Royal Ballet's Giselle - Autumn 2021

[Pas de Quatre]

1 hour ago, Sim said:

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.  

As we are discussing ages of the characters and interpretations, I have often wondered whether Bathilde is portrayed as too old and sophisticated.  Shouldn't she have been married off long before?  Why is she still only betrothed?  It might be interesting to see a much younger Bathilde i.e. early teen or even younger.  In aristocratic circles it was normal for girls to be betrothed from a very young age and then sent to be brought up in the household which they would marry into.  If she is still a child then it makes sense that Albrecht can fall in love with someone else.  Fleeing from a stiff and formal court he finds escape in the simple life of the village.  A very prevalent idea from the Romantic age.

[FionaM]

I was delighted to see Lauren’s return last night.   Her first act solo was really super and the mad scene one of the best I’ve seen … her legs literally crumpling in a faint as she realises the Countess is betrothed to her love.  Lauren was completely living the role as she always does. So convincing.  
 

She had excellent jumps, extensions and ballon for post baby return and yes did wobble in those dreaded developés and penché but held on … which only goes to prove how difficult they are.  
 

It was great to see a younger dancer as Bathilde.  Gina Storm-Jensen has the stature to pull this off … and she did a good job last night.  Came across as haughty, and yet also another innocent victim of Albrecht’s behaviour.   To me Christina Arestis is too old for this role now … she was a super Berthe.  
 

And another younger dancer … with Thomas Mock as Hilarion.   His characterisation and story telling was so clear .. even when hiding/spying at back of stage.  Impressive.  I much prefer this role with a current dancer rather than character artist.  The RB specialises in narrative dancers! 
 

Federico was so good … the 32 entrechat six were impeccable … someone has been training these Albrechts … proper beats that go sideways out and back .. not your fudging slides around each leg .. so that there are actually six clear movements.   Wonderful.  Super partnering as always and one can’t fail to feel sorry for his Albrecht.  Super dancing all through  … I’m really glad to have seen him.  You never know with senior dancers when might be the last chance in each role.  
 

And so to Annette Buvoli’s unexpected debut as Myrtha . Well you couldn’t tell … she was so assured technically. Stern and ethereal.  Really really good 👏👏👏

 
Isabelle Gasparini was utterly charming as the lead peasant in the pd6. Bravo! Mica Bradbury was lovely too.  The rest had a mixed night .. though there might have been a conducting problem for the men’s solos/duets.  The tempo seemed all over the place.  Orchestra sounded dreadful to me.  And David Donnelly’s double assemblés en tournant did not work.  (Maybe they are the wrong side for him?). His other jumps are so beautiful .. he has that extra hang time plus super placement and technique.  Joe Aumeer has super jumps … and such beautiful long lines.  And all 6, especially Ben Ella, seemed happy just to be dancing. Yes!  

[Anna C]

1 hour ago, FionaE said:

And another younger dancer … with Thomas Mock as Hilarion.   His characterisation and story telling was so clear .. even when hiding/spying at back of stage.

 

Yes, I omitted Tomas Mock from my mini-review, which I should not have done.  I like his Paris very much in R&J and he is an excellent Hilarion.

[Texan]

3 hours ago, ninamargaret said:

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

Nicol Edmonds for Rudolph, please. Only in my dreams?

 

Sorry to interrupt this Giselle thread.

[Jamesrhblack]

8 minutes ago, Texan said:

Nicol Edmonds for Rudolph, please. Only in my dreams?

 

Sorry to interrupt this Giselle thread.

I’d suggested NE for Rudolph some years back, so glad not to be alone on this one.

 

I’d also imagine that if works such as The Winter’s Tale and Woolf Works remain in the repertoire, Calvin Richardson might well take over some of Edward Watson’s created roles.

 

Back to Giselle.

[Lizbie1]

I'm a bit late to the party, but I'd like particularly to echo what Sim said about the Osipova/Clarke partnership, which seems to be at this stage of great mutual benefit: Osipova gets someone who allows her to dance as she is moved, with the security that he can handle whatever she throws at him; he gets someone who pushes him to up his all-round game. We'll never know if with another partner he'd have produced quite so many entrechats six, but I personally doubt it.

