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Mayerling, Royal Ballet Autumn 2022

MJW

By MJW
in Performances seen & general discussions

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JohnS

JohnS

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I very much enjoyed Matthew Paluch‘s review as it so brilliantly captures the Sambé/Hayward performance.

 

In re-reading his review, I do rather wonder if the focus on technique picked up in earlier posts is a little overstated. Most of Paluch’s review is about the dramatic impact, very accessible, and as far as I’m concerned absolutely hits the mark. The rehearsal photos are also stunning.

 

In some ways I’m pleased that I read his review after I’d added a couple of posts or I’d simply have said what a great review and how much I agreed with it.

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art_enthusiast

art_enthusiast

Posted
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1 hour ago, alison said:

 

Well, not having read it yet, I don't know who he was talking about, but there has been one dancer for which I have felt that was very much the case ...

 

I believe he was talking about Mayara Magri - and I have to disagree as I think she did nail the sensuality of the role in every aspect. She embodies Mitzi brilliantly. Still, a very interesting review with lots of parts I did agree with, particularly about Sambé's solo during the fireworks scene - "he conveyed a feral, haunted sense of panic like he was visibly drowning in his own existence". A very accurate description.

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Dawnstar

Dawnstar

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24 minutes ago, JohnS said:

In re-reading his review, I do rather wonder if the focus on technique picked up in earlier posts is a little overstated. Most of Paluch’s review is about the dramatic impact, very accessible, and as far as I’m concerned absolutely hits the mark. The rehearsal photos are also stunning.

 

I apologise for my previous post bringing up the subject. I didn't mean to imply that his review was only focused on techinque. I quoted those techinque-related sentences because they are the sort of thing that is beyond my understanding whereas acting is something that I hope I notice, though obviously not as well as he & other experienced dancers & ballet spectators do.

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Jan McNulty

Jan McNulty

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9 minutes ago, Dawnstar said:

 

I apologise for my previous post bringing up the subject. I didn't mean to imply that his review was only focused on techinque. I quoted those techinque-related sentences because they are the sort of thing that is beyond my understanding whereas acting is something that I hope I notice, though obviously not as well as he & other experienced dancers & ballet spectators do.

 

There's no need to apologise Dawnstar.  If I look at a performance and enjoy it, it really doesn't matter that I have no technical knowledge whatsoever.  I've never done any sort of dance lesson in my life but that really doesn't impede my enjoyment of something.

 

Sometimes I watch a performance and love it or even dislike it and then I see a review and wonder if the reviewer had actually watched the same performance as me.

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JohnS

JohnS

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There’s nothing to apologise for Dawnstar. I was just keen to draw attention to Paluch’s comments about dramatic impact as the discussion to date had focused on his points about technique. And your views and those of all posters help make BalletForum the platform of choice for sharing ideas and opinions.

 

Apologies - I hadn’t seen Janet’s post.

Edited by JohnS
I got waylaid and hadn’t seen Janet’s post until after I posted mine.
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LBC

LBC

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A reminder that the London Ballet Circle will be interviewing Marcelino Sambe in two week’s time.  We are looking forward to hear him talk about his experience in his debut shows as Crown Prince Rudolf.

 

MARCELINO SAMBE “in conversation”

Monday 12 December at 7.30pm

Royal Ballet Upper School
Interview by Sarah Crompton
 

Members and non-members are welcome to attend.  Booking link here https://www.tlbc.org.uk/events/In-conversation-with-Marcelino-Sambe-in-person-and-zoom

 

There is a zoom option too.

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alison

alison

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I'm assuming, but we don't know for sure yet.  I'd like to know, as I mentioned on the casting page, because I'd need to dash back from Brum (for which I only booked the ticket shortly before the cast change was announced :( )

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San Perregrino

San Perregrino

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Perhaps Steven hasn’t informed the ROH officially ?

 

That aside, treating this as a brain-teaser:

As things stand, there were originally 5 Rudolph’s on the starting line.

Steven has seemingly ruled himself out leaves 4;

Marcie is dancing the following day leaves 3;

If Matty sticks to what he said last week about having one Rudolph left, well he danced that on Friday so that leaves 2;

Vadim was last noted as being in Japan so it would be a question of can he get back in time? leaves 1;

Ryo if he’s available??

Or, perhaps it’ll be a chance for William Bracewell to step up as he’s been shadowing the part this run. (Although it seems from Instagram that he has been dancing Nutcracker in Denmark with Fumi these past couple of days, so again maybe not available?)
 

Another option, as casting for a specific date is never guaranteed, could be to switch Marcie from Wednesday to Tuesday to allow an extra day to select a replacement for Steven.

