Birmingham Royal Ballet: Carlos Acosta's new production of Don Quixote, 2022

[Sim]

3 minutes ago, Emeralds said:

Alison, did you catch that bit in Act 2 where one of the ladies faints when Espada turns to face her mid solo (which is in both the RB and BRB  productions).....then on Saturday night, when Espada/Yap jumps to the other side, one of the matadors pretends to faint as well- I think his mock faint was a one off just for Yap’s last show.....😂

Yes it was.  As was Gamache's lingering touch on one of the men who was standing next to the row of girls that he checks out!

[Emeralds]

4 minutes ago, Sim said:

Yes it was.  As was Gamache's lingering touch on one of the men who was standing next to the row of girls that he checks out!

For the generation that’s more keen on computer/video games, the gags are the ballet equivalent of Easter Eggs in gaming. 😂 

Edited July 11, 2022 by Emeralds

[LinMM]

Love your longer post just above Sim agree with every word! 

[RobR]

I went on the Friday and was really impressed by the performance of the tavern waitress. I had no idea it was Laura Day. She was very good 

[zxDaveM]

1 hour ago, Sim said:

Just a thought: 

THAT is why the so-called 'irrelevant' or 'old fashioned' ballets sell out worldwide.  Furthermore, since when are the themes of love, good v. evil, battle of the sexes, and romance 'irrelevant'?  Those themes have always resonated and always will.  It's a reflection of the human condition and that will never change.  

 

indeed Sim - when companies try all manner of new fangled stuff (some of which can be good, to be fair) for a 'new' and 'young' audience, to my mind they are in many way defeating the whole object of going to the ballet. I wouldn't mind wagering that more 'newbies' went to see Swan Lake than the more contempory mixed bill or Dante Project. There is a danger of trying to be too 'with it' and losing focus of what people are hoping - expecting - to see at the ballet.

[Emeralds]

40 minutes ago, RobR said:

I went on the Friday and was really impressed by the performance of the tavern waitress. I had no idea it was Laura Day. She was very good 

I must admit I’m only 75% certain, RobR.... I was sitting quite far away. Maybe someone who knows for certain can confirm? 

[zxDaveM]

Saying that, once you ARE a ballet fan variety is the spice of life, so monster runs of the big Tchaikovskys not always inspiring!! 😉

[art_enthusiast]

36 minutes ago, zxDaveM said:

 

indeed Sim - when companies try all manner of new fangled stuff (some of which can be good, to be fair) for a 'new' and 'young' audience, to my mind they are in many way defeating the whole object of going to the ballet. I wouldn't mind wagering that more 'newbies' went to see Swan Lake than the more contempory mixed bill or Dante Project. There is a danger of trying to be too 'with it' and losing focus of what people are hoping - expecting - to see at the ballet.

 

As a younger audience member (and somewhat newbie), I loved both Swan Lake and the Dante Project. I enjoyed the contemporary mixed bill as well but I agree that the classics/older works really need to be preserved - I'm most specifically referring to the RB's older works here such as Checkmate, which I have never seen but really wish they would bring back (ditto Ashton's Sylvia/Birthday Offering). 

BRB's Don Quixote was superb and I hope the RB brings it back soon as well.

[alison]

2 hours ago, Sim said:

Just a thought:  for those people ringing the death knell for classical ballet, this performance sold out on most shows and if it didn't it was pretty full each time.  

 

Aided, admittedly, by some ticket offers, but it was certainly good to see Sadler's Wells so full - probably the best I've seen this year.

[Sim]

6 minutes ago, alison said:

 

Aided, admittedly, by some ticket offers, but it was certainly good to see Sadler's Wells so full - probably the best I've seen this year.

They always sell out at the ROH too, without any ticket offers!

[Jan McNulty]

1 hour ago, art_enthusiast said:

 

As a younger audience member (and somewhat newbie), I loved both Swan Lake and the Dante Project. I enjoyed the contemporary mixed bill as well but I agree that the classics/older works really need to be preserved - I'm most specifically referring to the RB's older works here such as Checkmate, which I have never seen but really wish they would bring back (ditto Ashton's Sylvia/Birthday Offering). 

BRB's Don Quixote was superb and I hope the RB brings it back soon as well.

 

BRB danced Sir David Bintley's gorgeous Sylvia and I would just love that to be brought back.  Funnily enough I've had Sylvia earworms today.

 

BRB danced Checkmate in Munich 10 years ago and I agree it is time we saw it again.  It would be interesting to see who would be cast this time - we had some glorious performances in 2012 - my favourite casting was Chi Cao as the Red Knight and Victoria Marr as the Black Queen - they had such amazing chemistry.

 

BRB only did Birthday Offering during the 1995 Autumn season - it was on a double bill with Sir David Bintley's Carmina Burana and I found it disastrously boring and have never wished to see it again.  I suspect the company didn't quite get the casting right.  Now Carmina I would see over and over again.

[Jan McNulty]

4 minutes ago, Sim said:

They always sell out at the ROH too, without any ticket offers!

 

BRB haven't been to ROH for donkeys years that I can recall.  Have I missed something?