 

It was a *great* night.

[SheilaC]

9 hours ago, JNC said:

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. 

Essentially, JNC, the POB production is very similar to that of the RB. Some details differ, some dances are in a slightly different order and the choreography for the corps varies a bit.

For example, Wilfred doesn't draw attention to Albrecht (or the audience) that he's still wearing his sword; Giselle doesn't dance for Bathilde, after Berthe's intervention; Albrecht cautions Bathilde not to speak (by putting his fingers to his mouth to shush) when Giselle first becomes aware of the deception.

Like traditional productions in the past there is the Peasant pas de deux, not pas de six as at the Royal, and the couple are backed up by 8 female members of the corps. 

Berthe does the full mime account of the wili legend and there is mime in other parts of the ballet, including at the start of Act 2 when, like some other versions, some villagers are gambling in the forest and react to Hilarion when he arrives.

But overall the production by Patrice Bart and Eugene Polyakov has much in common with Peter Wright's, retaining most of the traditional Romantic choreography.

 

Giselle is usually danced in the Garnier theatre, unlike most of the big classics, which are usually performed at the Bastille theatre. The latter has little or no atmosphere which reduces the impact of the ballets. The Garnier has a deep stage which helps Giselle look at its best and, despite the extravagant baroque decor, the auditorium has a sense of intimacy, more than the Royal Opera House, which heightens the impact of a good performance.

[Meetmeatthebarre]

13 hours 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. 

 

 

 

 

 

This reminds me of many years ago when Alexandra Ansanelli retired. Perhaps it was just post financial crisis, but as a big fan of hers and hearing that flower throws were left to the audience for this occasion, I immediately rallied to make it happen and got full permission from the House to do so. Unfortunately, I was a poor student and had picked the cheapest flowers for volume that I could afford. What I hadn't realised is that said flowers - I think they were carnations from memory - had a tendency to clump. Even if sent separately, each stem seemed to find the other mid-air like magnetic velcro. They bunched and hit several dancers... I was told thereafter, though I'm not sure if jokingly, that my terrible throw is the reason that stewards are the only ones allowed to do flower throws now...

 

Back onto Giselle, I'll be seeing Natalia/Reece on Friday after Nela/Vad on Monday, and followed by Laura/Ryoichi a couple of weeks later. I've followed Reece since his RBS days (not least because as a kid, I was discouraged from continuing dancing because of my height). Other than Reece, none are new casts to me BUT will be the first full-length ballets post-lockdown and I am ecstatic with anticipation!

[JNC]

Thanks @SheilaC that’s really helpful. I will have to try to go to Paris next year, hopefully international travel will be less risky and hassle then! 

[BalletcoForum Moderators]

On 04/11/2021 at 17:33, Fonty said:

 Is this an automatic response?  Because it was obviously about my post, which has been removed.  Perhaps you could let me know privately what was so controversial about it, because I am baffled.

 

Yes, the Mods routinely mention on a thread when a post is hidden for a potential breach of AUP so that members (including the relevant poster) know what is happening.  In our experience, this is a courtesy that is not extended by all Internet forums.

 

As has been mentioned a number of times before, the Mods will usually notify the relevant poster of the issue at hand once delibreration has ended and a decision made (again, a courtesy not extended by all other forums).  The deliberation can sometimes take longer than may be perfect but we ask for patience as all moderators are volunteers, some of them have full time jobs and all of them have a life outside of this forum.

[Dawnstar]

On 06/11/2021 at 15:19, FionaE said:

Federico was so good … the 32 entrechat six were impeccable … someone has been training these Albrechts … proper beats that go sideways out and back .. not your fudging slides around each leg .. so that there are actually six clear movements.   Wonderful.  Super partnering as always and one can’t fail to feel sorry for his Albrecht.  Super dancing all through  … I’m really glad to have seen him.  You never know with senior dancers when might be the last chance in each role. 

 

I'm kicking myself that I misread the website back then booking in August & thought that it was Cuthbertson/Bonelli that had the livestream rather than Naghdi/Ball. Hence I booked for the latter live. By the time I realised it was the other way round it seemed too late to change tickets. So I guess I'll never seen Bonelli as Albrecht.

