  And a whole lifetime, unlike poor Giselle.  I love the way Osipova immediately starts to fade away as soon as we hear the first ring of the bell.   The contrast between Albrecht getting to hold her and feel her body for the last time, and then her disappearing into a ghostly dust is so convincing and utterly compelling. 

 

I mentioned above that I was more angry with Hilarion than with Albrecht.  That shows what a believable interpretation Lukas B-B gave.  He conveyed jealousy and suspicion from the start, and although I normally empathise with Hilarion as I like to think that he is saving Giselle from herself (as well as for himself), here there was also a tinge of the nasty to his character, which I liked!  Christina Arestis was a wonderful Bathilde, looking as if she had a bad smell under her nose the whole time she was in the presence of the villagers.  

 

A final word about the corps.  They are world class. They are beautiful.  They are in sync both physically and spiritually.  They make me weep with their beauty and their power.  Thank you, Samantha Raine.  Thank you lovely ladies of the corps.  The hard work and dedication is worth it, and I hope that the loud applause shows how much we appreciate you.

 

  

 

Thank you for this lovely overview, Sim.

 

6 minutes ago, Jane S said:

 

i remember there was a man who used to toss little bouquets onto the stage quite often - but he was quite a good shot and it was before  people worried much about security.

 

Also, there used to be a net over the orchestra pit didn't there?

= which caught and held the no-longer-slender David Drew when he fell off the stage in Sleeping Beauty.

 

The man who is a good shot with flowers is stiil at performances!!!!

The net did not extend very far and was turned to steel (perhaps by Myrthe??) some years ago.

[JohnS]

Thank you Sim - very much looking forward to seeing Osipova/Clarke et al on 12 November.

[CCL]

Sim, what a wonderful review. I was intrigued by your description of Mayara Magri’s Myrthe at the point where Giselle protects Albrecht. I’ll be seeing her in the role on Monday evening and am really looking forward to seeing her interpretation!

[JNC]

1 hour ago, SheilaC said:

In the Paris Opera Ballet production of Giselle some of the Dukes look searchingly into Berthe's face (they don't all) as though they are recalling a past dalliance, and at Giselle, as if to speculate if she could be his daughter.. Which would be a case of history repeating itself.

interesting interpretation! 
 

I don’t wish to sidetrack the thread but I see Paris Opera are doing their Giselle next year, I wonder how it compares to the RB and if it’s worth a trip, if anyone is able to offer any thoughts (either here or via DM) I’d be very grateful! 
 

Thanks to all who have reviewed so far. Sounds like a beautiful production and I can’t wait to go later this month! Seems like everyone is bringing something a bit different and special to their roles, what lovely casting all round. 

[ninamargaret]

3 hours ago, Anna C said:

Bonelli is not a rotter

Having seen him in Giselle during the last run, I would agree. I love him as Des Grieux, Armand, think he is the perfect Onegin, but felt that neither his Rudolph or Leontes were quite right. I found myself feeling too much sympathy for his Rudolph, and he couldn't show that curdled jealousy that Ed Watson brought to Leontes. Having said that, no one has played Polixenes as well as he has done. I've not seen his Romeo on stage -will remedy that next year.

 

As an idle thought, who will take on roles like Rudolph and Leontes in the future?