Royal Ballet's Giselle - Autumn 2021

[LinMM]

https://youtu.be/gTFG_nvreoI
 

For those who are interested this link should lead to Adolph Adams Christmas Carol!! 
I know a bit early for Christmas but whilst on topic of the merits (or not) of his music thought might get away with this! 

[Balletfanp]

I sang that in my school choir and of course it’s a well known Carol! I had no idea it was Adolphe Adam!

[DanJL]

I arranged to sing it with my (virtual) work choir on Tuesday, after seeing Giselle the night before 🙂

[Nina99]

Thanks for that link LinMM. I too had no idea that it was by Adolf Adam. It’s one of my favourite carols and very beautiful, especially when sung by Kings College choir.

[Rob S]

14 hours ago, Dawnstar said:

 

Did he do a dozen entrechats six? I know he did a dozen something but I'm not entirely certain I can corretly identify an entrechat six! If I was looking at the right set of jumps then I don't know how other Albrechts can fit 20 or 30 in because there didn't seem to be any spare time/music after Ball had done a dozen.

 

Yes he did 12. Having read remarks above about the conducting I'm now wondering if the Albrechts are jumping based on that rather than the other way round😄

Edited November 12, 2021 by Rob S

[FionaM]

53 minutes ago, Rob S said:

 

Yes he did 12. Having read remarks above about the conducting I'm now wondering if the Albrechts are jumping based on that rather than the other way round😄

A conductor ‘should’’ adapt to each dancer for these.   As they should for a ballerina doing fouettés.  They are so difficult to do … the dancer can’t complete them if the musical timing is not exactly with them.  
 

Based on one viewing of Giselle this run I was not impressed with the conductor.  His timing was all over the place, BUT he was ‘with’ Federico for his 32 entrechat six ✔️
 

One neat entrechat six in itself is not that difficult, multiple ones are …in order not to lose form and timing.  I’m guessing that’s one of the reasons why Nureyev introduced the 32 version.  

Here’s a video of many (many!) Albrecht entrechat six.  In some you can hear the conductor adapting to the dancer’s timing, in others not 🙈.  The audience (Russian and Italian) applause is amazing … they understand the training and many years of effort that it takes to produce these.  When the conductor gets with the dancer m, it can be magical. 
 

 

[bangorballetboy]

I understand the training and effort but I still thoroughly dislike (detest) applause during the music (and particularly at an emotionally important part of the story). 

 

Similarly, the bumptious applause that greeted Myrthe's entrance on Wednesday evening at ROH completely destroyed the atmosphere that is carefully developed through the music.

[Lizbie1]

I agree that conductors should make adjustments to the tempo, but very often we see it completely distorted to fit a dancer. When that happens, alarm bells should ring, surely?

[Aklf]

38 minutes ago, FionaE said:

A conductor ‘should’’ adapt to each dancer for these.   As they should for a ballerina doing fouettés.  They are so difficult to do … the dancer can’t complete them if the musical timing is not exactly with them.  
 

Based on one viewing of Giselle this run I was not impressed with the conductor.  His timing was all over the place, BUT he was ‘with’ Federico for his 32 entrechat six ✔️
 

One neat entrechat six in itself is not that difficult, multiple ones are …in order not to lose form and timing.  I’m guessing that’s one of the reasons why Nureyev introduced the 32 version.  

Here’s a video of many (many!) Albrecht entrechat six.  In some you can hear the conductor adapting to the dancer’s timing, in others not 🙈.  The audience (Russian and Italian) applause is amazing … they understand the training and many years of effort that it takes to produce these.  When the conductor gets with the dancer m, it can be magical. 
 

 

Thank you so much for sharing this. Fascinating, and what incredible precision, energy and form! 👏 

[Dawnstar]

15 hours ago, Jan McNulty said:

Are entrechats six becoming the new 32 fouettés?  On the whole, I do not give a toss how many are done (or if something else entirely is done) as long as it is appropriate to the music and action (and for the record no-one has ever, for me, matched up to Chi Cao's with BRB).

 

I'm sorry if I have annoyed anyone by asking about the entrechats six. I just wanted to check if I had correctly identified the entrechats six's occurence in the choreography, because they were mentioned in a number of reviews as if they were something significant & I've not seen Giselle before.

[Fonty]

I always feel very sorry for Hilarion, his only crime was to love Giselle.   I suppose technically he is responsible for her heart break by exposing Albrecht for the dirty rotter he is, but it is the latter who started a love affair with a woman he had no intention of marrying. 

[Pas de Quatre]

There are various tales about when Sir Thomas Beecham conducted for the Royal Ballet. One was that if he had a hot date for after the show, everything would be rather fast. Another reports him asking the ballerina in exasperation - "Would Madam like it too slow tonight or too fast?"