 

Having read the rave comments for both Osipova/Clarke & Cutherbertson/Bonelli, I'm starting to worry that I've gone for the wrong casts as surely it can't work out that all the casts are very good!

[LinMM]

Well yes it can on some occasions in some runs!! 

[JNC]

22 minutes ago, LinMM said:

Well yes it can on some occasions in some runs!! 

Indeed this is the first time I think I could have happily seen all casts actually! I don’t think Giselle is an easy role at all and there’s two very different acts but I think the principal casting works across the board for both Giselle and Albrecht. Not only that but each pair seems well matched  too. 
 

There is perhaps only one or two casts who I’m unsure about (with regard to matching) but in each case the strengths of one or both of the dancers in the role I think will be interesting to see regardless.

 

In short if I had the money and time to see all 8 casts I would probably have done so! And would have loved to have certainly definitely seen 6 or 7. Not often the case where usually there may be 1-3 casts that I really want to see and perhaps another 1-2 that I wouldn’t mind seeing depending on time and money. 

But it helps that Giselle is up there as a ballet for me generally! 

[Dawnstar]

55 minutes ago, LinMM said:

Well yes it can on some occasions in some runs!! 

 

I guess I'll have to keep my fingers crossed then. I've not yet seen Giselle live, though I saw a couple of streams during lockdown, so I'm hoping for strong casts for my first live viewings. Although, given I barely know the piece, I suppose at least if there are any errors I probably won't spot them!

[Jan McNulty]

I saw Naghdi & Ball's debuts in the last run and was totally blown away by them.  It was the first time I experienced a standing ovation at ROH.  I am sure you will not be disappointed.

[Dawnstar]

17 minutes ago, Jan McNulty said:

I saw Naghdi & Ball's debuts in the last run and was totally blown away by them.  It was the first time I experienced a standing ovation at ROH.  I am sure you will not be disappointed.

 

In the case of that pairing it's more that I'm annoyed with myself that I booked for them without realising they're doing the livestream. Usually I won't book whichever cast's doing the livestream in order to maximise the number of casts I can see.

[maryrosesatonapin]

On 06/11/2021 at 12:34, 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.

How interesting!  I've seen their production twice and just thought they were leering

In response to @JNC's question - yes yes yes it is well worth seeing the POB version of Giselle.  I'd say it was quite similar but more refined and from my own several viewings of RB and POB I would say the latter corps are considerably superior.  However I do prefer the RB peasant costumes - the Paris ones are very pretty but not rustic enough IMO.

Editing to add: my favourite experience of Giselle remains that of the BRB with Hirata/Morales however.  I have never been so moved by a performance.

Edited November 7, 2021 by maryrosesatonapin

[Fonty]

16 hours ago, BalletcoForum Moderators said:

 

Yes, the Mods routinely mention on a thread when a post is hidden for a potential breach of AUP so that members (including the relevant poster) know what is happening.  In our experience, this is a courtesy that is not extended by all Internet forums.

 

As has been mentioned a number of times before, the Mods will usually notify the relevant poster of the issue at hand once delibreration has ended and a decision made (again, a courtesy not extended by all other forums).  The deliberation can sometimes take longer than may be perfect but we ask for patience as all moderators are volunteers, some of them have full time jobs and all of them have a life outside of this forum.

 

It is not my intention to cause the moderators trouble.  I didn't know it was my post, I just assumed it was because I couldn't see it anymore, which startled me.  It was just that if the moderator on duty had PM'd me straight away, I would have said "Oh heck, sorry, don't bother deliberating, just forget about it." 

Apologies for wasting everyone's time. 

[LinMM]

Sometimes your post can be removed if somebody else’s post is under discussion and you happened to answer rather quickly to that particular post. 

