ENGLISH NATIONAL BALLET: RAYMONDA

[capybara]

Opening this thread with eager anticipation.

[LinMM]

On the way to London right now and seeing this later today!! Really looking forward to it! 

[Ian Macmillan]

If the rehearsal photoshoot in today's Links is any guide, and despite (?) the Crimean setting, the show is going to look rather gorgeous.

[alison]

Now I come to think of it, I'm surprised there have been no articles/interviews extolling the riches of the score, which, let's face it, is rarely heard in its entirety.  Or perhaps I've missed something on Radio 3's In Tune or something.

[Rob S]

Is there anyone here that has experienced the Coliseum's policy on curtain call pics? 

Edited January 18, 2022 by Rob S
colossal spelling error

[LinMM]

I think the Curtain Calls are shorter but think you can take piccies. 
Might be better this evening as it’s a Premiere etc. 

[alison]

As mentioned elsewhere, curtain calls at the Coliseum tend to be rather shorter than at the Royal Opera House.  And I have a feeling ushers try and prevent them from being taken, still.

[Lynette H]

1 hour ago, alison said:

Now I come to think of it, I'm surprised there have been no articles/interviews extolling the riches of the score, which, let's face it, is rarely heard in its entirety.  Or perhaps I've missed something on Radio 3's In Tune or something.

There was something with Gavin Sutherland on In Tune, sometime last week I think, but not sure of the exact day. 

[alison]

Oh, I must have missed it, then.  Thanks.

[Emeralds]

23 minutes ago, alison said:

Oh, I must have missed it, then.  Thanks.

In Tune on Radio 3 at 5pm last Monday, 10 January. 22 days left to listen on BBC Sounds, the website says. 😊 The show also has Gavin Sutherland’s name on the headline, helpfully. Quite a long chat, and includes him playing  a bit of the score- Raymonda’s Act 3 wedding variation - on the piano during the show. 

[alison]

Ah, that would explain it.  I had that day off, so wasn't in the office and listening to it.

 

BTW, I'm assuming the running time of the ballet is the best part of 3 hours?

[Rob S]

3 minutes ago, alison said:

Ah, that would explain it.  I had that day off, so wasn't in the office and listening to it.

 

BTW, I'm assuming the running time of the ballet is the best part of 3 hours?

2 hrs 40 with two intervals

[Emeralds]

7 minutes ago, alison said:

Ah, that would explain it.  I had that day off, so wasn't in the office and listening to it.

 

BTW, I'm assuming the running time of the ballet is the best part of 3 hours?

2h 40mins (according to the ENB website) and that includes two intervals apparently! Wondering how much the score has been “edited”, to quote Maestro Sutherland.....expected of course....but maybe they’re just taking it at a concert pace and not the Mariinsky pace of very slowww adagios (haha). 

 

Edited January 18, 2022 by Emeralds

[RosiesDream]

Best wishes to ENB and all who travel to see them...Raymonda looks super in the videos on YouTube...I'm loving the choreography, even if nobody else does.

[Emeralds]

3 hours ago, Rob S said:

Is there anyone here that has experienced the Coliseum's policy on curtain call pics? 

My friend (a ballet novice) managed to take smartphone pics of every group of divertissement soloists (Chinese, Russian, Louise/Mirliton, lead Flowers) and principals when she sat in the stalls at Nutcracker! I was at Upper Circle and also got several, though not as many as my enthusiastic friend.

 

ENB’s curtain calls are very short compared to RB. They don’t lead the conductor out onto the stage unlike RB or other companies- they just walk forward, bow and applaud the orchestra and conductor who stay in the pit. No bouquet presentations on stage, although they might do it on premiere night perhaps. (And I presume Tamara and the designers etc will come out for bows too, so that will prolong it a bit on the first night.) And although for Nutcracker our Clara & Nephew came out for a quick red run bow while they got the stage and the ensemble ready for their group bows, ENB doesn’t do red run curtain calls after the group bows, unlike RB. 

 

Since the pandemic, there seem to be fewer ushers in the auditorium of the Coliseum than usual but they’ve never given me any issues with photos at curtain calls. I’ve always found them very relaxed about pictures- the strictest seem to be at Barbican Theatre (during the first season of Dust and the Lest We Forget programme). I did manage to get three pics nonetheless! PS am loving the Raymonda choreography in every clip too, especially the Abdur solo danced by Coloma. Am very sad I can’t make it for more casts. Seriously considering travelling to Southampton to see it again!

Edited January 18, 2022 by Emeralds

[LinMM]

Yes I might do that Emeralds if I really like it tonight......especially as one of the Southampton performances is on my birthday!! 
However if it’s just me training it I tend to do the Saturday matinee. 
But perhaps can make a weekend of it ....I’ll start working on partner now lol!! 

