Ballet Icons Gala - London - 26 November 2021

[WAW]

Would like to read a report from anyone who saw the Gala.  I couldn't make it this year.

[Sim]

Hi WAW.  It was a very enjoyable evening.  I was lucky to be sitting near the front thanks to the generosity of a friend of mine.  If you look in our Links for today you will see a review in Culture Whisper with which I entirely agree.  Just a few quick thoughts:

 

We got the usual gala fireworks (finishing off with Daniil Simkin and Maia Makhateli in the Corsaire pdd...as you can imagine it was fabulous!) plus some other things as well.  I am not usually a huge fan of these galas, but the one thing I like is being able to see new pieces, or pieces that are never seen here.

 

The best example of this on Friday was Snow Storm by Yuri Possokhov.   A farewell pdd based on a Pushkin story, it did remind me of Onegin which is one of the reasons I loved it.  The other reasons were Lucia Lacarra and Matthew Golding.  It was beautifully, sadly and passionately danced by them both and I wish I could see it again.  I also really liked the music (by Georgy Sviridov), and the short video that introduced it (the dancers in a snow-dusted wood).

 

The worst example was Passo Continuo by Mauro Bigonzetti, danced by Filipa de Castro and Carlos Pinillos.  This would have been better placed in a circus or a gym...lots of acrobatic moves, but almost no dancing.  Sadly, it was the longest piece of the night (if it wasn't, it just felt like it) and people were fidgeting in their seats, giggling and wondering when it was all going to end.  Not a moment too soon, that's when.  I am all for seeing different types of dancing in a show like this....as long as it's actually dancing.

 

After that I wanted something special, and Sergio Bernal came onstage and provided it.  Dressed in a strange pair of red sparkly trousers that ruched at a high-waisted finish, bare torso and heeled flamenco shoes, he sizzled and stamped his way through a stylized piece of, well, ballet-flamenco.  I loved it and could have watched him for a long time.  If only he could have swapped time slots with the previous piece...

 

Another favourite moment for me was Aitor Arrieta and Katja Khaniukova in an excerpt from Edward Clug's Radio and Juliet.  I loved the lighting, and I loved how perfectly in sync they were with each other.  I now wish I had gone to see BRB performing the whole thing a month ago.  It has whetted my appetite....so next time.  

 

Two of the loudest rounds of applause were for Yasmine Naghdi/Marcelino Sambe who danced a fabulous, fast and furious duet from Wayne McGregor's Chroma, and a wonderful Don Quixote pdd from Marianela Nunez/Vadim Muntagirov.  Vadream is just on fantastic form right now:  his trademark double double tours were all landed softly and perfectly placed, as was everything else he did.  Stunning, and all done so humbly.  He enjoys himself but is not an in-your-face show man...

 

....Daniil Simkin, however, is.  That is totally fine and fun in a gala setting.  His jumps were high and difficult, each one being executed and landed to perfection.  Maia Makhateli was the perfect foil for him as as she could both stand (dance!) her ground and fly through the air as well as he could.  A very impressive way to finish off a great night.  

 

It said in the programme that there will be a gala at the London Coliseum on March 13th 2022 celebrating Diaghilev's 150th anniversary...something to look forward to (if one can afford the tickets!).

[FionaM]

The full programme

 

https://www.instagram.com/p/CWyUbgioioQ/?utm_medium=copy_link

 

my thoughts to follow later

Edited November 28, 2021 by FionaE

[zxDaveM]

 

Much the same as what Sim said - though I wasn't so enamoured with the flamenco (looked to me like he'd been given a severe wedgie!).

My own highs were the 'Button to Button' Chroma section by Yasmine Naghdi and Marcelino Sambe, which got huge cheers (more so than the somewhat pedestrian black swan pdd that opened), and though not a keen watcher of male dancing, could not help but be bowled over by Daniil Simkin in the finale Le Corsaire pdd (ably abetted by Maia Makhatelli) who was nothing short of sensational; Vadim Muntagirov was also super, but in an almost elegant understated way, in comparison, in a blockbuster Don Q pdd.

Hats off to Katja Khaniukova who danced 2 pieces with different partners, one classical (Paquita) and one very modern (Radio and Juliet, to Radiohead's music - which was excellent); same for Leonore Baulac and Julian McKay (Giselle pdd and 'At Sunset', the latter of which was very good). It was also lovely to see Ksenia Ovsyanick (with Denis Viera) dancing in a George Williamson piece, a pdd I liked a lot, from 'Mesh'. Ditto Maria Kochetkova, back from San Francisco, dancing an elegant Sleeping Beauty gpdd with a very artistically athletic Jeffrey Cirio (ENB were indeed well represented). As Sim said, 'Snow Storm' was an enjoyable premiere, and used the screen and stage very well. Liked this one a lot.