[Guest oncnp]

casting for tonight (with apologies for the formatting)

 

Giselle                            Marianela Nuñez

Albrecht                         Vadim Muntagirov

Hilarion                           Lukas B. Brændsrød

Wilfred                            Leo Dixon

Berthe                             Elizabeth McGorian

The Duke of Courland   Christopher Saunders

Bathilde                          Christina Arestis

Leader of the Hunt        Bennet Gartside

Pas de six                     Melissa Hamilton, William Bracewell, Mariko Sasaki, David Donnelly, Leticia                                                        Dias, Harry Churches

Myrtha                          Mayara Magri

Moyna                          Olivia Cowley

Zulme                           Gina Storm-Jensen

Edited November 8, 2021 by oncnp

[FLOSS]

I remember Cuthbertson's debut as Giselle then I marvelled at how fresh and seemingly spontaneous she manages to make her portrayal of the peasant girl of the first act and the disembodied spirit of the the second. For me it was like seeing the ballet for the first time and somehow she still brings that spontaneity to her interpretation of the role. Giselle is notoriously a ballet of two halves and there are many dancers who are better in one act than in the other. Cuthbertson performs both acts with equal authority and credibility. I have always found her portrayal fascinating for the way she really uses the stage business available to her in the first act to establish Giselle's character thus ensuring the audience know who she is. Where other dancers often seem to skim over the stage business in favour of the dance elements of the role in the first act, she keeps the elements of the first act in equilibrium.

 

Although Cuthbertson's Giselle is as obsessed with dance as any who tackle the role she sets out to establish herself as a member of the peasant community rather than the star turn. When she is crowned as Queen of the Vendage it seems part of the way in which the community have marked the passage of the seasons from time immemorial rather than an action demanded by Wright's staging which enable the audience to see one of the most iconic images of the Romantic ballet. Bonelli is of the same mind as Cuthbertson when it comes to making every gesture and every available bit of stage business register in order to build his character and give depth to the world in which the action of the ballet is set. Neither of them lose sight of the fact that Giselle is a demi-character ballet in which the acting matters as much as the dancing. This was a performance to savour in which character and choreography are clearly delineated and integrated to produce a complete  account of the ballet. Sir Peter quite rightly gives his Giselles the interpretative freedom to find their own accounts of the mad scene which you always hope will be both convincing and affecting.

 

I thought that Buvoli made a particularly impressive debit as Myrthe. I don't suppose that anyone in the audience who is not an avid reader of the casting details published on the ROH website would have realised that Buvoli was not due to make her debut in the role for another fortnight and so must have had several coaching sessions lined up to fine tune her interpretation during the next two weeks. I am sure that her account will mature and grow in authority and I look forward to seeing that development in future seasons as I am not due to see her again during this run. I thought that on Friday night the corps' lines were a little untidy which is something I had nor noticed on Thursday.

 

Thursday night saw a different cast and a different approach to the leading roles. Osipova's Giselle is a dancer first and foremost in both acts. In the second act she reveals a  Giselle who is a far less gentle spirit than Cuthbertson's interpretation of the role suggests her to be. Indeed with Osipova's interpretation there is a hint of danger and of the demonic about her portrayal of  Giselle in the second act which strikes me as a valid approach to the role since it is her enduring love for Albrecht which prevents Giselle from  becoming a fully fledged Willi and  in the early years of the ballet enabled Giselle to escape her allotted fate as a suicide making it possible for Giselle's soul to ascend to heaven. This detail is virtually impossible to stage as Ratmansky's recent reconstruction showed. I can't help wondering whether Sir Peter approves of Osipova's interpretation or not. If I were him I think that I would be very pleased that my staging could accommodate two such different and valid approaches to the role.

 

Bonelli's approach to the role of Albrecht is a powerful mixture of the natural authority which years of stage experience confer on a mature dancer, an extraordinarily well preserved technique and the interpretative freedom, artistic imagination and skill which can make a dancer's performance towards the end of a career so memorable. He gives a masterclass in using the resources made available in this staging to greatest interpretative effect. Clarke's Albrecht is of course work in progress, it could hardly be anything else but already his Albrecht oozes the entitlement and assurance which comes with his status as a noble which no amount of dressing as a peasant can disguise. His dancing is extremely elegant and the slight mishap in one of the lifts was only perceptible to those who know the choreography well. I look forward to encountering this Albrecht again to see how his interpretation develops and matures. Magri's Myrthe is authoritative and would probably dominate the action with any Giselle other than Osipova. The Hilarions in these casts were Braensrod and Mock both of whom are much younger than we have been used to seeing in the role. Both did well in what can seem a rather thankless role which is little more than a character who is necessary to set the tragedy in motion in the first act and then in act two is needed to show the audience the fate that Albrecht so narrowly avoids. But while the relative youth of these two Hilarions may make their characters' motivation seem more convincing than if the role is played by a more mature performer there are potential losses too. The more mature performer is more likely to understand that he has to inject a  sense of desperation into his dancing in act 2. At the moment I have the impression that neither man has grasped the need to make his dancing in act two far more expressive or perhaps at this stage in their careers they have yet to find a way to convey the required emotions.