 

Clear as mud is my conclusion but rest assured whoever takes to the stage will be worth watching. 

Edited by PeterS
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LinMM

LinMM

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Well this Mayerling has ended up being a case of musical seats for me. 
I originally was hoping to see Vadim but was ill. I then booked last Wednesdays Ball performance but had to change as needed to be back in Brighton early the next day. 
So transferred to the 30th so hence Sambe and Haywards debuts. 
But when I went to have a look at the seat I’d booked for the 30th ( at Diamonds gala) I realised I couldn’t possibly sit in it!! 
This was row B in the Balcony ( B.25) which are loose chairs above row A with no barrier in front of them ☹️

I knew I’d spend the whole performance worrying my chair was going to somehow slip forward onto Row A or worse go down into Auditorium below 😳

Also when getting to seat it seemed very exposed outwards and just brought on an attack of vertigo!!

So went back to box office and there was fortunately one on other side of Balcony in row A with a bit more of a restricted view but not too much for same performance. And the very nice person in the box office didn’t charge for the transfer fee this time 🙂

You would think row A would be worse but it isn’t as there’s a nice heavy ballustrade right in front of you so your lower body feels protected. 
I am still a bit concerned about the row B seats though because even if vertigo is not a problem what if somebody did slip there’s nothing to stop you or the chair falling straight off!! 
Any way with all this happening I’ve got to the stage I don’t care who dances Rudolf as long as I finally see somebody! 
 

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Richard LH

Richard LH

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CAST
CAST CHANGE
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Sophoife

Sophoife

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7 hours ago, capybara said:

Goodness - Ryoichi Hirano will have danced Rudolf six times in this run.

This has to be a record.

 

It's a bit like Bennet Gartside dancing Leontes twice in one day in Brisbane (Thiago Soares injured). I'm sure that's some sort of a record.

 

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Emeralds

Emeralds

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13 hours ago, Sophoife said:

 

It's a bit like Bennet Gartside dancing Leontes twice in one day in Brisbane (Thiago Soares injured). I'm sure that's some sort of a record.

 

Together with the heroics record of Hirano and Gartside, Viviana Durante dancing Manon twice in one day  - on opening night of the revival, with two different partners (obvious, I know), Bruce Sansom and Irek Mukhamedov, replacing Darcey Bussell, Irek’s partner, as their height difference (which wasn’t a problem for the Winter Dreams Farewell pas de deux) was found in rehearsals to be too small and made partnering difficult in Manon. Durante covered all Bussell’s performances but only the first night was a double show day. Bussell subsequently danced it with other partners eg Zoltan Solymosi, Igor Zelensky, Roberto Bolle, in later years).  

 

I caught both shows (she and her partners were outstanding in each performance), standing at the back of the stalls circle for the sold out evening performance, and asked her after the evening show (as she signed autographs patiently with a beaming smile) if she felt exhausted, and she said, “Not right now, but I’ll probably feel it tomorrow!” I always thought it was a great pity that Durante’s Manon and Anastasia were never filmed, as she was remarkable in both. She was also outstanding as Cinderella with Sansom as the Prince- the Ashton choreography and David Walker designs really suited both so well. If you had to choose an ideal photograph of a ballerina and her danseur partner in a fairytale ballet for an encyclopaedia entry or a children’s book about ballet, a photo of them both in the Act 2   ball would be perfect.

 

Apologies for the digression from Mayerling!- which coincidentally was indeed filmed with Durante and Mukhamedov in it. 

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LinMM

LinMM

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Yesterday evening was waiting for a friend ( very into ballet) in the Almeida Theatre bar in Islington as we were going out for a birthday meal (not to see the show) when to my surprise  I saw a certain dancer who will be dancing tonight in the queue to enter Auditorium. I am 99.9 per cent sure it was him except I thought would a dancer with such an important night tonight go out to the theatre the night before🤔 At one point he was so close I nearly said I’m coming to see you dance tomorrow but realised how ridiculous this would sound if it wasn’t him. 
Also at that point I thought it was a play on called the Doctor in which suicide is talked about!!  Would he need this before performing in Mayerling? But later discovered it was a musical so a bit more cheery!! 
Anyway if anyone thinks the ROH is bad you should have seen the bar area at the Almeida at the three minute bell ….still 100,000 people milling around and people still trying to  buy tickets 😳

I was hoping my friend would arrive in time to say “yes it’s definitely him!!!” 
But alas at the one minute bell most of the queue and the bar were more or less inside ( how they managed it heaven knows!) 
Anyway if it was him and am sure it was hope Marcelino Sambe enjoyed the play before his big performance later on tonight!! 

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