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Mayerling, Royal Ballet Autumn 2022


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5 minutes ago, emmarose said:

 

I was really impressed with the Hungarian officers last night too, I thought they were a stand out, really thrilling! 

Agree.  'Thrilling' is the right word!

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4 hours ago, jm365 said:

The opening and closing scenes were pretty dark in the theatre too - far more so than I remember the last runs of Mayerling being. 

 

Maybe the ROH is economising on the lighting, with electricity prices having gone up so much from 1st October! 

 

2 hours ago, Jamesrhblack said:

Good to read these positive words about one of the artists I represent. The other mezzo, Samantha Price, is also JBM 🎼

 

Nice to hear there are 2 Katherina Schratts & both of them are singers who I like. I hope I'll get to see both of them in the role.

Edited by Dawnstar
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I know that we are not supposed to comment on the general rehearsal but I have to say that I found the chemistry between Laura Morera and Matthew Ball utterly compelling. Morera also gave what was quite possibly the most convincing portrayal of a teenage girl that I have ever seen.

 

Not surprisingly, I have yet to see Hayward's Stephanie in this run but her previous performances have been extraordinary. I would have loved to see her Stephanie paired with Ball and Morera as Rudolf and Mary.

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10 hours ago, Jamesrhblack said:

Good to read these positive words about one of the artists I represent. The other mezzo, Samantha Price, is also JBM 🎼

 

I remember at the previous Mayerling cinema relay (McRae), a fellow audience member somewhat wistfully commented on what marvellous singers the Royal Ballet obviously have on tap from the Royal Opera, to which my response was "She's Australian!" 😂

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11 hours ago, Scheherezade said:

I know that we are not supposed to comment on the general rehearsal but I have to say that I found the chemistry between Laura Morera and Matthew Ball utterly compelling. Morera also gave what was quite possibly the most convincing portrayal of a teenage girl that I have ever seen.

 

 

Are we not supposed to? I had no idea and thought it was ok to comment. Is there a reason why?

 

Agreed on Morera's portrayal. 

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57 minutes ago, Linnzi5 said:

Are we not supposed to? I had no idea and thought it was ok to comment. Is there a reason why?

 

Because a rehearsal is a rehearsal, not a performance. Some dancers do not dance full out or may mark their parts.. There is usually an announcement to this effect.

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Wonderful to read the stunning reviews in the press today. I’ll be watching the encore screening on Sunday in Berlin, so I’ll be able to enjoy it then. (Also at a later date in person for Hayward/Sambe.) One quick comment - when I saw Hirano’s third performance of Rudolf in the last run, I was stunned by his performance- particularly when he disintegrates in the final act. I also noted his eloquence in the solos in Act 1. I’d rather have his subtlety than the melodrama of the previous recording with a different cast,  but I guess it’s all a matter of taste and judgement - one person’s melodrama is depth of interpretation, another’s subtlety is not digging the depths. So there you go!

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37 minutes ago, Vanartus said:

Wonderful to read the stunning reviews in the press today. I’ll be watching the encore screening on Sunday in Berlin, so I’ll be able to enjoy it then. (Also at a later date in person for Hayward/Sambe.) One quick comment - when I saw Hirano’s third performance of Rudolf in the last run, I was stunned by his performance- particularly when he disintegrates in the final act. I also noted his eloquence in the solos in Act 1. I’d rather have his subtlety than the melodrama of the previous recording with a different cast,  but I guess it’s all a matter of taste and judgement - one person’s melodrama is depth of interpretation, another’s subtlety is not digging the depths. So there you go!


 I think you’ve hit the nail on the head, Vanartus. None of us knew the real Rudolf, so any interpretation is valid, and if a dancer’s interpretation doesn’t chime with one’s own, it doesn’t mean it’s a ‘poor’ performance of Rudolf.  Think this role - possibly more that any other - polarises people in that respect.