 

If there was a bit of a downside to these two performances it came in the pas de six where I felt more than once that we might have been better off with the traditional peasant pas de deux if only because with two dancers perhaps less is likely to go wrong or look bad. It was not necessarily that anyone who was dancing was that bad I think it had more to do with the fact that in both casts the six dancers were not always as synchronised with each other as we have come to expect in recent performances. I think it is simply the case that we were spoiled in the most recent revivals where we were presented with performances by dancers who were clearly making their final appearances in the pas. The pas de six provides an opportunity for an dancer to be seen and make his or her mark in the promotion stakes. I like Aumeer but I do not think that he is as good a fit with Donnolley as Dubreuil would have been but then perhaps Dubreuil is destined to lead the pas with another cast.

 

 

Picking up on a point raised in an earlier post as far as Joseph Aumeer is concerned I seem to recall reading in  the programme for the RBS' main stage performance that he had been offered a position of some sort with the company and then a little later reading posts on Dansomanie Forum which made it clear that he had decided to try his luck in France.

[Lizbie1]

2 minutes ago, FLOSS said:

I can't help wondering whether Sir Peter approves of Osipova's interpretation or not. If I were him I think that I would be very pleased that my staging could accommodate two such different and valid approaches to the role.

 

I don't have it to hand but he certainly approves of Osipova in his autobiography. (This was the first time I've seen her dancing the role, so it may be that her interpretation has evolved since then.)

[LinMM]

Thanks for your great reviews Floss. 
I hadn’t realised Aumeer had actually been offered a place at RB back then. It’s interesting that he chose POB first. 
He seems to have had a similar ballet path as Joe Sissens but was noticeable as a student for his elegant bearing I thought and wondered where he disappeared to for a while. 
I always wondered what happened to Giulia Frosi ...I think she was the same year ...as was sure she would be taken on by the RB. 

Maybe quite a few dancers have been offered places at the Royal but chosen to go elsewhere initially then. 
Anyway I’m glad he’s back and will keep an eye on him!! 
I think Monica Mason would have been a great match for Osipova as Myrthe! 
I love Osipova in this role but not seeing her this time around. 
 

[AnticaFiamma]

How beautifully William Bracewell led the pas de six, and what a pity he's not Albrecht this season. Nuñez really is on a league of her own.

[CCL]

I am already blown away by Nunez tonight…I’m sure I shall be in bits by the end!

[Richard LH]

That went well !! 🙂

[CCL]

I’m on my way home now with so many thoughts and images whirling around my mind. That was an unforgettable evening- and I’ll be forever grateful that my daughter’s first RB Giselle was so very special. I’ll try to put some coherent words together tomorrow.

[DanJL]

After much anticipation, tonight was my first ever live viewing of Giselle. Obviously I have nothing to compare it with, but I thought it was outstanding. Completely entranced by Nuñez, wonderful dancing as ever by Muntagirov and the corps were incredible. All in all, a really great evening 😊

[bridiem]

2 minutes ago, DanJL said:

After much anticipation, tonight was my first ever live viewing of Giselle. Obviously I have nothing to compare it with, but I thought it was outstanding. Completely entranced by Nuñez, wonderful dancing as ever by Muntagirov and the corps were incredible. All in all, a really great evening 😊

 

Well I have a lot to compare it with, DanJL, and I also thought it was outstanding! Nunez and Muntagirov not only dance magnificently, they have a bond of such strength and intimacy that the whole tale becomes a new sort of tragedy. Albrecht may have been duplicitous, but his love was real and his despair at Giselle's death is real. And their bond is restored and as strong as ever in Act II; no Wili could break it. No wonder Myrthe - a warrior queen performance from Magri, leading her ghostly cohort who moved as one - cowers before it. And at the end, the flower is not just a memory of Giselle but a symbol of their love which has endured beyond the grave and will sustain Albrecht for the rest of his life. 

