Dutch National Ballet: Raymonda, 2022/23

[Buddy]

Two interesting observations. First, Olga Smirnova was apparently very well received. Second, this Raymonda has a significant change in plot. Raymonda falls in love with Abderakhman. 

 

Here's a quick preview featuring Principal Dancer, Maia Makhateli, who debuted the work and can be seen with the complete work in May on an internet broadcast.

https://www.youtube.com/watch?v=KdgNplp8JQM
(Thanks to Sophia at Dansomanie)

 

Here's a description of Olga Smirnova's reception from an unofficial review.

 

"By the end, everyone in the hall was delighted. In the course of the action, shouts of "Bravo!" were constantly heard. - both to Olga, and to Victor Caixeta, and to Konstantin Allen and to the soloists of individual episodes. The performance ended with thunderous applause. The performers of the main roles were presented with huge bouquets and both young people gave their bouquets to Olga, who, it seems to me, was very touched by the reception of the public.

 

"In my opinion, Olga is treated very well in the troupe and I hope she will take root there."

 

Here's a look back from the Mariinsky archives.

https://www.mariinsky.ru/about/exhibitions/petipa200/raimonda/

Google translator:
https://translate.google.com

Edited April 19, 2022 by Buddy
spelling correction

[annamk]

Friends and I went to Amsterdam to see the Dutch National Ballet’s new  Raymonda. We saw 2 casts: the “first cast” featuring Maia Makhatelli in the title role and yesterday evening Olga Smirnova - who was the reason for the trip. 

 

It’s a typically traditional production with resplendent tutus and all the choreography that we recognise from the Russian Raymondas. 

 

The only tweak in the story line is that instead of being abducted  by Abd al-Rahman, Raymonda has been given the agency to reject Jean de Brianne and choose Abd al-Rahman. 

 

As a company DNB were very impressive; the highlight being the female corps in the beautiful Raymonda dream scene. The 26 (?) dancers had clearly been thoroughly rehearsed, were well coordinated and danced with great precision. 

 

The solo roles were well danced: we noticed the Beranga of Jan Spunda and the tall, powerful Giorgi Potskhishvili as one of Abd’s friends. 

 

Raymonda myst be one of the most difficult roles in the female classical repertory and Olga Smirnova met all its challenges with superlative elegance, warmth and flawless technique. Her arms, back and epaulement are things of exquisite beauty. Raymonda’s iconic “handclap” variation was a pristine display of classical technique. No wonder the entire auditorium was on its feet at the end.

 

Her Abd was Constantine Allen a tall, muscular and dashing dancer with an intense stage presence. His partnering was excellent and we felt a real connection between them. 

 

The now rejected Jean de Brienne was the former Mariinsky dancer young Brazilian Victor Caixeta. His dancing was neat and he partnered well but it’s a difficult role to make appealing (unless you have the charisma of the Mariinsky’s Vladimir Shklyarov). 

 

The lush Glazunov score was beautifully played by the huge orchestra. 

 

I had wondered about the wisdom of  reviving an old warhorse like Raymonda in the 21st century without adapting the storyline significantly but with dancing of this quality on offer I found it easy to accept solely as a vehicle for superb classical dancing. 

[alison]

I'm glad you mention her warmth, Anna, because I found her positively glacial in the Bolshoi livestream from a few years ago.

[Buddy]

 

10 hours ago, annamk said:

Friends and I went to Amsterdam to see the Dutch National Ballet’s new  Raymonda. We saw 2 casts: the “first cast” featuring Maia Makhatelli in the title role and yesterday evening Olga Smirnova - who was the reason for the trip.

....

 

Raymonda myst be one of the most difficult roles in the female classical repertory and Olga Smirnova met all its challenges with superlative elegance, warmth and flawless technique. Her arms, back and epaulement are things of exquisite beauty. Raymonda’s iconic “handclap” variation was a pristine display of classical technique. No wonder the entire auditorium was on its feet at the end.

 

....

 

I had wondered about the wisdom of  reviving an old warhorse like Raymonda in the 21st century without adapting the storyline significantly but with dancing of this quality on offer I found it easy to accept solely as a vehicle for superb classical dancing. 

Thank you very much, Annamk, for your very fine review with the further good news about Olga Smirnova.

 

May I ask what you thought of Maia Makhatelli’s performance ?