[alison]

54 minutes ago, Dawnstar said:

 

I'm sorry if I have annoyed anyone by asking about the entrechats six. 

 

I'm sure you haven't remotely annoyed anyone, Dawnstar - and it's a very valid question, especially since versions - and dancers' strong points - differ.

[capybara]

10 minutes ago, alison said:

 

I'm sure you haven't remotely annoyed anyone, Dawnstar - and it's a very valid question, especially since versions - and dancers' strong points - differ.

 

And we can only develop our knowledge (and love) of ballet by learning more.

[Richard LH]

3 hours ago, FionaE said:

Here’s a video of many (many!) Albrecht entrechat six.

Thanks for the video FionaE but personally  I find these endless jumps  a pretty horrible  distortion of the music and the flow of the ballet.  Can't stand the applause either!  

[Fonty]

I can't hear any music for the video.  Is it just me?

[emmarose]

2 hours ago, Dawnstar said:

 

I'm sorry if I have annoyed anyone by asking about the entrechats six. I just wanted to check if I had correctly identified the entrechats six's occurence in the choreography, because they were mentioned in a number of reviews as if they were something significant & I've not seen Giselle before.

 

Dawnstar, I've actually really enjoyed this discussion and hearing everyone's different opinions and experiences, so for me you've opened up a discussion that's pretty interesting.

[Sim]

3 hours ago, bangorballetboy said:

I understand the training and effort but I still thoroughly dislike (detest) applause during the music (and particularly at an emotionally important part of the story). 

 

Similarly, the bumptious applause that greeted Myrthe's entrance on Wednesday evening at ROH completely destroyed the atmosphere that is carefully developed through the music.

I totally agree with this.  I don't think I have EVER heard applause for Myrthe's entrance before.  It really took me aback and, as I said for when people clap the hops, it just ruins the ethereal atmosphere of the beautifully-set scene.  

[FionaM]

2 hours ago, Dawnstar said:

 

I'm sorry if I have annoyed anyone by asking about the entrechats six. I just wanted to check if I had correctly identified the entrechats six's occurence in the choreography, because they were mentioned in a number of reviews as if they were something significant & I've not seen Giselle before.

I’ve found it an interesting discussion too.   Especially that RB Albrecht’s have been allowed to choose which version to do.  I would not have known that as I’ve only seen one show this time.   
 

And I am now probably responsible for annoying many more by posting the Sergei Polunin video!

[LinMM]

Yes I don’t like this at all in ballets like Giselle where a whole mood is being created. 
In certain ballets like the obvious example of Don Q ...clapping along ...although certainly I wouldn’t do it still ....can be more appropriate as it’s all pretty jolly and a bit show-offy anyway so wouldn’t destroy the mood. 

Edited November 12, 2021 by LinMM

[FionaM]

32 minutes ago, Fonty said:

I can't hear any music for the video.  Is it just me?

I’ve just blasted the business hub with the music 🙄 !!!

[FionaM]

The applause thing seems to be a consequence of different traditions in different places.  
 

I was personally silently applauding Federico Bonelli in the ROH last week until others started actual applause.  
 

When the orchestra is in time with the dancer (and not the other way around) it energises him to be able to jump better.  This musical connection to the dancer becomes a magical thing that transmits to the audience who then are compelled to transfer that energy back to the dancer through applause.  (Struggling to explain this magic in words.)  It’s an awesome experience for the dancer too.  
 

Separately … I watched a performance in Sevastopol where the audience applauded every lift and jump and turn. The audience got negative comments for it from Moscow/StP ballet regulars!  

[Anna C]

11 minutes ago, FionaE said:

Separately … I watched a performance in Sevastopol where the audience applauded every lift and jump and turn. The audience got negative comments for it from Moscow/StP ballet regulars!  

 

Sounds like the BBC Strictly come dancing audience, FionaE! 😩

[emmarose]

1 hour ago, Anna C said:

 

Sounds like the BBC Strictly come dancing audience, FionaE! 😩

 

You know, I went to SCD as part of the audience, it completely turned me off of the show. I always hated the audience anyway, but it's just so false, they're making you clap louder, stand up, boo. I felt like I was at a pantomime (which I absolutely hate). I haven't watched it since!

[FionaM]

If ballet is going to widen its audience (and I’d argue that is happening) then the new audience may applaud more readily than the old one did.  
 

There is no right or wrong I feel … however … it is wrong to somehow sneer at newer audience members making them feel awkward and putting them off returning.  
 

Recently I was at a show where the second act had a serious start (I’d seen it before) and part of the audience at this show started giggling.  That response did change once the piece got properly underway.  (Thank goodness) The giggling had annoyed me … until I reflected that any audience reaction is valid.