 

Brilliant.

[AnticaFiamma]

Yeah, it was truly wonderful, maybe on the whole it was the finest of the three performances of the new run. There are really no words high enough to praise what Nunez does on that stage: Osipova might be the Giselle of her generation, but Nunez has the most beautiful style of the whole company.

 

Lukas B. Brændsrød has really brought a lot to the role of Hilarion, not just in terms of great dancing but also for his beautiful, heartfelt characterisation. Elizabeth McGorian was once again a very expressive Berthe and Leo Dixon was particularly eye-catching as Wilfred. The pas de six also wonderful, and William Bracewell deserves to be promoted as soon as humanly possible. Mayara Magri was even better than last week, when I thought she was a bit too ethereal and not stern/intimidating enough. Olivia Cowley and Gina Storm-Jensen also perfect as Moyna and Zulme – I felt so bad for Storm-Jensen, she was the only lady without a bouquet during the curtain call! The corp de ballet was also on top form and they received a spontaneous round of applause during the hops on one leg in arabesque.

 

I had my usual problem with Vadim Muntagirov: I'm always amazed by his speed, precision and technique, but I always find him emotionally slight. He was perfect in act one, but I missed some more sense of loss and tragedy towards the end. I was also slightly disappointed that after Clark's and Bonelli's 30ish entrechat six he did only a dozen, but on the other hand his jumps were absolutely formidable and it's really unfair to judge an Albrecht only on the entrechat six. I can't deny that I wish it had been Nunez & Bonelli like in 2018: in the past three performances, Bonelli is the only Albrecht who brought some real pathos and sense of tragedy in the post-dawn scene, and Friday's finale was absolutely heartbreaking.

 

Still, it was a truly glorious night at the theatre and Nunez is unmissable.

 

Edited November 8, 2021 by AnticaFiamma

[JennyTaylor]

I was lucky enough to see this cast (well nearly the same) in rehearsal and although I already had a ticket for their 2nd performance, seeing Marianela and Vadim at last in a full length ballet after such a COVID dearth,  proved too much me, so I spent a lot of time refreshing the ROH website until I found a ticket for this evening.  Gosh, was it worth it.  What a sublime performance from these two: they have such empathy together and the standard of their dancing was simply world class.  Marianela literally seemed to float through Act 2, and of course Vadim produced his best in his many solos: technically superb.  The corps too, were excellent and received roars of appreciation from the very enthusiastic audience, this evening.  Such powerful group dancing. 

 

I loved everything really.  Lukas BB was even more impressive as Hilarion, the pas de six was a delight and the orchestral music swept me away.  A special word for Olivia Cowley, who stopped Vadim in his tracks with the most severe look and gesture I have ever seen.  

[Balletfanp]

12 minutes ago, AnticaFiamma said:

I was also slightly disappointed that after Clark's and Bonelli's 30ish entrechat six he did only a dozen, but on the other hand his jumps were absolutely formidable and it's really unfair to judge an Albrecht only on the entrechat six.

I don’t think he has anything to prove, really - no one who saw him doing the full sequence of 32 perfect entrechats sixes in his living room in lockdown videos can doubt that he is more than capable of executing them wonderfully if he so chooses. Possibly he sticks to the Sir Peter Wright choreography out of respect - I’m pretty sure I read somewhere that Sir Peter isn’t a fan of the entrechats!

Edited November 8, 2021 by Balletfanp

[Guest oncnp]

23 minutes ago, AnticaFiamma said:

 

 

. I was also slightly disappointed that after Clark's and Bonelli's 30ish entrechat six he did only a dozen,

 

 

Didn't realize it was a contest. And from where I was sitting, (Row H)  those dozen were pretty darn perfect. 

 

Curious...does anyone know what the choreography actually calls for?

Edited November 8, 2021 by oncnp