Royal Ballet: A Diamond Celebration

[bridiem]

10 minutes ago, Ian Macmillan said:

Looked at Today's Links?  All explained there by Mr Zucchetti.  

 

I found it sad reading that article. Whatever the intentions, I just think the costumes really really didn't work and did the piece a great disservice. I do wonder why the costumes need to 'feel high-fashion' anyway - this isn't a fashion show, it's a ballet. And the designer says that 'I always approach my designs as sculptures that need to be seen in motion' - but it's not how the costumes look in motion that matters, it's how the dancers look in motion. Yes, Kaneko's dress swirled very prettily in motion - but it was bottom-heavy and hid the choreography. The other costumes were (imho) downright ugly and unflattering whether static or in motion (how on earth could anyone think they reflected anything about these beautiful dancers?) and also made it impossible to see the choreography properly.

 

I think that perhaps when you're too close to a piece you don't always see aspects of it clearly. I just wish someone else had intervened at some stage to prevent these costumes being used.

 

Bridie Macmahon (since I'm being very critical!).

 

[Fonty]

29 minutes ago, Ian Macmillan said:

Looked at Today's Links?  All explained there by Mr Zucchetti.  

 

Obviously I hadn't!  Hmmmm.  What can I say? Interesting to hear the ideas of the designer, but personally I think it was a total failure.  (Am I allowed to say that, or is it too strong?) The boning in the costume explains why the skirts kept sticking up in odd shapes.  I can understand the concept, but sadly it didn't enhance the movement, it detracted from it.  

With regard to reflecting the different personalities of the dancers, surely this should be shown in the choreography, not the costumes.  There are many examples of dealing with this.   The first example that springs to mind is Birthday Offering.  I can't find photos of the original costumes, but this one will do.  A pleasing harmony, with enough variation to be able to identify each dancer individually. 

Edited November 18, 2022 by Fonty

[bridiem]

46 minutes ago, Fonty said:

With regard to reflecting the different personalities of the dancers, surely this should be shown in the choreography, not the costumes.

 

Absolutely. And the costumes will be worn in due course by other dancers with different personalities, so this is not a logical way to design a ballet.

[LinMM]

Which article in todays links does Zucchetti explain the costumes? I haven’t read every single review of the Show yet as often don’t read certain reviewers as they never really say very much anyway! 

[Bluebird]

19 minutes ago, LinMM said:

Which article in todays links does Zucchetti explain the costumes? I haven’t read every single review of the Show yet as often don’t read certain reviewers as they never really say very much anyway! 

 

https://www.vogue.co.uk/arts-and-lifestyle/article/roksanda-ballet-costumes

[LinMM]

Thanks Blubird I had another look and see it was right at the end under vogue. 
It’s interesting that the dancers themselves seemed to be okay about the costumes and felt they were nice to wear. There was one sentence I think spoken by Naghdi which made me wonder whether Zucchetti was slightly overwhelmed by his Primas lol! 

[Fonty]

1 hour ago, LinMM said:

It’s interesting that the dancers themselves seemed to be okay about the costumes and felt they were nice to wear. 

 

Well, they weren't very likely to be anything other than complimentary in an interview with Vogue, were they?🙂  

[Dawnstar]

16 hours ago, MJW said:

James (Owen) Large was there as well.

 

16 hours ago, MoVR said:

Edit: Mica Bradbury, Bomin Kim and David Donnelly danced it as well according to their instagram, but not Joshua Junker nor Yu Hang i believe

 

16 hours ago, TomS said:

Hi Dawnstar, 

I have spotted Sumina Sasaki and Bomin Kim, but not Yu Hang in addition to Mica Bradbury MoVR mentioned earlier. That makes it twelve of them. 

 

As for the male dancers, you're spot on and there was David Donnelly. 

 

Thanks for the replies. I missed Donnelly because in my photos a couple of dancers were hidden by the proscenium arch & he was evidently one of them. I do know what he looks like! So for the men that's plus Donnelly & Large and minus Junker (I must have mistaken Large for Junker) to get the twelve.

 

Sorry, I'm useless at differentiating between the Asian female dancers in the Artist & First Artist ranks. I also seem to have a complete blank when it comes to Mica Bradbury, who I've seen in several roles but never seem to recognise from one ballet to the next! So plus Bradbury & Saski and minus Hang get me to the twelve for the women too.