 

[Buddy]

It’s been noted on the internet forum from Russia that credit wasn’t given to the person that wrote the review that I first quoted above which was originally posted in russian. I don’t know how to contact the forum or the person who made this observation, but I would like to state something. Because of some of the current laws in Russia concerning topics of discussion and not being familiar with these laws, I’ve avoided giving credit, which I usually do, to sources from Russia. I hope that this person will read this and please sympathise with my reluctance.

 

 

Added comment: I may have misunderstood the exact meaning of the poster’s comment, but my general feelings remain the same. I think that the poster was actually observing that little attention has been given here to the change in plot which has received a great deal of attention, at times very scholarly, at the forum from Russia.

 

Edited April 21, 2022 by Buddy

[annamk]

9 hours ago, Buddy said:

 

 

 

May I ask what you thought of Maia Makhatelli’s performance ?

 

 

Maia Makhatelli's performance was excellent Buddy.  She is technically very capable and danced all the steps with ease and confidence. Young Gyu Choi, was her energetic and charismatic Abd and he danced with panache.

What is that elevated Smirnova's performance ? Hard to find the words, to pinpoint what makes a particular performer and/or performance exceptional. When you see it you just know it and you know you won't forget it. Possibly with Smirnova it's how she uses her upper body, her exquisite arms and back, and her general luminosity. In the "handclap" solo you could almost feel the audience holding its collective breath. I think Fumi Kaneko at the Royal Ballet has many of these same qualities.

[alison]

21 hours ago, annamk said:

The only tweak in the story line is that instead of being abducted  by Abd al-Rahman, Raymonda has been given the agency to reject Jean de Brianne and choose Abd al-Rahman.  

 

So, the third act is then danced by Raymonda and Abd?  Presumably the choreography remains the same, despite him (I presume) having a different dance style from Jean in Act II?  Does that work okay?

[annamk]

16 minutes ago, alison said:

 

So, the third act is then danced by Raymonda and Abd?  Presumably the choreography remains the same, despite him (I presume) having a different dance style from Jean in Act II?  Does that work okay?

It is indeed Alison. When Jean de B returns in Act 2 he sees that Raymonda and Abd are in love and he attacks Abd. In the ensuing sword fight they injure each other before Raymonda intervenes to stop them. Jean realises Raymonda is lost to him and he leaves. Abd wears a white costume for the wedding and as far as I was concerned it all looked harmonious but I don't know the original choreography well so I can't say for certain whether there is a noticeable difference in the style of Abd's variations and dancing between the acts of this version or between the different versions. Whether someone who was very familiar with the Russian version might find it odd and jarring, possibly. Anyway they have been filming the first cast and there is a broadcast (6-8 May) so I'll have another chance to see it. 

20 hours ago, alison said:

I'm glad you mention her warmth, Anna, because I found her positively glacial in the Bolshoi livestream from a few years ago.

I have to add that Smirnova is not "warm" in the Nunez sense of warm which radiates to the far reaches of an auditorium, but here we were sitting quite close to the stage and her smile was happy and relaxed. I'd also say that in spite of the presumably considerable personal difficulties and pressures she's had recently she seemed very comfortable on this stage with this company, there was no tension in her dancing. 

[Don Q Fan]

I saw the premiere of the show on 3rd April. It was very nice with beautiful sets costumes and dancing . I was not so keen on the musical arrangement as it seemed very samey compared to ENBs more lively arrangement. I enjoyed the performance very much indeed but I did feel that Rojo's version for ENB has the slight edge being more entertaining in all aspects. I love DNB and you always get a good show from them and it's great to have another full length classical ballet in the rep. I would recommend anyone to see a show at DNB and the theatre is probably my must favourite ever bring very comfortable with good sight lines and it is very well serviced in terms of facilities. 

[Sim]

Please can you caption the photo for those who don't know who the dancers are?  Many thanks. 

 

[Don Q Fan]

Sorry Sim , I was using my phone rather pc so wasn't able to load the pics as I normally do! 

The dancers in my photo are Maia Makhateli and Young Gyo Choi.

Some further photos from the premiere:-

The company ensemble at the curtain call.

Semyon Velichko/Maia Makhateli/Young Gyo Choi as JdeB/R/Abd

The wonderful Floor Eimers with Vito Mazzeo.  I cant understand why Floor isn't made a Principal. Just behind them in white, you can see Jingjing Mao with Daniel Robert Silva.

Some of the corps de ballet and eleves including Emma Mardegan and Giorgi Potskhishvili the front right (of photo) couple

Here we have Riho Sakamoto who was very recently promoted to principal and she danced with Edo Wijnen.

