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Royal Ballet 5 May 2022 Ukraine benefit 🇺🇦 : Unique Swan Lake featuring Ball, Cuthbertson, Lamb, Bracewell, Nuñez, Muntagirov, Osipova, Clarke


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2 hours ago, ctas said:

I’ve not seen Sarah Lamb as Odette/Odile before but after the small bit we got last night I’m going to have to try see her perform it as she was a real highlight.

 

I feel the same but I'm not sure I can take much more Swan Lake this season - I still have Calvert/Edmonds to go on Tuesday - & given Lamb's now 41 I suppose there's no guarantee she'll still be dancing whenever the RB next revive SL.

 

Can anyone say who was the Odette double in Act III? Was it a corps member as usual or did one of the actual Odettes do it? (This isn't my usual failing to recognise a dancer: from where I was sat Odette is completely invisible.)

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1 minute ago, oncnp said:

 

Based on Kevin O'Hare's previous comments about streaming being "very expensive" (if I remember correctly) , I'm not sure how many views they would need to break even, let alone generate a profit for the charity. I doubt the ROH is in a position to donate the streaming costs. The donation for last night will be the "net proceeds", net of what unspecified. I wonder if the ROH will announce the amount at any point. 

 

 

There's a review in the Times today that says that this performance, the concert and the Flight Pattern streaming have raised £400K. Don't know if that's accurate or not, but if so that would be excellent.

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2 minutes ago, bridiem said:

 

There's a review in the Times today that says that this performance, the concert and the Flight Pattern streaming have raised £400K. Don't know if that's accurate or not, but if so that would be excellent.

 

Thank you. Will have to look it up.

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3 hours ago, ctas said:

Marianna has really been eye-catching this season, her peasant girl mime interaction with Giselle earlier this year was very charmingly done and I enjoyed seeing her small moment with the prince last night. 
 

Had an amazing night last night, all the changes were seamless and danced to perfection. I’ve not seen Sarah Lamb as Odette/Odile before but after the small bit we got last night I’m going to have to try see her perform it as she was a real highlight. Marianela Nuñez was her usual perfection, I was hoping she’d get Act 3! I hope they raised a lot of money as it was an impressive show!

 

I’m enjoying all the feedback and comments about last night’s show so much that I’ve used up my full quota of “likes”/hearts I can do. 😊

 

ctas, I just looked up the booking page, and Sarah Lamb’s show on 17 May and 28 May are currently sold out (but returns do go back on sale often for sold out shows). There will be tickets released next Friday lunchtime for 17 May, and two weeks after that for 28 May of course, and many returns often go back on sale the day before, but it’s worth checking frequently- that’s how I got my impossible-to-obtain-beforehand tickets for the Swan Lake that was Bonelli’s farewell and Kaneko’s debut. Good luck! (Sarah is indeed wonderful in the classics). 

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1 hour ago, Dawnstar said:

Can anyone say who was the Odette double in Act III? Was it a corps member as usual or did one of the actual Odettes do it? (This isn't my usual failing to recognise a dancer: from where I was sat Odette is completely invisible.)

The Odette double is usually an Artist of the company, and I am sure that this was the case last night, too.  :)

 

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11 minutes ago, Sim said:

The Odette double is usually an Artist of the company, and I am sure that this was the case last night, too.  :)

 

I just thought it might have been different last night, given there were 3 spare Odettes & that Avis did the Von Rothbart doubling at the start rather than the usual, but evidently not.

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2 hours ago, Emeralds said:

 

I’m enjoying all the feedback and comments about last night’s show so much that I’ve used up my full quota of “likes”/hearts I can do. 😊

 

ctas, I just looked up the booking page, and Sarah Lamb’s show on 17 May and 28 May are currently sold out (but returns do go back on sale often for sold out shows). There will be tickets released next Friday lunchtime for 17 May, and two weeks after that for 28 May of course, and many returns often go back on sale the day before, but it’s worth checking frequently- that’s how I got my impossible-to-obtain-beforehand tickets for the Swan Lake that was Bonelli’s farewell and Kaneko’s debut. Good luck! (Sarah is indeed wonderful in the classics). 