 

Mica Bradbury

Isabel Lubach

Bomin Kim

Sae Maeda

Julia Roscoe

Mariko Sasaki

Sumina Sasaki

Leticia Stock

Gina Storm-Jensen

Charlotte Tonkinson

Amelia Townsend

Marianna Tsembenhoi

 

Harry Churches

Leo Dixon

David Donnelly

Teo Dubreuil

Benjamin Ella

Kevin Emerton

Brayden Gallucci

Joonhyuk Jun

James Large

Tomas Mock

Giacomo Rovero

David Yudes

 

Maybe some day I'll finally manage to recognise all the RB dancers....

[RobR]

Apropos the costumes, I didn’t have any problem with the costumes worn in ‘Concerto' by Macrae & Osipova, which looked fine to me (I’ve already said I enjoyed their performance) particularly when compared to the costumes worn in 'Dispatch' and 'Prima'. 
 

And I positively refuse to make any comment on the drab dungarees, fatigues and T-shirts currently the costume of choice in 'See us!!' and pretty much anything choreographed by Crystal Pite.

[bridiem]

I'm afraid I nearly got the giggles at one point during Qualia, because that old chestnut came to me: oh dear, they forgot to get dressed... 😊

[Mary]

I agree, the Qualia undies look more like something my great-grandad might have worn....under many layers!

 

 

31 minutes ago, RobR said:

Apropos the costumes, I didn’t have any problem with the costumes worn in ‘Concerto' by Macrae & Osipova, which looked fine to me (I’ve already said I enjoyed their performance) particularly when compared to the costumes worn in 'Dispatch' and 'Prima'. 
 

And I positively refuse to make any comment on the drab dungarees, fatigues and T-shirts currently the costume of choice in 'See us!!' and pretty much anything choreographed by Crystal Pite.

I agree... I enjoyed Concerto too, cheesy music, flimsy costumes and all ....not very original or profound and making no particular comment on anything..  short ...and  fun (but I acknowledge that if it was danced by less brilliant dancers it might well be tedious.)

 

I never want to sit through another session of large groups stomping around in grey T shirts in the gloaming,  looking extremely fed up,   but no doubt I will.

 

[LinMM]

While on the subject of fashion there is another very interesting article in the links from the day before ( Nov 17th) This is in regards to the Tatler article on Hayward and Corrales in a fashion shoot telling their story as well. It’s well worth a read, the piccies are great and it’s altogether a rather sweet article and reveals that Judi Dench watched them back in 2019 in Romeo and Juliet from the wings at ROH!!  Some may already know this but I thought it a nice gesture on both sides.
Reading this took me back to their wonderful performances in R&J which really were very special even though not together at that point and now like to think that I might have been there the day Judi Dench was also watching from the wings possibly holding a teddy she later gave to Francesca! 

[Fonty]

I'm afraid all I could think of when watching Qualia was Brad in his undies.  

 

[capybara]

29 minutes ago, LinMM said:

While on the subject of fashion there is another very interesting article in the links from the day before ( Nov 17th) This is in regards to the Tatler article on Hayward and Corrales in a fashion shoot telling their story as well. It’s well worth a read, the piccies are great and it’s altogether a rather sweet article and reveals that Judi Dench watched them back in 2019 in Romeo and Juliet from the wings at ROH!!  Some may already know this but I thought it a nice gesture on both sides.
Reading this took me back to their wonderful performances in R&J which really were very special even though not together at that point and now like to think that I might have been there the day Judi Dench was also watching from the wings possibly holding a teddy she later gave to Francesca! 

Unfortunately, the article is full of inaccuracies - usual problem in such publications.

[RobR]

20 minutes ago, Mary said:

. I enjoyed Concerto too, cheesy music, flimsy costumes and all ....not very original or profound and making no particular comment on anything..  short ...and  fun (but I acknowledge that if it was danced by less brilliant dancers it might well be tedious.)

In the absence of any synopsis or summary (and please don’t think that my comments are any form of personal transference) I got the impression from both the choreography and the dancers of an older, established couple, possibly married, going through a period of reflection or even separation at a later stage in their relationship, with MacRae or Osipova moving away only to be drawn back; a strong relationship showing a mutual and deep affection and support. 
 