 

Personally, I think I tend towards more subtle and sympathetic interpretations. If you read about the real Rudolf, his problems and shortcomings didn’t define him all the time. He was an intelligent and cultured man, liberal minded and popular. He met and charmed Queen Victoria. He even seems to have developed a bond with Stephanie, to a degree, over their shared love of their daughter. Obviously as his mental health problems progressed, his good qualities would have been overtaken by his ‘madness’, depression and drug abuse and its that progression I like to see. I saw last night’s performance at the cinema and I think Hirano portrayed that pretty well - and the final pas de deux was incredibly intense.

Edited by Balletfanp
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With regard to the cast being filmed on this occasion, do you think it is because Osipova is well known internationally.  I've noticed before that often the ones preserved for posterity are those that are more likely to be known outside the UK.  Just a thought, but it is a great pity that dancers who are sublime in a role might get overlooked for this reason?

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8 hours ago, Sophoife said:

 

I remember at the previous Mayerling cinema relay (McRae), a fellow audience member somewhat wistfully commented on what marvellous singers the Royal Ballet obviously have on tap from the Royal Opera, to which my response was "She's Australian!" 😂

Although being Australian doesn't preclude someone from being a member of the Royal Opera....!

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28 minutes ago, Sim said:

Although being Australian doesn't preclude someone from being a member of the Royal Opera....!

Oh true, but the person had made other comments, such as "of course [McRae] trained at the Royal Ballet School, not just in Australia" and "of course the Australian Ballet isn't up to doing such a major ballet as Mayerling". When asked if they'd seen AusBallet dance recently they shuddered and said "oh no! I only watch the best!" so it gave me great satisfaction to point out that Miss Carby is Australian and that Lady Macmillan, Australian herself, knows that AusBallet is locked in to performing at the Sydney Opera House and that the reason AusBallet doesn't have Mayerling is that, while the Melbourne, Brisbane and Adelaide venues are fine, the Opera House's theatre used for ballet is relatively small, with vestigial wings, and the production simply wouldn't fit, or be seen to advantage.

 

I had thought that this type of anti-local cringe had died out, but obviously not! Person turned out to be born and bred Australian but had never been to the theatre, ballet or opera in this country as it apparently couldn't possibly be any good. In case you haven't guessed, I was quite annoyed by their attitude.

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On 06/10/2022 at 01:31, bridiem said:

I can't imagine what logistics led to the decision to broadcast the first performance live - that was surely asking for trouble, and it came in the form of the misfiring gun and costume caught on chair. I haven't seen either of those things happen before so they must have been first night teething problems, but it's a shame they went out live

 

Re the costume caught on the chair, it has happened before - and to the same dancer!  When Mayerling was revived in October 2002, (the 10th anniversary of the death of Kenneth MacMillan), the rehearsal and first night took place on the same day.  Marianela Nuñez was Mitzi for both.  I distinctly remember her skirt getting caught on the chair that day but  it might well have been at the rehearsal rather than the evening performance.

Edited by Bluebird
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16 minutes ago, Sim said:

I would have said two words to that person (the ones I can post!):  Joan Sutherland.  

At a later screening I did ask them, after another cultural cringe comment, how much ballet they'd seen live. The answer really shocked me: none. Never been out of Australia but never seen live theatre opera or ballet because Australia not good enough.

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2 hours ago, Fonty said:

With regard to the cast being filmed on this occasion, do you think it is because Osipova is well known internationally.  I've noticed before that often the ones preserved for posterity are those that are more likely to be known outside the UK.  Just a thought, but it is a great pity that dancers who are sublime in a role might get overlooked for this reason?


and of course Ryo Hirano is a big name in ballet in Japan.

Edited by FionaE
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Looking from the outside, the casting for cinema relays doesn’t always seem ‘fair’.

But neither does some of the casting more generally.

 

For example - and I know that this might ‘stir the pot’ - where is Alexander Campbell in relation to Mayerling? Marcelino Sambe and Matthew Ball appear to be in the new Pite as well as essaying Rudolf. But , of Alex, no sign since his lovely Pedro in LWFC.

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30 minutes ago, capybara said:

Looking from the outside, the casting for cinema relays doesn’t always seem ‘fair’.

But neither does some of the casting more generally.