Haha I have already pencilled in the Friday rush to see if I can grab anything affordable — I have a trip to Stockholm to see Tamara Rojo’s new Cinderella on the 28th so saving my pennies for that! 

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9 minutes ago, ctas said:


Haha I have already pencilled in the Friday rush to see if I can grab anything affordable — I have a trip to Stockholm to see Tamara Rojo’s new Cinderella on the 28th so saving my pennies for that! 

That’s great! So it’s basically just the 17th then. I think weekday shows often have a good chance of returns coming back.  Friday Rush has the most affordable tickets- top 2 or 3 rows of the Amphitheatre- very far away so bring binoculars or opera glasses, but completely unrestricted views; I’ve sat in them several times. Set your alarm for 12.55pm- the moment the clock strikes 1.00pm they go fast! Fingers crossed for you.

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3 hours ago, Swan said:

I’m very excited for the Calvert/Edmonds performance on Tuesday and, having seen other Benno’s this season, it would make my night if Joonhyk Joon was dancing!

 

Has Joseph Sissens danced Benno yet?

 

3 hours ago, bridiem said:

 

There's a review in the Times today that says that this performance, the concert and the Flight Pattern streaming have raised £400K. Don't know if that's accurate or not, but if so that would be excellent.

 

It is a terrific sum of money (the same as declared as a result of the 19th March Gala) but, given that many tickets were sold at almost twice the price of those for the gala, it could be that Debra Crain has under-quoted!

 

 

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1 hour ago, Sim said:

The Odette double is usually an Artist of the company, and I am sure that this was the case last night, too.  :)

 

I think I may already have told the story of an occasion when the stand on which the double was perched gave way in mid plead.......back in Touring Company days somewhere.

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2 hours ago, Sim said:

The Odette double is usually an Artist of the company, and I am sure that this was the case last night, too.  :)

 

 

The interesting thing about this was that, until Federico's farewell performance, it was the real Odette up there. But they scrapped the vision so that Fede and Fumi could take a twosome bow on their own centre stage. That remained the case initially, with subsequent performances having the R&J/Manon style bows at the end.

 

Last night, it was difficult to see who was standing up there, but it took a long time before the curtains re-opened to reveal just Osipova and Clarke - so it could have been her. 

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Are we all talking about the same vision? Dawnstar was talking about the vision in act 3...I tried to see who it was but it clearly wasn't Lauren or Sarah.

 

I've never really been able to see the vision in act 4 fully from where I stand but if it's not the Odette we've been watching for the rest of the performance I will stop risking banging my chin on the SCS railing trying to see her face.

 

 

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33 minutes ago, Rob S said:

Are we all talking about the same vision? Dawnstar was talking about the vision in act 3...I tried to see who it was but it clearly wasn't Lauren or Sarah.


Apologies, clearly others were speaking about Act 3 whereas I jumped to Act 4.

It is indeed usually a Company Artist who appears behind the gauze. But I’m always too preoccupied with the main action to want to divert my eyes to her.

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Yes, I was referring to the Act III vision. Not that I could see the Act IV vision from my seat, nor either Odette or Von Rothbart's deaths. I imagine anyone who sees this production for the first time from the far sides of the stalls circle might be very confused as to what is going on at some points.

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4 hours ago, Emeralds said:

That’s great! So it’s basically just the 17th then. I think weekday shows often have a good chance of returns coming back.  Friday Rush has the most affordable tickets- top 2 or 3 rows of the Amphitheatre- very far away so bring binoculars or opera glasses, but completely unrestricted views; I’ve sat in them several times. Set your alarm for 12.55pm- the moment the clock strikes 1.00pm they go fast! Fingers crossed for you.


Thank you - my favourite of the Rush tickets are the solo stalls circle pillar seats so I usually opt for them. Have bought them quite a few times! 

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7 minutes ago, ctas said:


Thank you - my favourite of the Rush tickets are the solo stalls circle pillar seats so I usually opt for them. Have bought them quite a few times! 

What seat numbers are those?

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3 minutes ago, Minxette said:

What seat numbers are those?