I’m afraid that the choreography in ‘Dispatch’ gave me no real idea of any relationship between the dancers, romantic or otherwise 

[LinMM]

Well one of the reviewers in the links from today even though has a lot of interesting comments as a whole and in other reviews they have written and you do get the impression they were actually there said something about Dispatches which made me laugh as apparently the reviewer said this choreographer creates very much in the moment so although may go in with a few ideas is likely to change from minute to minute depending on what her gut feeling is with what she sees so as a consequence you can never take your eyes from the stage as you never know what might be coming next!
I was remembering it was in Dispatches that I became fascinated with the uppermost reaches of the ROH ceiling ….I swear I could see either some old ballet barres or an old hockey goal post up there…anyway definitely missed some vital dance connections in this Piece. 
At least the reviewer had better concentration than I had on the night. 

[Linnzi5]

5 hours ago, bridiem said:

 

I found it sad reading that article. Whatever the intentions, I just think the costumes really really didn't work and did the piece a great disservice. I do wonder why the costumes need to 'feel high-fashion' anyway - this isn't a fashion show, it's a ballet. And the designer says that 'I always approach my designs as sculptures that need to be seen in motion' - but it's not how the costumes look in motion that matters, it's how the dancers look in motion. Yes, Kaneko's dress swirled very prettily in motion - but it was bottom-heavy and hid the choreography. The other costumes were (imho) downright ugly and unflattering whether static or in motion (how on earth could anyone think they reflected anything about these beautiful dancers?) and also made it impossible to see the choreography properly.

 

I think that perhaps when you're too close to a piece you don't always see aspects of it clearly. I just wish someone else had intervened at some stage to prevent these costumes being used.

 

Bridie Macmahon (since I'm being very critical!).

 

I totally agree with all you say and I don't feel you're being very critical - you are expressing that the costumes pretty much spoilt your enjoyment of a piece of new choreography, showcasing four amazingly brilliant women -  and I feel the same way.

 

Kaneko's was the best costume (of a disappointing bunch), I thought, but it did seem a little hard to control at times. I loved her dancing though - she looked so elegant and powerful at times and she stood out to me. I  really disliked the other costumes and I realise it's subjective. I asked myself again, this evening, why do they bother me so much? Because I couldn't see the dancers move the way I wanted to because I was so distracted by certain aspects of the costumes!!! The stars should be those four dancers and the choreography. I didn't feel the choreography was given the chance to shine that it deserved because of said costumes and I certainly felt most of the dancers didn't either.  I honestly felt sad that some of the dancers I admire so much weren't, in my eyes, presented in their best light - that is to say, were in unflattering, distracting and ungainly costumes.

 

As for the Dispatch Duet costumes. At least I could see the dancers legs, feet, bodies and the fluidity (and complete opposite) of their dancing. Did I like the costumes? I didn't dislike them - I thought they were a bit unusual, but not distracting. Throughout the Tanowitz, my eyes were glued to the dancers and I really appreciated their skill, technique and intelligent dancing (even if I found some parts of the choreography rather unusual)  because I could clearly see their bodies and actually, those little shorts did flap quite prettily in the breeze! 

[RobR]

23 minutes ago, LinMM said:

the reviewer said this choreographer creates very much in the moment so although may go in with a few ideas is likely to change from minute to minute depending on what her gut feeling is

Had he watched the World Ballet Day link to her rehearsing O’Sullivan & Bracewell, he’d have realised he’d summarised it very accurately 

[capybara]

I can't help feeling that 'splashing the cash' on (quite frankly) ridiculous designer costumes for works such as Prima (there are other previous examples) and unnecessarily extravagant sets should become a thing of the past if the ROH is to cut costs.

 

It simply can't go on and on and on about ACE reductions without taking a serious look at itself in every respect.

[Fonty]

I am utterly baffled as to why nobody pointed out that it is a very bad  idea indeed to have 4 female dancers in a plotless ballet dancing together on stage at the same time wearing radically different costumes.  Was Zucchetti given completely free reign when it came to costume and budget?  There are multitudes of experienced people working at the ROH.  Surely one of them might have said this might be very distracting visually, and detract from the choreography?  As I said in my review, I can't remember a thing about the steps, my attention was entirely focussed on  masses of swirling fabrics in glaring and clashing colours, and those horrible hoops looping up into strange shapes.  

 

The last live ballet I saw was the ENB Forsythe evening earlier this year.  I remember writing at the time how wonderful the costumes were.  Very simple but very flattering and gorgeous to look at.  