I can't say that i'm usually a big fan of galas, as the 'bitty' nature of them can often leave you a bit unsatisfied. But this one (bar the odd clunker) was very well done, and had some sublime, and stirring, moments and so was a big hit for me.

 

 

[WAW]

Thanks, all. Looking forward to the next one!

[Sophie_B]

Really enjoyed it as well! In the run-up I was most excited about the idea of seeing Daniil Simkin, because I'd never seen him live, and that Corsaire pdd was really quite sensational. That alone made the evening worth it for me.

 

Agree with Sim on all points really so won't repeat it, but I did really like Katia Khaniukova and Jeffrey Cirio's dancing. Much preferred Leonore Baulac and Julian McKay in the modern piece "At Sunset", I thought Baulac was really fantastic in that one. The Baulac-McKay best-of-Act-II Giselle compilation did little for me, though that wasn't necessarily to do with the dancing as much as with the idea of converting several pdd's that are supposed to be about storytelling into a mere showpiece. Maybe I'm just spoilt after all the recent suitably dramatic RB Giselles. Loved the Sergio Bernal flamenco and the Possokhov Snow Storm piece.

 

This was the first time I've attended this gala, and aside from the actual performance, I enjoyed watching the level of glamorous fashion that was going on among audience members in the stalls and boxes, quite different from your average day at the ROH. Also quickly realised that "Russian Icons Gala" as it's known in other years meant an above-average number of Russians in the audience, too, to the point that three different people tried to address me in Russian before they realised I don't speak it!

[Irmgard]

I have never attended a Ballet Icons gala before as the ticket prices have always seemed so high and I had been warned that they sometimes run badly overtime but this year there were so many dancers I wanted to see and it was a chance to be in the gorgeous Coliseum auditorium for the first time in almost two years.  Therefore, I bit the bullet and bought a ticket which actually cost me less than the most expensive ticket I bought for the Bolshoi in 2019.  Happily, although the performance started about fifteen minutes late, it finished by 10pm so it only slightly overran on the advertised time of two hours and forty minutes.  It would obviously have been a bit longer if Natalia Osipova had not had to withdraw.

 

The evening started with the Black Swan pas de deux, danced by Nicoletta Manni (La Scala) and Jakob Feyferlik (Dutch National) which I found a bit underwhelming at first, as I was expecting more electricity between them in the opening section, but they pulled out all the stops in the coda.  Of interest was her solo which used the musically darker-sounding variation than the standard one used in most UK productions (Ashton used it in his pas de quatre included in some productions of “Swan Lake”).  If memory serves me correctly, Erik Bruhn used it for Odile in his production for the National Ballet of Canada but with different choreography.  It would have been helpful if the programme had indicated who had choreographed this particular version.  Next came an excerpt from Wayne McGregor’s “Chroma” danced by the Royal Ballet’s Yasmine Naghdi and Marcelino Sambé.  I am not a fan of McGregor’s choreography but Naghdi and Sambé gave a very polished account of it and proved how remarkably fluid their bodies are.  The Act II pas de deux from “Giselle” is always difficult to pull off in a gala, as it does not follow the usual pattern of entrée, solos and coda, and it is difficult to create that other-worldly atmosphere it requires.  Léonore Baulac (Paris Opera) and Julian MacKay (San Francisco) performed a standard version of the choreography and were partially successful in creating the atmosphere but for me Baulac was still a little too human, and I really dislike the current trend of seeing the mechanics involved in the overhead lift, with Albrecht squatting with his back to the audience to lift Giselle instead of it appearing that she is suddenly floating above him. 

 

We then had the first novelty of the evening, a duet entitled “Passo Continuo” by Mauro Bigonzetti and danced by Filipa de Castro and Carlos Pinillos from the National Ballet of Portugal.  My heart sank when it started with Pinillos slapping himself because I thought it was going to be very reminiscent of 1970s modern dance but it actually turned out to be quite a humorous piece (although far too long for a gala) along the lines of “anything you can do, I can do better”.  After that, came a gorgeous solo choreographed and danced by Sergio Bernal (Sergio Bernal Ballet), who was last seen dancing the Farruca in English National Ballet’s 70^th anniversary gala last year.  This piece was entitled “Overture” and was a glorious exhibition of zapateado, with the occasional ballet step thrown in, to a soundtrack provided by the Iberian percussion orchestra which included rhythmic vocalisations. This was followed by “Snow Storm” , based on a story by Pushkin, by Yuri Possokhov for Lucía Lacarra (Dortmund) and Matthew Golding (currently freelance), which started with a film projection and then dissolved into some very stylish dancing, especially from the exquisitely long-limbed Lacarra.  The choreography had the same yearning quality which I admired so much in his work for ENB’s digital season, “Senseless Kindness”.  The first half ended with a firecracker performance of the “Don Quixote” pas de deux by the Royal Ballet’s Marianela Nùñez and Vadim Muntagirov.  The cheers which greeted their first entrance confirmed that they are the most famous ballet partnership in the UK today. Nùñez was particularly vivacious in her solo and what can one say about Muntagirov other than he is perfection itself. His immaculate series of barrel turns circling the vast Coliseum stage were nothing less than spectacular.