[Dawnstar]

4 hours ago, Rob S said:

Is there anyone here that has experienced the Coliseum's policy on curtain call pics? 

 

I asked when I saw Le Corsaire there just before covid & was told it was okay to take them.

 

Anyone going tonight, I'd be interested to know if the 2h40 running time turns out to be accurate.

[Balletmummy18]

My daughter is going so will ask here. Incidentally she had a problem downloading her ticket today from the agency email and both the box office at the Coliseum and the agency were fantastic at rectifying it very quickly despite me acting as the middle man ( she is at ENBS and had left it until the last minute!!) 

[Emeralds]

1 hour ago, Dawnstar said:

 

I asked when I saw Le Corsaire there just before covid & was told it was okay to take them.

 

Anyone going tonight, I'd be interested to know if the 2h40 running time turns out to be accurate.

I think it might run longer on premiere night with curtain calls for the production team, but I suspect for subsequent shows they will be quite strict about keeping to the timing of 2h 40mins- hence ENB’s short “blink and you might miss them” curtain calls.

 

The delay getting out is usually due to the crowds exiting at the end- there is limited space to leave the Coliseum unlike ROH, unless people at the sides use the side stairs (most people don’t know they exist) that lead straight out into the street. If you need to rush for the train, I’d suggest getting an aisle seat and dashing out at the end before the house lights come back on. Or get a seat near the sides and use the side exits. 

[Dawnstar]

20 minutes ago, Emeralds said:

I think it might run longer on premiere night with curtain calls for the production team, but I suspect for subsequent shows they will be quite strict about keeping to the timing of 2h 40mins- hence ENB’s short “blink and you might miss them” curtain calls.

 

The delay getting out is usually due to the crowds exiting at the end- there is limited space to leave the Coliseum unlike ROH, unless people at the sides use the side stairs (most people don’t know they exist) that lead straight out into the street. If you need to rush for the train, I’d suggest getting an aisle seat and dashing out at the end before the house lights come back on. Or get a seat near the sides and use the side exits. 

 

Unfortunately because of having to re-book when ENB changed the run dates, in order to still see the cast I want, I wasn't able to get an aisle seat as there wasn't much choice left in the area I wanted to sit in. It's not that I have to rush for a train but that if the run time is bang on 2h40 then it would be worth rushing as I'd just be able to get a particular train. If it finishes 5-10 mins later then I wouldn't be able to get that train but wouldn't need to rush at all in order to get the next one.

[Lizbie1]

23 minutes ago, Emeralds said:

The delay getting out is usually due to the crowds exiting at the end- there is limited space to leave the Coliseum unlike ROH, unless people at the sides use the side stairs (most people don’t know they exist) that lead straight out into the street. If you need to rush for the train, I’d suggest getting an aisle seat and dashing out at the end before the house lights come back on. Or get a seat near the sides and use the side exits. 

 

I hardly ever see people using these - baffles me when people in the balcony near the sides don't!

[alison]

Me too.  Ditto with Sadler's Wells.

[LinMM]

Not so good if coat in cloakroom though! 
Once I went out one of those entrances and came out in the street somewhere at the back of the theatre. Took a while before orientated myself and then had to do a run round to the main entrance in order to get to cloakroom!! 

[capybara]

But back to RAYMONDA itself 😊

I’ll start by saying I loved it. (More nuanced comments may follow after more viewings and different casts.)

But, tonight, I’m just so happy for the Company that they were able to perform with a full cast and at full throttle.

[San Perregrino]

For me, albeit the plot was a little thin, but tonight was a triumphant celebration of dance in all its glory. And music too. Chapeau to Ms Rojo, Mr Sutherland and the ENB.

 

ps I have no idea why my photos always post sideways  🤷🏻‍♂️ 
 

Edited January 18, 2022 by prs59

[LinMM]

Yes just a quick comment now as just got in but overall I did enjoy it ...definitely had the feel good factor was much jollier even than I was expecting! So not entirely sure the Florence Nightingale idea worked but certainly lots of dancing and lovely music and generally nice to look at. 
 

[Bruce Wall]

Hugely enjoyed this evening's performance - just so much dance amidst a riot of musical nuance and delight - and just so VERY refreshing because of that fact.  This Raymonda is ultimately a factory for smiling hearts.  The Company as a whole are wonderfully committed .... and - it just has to be said - Cirio is a TOTAL class act and those waggish character dancers literally abound in quick witted whimsy.  Just what a January evening in Pandemic London should call for - and here - blithely - receives in spades.  