 

 

[JennyTaylor]

40 minutes ago, capybara said:

I can't help feeling that 'splashing the cash' on (quite frankly) ridiculous designer costumes for works such as Prima (there are other previous examples) and unnecessarily extravagant sets should become a thing of the past if the ROH is to cut costs.

 

It simply can't go on and on and on about ACE reductions without taking a serious look at itself in every respect.

Having read the explanation for the costumes in Prima, it seems the ballerinas were viewed as models on a catwalk and hopefully some sales for the designer from their performance would ensue.  Having been privileged to see how the costumes for the Winter's Tale and Swan Lake were created, I'd suggest the RB stick to their traditional in-house creative team for their "proper" ballets. 

 

Yes, for me dungarees, pants and vests have the effect of making me loathe the ballet before it even starts, and they distract me, because I keep thinking how much I dislike them. 

 

Interesting that Leanne Benjamin in her recent book spoke of her love of dancing with minimal costumes.    

 

Each to their own. 

 

I usually vote with my feet when the RB present a "modern bill". Unfortunately, I wanted to see several other aspects of the "Celebrations" so in this case, I chose to attend and am going again tomorrow.     

[Beryl H]

I'm going to see this programme tomorrow, hopefully, and will see it from the back of the amphi which will give a totally different view from the cinema, I like seeing the whole stage effect. My favourite was Qualia but I was so pleased to see the pdd anyway, I have fond memories of the work when it was part of a new works triple bill after the ROH re-opened, it still looks fantastic 20 years on!

 

I was slightly disappointed with For Four, and couldn't keep a straight face during Prima, the dresses do look okay in photos but not in movement which is the point of ballet, See Us was much better than I expected, quite liked the music, didn't even notice Joseph Sissens due to the camera work, but liked the frailty of the young girl amongst all the stomping, think it will look better from high up.

 

I enjoyed everything else, think Steven McRae and Natalia Osipova are ideal partners physically, they move as one, and was surprised the Pam Tanowitz work was so classical.

 

 

[Dawnstar]

Having read all the reviews in today's links, it's interesting that while there seems to be a consensus in the overall quality of the performance, with all the reviews that included start ratings going for either 3 or 4 stars, there's a distinct lack of consensus in which pieces each critic liked & disliked. Some critics even liked the Prima costumes!

 

I was interested that the Gramilano review voiced something I'd already thought after first seeing the cast list: where was Laura Morera? She's the only available Principal not to participate, something which seems particularly odd given she's one of the few current dancers who's been with the RB for getting on for half of the 60 years being celebrated.

[Guest oncnp]

From ROH IG

 

If you have enjoyed The Royal Ballet's A Diamond Celebration and want to know more about Balanchine’s work, come and join us for a book signing of his newest biography!

On 23 November, join Jennifer Homans, author of Mr B: George Balanchine's Twentieth Century, at the Royal Opera House Shop from 16:30 GMT, where she will sign copies of her new book.

The biography follows the life and career of Balanchine, one of the most influential 20-century choreographers. You can find the book in our shop, ready for signing.

[alison]

6 hours ago, capybara said:

I can't help feeling that 'splashing the cash' on (quite frankly) ridiculous designer costumes for works such as Prima (there are other previous examples) and unnecessarily extravagant sets should become a thing of the past if the ROH is to cut costs.

 

It simply can't go on and on and on about ACE reductions without taking a serious look at itself in every respect.

 

I quite agree, and indeed have been saying so for decades.  Many of the moans have been directed at the opera company's not-infrequent seeming profligacy in changing productions time and time again, but also, although I appreciate the desire to produce a 21st-century Gesamtkunstwerk, by combining music, dance and design, I've said on quite a few occasions that it would be very good discipline for choreographers to concentrate on the choreography, with nothing to hide behind.

 

The other side of the coin was the Cosi fan tutte performed in Marks & Spencer outfits (is that still the production which is being used?  I haven't seen it since), and am I imagining it, or were the original Qualia costumes M&S undies?  There was certainly a ballet in similar outfits which were costumed by M&S.

[Fonty]

8 hours ago, alison said:

 

8 hours ago, alison said:

The other side of the coin was the Cosi fan tutte performed in Marks & Spencer outfits (is that still the production which is being used?  I haven't seen it since), and am I imagining it, or were the original Qualia costumes M&S undies?  There was certainly a ballet in similar outfits which were costumed by M&S.