 

The second half of the programme began with the pas de deux from “Paquita”.  It is many years since I have seen it, so it was lovely to rediscover this lovely piece by Petipa, danced by ENB’s Katja Khaniukova and Francesco Gabriele Frola.  I can only repeat what I wrote about their Ballet Nights dress rehearsal last month, that they are a supremely elegant pairing, perfect for this pas de deux.  It is not as showy as Don Q or Corsaire but it requires beautifully clean technique which is the hallmark of these two dancers, particularly evident in Frola’s panther-like jumps and Khaniukova’s immaculate fouetté turns.  After this, we were treated to “Mesh”, a pas de deux created by British choreographer George Williamson for Ksenia Ovsyanick and Denis Vieira (Berlin Ballet).  It was wonderful to see Ovsyanick gracing the Coliseum stage again some five years after she left ENB and, as she was one of a number of ballerinas who had babies during lockdown, this was also her return to the stage following her maternity leave.  She and Williamson were students together at English National Ballet School and she has been his muse since then.  He took full advantage of the remarkable fluidity of her movement and the beautiful, soulful quality of her dancing to make a mesmerising pas de deux for her and Vieira which was a skillful blend of classical and contemporary movement. This was followed by the grand pas de deux from “The Sleeping Beauty” danced by Maria Kochetkova and Jeffrey Cirio (ENB).  Kochetkova’s footwork is delicate but, given her Russian training, I was surprised that there was no real breadth to her ports de bras or use of her upper back which, for me, are essential for the solo. That amazing chameleon, Jeffrey Cirio, showed what a fabulous partner he is, pulling off a perfect set of fish dives, and then displaying his formidable technique in a beautifully elegant solo – so different from his almost animalistic Creature in September! 

 

Baulac and MacKay returned in a contemporary pas de deux, “At Sunset” by Kirill Radev which allowed them to let their hair down, quite literally in Baulac’s case, but it did not appear to me to correspond to the synopsis supplied in the programme.  Giuseppe Picone contributed a pas de deux for himself and Liudmila Konovalova (Vienna) entitled “Vivaldi Summer pas de deux” which was a joyful interpretation of part of the Summer movement of Vivaldi’s “Four Seasons” which began life as a solo streamed by Picone from his home during the first lockdown and was remarkable for its bright yellow costumes!  I was delighted that an excerpt from Edward Clug’s “Radio and Juliet” was included, which I saw in its entirety almost exactly two years ago at the Coliseum and was totally captivated by it.  At that time, it was danced by Khaniukova and Denis Matvienko guesting with dancers from Ballet Maribor.  Khaniukova reprised her astonishing interpretation of Juliet, this time joined by her ENB colleague, Aitor Arrieta, as Romeo.  For those who do not know the piece, it might have been helpful to mention in the programme note that this was the moment when they first meet, hence Romeo’s mask.  I do remember that Romeo and his friends wore surgical masks instead of eye masks in this scene, almost foreshadowing the events of 2020!  With movement that at times is fluid and other times jerky but always fascinating, and danced in silhouette after the removal of Romeo’s mask, Khaniukova and Arrieta captivated me all over again.  The evening closed with the ever-popular pas de deux from “Le Corsaire”, danced by Maia Makhateli (Dutch National) and Daniil Simkin (Berlin). Makhateli is a sophisticated dancer but I would have liked a bit more personality to shine through.  However, with many audience members having been well-lubricated during the interval and being allowed to bring their drinks into the auditorium, her series of fouetté turns inspired them to join in by clapping along.  This was followed by some spectacular jumps from Simkin to bring the gala to a rousing conclusion.

 

All the classical pieces were accompanied by the English National Ballet Philharmonic, conducted by Jonathan Lo.  I did not feel his conducting was particularly galvanising, as he did not consistently draw from the players their usual ravishing sound, but it was certainly great to have live music for much of the evening.  I understand another gala is planned for March 2022 to celebrate the 150^th anniversary of Serge Diaghilev so I will watch for further details with interest!

