Royal Ballet: Scènes de ballet / A Month in the Country / Rhapsody (Spring 2022)

[Rob S]

19 minutes ago, Nina99 said:

In the interview Vadim did with Amanda Jennings for Dance Europe magazine Vadim expressed an interest in doing ‘darker parts’.  Amanda suggested Rudolph & he didn’t say no!

 

Maybe he'd collapsed with shock😄

[Guest oncnp]

3 minutes ago, Rob S said:

 

Maybe he'd collapsed with shock😄

 

He didn't   

 

For anyone who's not seen it -  Vadim Muntagirov - YouTube

 

Edited May 3, 2022 by oncnp

[Fonty]

4 hours ago, capybara said:

 

Being a Trustee means that someone has to uphold and further the objects of the Charity.

Kevin O'Hare will be interviewed at The Ballet Association on 9th May - you could ask him whether he is familiar with this forum!!!!

 

 

Those objects must surely be to make sure the Ashton works are not just wheeled out occasionally, but are part of every season for the RB?  I won't be back in the UK, but I hope someone takes copies of the glowing reviews, and reads some of them out to him on the day.

[Lizbie1]

Hasn't at least one dancer said dancing Rudolf took a couple of years off his career? In which case, much though I'd want to see him in Mayerling, I'd rather have Muntagirov for that bit longer

[capybara]

2 minutes ago, Lizbie1 said:

Hasn't at least one dancer said dancing Rudolf took a couple of years off his career? In which case, much though I'd want to see him in Mayerling, I'd rather have Muntagirov for that bit longer

Well, two or three fantastic Rudolfs continued dancing well into their forties.

 

Agree about wanting to have the classical/Month in the Country Vadim around for as long as possible, though.

[bangorballetboy]

1 hour ago, Fonty said:

 

Those objects must surely be to make sure the Ashton works are not just wheeled out occasionally, but are part of every season for the RB?  

 

Not sure how a trust could have that as a legally binding object.

 

According to the Foundation's Annual Report: "The objects of the Foundation are to utilise the legacy of the distinguished English choreographer, the late Sir Frederick Ashton, to advance the education of the public in and the appreciation and performance of the art of ballet and its allied arts in the United Kingdom and throughout the world, and for the public benefit to pursue a broad range of activities and programmes, including ballet reconstructions and revivals, publications and lectures and videos, and to promote research in all respects of the subject and to publish the useful results."

[Scheherezade]

58 minutes ago, bangorballetboy said:

 

Not sure how a trust could have that as a legally binding object.

 

According to the Foundation's Annual Report: "The objects of the Foundation are to utilise the legacy of the distinguished English choreographer, the late Sir Frederick Ashton, to advance the education of the public in and the appreciation and performance of the art of ballet and its allied arts in the United Kingdom and throughout the world, and for the public benefit to pursue a broad range of activities and programmes, including ballet reconstructions and revivals, publications and lectures and videos, and to promote research in all respects of the subject and to publish the useful results."

 

Mmm, and the best way to satisfy those objects, I would suggest, must surely be by performance of Ashton's own, superlative body of work.

[maryrosesatonapin]

4 hours ago, jmhopton said:

Looking ahead to all the upcoming Mayerlings this autumn, what about Vadim and Morera in the leads? She was incredible with Bonelli and it was criminal their performances weren't filmed in the last run. Perhaps she could inspire Vadim to the greatest acting challenge of his career. 

 

 

I had the exact same thoughts.  I feel that Laura Morera not only dances and acts superlatively, but her qualities also seem to enhance her partners. (I wonder if she gives them hints during rehearsal?)  Much as I loved Federico Bonelli's performances before, I have never seen him better than when dancing Giselle with Morera - what a memorable evening that was.  Likewise Muntagirov, always beautiful to watch, reached depths of characterisation hitherto unwitnessed by me.  I am really curious as to why Morera hasn't been utilised more.  I have never ever been disappointed by her; even in small roles she shines out and lights up the stage.