 

 

M & S undies?  My experience is they fall apart after a year.  🙂

[LinMM]

But not too expensive to replace!! 

[Richard LH]

The matinee cast sheet is now available https://www.roh.org.uk/about/cast-sheets#stage

[Jamesrhblack]

Not sure why my post from Wednesday has just reappeared. Might a moderator please delete. Thanks 

[Jamesrhblack]

Managed to get a return for the matinêe. Having enjoyed the cinema broadcast very much, I’m looking forward to enjoying the experience “live” and to a now more informed viewing of the new works.

[Emeralds]

On 17/11/2022 at 22:03, Dawnstar said:

 

Thanks. I could potentially skip Act II then, if I think the music is going to be too much.

 

I'm trying to work out who all the corps de ballet dancers were in last night's Diamonds cast but I can't manage to name everyone. Can those who are much better than I am at IDing the dancers help? (It doesn't help that the dancers shown in the production pictures on the RB's Flickr account aren't all the same as in the actual performance, so I'm having to go off my own curtain call photos.)

 

Gina Storm-Jensen

Julia Roscoe

Leticia Stock

Mariko Sasaki

Charlotte Tonkinson

Isabel Lubach

Amelia Townsend

Marianna Tsembenhoi

Sae Maeda?

Yu Hang?

 

Teo Dubreuil

Tomas Mock

David Yudes

Benjamin Ella

Kevin Emerton

Giacomo Rovero

Joonhyuk Jun

Harry Churches

Joshua Junker

Leo Dixon

Brayden Gallucci?

Perhaps bring a set of ear plugs (you can get quite small, comfortable and discreet but effective ones, like what they give out on some airlines) rather than skipping the whole Act 2 altogether, Dawnstar? Or have a look at some clips online if you can’t buy/borrow the DVD. There is a recording of Osipova and Watson dancing the ‘Orlando’ pas de deux on Facebook (it’s been posted a few times by the Royal Opera House page admins) which you can watch via a Google search, and the music quietens down significantly for that pas de deux. Mind you, the power and emotion of the ballet doesn’t translate that well onto a two dimensional DVD (I’ve watched it)-it’s one of those ballets that has to be seen live to be enjoyed fully. 

Edited November 19, 2022 by Emeralds

[alison]

17 minutes ago, Jamesrhblack said:

Not sure why my post from Wednesday has just reappeared. Might a moderator please delete. Thanks 

Could be that the site saved your post in the editor: it's happened to me before now. I was a bit disconcerted as to how you could be watching a rerun on a Saturday morning!

[Emeralds]

11 hours ago, alison said:

 

I quite agree, and indeed have been saying so for decades.  Many of the moans have been directed at the opera company's not-infrequent seeming profligacy in changing productions time and time again, but also, although I appreciate the desire to produce a 21st-century Gesamtkunstwerk, by combining music, dance and design, I've said on quite a few occasions that it would be very good discipline for choreographers to concentrate on the choreography, with nothing to hide behind.

 

The other side of the coin was the Cosi fan tutte performed in Marks & Spencer outfits (is that still the production which is being used?  I haven't seen it since), and am I imagining it, or were the original Qualia costumes M&S undies?  There was certainly a ballet in similar outfits which were costumed by M&S.

I agree about the opera company foolishly jettisoning the nice traditional productions of Carmen, La Boheme and Samson et Dalila for inferior ugly ones (the new Carmen being the worst). Not only that, the traditional ones were big box office earners, and now the replacements are box office poison- Carmen being the worst. Also not a fan of the sliding, moving “fancy” sets that look ugly but directors insist on using because they come with bits that move - why can’t we just bring the curtains down to change sets? It’s cringed when the hydraulics/remote controls fail and they have to stop the music and wait for the stage crew to move them manually; it just looks so unprofessional. The current Cav & Pag and La Forza del Destino are equally ugly and their “trendy” ideas also don’t make sense.

 

I don’t which production used M&S costumes, but the previous production of Cosi fan Tutte (set in current times with attractive outfits, mobile phones and stilettos instead of 18th century dress) was great and yet they’ve gone to a lot of expense to swap it for a new production (where the characters apparently visit the ROH!) which doesn’t add anything useful to what the last one did. 

Edited November 19, 2022 by Emeralds