And finally choreographer Rachel Beaujean came on stage to take a bow, along with many of the other people who helped stage the show but here you can see Semyon Velichko, Rachel Beaujean and Maia Makhateli, upon whom Rachel created the Raymonda role.

Everyone with their flowers.

Edited April 23, 2022 by Don Q Fan

[Sim]

Gorgeous….thanks so much DonQ fan!  😀

[Angela]

What strange costumes for the men (the white jackets) - they make the upper body look longer and the legs shorter. 

[Ianlond]

Very nice to see that the men of the company also get flowers.

[Buddy]

On 22/04/2022 at 00:34, annamk said:

 

Maia Makhatelli's performance was excellent Buddy.  She is technically very capable and danced all the steps with ease and confidence. Young Gyu Choi, was her energetic and charismatic Abd and he danced with panache.

What is that elevated Smirnova's performance ? Hard to find the words, to pinpoint what makes a particular performer and/or performance exceptional. When you see it you just know it and you know you won't forget it. Possibly with Smirnova it's how she uses her upper body, her exquisite arms and back, and her general luminosity. In the "handclap" solo you could almost feel the audience holding its collective breath. I think Fumi Kaneko at the Royal Ballet has many of these same qualities.

Thank you, Annamk, for your response. I do agree with you about Olga Smirnova. She is special. She has Mariinsky grace from her Vaganova schooling, Bolshoi dramatic prowess and her own high intelligence and ability. With these she’s created a very personal and distinct presence. You described her as having a “general luminosity”. I do agree. I also feel that she has a presence that encompasses you, that penetrates, illuminates and radiates.

 

In addition, I feel that ballet artists from Russia and ballet cultures influenced  by Russian ballet have something special, overall. Ballet just seems natural to them.

 

Someone else that you might want to keep an eye on is the Bolshoi’s very young Eva Sergeyenkova. She’s quite amazing, especially for her age, and she has a power of expression which can deeply touch you, similar to how Olga Smirnova can touch you. She was given Swan Lake this year while still in the Corps de Ballet. Olga Smirnova developed very fine expressive qualities after joining the Bolshoi. The young Eva Sergeyenkova has always been with the Bolshoi. Her expressive abilities are already extremely interesting, varied and will probably develop greatly.

 

Olga Smirnova has now moved into yet another realm of artistry, ‘Western’ expression. I feel that once again she will develop a totally one of a kind and totally brilliant artistic presence.

 

I mentioned in my previous post that the ballet forum from Russia is very interested in the changes made to the story of Raymonda. This seems absolutely fine. I, on the other hand, like you, Annamk, relate more to the remarkable quality of performance that is associated with ballet artistry from Russia.

 

[Sabine0308]

Thanks for the report @Don Q Fan. Side note: both Floor Eimers and Young Guo Choi danced in Berlin last Thursday (not together though), for Iana Salenko's Ukraine Ballet for life Gala. I hear they were brilliant!

[Blossom]

I thought this would be the best place to share my experience of the 2023 run of Raymonda, so hopefully an admin can update the subject to cover this run too!

 

My original aim had been to see Xander Parish dance Jean de Brienne at the Mariinsky around my 40th birthday. With Covid followed by the invasion of Ukraine, this was never going to happen. The complete change in context of ENB’s version of the ballet didn’t quite work for me. I wasn’t too keen on the setting of the story and it made the Hungarian style wedding even more incongruous than it can seem in the versions I have seen being streamed online from the Mariinsky and Danish Ballet. I hoped that Dutch National Ballet’s version would resolve the narrative to be more palatable in the present day and they certainly did.

Although the sword fight between Abdelrahman and Jean de Brienne was a bit of a cringe moment, the overall idea that Raymonda chooses the other man worked well, this was a common thread from Abdelrahman’s first appearance in her dream, through to Jean de Brienne’s reappearance in act 2. 
 

Overall it was a very pleasing ballet. As with the ‘original’, there isn’t much of a storyline in act 1 or much action. The dream sequence was a beautiful display of pure classicism, but the earlier portion gave away either some slightly clunky choreography, or, potentially on only the second performance, the act was slightly under rehearsed. These chinks were visible not just in the corps de ballet, but also in Olga Smirnova’s performance.