[maryrosesatonapin]

48 minutes ago, FionaE said:

If ballet is going to widen its audience (and I’d argue that is happening) then the new audience may applaud more readily than the old one did.  
 

There is no right or wrong I feel … however … it is wrong to somehow sneer at newer audience members making them feel awkward and putting them off returning.  
 

Recently I was at a show where the second act had a serious start (I’d seen it before) and part of the audience at this show started giggling.  That response did change once the piece got properly underway.  (Thank goodness) The giggling had annoyed me … until I reflected that any audience reaction is valid.

I agree with most of what you say here, @FionaE, except I don't think inappropriate giggling is ever appropriate.  The person behind me during the Osipova/Clarke Giselle giggled when the Wilis came on and I very nearly strangled them!

[bridiem]

On 05/11/2021 at 15:37, maryrosesatonapin said:

Poor Claire - I hope this is just a precaution and she is back on stage very soon.

 

She has posted on Instagram that it was a grade one tear in her calf, that she's walking well again and hopes to be back on stage asap - so that sounds encouraging.

[Sim]

Another great night, but what made it particularly memorable for me was Mayara Magri’s magnificent, majestic, marvellous Myrthe.  Those bourees across the stage.  The jumps and jetes.  Those beautiful feet and arms.  The hint of vulnerability.  Fire and ice.  One of the finest performances of the role that I have ever seen.   

[Sophie_B]

Well, I can now understand all the hype around Osipova's Giselle, which I hadn't seen before (despite owning the DVD - I guess I ran out of lockdown time to watch it?). Thoroughly believable peasant girl, heartbreaking ethereal ghost. All those jumps and turns just felt like a necessary part of the story, rather than steps being done. Reece Clarke was very good. On those entrechat sixes in Act 2... I mean they were nice, but I always think of other parts of the Albrecht solo being more important, like those jumps in the diagonal when he begins what's supposed to be his dance to the death? Ah well, he danced all of it well and there's clearly something about this partnership that really works, the pas de deux were rather special.

 

Mayara Magri made an absolutely wonderful Myrthe, as expected I suppose, but what an impressive performance. All the 6 peasants were great, but special mention to Yuhui Choe in the lead couple, just so lovely on those balances in her solo, great to see her back. In act 2 I was also impressed by Isabella Gasparini as Zulme.

[LACAD]

Floated home after that one. What a pleasure to see Osipova’s Giselle. There’s really nothing more I can say that hasn’t already been said, it’s a totally unique take on the role and I loved it.

 

Clark was ok, but Magri was the night’s revelation in my eyes. I’ve never got to really witness her eat up the stage, and wow, what a firecracker. Explosive leaps that land without a sound and an arresting command over her army of willis. 
 

I found the PD6 alright, was never a fan of it as I find it filler. The willis Corps and lead willis were phenomenal and truly quite threatening. 
 

By the end I’ve never heard an audience cheer so loudly for the dancers, and it was well deserved! 

[capybara]

I'd like to echo the praise for Mayara Magri. One of the 'big moments' from the past for me was seeing Nina Ananiashvili bouree across the stage as a Bolshoi Myrthe. Magri's bourees were equally memorable tonight and her interpretation of the character felt real (unworldly real) too.

 

 

[Rob S]

 

 

 

 

 

 

 

 

 

 

[serenade]

2 hours ago, Sim said:

Another great night, but what made it particularly memorable for me was Mayara Magri’s magnificent, majestic, marvellous Myrthe.  Those bourees across the stage.  The jumps and jetes.  Those beautiful feet and arms.  The hint of vulnerability.  Fire and ice.  One of the finest performances of the role that I have ever seen.   

I couldn't agree more.  I absolutely loved her in this role, everything about it was just exactly right.

 

I loved tonight- Natalia is the ultimate Giselle for me, I love her interpretation.  Her performance was amazing, it is really a special role for her I think.  I had chills up and down my spine the whole night.

 

This was the first time I'd seen Reece Clarke in a principal role- I thought he was impressive, very princely.  I can just see him as Florimund.  I can't say I think they set the world alight with their chemistry but I did believe in their partnership.  Chemistry is very subjective anyway!

 

The wilis were outstanding of course as ever, magical.  I thought Luca Acri was great in the pd6.  Loved Kristen McNally as Berthe.  Really enjoyed Lukas B. Brændsrød as Hilarion.

 

All in all a great night.  I can't wait to go back and see Francesca as Giselle in a week or so!

 

Just a sidenote but I do find it really strange that no-one is checking tickets.  I went to see Romeo and Juliet and no-one checked and I thought it was a one off but again tonight there was no-one there.  This was for the stalls so I don't know what it's like in other areas.  (Sorry if it's been mentioned before I'm not up to date so may have missed posts).