I also agree that the lack of recording was remiss.  I am hanging on to the memories as well as I can but the details are already becoming smudged into a kind of nostalgic impressionist painting hanging in the dusty corridors of my mind.

 

I'm going to send Kevin O'Hare a link to this thread.

[Emeralds]

Haha, I know this thread is turning into parallel discussions about Rudolf in Mayerling and about the Ashton Foundation, so I’m just going to spoil the fun by adding another review about the Bank Holiday Monday matinee. 😅

 

When my friend and I sat down for our third Ashton triple bill show, we realised that we’d actually been attending consecutive performances in 4 days, so we were basically in the auditorium as frequently as the dancers had been! We joked it was rather like a pub crawl, minus the alcohol- but a hundred times more fun.

 

The plan had been to catch three different casts in each of the ballets (sadly has to miss Osipova, Bracewell and Boswell in A Month in the Country) although with the cast changes we only had two casts for Month. Having already seen Osipova in previous seasons (with Bonelli and Hallberg respectively), we thought we wouldn’t change anything, and although we wouldn’t have minded catching a fourth show if schedules allowed, we’re glad we didn’t change our bookings. 

 

We had enjoyed watching the same cast of A Month in the Country on Saturday but somehow on Monday they seemed to be even more on fire, with every member of the 7-person cast bringing their A game to the last show that they would be doing of this ballet. Every movement, every gesture, every leap, was just right. Often in some casts of Month, the dancers portraying Katya, Matvei, or even Yslaev can sometimes shrink in some scenes as though “I’m not the big star here” but everyone was fully in character, not overdoing it, but dancing each step as though it was the last they’d ever dance.

 

And while Morera and Muntagirov had been brilliant on Saturday night, on Monday afternoon, each glance, each flick, each step....felt even more eloquent and natural.  Vadim’s incredible execution of the jumps at the end of the dance with Natalia and the two children- he seems to be able to hover in the air to make the footwork clear, while managing to act while airborne. The jumps are interesting- some dancers I’ve watched over the years have just about managed to clear them, others perform the footwork and hand movements comfortably, but Vadim is the first I’ve seen who performs both with ease, jumps very high and....acts while he is airborne! That’s incredible, and I’m glad I’ve seen it twice!  

 

I found Morera even more moving on Monday even though she was already excellent on Saturday. It’s hard to say whether this is because I have now got used to watching her and picking up the nuances of her portrayal at the right moments in the story, or whether she has eased even more comfortably into the role and smoothed out details while adding even more depth to an excellent portrayal....perhaps it’s a bit of both? If one doesn’t count the original cast of Seymour and Dowell whom I was too young to have seen in live performance, the Monday matinee is one of the most powerful performances of the ballet I’ve ever seen. Wowzer!

 

Had it been the last ballet of the programme, we probably wouldn’t have let them leave so quickly but kept cheering and clapping for hundreds more curtain calls. 😉

 

Lots of people have already commented on the charisma, elegance and musicality of Kaneko and Clarke in Scenes de ballet and how beautiful the ladies’ ensemble and the quartet of Acri (I love the reassuring smile he gives to Kaneko when it’s his turn to partner her), Richardson, Donnelly (his joyful smile throughout the ballet is delightful) and Sissens were in Scenes de ballet, so the brief paragraph is just because I can’t add anything more to the praise that has been gjven. Will miss seeing Clarke’s soaring leaps, Kaneko’s neat footwork, the men’s high, neat jumps, and the chic symmetry and synchronicity of the corps ladies. 

 

To end on Rhapsody- the wonderful ensemble again, this time led by Hayward and Corrales in the Collier and Baryshnikov roles. Hayward just seems made for this role, especially suited to the speed and lightness of the pointe work, the unusual movements of the back, and shoulders, and the  swift changes of position. It’s not a pyrotechnical role in the sense of having lots of fouettes or multiple leaps like in the Petipa warhorses, but still requires technical virtuosity, stamina and speed to be able to perform it, and it really suits Hayward- the fact that the music is a Rachmaninov piano concerto based on a difficult violin variation by violin virtuoso Paganini  (Hayward herself studied and played the violin to advanced level) seems to come out in the ease and affinity she has for this ballet.