[FionaM]

@Irmgardgreat report.  Thank you.  
 

I had a feeling the first pdd … Black Swan by Nicoletta Manni and Jakob Feyferlik was a last minute pairing.  (Timofej Andrishenko was missing and Jakob was not on the original list).   And their costumes did not match.  Hers was a gorgeous black tutu with silvery feather design (quite beautiful) and his was satin blue (also beautiful).     
 

The unmatched costume look seemed to apply throughout the evening to all the classical pdd, even to the DQ pdd by Nunez & Muntagirov.  His was shiny satin in bright red with gold braid and hers was matte reds and black.  Not matched at all.  Same was true for the ENB couples … Sleeping Beauty and Paquita pdd.  Odd.  The only couple to be complementary were the Corsaire pair.   I hope the gala can do better in this regard next time.   This all contrasted with the contemporary pieces which were beautifully dressed.  
 

I thought the quality of the video and backdrop projections were a huge step-up on the previous gala.  I see both Julian MacKay’s brother Nicolas (photographer and film maker) and sister Maria Sasha Khan (events administration) were involved in the organisation and crew for this gala.  Good news I think.

 

Regarding the dancers I agree with much of what has been said … though I want to add that I was particularly mesmerised by the movement quality and aura of Leonore Baulac, principal of Paris Opera and thought Julian MacKay was not at her level in either piece, though he was much better in the contemporary.  Of course San Francisco ballet have not performed for the entire pandemic and it showed in the lack of ballet in Julian’s legs.   I was also pleased to see Sergio Bernal who has an interesting mix of classical ballet and flamenco moves … with a fabulous costume that displayed his wonderfully long legs.  

Asides from these my favourites from the night were Chroma - Naghdi & Sambe on fire, and Snow Storm - emotionally fulfilling from Golding & Lacarra. 
 

The only piece that went on too long for me was the Bigonzetti despite being amusing and having unique moves.  Also the classical ballets, with all their codas of fouettés and a la seconde pirouettes, did get repetitive.  But we were all in need of jolly entertainment and it was certainly that, interspersed with interesting and beautiful contemporary pieces.  

 

The programme says the next gala will be 13 March 2022 (making up for lost time).  
 

It would be nice if covid restrictions can be surmounted so that some dancers from Russia will be able to participate, but as this one showed, it’s not absolutely necessary. 

 

[Geoff]

1 hour ago, FionaE said:

Regarding the dancers I agree with much of what has been said … though I want to add that I was particularly mesmerised by the movement quality and aura of Leonore Baulac, principal of Paris Opera

+1

[alison]

I think dancers do often source their own costumes for the main pieces for galas and the like, so, especially when dancers are from different companies, perhaps it's not surprising that pairings don't always match, unless the costumes are deliberately bought with the idea of dancing together.  

[Guest oncnp]

9 hours ago, FionaE said:

 

The unmatched costume look seemed to apply throughout the evening to all the classical pdd, even to the DQ pdd by Nunez & Muntagirov.  His was shiny satin in bright red with gold braid and hers was matte reds and black.  Not matched at all.  

 

 

Granted may have looked different from where you were sitting but up close not that bad. See 3rd photo.  https://www.instagram.com/p/CWyEcCvtcqW/

 

I know hers is relatively new (last couple of years). Why should he go to the expense of a new costume (especially with financial impacts of COVID) for something that's only used a couple times a year? Perhaps he just likes that costume. 

 

 

Edited November 29, 2021 by oncnp
photo removed, link inserted

[capybara]

Yes, the promoters of Galas such as this expect the dancers to supply their own costumes.

Some have their own or borrow from friends but, often, they hire them from their 'home' company.

Despite the ticket price level for Russian Icons, the dancers have to bear any hire costs themselves (and their appearance fees are not massive).

 

But I do agree with FionaE that some of the couples looked a bit mismatched. [I also agree that the presentation this year represented a distinct improvement.]

[FionaM]

51 minutes ago, oncnp said:

 

Granted may have looked different from where you were sitting but up close not that bad. See 3rd photo.  https://www.instagram.com/p/CWyEcCvtcqW/

 

I know hers is relatively new (last couple of years). Why should he go to the expense of a new costume (especially with financial impacts of COVID) for something that's only used a couple times a year? Perhaps he just likes that costume. 