[maryrosesatonapin]

1 hour ago, art_enthusiast said:

BRB's Don Quixote was superb and I hope the RB brings it back soon as well.

I actually preferred the BRB's latest version of Don Q.  The RB one seemed to have unnecessarily clunky scenery - although of course looking back to the partnership of Acosta/Nunez is a wonderful memory, never to be forgotten.  They had real chemistry.  I put it down to them both naturally having such warm, 'southern'/Latin temperaments.  I wonder who would be the best Basilio out of the current crop of male principals?  I'm thinking of Cesar Corrales or Reece Clarke maybe.

 

As this was a new and doubtless expensive production I should imagine BRB will revive it before too long.  I'd certainly love to see it again asap!

[capybara]

2 minutes ago, maryrosesatonapin said:

 I wonder who would be the best Basilio out of the current crop of male principals?  I'm thinking of Cesar Corrales or Reece Clarke maybe.

Well, Nunez/Muntagirov blew people’s socks off in 2019…….

Cesar Corrales was scheduled to dance Basilio to Osipova’s Kitri in the same run but he was injured. I agree that it’s very much ‘his’ role.

[Jan McNulty]

16 minutes ago, maryrosesatonapin said:

I actually preferred the BRB's latest version of Don Q.  The RB one seemed to have unnecessarily clunky scenery - although of course looking back to the partnership of Acosta/Nunez is a wonderful memory, never to be forgotten.  They had real chemistry.  I put it down to them both naturally having such warm, 'southern'/Latin temperaments.  I wonder who would be the best Basilio out of the current crop of male principals?  I'm thinking of Cesar Corrales or Reece Clarke maybe.

 

As this was a new and doubtless expensive production I should imagine BRB will revive it before too long.  I'd certainly love to see it again asap!

 

Perhaps they could persuade Beatrice Parma and Tzu-Chao Chou from BRB to guest!

[Sim]

2 hours ago, Jan McNulty said:

 

BRB haven't been to ROH for donkeys years that I can recall.  Have I missed something?

I am referring to classical ballets, not the company!

[Tango Dancer]

57 minutes ago, capybara said:

Well, Nunez/Muntagirov blew people’s socks off in 2019…….

Cesar Corrales was scheduled to dance Basilio to Osipova’s Kitri in the same run but he was injured. I agree that it’s very much ‘his’ role.

Always Nunez/Muntagirov for me.  I would choose them over everyone else because they're just perfect together in my opinion.  

[AnnabelCharles]

Went to the matinee on Saturday and had a wonderful afternoon - came out with a huge smile on my face. Don Q is a real feelgood ballet - and BRB a terrific company.

 

Thought Miki Mizutani and Lachlan Monaghan were absolutely delightful as Kitri and Basilio - and the rest of the cast zinging with energy, dynamism and character.

 

I preferred the BRB version to the RB one - I thought Carlos had Carlossed it a bit more to good effect. Loved the Act 2 pas de deux and the casting of Amour - got the impression there was a bit more clapping, stamping and shouting - which also worked for me. Liked the simpler sets, gorgeous costumes and atmospheric lighting. 

 

Can't wait to see BRB again in the autumn!

 

PS Shout out for Sadler's Wells - membership gives you 20% off tickets and I got a fab first circle seat for £36 (mind you I spent what I saved, and more, on Prosecco in the interval....)

[Jan McNulty]

52 minutes ago, Tango Dancer said:

Always Nunez/Muntagirov for me.  I would choose them over everyone else because they're just perfect together in my opinion.  

 

But they aren't company members of BRB.

 

[Richard LH]

In addition to the complete change in the  Act 2 opening, I was interested to note that, despite the same basic Minkus score,  there were quite a lot of minor note differences as between the  Sinfonia  and the ROH Orchestra version. Is it unusual for different orchestras to vary a composer's work in this way?

[alison]

It's a different orchestration, done by a different orchestrator, from the RB one.

[Richard LH]

9 minutes ago, alison said:

It's a different orchestration, done by a different orchestrator, from the RB one.

Yes but I thought orchestration includes adaptation of a score for particular instruments without changing the original composer's melody or harmony?

[Jan McNulty]

6 minutes ago, Richard LH said:

Yes but I thought orchestration includes adaptation of a score for particular instruments without changing the original composer's melody or harmony?

 

IIRC there were a lot of quite negative comments about the RB orchestration.  Perhaps the one for BRB is more true to the Minkus?

 

As I'm not hugely musically attuned so I wouldn't even notice I'm afraid.  

[capybara]

1 hour ago, Jan McNulty said:

 

IIRC there were a lot of quite negative comments about the RB orchestration.  

 

Yes - Martin Yates somehow contrived to 'deaden' the music (as he did with Manon). Carlos sensibly commissioned a new orchestration which gave the BRB version more life.