Edited January 18, 2022 by Bruce Wall

[Blossom]

What a wonderful way to start the ballet year. I’ll start by saying that the design was stunning, with the clever use of giant photo frames to set each scene. A digital screen with newspaper cuttings, cartoons and a journey across a map took us to Crimea and the scene of the ballet and was beautifully done. Costumes were exquisite. Apparently there has been some moving around of bits of music and some cuts made according to one of the insight films available on YouTube, but although familiar with the music from Raymonda (from RAD grade 6 back in the day), I wouldn’t know it well enough to notice. A really nice touch given the Hungarian character dancing in act 3 was having some musicians on stage - a violin, a hurdy gurdy and cimbalom at the back right - look out for them. 

 

I found the storytelling a breath of fresh air - it’s the first ballet with a story I have seen this season which can actually be followed without needing to read up on it and was easy enough for my daughter to follow. There was a bit of a twist ending which I didn’t expect, but good on Tamara Rojo and her dramaturg! What did disappoint a little is that having chosen who she would marry, there was no big fight between the men (I was prepared for no fight to the death but had expected a bit of a manly punch up rather than everyone being friends).

 

I enjoyed the choreography on the whole, it looked like there was quite a lot of choreographic input in the first 2 acts in particular and only some of the Hungarian style remains in act 3. There is a beautiful lamp last scene which reminded me of a classic ‘white scene’ which provided a great opportunity for some gorgeous dancing from the corps de ballet (and there was a little bit which was reminiscent of the beginning of the Bayadère white scene using 4-6 of the men which if intentional was clever). Did the old and new choreography blend well? Did the new bits hit the spot for me? Going to wait til I’ve seen it again on Saturday night before commenting on that. 
 

Acting - I always find ENB a little lacklustre in the acting department, is it just me? I found Shiori Kase fell a bit flat in act 1 in particular and would have liked more passion. Her dancing, however was beautiful.

Dancing wise, great to see lots of familiar faces on stage, particularly the radiant smile of Rhys Antoni Yeomans (more stage time please!) and Daniel McCormick, with a fabulous opportunity to see big roles danced by Precious Adams as Sister Clémence, Julia Conway as Henriette who were brilliant.

 

This is a great addition to the repertoire, I am sure a few bits and pieces will be tightened up in time (even with Rojo heading to San Francisco I hope this will be the case) and it is a wonderful story ballet. I do think act 1 felt rather drawn out and while I wouldn’t want to miss a minute, it might be more of a struggle for those of us who aren’t die hard fans. 
 

The creative team came on stage during the curtain call and I had an old moment (despite being younger than her) hoping that Tamara Rojo didn’t fall out of her exceptionally low cut/high slit dress!!!

 

 

[Blossom]

20 minutes ago, prs59 said:

For me, albeit the plot was a little thin, 

 But more substantial than Raymonda original!

And just to add, ENB really are on top form. When I think about where I would want to put my money as a supporter, it’s definitely in backing this company, especially with their national focus (fingers crossed touring will be back). Looking forward to seeing what is next for them.

Edited January 18, 2022 by Blossom
Wanting to gush about enb

[LinMM]

Yes I finally got some reasonable pics with my phone of a curtain call and was a bit taken aback when  I got home at just HOW low cut her dress was!! 

[junedancer]

On my way home from an evening of delightful dancing.  Sorry the run has been shortened as I would loved to have seen it again.

[LACAD]

I really enjoyed it! The story makes sense to me and isn’t too difficult to follow, and the context works well for Raymonda.

 

The choreography is very true to Petipa but with a lot more work for the men (who dance brilliantly). There’s also all those famous ballerina variations still in there including a dizzying amount for Raymonda.

 

Standout performers for me were Julia Conway as the sparkling and sexy Henriette, Emily Suzuki in the lead Hungarian couple in Act III and Act II’s Georgian Ratchuli, Aitor Arrieta and a revelatory Fernando Carratalá Coloma, and Jeffrey Cirio was engaging as always.
 

While I feel Shiori Kase still has a way to go in her skills with projecting her emotions, she faced the role with a lovely charm and technicality, really injecting Raymonda with a lot of youthful energy. Isaac Hernandez accomplished every trick in the book with aplomb, but doesn’t do much with his rather stiff and awkward John de Bryan. The same can be said for Precious Adams who brings that magnificent softness to her dancing but also struggled to flesh out her pious Sister Clemence (as much as that hurts to say as I’m a huge fan of hers).

 

In regards to the choreography, Tamara Rojo has done a magnificent job. The work is full of ambitious corps de ballet sequences and wonderful variations, and even a surprise reference to the shades of La Bayadère with an interesting twist in the dream scene. Her storytelling capabilities are strong, what a wonderful touch to flesh out Henriette and Clemence as representatives of Raymonda’s passions and conscience respectively. It feels almost bittersweet that San Francisco will have her as I’d really like to see what else she can do. 
 

Another honourable mention the cimbalom player, it makes Raymonda’s final variation (especially in this production) all the more poignant.

[LACAD]

And just to add, I thought Tamara looked stunning in her dress!