English National Ballet: Raymonda tour 2022 (Bristol, Southampton)

[Emeralds]

Looking forward to members’ reviews of ENB’s newish full length production of Raymonda by Tamara Rojo which premiered this January and tours to Bristol and Southampton, beginning tomorrow night.

 

NB Erina Takahashi is no longer dancing Raymonda at the Thursday 24 Nov matinee and Saturday 26 Nov evening performance. Raymonda will be danced by soloist Julia Conway, who had been a memorable Henriette in the January run (a shortened and delayed run due to Omicron variant Covid sweeping the casts and crews of theatres and concert halls nationwide).

 

Lorenzo Trossello and Daniel McCormick are still scheduled to dance John (Trossello’s debut in the role) and Abdur respectively at the Thursday matinee and Saturday evening show. (I can attest that McCormick is excellent as Abdur!) Takahashi is still (currently) listed to dance Raymonda in Southampton next week. Toi toi toi to all! 

Edited November 22, 2022 by Emeralds

[alison]

Oh blast ...  

 

If there are this many dancers doubtful, it might explain why we don't have Nutcracker casting yet.

[Emeralds]

I hope someone is going tonight who can report on it 🙂.....I really wish I were going, but I have the joys of a Zoom meeting to attend instead! Tonight’s cast: Fernanda Oliveira, Francisco Gabriele Frola, Erik Woolhouse. Lucky Bristol audience!  

 

Re: Nutcracker (and Swan Lake) casting, they could do provisional casting of Clara & Nephew though. After all, the Royal Ballet confirmed their Nutcracker casting months ago, as well as their Sleeping Beauty casting for Jan & Feb.

 

[alison]

If I could get back, I'd certainly have been tempted to go  

[FionaM]

Bristol tonight … Eric Woolhouse was on fire 🔥.   He grabbed everyone’s attention as soon as he walked on. (Ok … I can’t attest for everyone .. my party of 4 were all hugely impressed).  He was both sexy and dead keen on Raymonda and also polite and understanding of her situation.   A masterpiece of a role and portrayal. 
 

FG Frola had kicked off the show with exciting leaps and beautiful technique … “huge airtime”.  But was soon overpowered by Eric’s charisma and leaps.  Extraordinary.  Has to be seen.  
 

I realise the John de Bryan role in this version is a nondescript character, but FG Frola did nothing with it emotionally, even in the wedding scene when he’d won Raymonda he hardly smiled.  You’d think he’d be happy on his wedding day.  That was disappointing.  His technique was super.  But it’s not enough for me. 
 

Fernanda Oliveira’s Raymonda was an internalised character struggling with her life decisions.  It worked quite well I thought..  She does have such reliable technique and beautiful feet in pointe shoes.  Beautifully executed.

 

I felt Francesca Velicu needed more sass for Henriette, but was otherwise a fun flirty friend.  I find the Sister Clemence role annoying and interfering, so it’s hard for me to appreciate the dancer in it.  Precious Adams did a decent job, and was especially lyrical leading the trio in the final act.  

 

Super foursome in the male pas de quatre … Henry Dowden, Ken Saruhashi, Sabiel McCormick, Matthew Ashley.  They nailed it! 
 

 

 

[FionaM]

Oh and annoyingly Bristol Hippodrome staff stopped one of my party from taking photos of the end of show curtain calls.  They claim this is a directive from ENB, which I cannot believe.  Curtain call photos are allowed at ENB shows at Sadlers Wells and London Coliseum.  I’ve messaged ENB staff to get them to clarify why, or to correct the instruction to the venue.  
 

Tamara Rojo was at the show … she left saying it really was her final show. 

Edited November 24, 2022 by FionaE
Clarify

[Ian Macmillan]

And Mme Rojo has just been on the BBC 4's Today programme - right at the end.   See Links.

[Emeralds]

10 hours ago, FionaE said:

Bristol tonight … Eric Woolhouse was on fire 🔥.   He grabbed everyone’s attention as soon as he walked on. (Ok … I can’t attest for everyone .. my party of 4 were all hugely impressed).  He was both sexy and dead keen on Raymonda and also polite and understanding of her situation.   A masterpiece of a role and portrayal. 
 

FG Frola had kicked off the show with exciting leaps and beautiful technique … “huge airtime”.  But was soon overpowered by Eric’s charisma and leaps.  Extraordinary.  Has to be seen.  
 