 

 

[alison]

There was an interview with the re-orchestrator in the programme.  Bit late to be telling you that now if you haven't got one, I suppose

[Emeralds]

I liked Hans Vercauteren’s re-orchestration for the BRB production more- it retains the Spanish and comedic elements whereas the Martin Yates re-orchestration sounded a little too “safe”, middle of the road- easy on the ear if you’ve never been to a ballet, but for those who have watched (or danced!) Don Q a lot, it felt like a lot of the individuality had been taken out. (That said, I actually liked Yates’ version of the Manon score, which used more instruments to highlight the grandeur as well as the pathos of the Massenet melodies.)

 

I suppose, also, the fact that this BRB production is 9 years (originally intended to be 7 years had there been no Covid) after his first version for RB, means that Carlos Acosta also had a good idea of  what improvements he wanted to make and what would work well on the dancers, whereas in 2013, he’d never set a ballet on the RB dancers before, and was also still dancing in the ballet (and other ballets) himself, whereas now he is mostly directing rather than having to squeeze in a full time dancing schedule as well. It would be the choreographer’s (ie Acosta’s) decision as to which tunes he wanted for which parts of the ballet- and Minkus’ original score is actually extremely long; the versions seen in Britain on DVD or on stage by RB or visiting companies use only a heavily cut portion of it.

 

BRB could probably post their programme to any readers who don’t have one who wanted to buy a copy to read the interview with Hans Vercauteren. There’s  also an interview online with Vercauteren telling us a bit more about him. Don’t be put off by his youth- he came highly recommended by Koen Kessels, BRB’s music director: https://wcom.org.uk/news/hans-vercauteren-yeoman-of-the-month-july-2018/

Edited July 12, 2022 by Emeralds

[Richard LH]

13 hours ago, Jan McNulty said:

IIRC there were a lot of quite negative comments about the RB orchestration.  Perhaps the one for BRB is more true to the Minkus?

I'm not sure... in the RB DON Q programme Gavin Plumley  tells us that Yates went back to the original piano  score.

As a further complication, when interviewed for the 2019 RB live cinema relay, Yates explained that the production developed over the years and quite a lot of the music is not actually by Minkus but by Nápravník and others. He said the  melodies were those of Minkus and the other composers, but the "sound world" was his.

 

12 hours ago, capybara said:

Martin Yates somehow contrived to 'deaden' the music (as he did with Manon).

 Ouch! I don't hear that at all - I love his orchestration of Don Q and Manon - both so beautiful in their different  ways! 

 

The Sinfonia orchestration of Don Q is good too...  but it is interesting how differences  in melody (as well as rhythm  and other musical elements, let alone choice of pieces, and their order) arise between  productions. 

 

Perhaps all this is more appropriate  for the "Music For Ballet" thread though!

Edited July 12, 2022 by Richard LH

[Scheherezade]

I preferred the orchestration, sets and costumes of the BRB version. To my ear, the RB orchestration wasn't zingy enough, I'm not a great fan of the moving sets and felt that both the sets and costumes in the RB version drained away the fire and colour that this work needs: too 'pastel' in every respect.

 

I also found myself thinking of RB casts and, yes, this is surely a work that is made for Corrales. Quite apart from Basilio, a Corrales Espada would surely steal the show in much the same way as his Juan Alejandrez in Like Water for Chocolate.

 

So back to last week's BRB. I was only there on Friday and I really can't add anything to Emeralds' full and considered review. If I wanted to be picky, I could say that the performance took a little while to take off, but as soon as it got going, there was no stopping the cast. Plaudits to everyone on stage, the dancers who were not specifically credited as well as those who were. And on a lighter, and definitely tongue in cheek note, did anyone else think, just for an instant, that Julian Clary had stepped up when Amour took to the stage?

[maryrosesatonapin]

1 hour ago, Scheherezade said:

... did anyone else think, just for an instant, that Julian Clary had stepped up when Amour took to the stage?

Yes!  I and my companion both thought that.  He was adorable!

[LinMM]

Which Amour? 

[maryrosesatonapin]

5 hours ago, LinMM said:

Which Amour? 

https://www.brb.org.uk/profile/max-maslen

[Scheherezade]

Yes, Max Maslen it was. 

[San Perregrino]

Wonderful things in both the RB and the BRB versions. As a friend said, Don Q is definitely a Desert Island Disc ballet.  for example I loved the three dimensional layered set of the RB version with its houses around the village square but understand that this isn’t possible for a smaller stage touring production. The BRB windmills solution were however much more to my liking, the technical issues with the RB ones distracting and producing laughter for the wrong reasons. Both orchestrations zip merrily along. Not least because the number of musicians being different, the sound produced will be different. The BRB version being in the words of a knowledgeable acquaintance “slimmer & less kitchen sink”.
The dancers of both companies excelled at the choreography that they were given, IIRC RB had more choreography perhaps due to more dancers and more space, definitely proof of the depth of talent around the country and a strong argument for leaving the RB bubble again in the Autumn to continue to see BRB and others companies.

i preferred the RB costuming and in respect of the gold one piece jumpsuits in the final act of BRB to borrow a catch-phrase these were “an absolute dis-ast-er darling”, being too monotone and thus overbearing on the scene for my taste and would most likely have had N de V turning in her grave.

Edited July 13, 2022 by PeterS