 

 

Thanks for the backstage photo … the costumes looked woefully unmatched under stage lighting 😱

[FionaM]

34 minutes ago, FionaE said:

Thanks for the backstage photo … the costumes looked woefully unmatched under stage lighting 😱

didn't matter … the dancing was super.   It all looks so easy for Marianela … superb control with seemingly no effort.  Vadim had luxuriously smooth moves.  Wonderful 👏👏👏

[Lizbie1]

19 hours ago, Sim said:

It said in the programme that there will be a gala at the London Coliseum on March 13th 2022 celebrating Diaghilev's 150th anniversary...something to look forward to (if one can afford the tickets!).

 

Were there any more details given?

 

There's nothing on the Coli website yet, but I'll be keeping an eye out.

[Sim]

25 minutes ago, Lizbie1 said:

 

Were there any more details given?

 

There's nothing on the Coli website yet, but I'll be keeping an eye out.

No...it was just a small-print sentence at the bottom of the programme page.  

[Guest oncnp]

According to the website "The event will provide support to a number of ballet and dance charities."

 

Any mention of which ones?

 

 

[LinMM]

Which Company is Golding with these days? 

[Sim]

11 minutes ago, LinMM said:

Which Company is Golding with these days? 

He is freelancing these days...

[Don Q Fan]

So I was at the gala on Friday as well, my first live ballet since before you know what.  I loved it apart from the 1 or 2 modern pieces (Chroma and that dreadful Passo Continuo - yes it continued far too long and should have ended at the first round of applause when everyone thought it HAD finished, writhing around on the floor is NOT ballet!)

The most enthralling piece of the night for me besides all the wonderful classical pdds was Snow Storm.  Lucia Lacarra and Matthew Golding were magical on stage.  I spoke to Matthew after at the stage door and he said that they will be touring their show Fordlandia and it will come to the UK at some point, so I will look forward to seeing it when it comes.  There is a snippet of their pieces on you tube. Marianela Nunez and Vadim Muntagirov gave a fab rendition of the DonQ pdd and I thought Katja Khanukova and Francesco G Frola were excellent in Paquita as well.  So many delights to see its hard to name them all.  Sergio Bernal was in the same costume I saw him dance in in Rome last year (at that Etoiles Gala they showed a video of the costume being made) and as always he puts on a good show.  I was delighted to see one of my favourite dancers over here Maia Makhateli and she provided a fizzing end to the show with Daniil Simkin in Le Corasire.  They were really great! Overall it was a great show.   I got some photos of the curtain call and have attached a few below.

  Maia Makhateli and Daniil Simkin, Le Corsaire

Marianela Nunez & Vadim Muntagirov, Don Quixote

Giuseppe Picone & Ludmila Konovalova, Vivaldi

Maria Kochetkova and Jeffrey Cirio, Sleeping Beauty

Lucia Lacarra and Matthew Golding, Snow Storm

Nicoletta Mani and Jakob Feyferlik, Swan Lake

Sergio Bernal, Overture

Ksenia Ovsyanik and Denis Vieira, Mesh

Edited December 2, 2021 by Don Q Fan
typo

[Sim]

Thanks DQF….and for the good news that Fordlandia will be brought here.  

[LinMM]

Thanks for piccies and review Don Q and that you have at last been able to get back to seeing some live ballet! Great to hear from you again. 

[emmarose]

Thank you all for the wonderful write ups here. 

 

I really would love to see Daniil Simkin live, for me the gold standard of Le Corsaire was and still is Baryshnikov, but he comes a little close with his lines and execution. It sounds like they did very well with the PDD as did Nela and Vadim with the Don Q, as expected really, it's amazing still how effortless they make the extremely difficult look. Marci and Yasmine looked stunning together in all the photos I've seen on Insta.

 

Don Q, so glad you finally got back to a live event, it's special, that first time back after what we've all been through. Great photos, the one of Nela and Vadim with the rose is quite cute, they look adorable!

[FionaM]

On 30/11/2021 at 18:24, LinMM said:

Which Company is Golding with these days? 

Been freelance since he left the RB.  
 

Guested with companies in Munich (Onegin, Anna Karenina), Dortmund, Kiev (Bayadere, Swan Lake), Korea (Giselle), Oslo (Swan Lake), Hong Kong (Great Gatsby) plus new works, galas etc.  Seems to be mostly now dancing with his partner Lucia Lacarra in their own creations/productions. 

[LinMM]

Thankyou for the full picture FionaE 

I always liked him as a dancer when with the Royal. 

[Guest oncnp]

A video recap....

 

https://www.instagram.com/p/CXSs308jz2n/

[Guest oncnp]

and the next one will be March 13 2022 at 7 pm (per IG)

 

Tickets available soon. 

 

Ensemble Productions on Instagram: “We are delighted to announce that the Ballet Icons Gala - celebrating the 150th anniversary of Sergei Diaghilev - will be taking place on…”