 

I haven’t had a chance to see much of Corrales this season (we were unlucky in schedule clashes with his performance dates), so we were really excited to see what he would make of a role that seems to suit his strengths, and he certainly  didn’t disappoint. His signature leaps, turns and technical fireworks were there, and of all the casts this season (at least on the dates we attended), I think he is the one who has not only brought the technical virtuosity, but also the insouciance and wit, eg the rises on tiptoe and the mimed violin playing, so that it looks natural and almost conversational rather than “a move that must be completed here”. It seems to be one of those roles where you mustn’t over think the technical demands or it loses the feeling of spontaneity required for the role, and Corrales produced that ease and spontaneity so well.

 

What a treat for us to finish our little festival of Ashton gems with this wonderful performance from Hayward, Corrales and their colleagues. 

 

It seems astounding that a triple bill that has been loved and enjoyed by so many - critics and fans alike, plus quite a few newcomers (a second friend of mine joined our “Ashton pub crawl” on the middle night and loved all of it) - is now already over after just 7 shows in only 10 days. If there was ever a programme that should be split into two runs (like Romeo and Juliet or Swan Lake this season) and reprised later on, this would be it. Also, despite the box office website looking like tickets were selling slowly, the auditorium looked full every show we attended. It’s definitely a hit with audiences. (We even liked the unusual purple programmes for the triple bill- a departure from the signature red.) Perhaps we could ask Kevin O’Hare and the board to consider an all-Ashton triple bill like this every year. 😁

Edited May 3, 2022 by Emeralds

[alison]

The purpleness is to reflect the Platinum Jubilee, so I think it's probably only this bill which features it.  I'm not sure that any of the opera programmes do.

[maryrosesatonapin]

@Emeralds Loved your review - and I didn't know that Francesca Hayward played violin.  I can imagine her doing that, now.  Thank you.

[Swan]

@Emeralds, I was at the Bank Holiday matinee too and love your review. The whole afternoon was wonderful and I enjoyed my second visit even more than my first. Morera and Muntigirov were amazing in Month, as were the whole cast, and the insouciance and wit by Corrales that you referred to in Rhapsody was spot on. He gets better every time I see him and hope I can see him in this role again in the not too distant future.

 

[LinMM]

Lovely review Emeralds you always give unusual little snippets of info as well …like Hayward playing the violin! 

[Lizbie1]

Yes, the violin thing is interesting! I used to play, with the consequence that I hear up-bows and down-bows everywhere and have a pet theory that phrasing and musicality is enhanced by having that instinct. (Similarly with breathing, for those who sang or played brass or woodwind.)

[JNC]

I feel there’s not much more to add on everyone’s fantastic reviews for this but a few thoughts. 
 

firstly I managed to make the most of this and watched several casts and I’m very glad I did. 
 

Scenes de ballet is very cool and icy. I think Kaneko and Clarke’s performance on Monday matinee was just perfect - the music, the timing, the patterns of the choreography. I can see why this is a bit of a difficult piece to like but when done right it is so elegant and perfect. I also enjoyed Naghdi’s perfect technique in the piece too, and the costumes are just so elegant. 
 

A Month in the Country is just so lovely. The music, the sets, the costumes, but the choreography…everything is just sublime. Morera is as good as everyone says but Nunez and Ball brought real drama and tension to the roles too, I wish I could see that cast again. (But would happily see all casts again!) O’Sullivan just fantastic as Vera and all the Kolias I saw also very impressive. 
 

And Rhapsody is for me the perfect firecracker, the music just works so well with the choreography and this is when the soloists I felt really showed their talent and flair. Just so many stunning images linger in my mind. Hayward in particular really at the top of her game and Sambe just showstopping in character and with some fantastic jumps which drew audible gasps. McRae also bringing such a charm and insouciance to the role as well, a simple flick of his arm or a raised eyebrow conveying so much.

 

Fantastic programming with brilliant casts and the music was just spot on as well. And all three works bringing a different flavour and mood to the evening, what more could you want! 
 