Act 2 was a wonderful show of character dances from the warriors, sabres and Spanish dance with a beautiful grand pas d’action. 
Act 3 was just wonderful to watch and was a cut above the previous acts. Special mention to Kira Hilli, soloist from the mazurka who really embraced and embodied the style and her performance was superior to any versions I have previously seen. Maria Chicago and Giorgi Potskhishvili also delivered a strong Grand Pas Hongrois, both dances were supported by a strong corps de ballet.

 

Despite an imperfect performance, Olga Smirnova brought the taste of Russian Raymonda which really elevated the performance a level. She delivered some of the fastest pique turns I have seen and overall just glittered. Constantine Allen delivered some super speed quadruple-or-more pirouettes and his jeté turns across the stage were exciting to watch. By the time I had cottoned on to Victor Caixeta dancing Jean de Brienne, his stage time was almost over - my only criticism with this version is that it gives this role a lot less of an opportunity to dance. 
 

Overall, delighted I came to Amsterdam. Ticket prices are absolutely reasonable at around £85 for top price stalls based on the exchange rate at around the time I booked. Perhaps this is why the audience was so diverse in age and included not just many ladies in their 20s but also plenty of men of that age range. The theatre appears to have a well publicised access scheme for young people also which may have had an impact.The city also seems incredibly international as many people were talking to each other in English although clearly not their first language. 

 

 

[Ian Macmillan]

Thread title duly altered.

[annamk]

Not the right place for this news perhaps but the phenomenal Giorgi Potskhishvili was promoted to principal last night after Raymonda. 

 

https://www.instagram.com/p/C1B7hHtIfAC/?hl=en&img_index=1

 

We can catch him here as Hilarion in the DNB cinema relay of Giselle in January 2024.

[Emeralds]

Congratulations to Giorgi! 👏 👍 

[FionaM]

I’m so excited by this news, having seen him earlier in the year as Siegfried, Rothbart and Dorian, that I’ve snapped up last minute tickets for him in Raymonda with Anna Tsygankova on 30 December.  
 

As Ted Brandsen says, he is a unique dancer.  For me he has thrilling stage presence and touching emotional capacity.  He doesn’t have a pure refined classical ballet technique, but may yet improve it.  He’s still very young … 21 I think. 

[li tai po]

On Monday, I was fortunate enough to catch the Raymonda performance with Anna Tsygankova and Giorgi Potskhishvili, who blew me away.  What a powerful dancer and an overpowering personality he is - an untidy finisher, but my goodness he dominates the stage with his enormous leap.  Apparently his parents run a folk dance group in Georgia and he has been dancing with them since childhood, which is where he developed his wow factor stage presence.  His younger brother, Nikoloz, is a student at the Dutch National Ballet Academy.  He was due to watch from the wings, but with several dancers down with covid, he was thrust into a costume and put on stage as a page.  Giorgi's immediate promotion to principal is richly deserved; this amazing dancer must be seen soon in London.

Edited December 20, 2023 by li tai po

[Blossom]

I wonder what our chances are of having DNB take the summer guest spot on the ROH main stage. Would love to get an opportunity to see this production again, plus something else we don’t see here!

[San Perregrino]

2 hours ago, Blossom said:

I wonder what our chances are of having DNB take the summer guest spot on the ROH main stage. Would love to get an opportunity to see this production again, plus something else we don’t see here!

perhaps the possibility has improved with the appointment of Koen Kessels as Music Director of DNB later in 2024….

[FionaM]

3 hours ago, Blossom said:

I wonder what our chances are of having DNB take the summer guest spot on the ROH main stage. Would love to get an opportunity to see this production again, plus something else we don’t see here!

good idea.  Please suggest it to KoH 😉

 

two programmes please …. Raymonda and a triple bill including Hans van Manen! 

[San Perregrino]

5 minutes ago, FionaM said:

good idea.  Please suggest it to KoH 😉

 

two programmes please …. Raymonda and a triple bill including Hans van Manen! 

I suppose Kunstkamer would be a leap too far? 

[Paco]

I would much more prefer the RB to create its own production of Raymonda, a ballet which is missing to the RB repertoire, than inviting the DNB production.

 

Personally I was mitigated with the DNB production when it was created last year: On the one hand I was happy to see Raymonda, a ballet which is not often danced by European main ballet institutions, but on the other hand this production, obviously anchored in the "woke" mouvement, is too much re-written and far from the original synopsis. I much prefer the Bolshoi version, in comparison, more faithful to the original ballet.