Looking through my booking history they’re C91 and C22 - view is heavily restricted thanks to the pillar so I wouldn’t recommend if you’re seeing something for the first time but it’s very close up. It’s always a toss up between seeing the lot from far off or seeing some it but close when you’re on a budget — so I’ll mix and match between amphitheatre slips and the stalls circle pillar seat!

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25 minutes ago, ctas said:

Looking through my booking history they’re C91 and C22 - view is heavily restricted thanks to the pillar so I wouldn’t recommend if you’re seeing something for the first time but it’s very close up. It’s always a toss up between seeing the lot from far off or seeing some it but close when you’re on a budget — so I’ll mix and match between amphitheatre slips and the stalls circle pillar seat!

I know these seats. Boy do I hate the pillar!

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1 hour ago, Dawnstar said:

Yes, I was referring to the Act III vision. Not that I could see the Act IV vision from my seat, nor either Odette or Von Rothbart's deaths. I imagine anyone who sees this production for the first time from the far sides of the stalls circle might be very confused as to what is going on at some points.

 

No, and if you're on the right-hand side of the auditorium you quite likely won't see Act III "Odette" either, because that wall the curtain comes down from is in the way.

 

And, just for once, I've finally remembered to post about the - to me - most annoying thing about the staging while I'm actually in front of the computer!  Ask me once the run has ended, because I don't want to draw anyone's attention to it if they haven't already registered it :)

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15 hours ago, capybara said:

 

It is a terrific sum of money (the same as declared as a result of the 19th March Gala) but, given that many tickets were sold at almost twice the price of those for the gala, it could be that Debra Crain has under-quoted!

 

 

 

Or she didn't.

 

I doubt she made that number up. That's why I would like to see an "official" (and auditable) figure from the ROH.  After the fact now, of course, but it's a question I ask of any charity. 

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I'd like to echo what others have said about this wonderful evening. I was a little worried beforehand that it might have a circus vibe - or be a bit of a dance off. But as others have said, the story and the performance became more important than who was dancing each role to such an extent that I felt I was experiencing Swan Lake for the first time or seeing it with new eyes. Occasionally I noticed and enjoyed the differences in style - but it was the heartfelt commitment of the whole cast to demonstrating, through their artistry and team work, a sense of unity, humanity and hope that had most impact on me.  It was an inspired idea, executed with brilliance and heart, and I felt privileged to be there.

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On 06/05/2022 at 16:42, Dawnstar said:

 

I just thought it might have been different last night, given there were 3 spare Odettes & that Avis did the Von Rothbart doubling at the start rather than the usual, but evidently not.

Would have been great fun if the actual ballerinas who danced Odette did the doubling in Act 3 and Act 4, and the Rothbarts did the same in the beginning 😉😁 !

 

However, I guess there probably wouldn’t have been time for the ballerina being the Act 4 double to change out of the long dress and get the hair put up again.

 

In productions that do have a prologue showing how Odette is transformed from a woman to a swan (ENB also has it), I actually prefer the lead ballerina to be the woman in the dress and the double to be the swan, with her face turned away. That way there is a bit of a mystery as to what Odette will look like when she appears in Act 2, which adds to the drama of her entrance. Just my opinion- I’m not too bothered if it’s done the other way. 

 

Capybara, you asked about Joseph Sissens....I don’t think he’s done Benno yet, just going on the public domain info I can find. 

 

Just also noticed that it’s the anniversary of Tchaikovsky’s birthday today. Happy 182nd Birthday (Anniversary) to Pyotr Ilyich Tchaikovsky!  

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More fundraising from William Bracewell... William Bracewell on Instagram: “Following the performance at @royaloperahouse to raise funds for @disastersemergencycommittee I am thrilled to be able to auction x5…”

 

Following the performance at @royaloperahouse to raise funds for @disastersemergencycommittee I am thrilled to be able to auction x5 limited edition prints of the above image signed by the incredible ballerinas. Please DM your bid to myself @williambracewell by 31st May. The highest x5 bids will receive a signed print postable worldwide with all funds going to @disastersemergencycommittee

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