(And yes I enjoyed the quirk of the purple programme.) I hope it’s not too long before these works return, and before we get to see other Ashton one act works (and three acts!) as well 

[Emeralds]

Thank you so much, maryrosesatonapin, Swan and LinMM! I remembered it from an interview she gave to a broadsheet newspaper (The Telegraph). Swan, that Monday matinee will go down as one of my fave shows of all time. I liked all the casts in the three shows we attended, but that Monday show definitely was magic. 

[jmhopton]

I did email Kevin to ask about a  date for the Ashton stream and just got a reply from his exec saying a date hasn't been set for its release yet, so at least its been confirmed there definitely will be one.

[capybara]

1 minute ago, jmhopton said:

I did email Kevin to ask about a  date for the Ashton stream and just got a reply from his exec saying a date hasn't been set for its release yet, so at least its been confirmed there definitely will be one.

That’s very good news, of course but, for me, the performances which should have been filmed were Month and Rhapsody on Monday afternoon (Morera/Muntagirov and  Hayward/Corrales).

 

 

[jmhopton]

2 minutes ago, capybara said:

That’s very good news, of course but, for me, the performances which should have been filmed were Month and Rhapsody on Monday afternoon (Morera/Muntagirov and  Hayward/Corrales).

 

 

Couldn't agree more. Did ask if it was possible to have a bit of a Vadim/Morera recording put on YouTube as I'm sure they record all casts for training purposes, not great quality but better than nothing, but didn’t get a response to that. I know it's a very long shot but I'm desperate for anything that will remind me of that incredible performance. 

[Balletfanp]

We can hope, but sadly I think it’s a forlorn one, more’s the pity….

[FionaM]

I went to both the matinee and the evening shows on Monday …

 

Completely agree with many above - Morera and Muntagirov were utterly sublime in ‘Month’.  A very special memory to treasure forever.  

 

Fumi and Yasmine both sparkled in Scènes.  And the two sets of supporting casts negotiated the tricky choreo and even trickier patterns with relish.  Of the men, Ben Ella caught my eye.  The lead next time please!  Reece has improved hugely and coped well with this difficult lead role.  I’m now waiting impatiently for the recording to see Vadim in this.
 

I loved Francesca Hayward’s musicality and Ashtonian phrasing in Rhapsody and her lightness and playfulness.  
 

Corrales had amazing energy, and an unexpectedly beautiful adagio section when he ‘opens’ the 6 ladies’ arms.  Steven McRae’s barrel turns were especially good.  Both had other sections that were poor for their respective abilities.  Steven (understandably) altered some of the choreo.
 

Such an uplifting triple bill 🌟🌟🌟🌟🌟

 

as a side note …. with thanks to suggestions in this thread …. I’m now imagining Vadim in Mayerling with Fumi as Mary Vetsera and Laura Morera as Countess Larisch 😉

[Sophoife]

Reading this thread (I can absolutely see Laura Morera in my mind) has made me even more annoyed by covid and its consequences. AusBallet under David McAllister had scheduled A Month in the Country for its Australian première season in 2020, marking 8 years since the previous Ashton, and 16 since the last full-length Ashton (Fille in 2004). Then 2020 was cancelled. On the revised 2021 schedule (mostly cancelled anyway), no Ashton. 2022, no Ashton. C'mon Mr Hallberg you know how fabulous it is, bring it!! 

[Fonty]

15 hours ago, Scheherezade said:

 

Mmm, and the best way to satisfy those objects, I would suggest, must surely be by performance of Ashton's own, superlative body of work.

 

Precisely the point I was making.  @bangorballetboyI wasn't suggesting it should be legally binding to include his works, who could it be?  But he is one of the Trustees of the Ashton society, which presupposes that Ashton's creations should be at the forefront of their aims. 

[Jane S]

I just came across this Dancing Times article by Daniel Pratt of the Sarasota Ballet: he writes about  Scenes de Ballet from a dancer's point of view in a way I find really illuminating.