 

So, if the ROH is going to propose Raymonda one day, I would much prefer a RB brand new production to the DNB one. However, KOH was attending the Premiere in Amsterdam last year, so perhaps something is being negotiated I don't know (there was also Bonelli in the audience).

Edited December 21, 2023 by Paco

[Blossom]

1 hour ago, Paco said:

I would much more prefer the RB to create its own production of Raymonda, a ballet which is missing to the RB repertoire, than inviting the DNB production.

 

Personally I was mitigated with the DNB production when it was created last year: On the one hand I was happy to see Raymonda, a ballet which is not often danced by European main ballet institutions, but on the other hand this production, obviously anchored in the "woke" mouvement, is too much re-written and far from the original synopsis. I much prefer the Bolshoi version, in comparison, more faithful to the original ballet.

 

So, if the ROH is going to propose Raymonda one day, I would much prefer a RB brand new production to the DNB one. However, KOH was attending the Premiere in Amsterdam last year, so perhaps something is being negotiated I don't know (there was also Bonelli in the audience).

Given the ROH won’t perform Bayadère due to challenges of ‘cultural appropriation’ and misrepresentation, the challenges with the original Raymond’s are surely greater. I thought the DNB reworking of the story was rather clever although Jean de Brienne is left with very little to do. I definitely prefer it to the ENB Raymonda.

 

16 hours ago, PeterS said:

I suppose Kunstkamer would be a leap too far? 

Definitely. 

 

 

 

[Paco]

5 hours ago, Blossom said:

I definitely prefer it to the ENB Raymonda.

 

Definitely. 

 

 

 

Me too.

 

Why do you say that the ROH won't perform Bayadère? They did it in 2018

[Blossom]

1 hour ago, Paco said:

Me too.

 

Why do you say that the ROH won't perform Bayadère? They did it in 2018

There is someone who complains for the reasons stated every time it is performed (anywhere in the world it seems). I’ve heard that they don’t want to perpetuate false Western narratives which are seen as offensive. 
It won’t be performed any time soon.

[Don Q Fan]

I flew over to Amsterdam yesterday to catch the Sunday matinee of Raymonda.  I was not disappointed - another rock solid performance as one comes to expect from DNB!

I really rather like this version and the costumes are nothing short of sumptuous.  It was lovely to be able to spend the afternoon with DNB and also catch up with fellow forum member @FionaE .  I am no expert on ballet, but everyone performed beautifully and my heart goes out to Nina Tonoli who sadly had to limp off stage after something happened with her calf during her solo as Henriette.  I hope she is ok and the injury is not serious.

Maia Makhateli performed the title role with her usual very assured technique and was partnered by Semyon Velichko as Jean de Brienne and Young Gyo Choi as

Abd al-Rahman.  It is a really good cast and the same one I saw at the premiere in 2022.  Some photos from the curtain call below (apologies for the small size pics I still do not understand how one earth to upload phots to this particular forum so these are thumbnails off my twitter account!)

 

Maia Makhateli and Young Gyo Choi

 

Semyon Velichko Maia Makhateli and Young Gyo Choi

 

Erica Horwood and Edo Wijnen - Mazurka

.

 

Emma Mardegan, Sem Soujke, Sebia Plantefeve-Castryck and Rafael Valdez from the Act 3 pas classique Hongrois

 

Ensemble

Edited January 1 by Don Q Fan

[Emeralds]

On 21/12/2023 at 12:57, Paco said:

I would much more prefer the RB to create its own production of Raymonda, a ballet which is missing to the RB repertoire, than inviting the DNB production.

 

Personally I was mitigated with the DNB production when it was created last year: On the one hand I was happy to see Raymonda, a ballet which is not often danced by European main ballet institutions, but on the other hand this production, obviously anchored in the "woke" mouvement, is too much re-written and far from the original synopsis. I much prefer the Bolshoi version, in comparison, more faithful to the original ballet.

 

So, if the ROH is going to propose Raymonda one day, I would much prefer a RB brand new production to the DNB one. However, KOH was attending the Premiere in Amsterdam last year, so perhaps something is being negotiated I don't know (there was also Bonelli in the audience).

Fascinating to hear that Kevin O'Hare and Federico Bonelli had both gone to see HNB's Raymonda in Amsterdam! I'd be very happy to see HNB's Raymonda in London and also equally happy to see a new full length production (I'd even see both in the same year!). I think it's unlikely that RB will be the ones mounting a new full length Raymonda though.