 

For example - and I know that this might ‘stir the pot’ - where is Alexander Campbell in relation to Mayerling? Marcelino Sambe and Matthew Ball appear to be in the new Pite as well as essaying Rudolf. But , of Alex, no sign since his lovely Pedro in LWFC.

 

This does seem spectacularly unfair, particularly with such a good actor as Alexander Campbell. Could it be personal choice?

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6 hours ago, capybara said:

 

Because a rehearsal is a rehearsal, not a performance. Some dancers do not dance full out or may mark their parts.. There is usually an announcement to this effect.

Thanks for the info. :) I did not hear an announcement, but will certainly keep my thoughts to general ones in future. The rehearsal I saw on Tuesday was really, really good, in my opinion and very enjoyable, I obviously understood that this wasn't a performance in the usual sense and felt privileged to be able to attend.

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1 hour ago, capybara said:

Looking from the outside, the casting for cinema relays doesn’t always seem ‘fair’.

But neither does some of the casting more generally.

 

For example - and I know that this might ‘stir the pot’ - where is Alexander Campbell in relation to Mayerling? Marcelino Sambe and Matthew Ball appear to be in the new Pite as well as essaying Rudolf. But , of Alex, no sign since his lovely Pedro in LWFC.

I do not pretend to understand casting choices at all! 

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52 minutes ago, Scheherezade said:

 

This does seem spectacularly unfair, particularly with such a good actor as Alexander Campbell. Could it be personal choice?

I really enjoy his dancing and characterisations and have wondered why he hasn't been cast. Other commitments, maybe?

Edited by Linnzi5
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20 hours ago, emmarose said:

 

I was really impressed with the Hungarian officers last night too, I thought they were a stand out, really thrilling! 

I loved the choreography and I felt it was so entertaining. I bet the cast you saw were brilliant too.

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In relation to casting, historically have most/all principals danced Rudolph or has it always been limited to men considered 'right for the part'? Similarly, do the women all dance Mary Vetsera at some point - I've never seen Marianela Nunez cast, has she been? 

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Just now, ellyb said:

In relation to casting, historically have most/all principals danced Rudolph or has it always been limited to men considered 'right for the part'? Similarly, do the women all dance Mary Vetsera at some point - I've never seen Marianela Nunez cast, has she been? 


No, not all Principals have danced Rudolf. Way back, most did apart from Anthony Dowell. More recently (up to 2010) Ivan Putrov didn’t. The role requires a very different kind of body strength from classical ballet.

 

Marianela Nunez danced Larisch one season but has now reverted to Mitzi Caspar. Darcey Bussell was, IIRC, only ever cast as Mitzi. Neither has been Mary. And yet, Osipova, who is (let me phrase this carefully 😉) of more mature build has always been Mary.

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Thank you, that's interesting... I wonder how much say the dancers' get in whether to dance a role or not, I imagine Nunez has a lot of control over her casting - and I suspect Darcey Bussell would have had too! Though of course I don't know, if they were determined to try a role that their director was certain was wrong for them, would he have refused? And if they were dead set against dancing a role would he make them... Can only speculate, and what may be true of Nunez, Bussell etc may of course not apply to all other dancers, even of the same rank. 

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I have to say that Kevin O'Hare interest in Ryoichi Hirano has always been a mystery to me.

 

We have here a solid dancer but without much brilliance to my eyes.

 

Quite boring actually.

 

 

Edited by MAX
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Wow, what an amazing show tonight. This is how I want to feel when I come away from a performance of Mayerling.  Huge bravos and kudos to Steven McRae who delivered a performance replete with pathos, drama, great partnering, excellent dancing and a true understanding of the role. He took me with him on his journey from start to finish. I believed every minute of it. 
 

More on the rest of the cast tomorrow…I need a glass of wine 🍷!  

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1 hour ago, MAX said:

I have to say that Kevin O'Hare interest in Ryoichi Hirano has always been a mystery to me.

 

He's a strong partner, and covered for other, injured, dancers in numerous roles - possibly at short notice?  I don't imagine Osipova would choose to dance with him if he had nothing to recommend him.

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