 

https://www.dancing-times.co.uk/dancing-scenes-de-ballet/

 

(And notice that he /describes it as 'demanding' rather than 'difficult'!)

[bridiem]

4 minutes ago, Jane S said:

I just came across this Dancing Times article by Daniel Pratt of the Sarasota Ballet: he writes about  Scenes de Ballet from a dancer's point of view in a way I find really illuminating.

 

https://www.dancing-times.co.uk/dancing-scenes-de-ballet/

 

(And notice that he /describes it as 'demanding' rather than 'difficult'!)

 

What a brilliant article! And interesting that he says that dancing Scènes de Ballet 'felt like making sense of all my training', because when watching it I was thinking 'this is what these dancers have been trained for'. He expresses beautifully the power of this work, and it's very good to know that this is felt not just by the audience but also by the dancers.

[LinMM]

Interesting article which also belongs on Rina’s Ashton thread! 
Does anybody know how to post the link there? Perhaps Jane S? 

[alison]

Copy and paste as usual.

[bridiem]

26 minutes ago, LinMM said:

Interesting article which also belongs on Rina’s Ashton thread! 
Does anybody know how to post the link there? Perhaps Jane S? 

 

I've posted it there now, LinMM.

[LinMM]

Thanks very much Bridiem! It just seemed rather appropriate given some of the comments in the article. 

[Scheherezade]

There really isn't a lot that can be added to what has already been said about this wonderful triple bill, but since there hasn't been much, if any, feedback regarding Monday evening's Month in the Country, I thought it worth mentioning that I really enjoyed the Osipova/Bracewell partnership, which I felt had really flowered since its more tentative debut at the general rehearsal.

 

Bracewell, as expected, gave us a far more understated Beliaev than that of Matthew Ball. His was a Beliaev blown by the winds of fate, less self aware and less conscious of his effect on the women in the household. If Ball was the cause, Bracewell was the effect. As always, his interpretation felt utterly natural. His mild irritation at Vera's attentions was as believable as his feelings for Natalia Petrovna, and his response to Katya was equally credible given his growing frustration at the position in which he found himself: nothing forced or contrived, nothing remotely overblown, just the natural, wholehearted reaction of an ordinary boy caught up in something completely beyond the realms of his experience. And despite, if not because of, the absence of any obvious lady-killer attributes, it was so easy to accept the response of all three women to this inadvertent Adonis who found himself in their midst.

 

As to the rest of the cast, and the casts for both Scenes de Ballet and Rhapsody, I can only repeat what has already been posted. Just wonderful. Everyone was at the top of their game. And it was so good to see Steven McRae back on stage after such a long absence.

[alison]

3 hours ago, Jane S said:

I just came across this Dancing Times article by Daniel Pratt of the Sarasota Ballet: he writes about  Scenes de Ballet from a dancer's point of view in a way I find really illuminating.

 

https://www.dancing-times.co.uk/dancing-scenes-de-ballet/

 

(And notice that he /describes it as 'demanding' rather than 'difficult'!)

 

Thank you, Jane.  Did you get to see this bill?

[JohnS]

A fabulous Triple Bill which has been so well captured in this thread.

Scenes de ballet grew on me through the run and I thought it wonderful to see from the Balcony for the wider perspective and ever changing patterns. 

Month in the Country delighted in its exuberance, wit and characterisation yet the close was truly heartbreaking.

And Rhapsody provided a fitting finale, fizzing and lustrous.

I very much enjoyed all performances and am just sorry the run has come to an end. I’ll remember the two Morera/Muntagirov Month performances I saw with enormous affection - those rare occasions which touch the heights.

[DoctorDerry]

On 23/04/2022 at 22:34, ninamargaret said:

Having read that Luca  Acri danced this role at the matinee I tried, and failed dismally, to imagine him in a blond wig. I will be seeing this programme next Saturday and was preparing myself for the wig's  appearance, but can now relax and prepare to enjoy it, as I'm sure I will. Thank you for setting my mind at rest!

I wonder if it would be possible to have an annual Ashton Festival the way the Italians have a Puccini or Verdi festival at an appropriate venue and time. I would go!