I realise the John de Bryan role in this version is a nondescript character, but FG Frola did nothing with it emotionally, even in the wedding scene when he’d won Raymonda he hardly smiled.  You’d think he’d be happy on his wedding day.  That was disappointing.  His technique was super.  But it’s not enough for me. 
 

Fernanda Oliveira’s Raymonda was an internalised character struggling with her life decisions.  It worked quite well I thought..  She does have such reliable technique and beautiful feet in pointe shoes.  Beautifully executed.

 

I felt Francesca Velicu needed more sass for Henriette, but was otherwise a fun flirty friend.  I find the Sister Clemence role annoying and interfering, so it’s hard for me to appreciate the dancer in it.  Precious Adams did a decent job, and was especially lyrical leading the trio in the final act.  

 

Super foursome in the male pas de quatre … Henry Dowden, Ken Saruhashi, Sabiel McCormick, Matthew Ashley.  They nailed it! 
 

 

 

Thanks for the review, FionaE - so vividly described and having seen Woolhouse’s on fire and Frola’s huge airtime in other ballets, I almost feel like I was there after reading your account. And Fernanda does internalised struggle- but with beautiful feet and a reliable technique so well in many contemporary roles I’ve seen her in. I’d like a magic carpet (different show, haha) to whisk me off to Bristol to see this cast and whisk me back in an instant so that I can be in two places at once....lol. Well done trekking to Bristol for this! 

[FionaM]

@Emeralds I live in Bristol 😉

[FionaM]

12 hours ago, FionaE said:

Oh and annoyingly Bristol Hippodrome staff stopped one of my party from taking photos of the end of show curtain calls.  They claim this is a directive from ENB, which I cannot believe.  Curtain call photos are allowed at ENB shows at Sadlers Wells and London Coliseum.  I’ve messaged ENB staff to get them to clarify why, or to correct the instruction to the venue.  

ENB staff have replied …

 

“We have spoken with the venue team - this was as you suspected a misunderstanding whereby the team there were under the impression that the ban on filming and photography during the show extended to the curtain call. 

We've been in touch with them to clarify that for the curtain call specifically we're very happy for our audience members to take pictures and videos.”

 

Hooray .. that’s the second time this has happened to me recently … the other was Northern Ballet in Cardiff and Federico Bonelli himself sorted that for the second night.  

[Emeralds]

On 24/11/2022 at 12:20, FionaE said:

@Emeralds I live in Bristol 😉

Well that’s certainly a surprise- I thought you lived in/near London as you’ve made it to so many London productions. I’ll change my sentence to “well done trekking to the various London performances (and abroad)!” 

 

Also, thanks for contacting ENB to set the record straight (and likewise in Cardiff for Northern Ballet). I think if people wish to photograph or video the curtain calls at the end, it should certainly be allowed as it enables them to publicise and give credit to a good show with excellent artists. At English National Opera last month (before the Arts Council debacle) they actually projected a message where the surtitles had been:  “Please feel free to film the curtain call” 😀

 

I also remember typed notices from ENB when they performed Cinderella at the Royal Albert Hall in 2019, specifically asking people to switch off phones and alarms during the show and not to take photos or film during the dancing, but added that they were very welcome to take photographs or videos of the curtain calls at the end. (Could be a tad confusing as RAH actually has no curtain but the audiences understood what to do.)

[jmhopton]

Went to Bristol Thursday afternoon to see  Raymonda for the first time, which I enjoyed.  Some great dancing, especially for the men though I found the Crimean war setting rather understated.  Where was the war? Two bandaged men at the side of the stage and the nurses uniforms completely pristine. It could have been anywhere.  Liked the dream scene with the ramp,  echoing Bayadere  though the men got let off lightly with the choreography, nowhere near as difficult as for the Bayadere women. The lamps were used very effectively too.  Was a bit disappointed that the really dramatic music in the second act (my favourite) that used to be danced by the villain is now a Spanish dance. Seems a bit wasted on it. Loved the sets and costumes and thought the quality of dancing very high. Interesting seeing Bristol, though the main centre is a little bit away from the hippodrome. Have given up the idea of going today.  It was getting too complicated on the bus, having to get Megabus there and National Express back, and only one of those.

 

 

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[FionaM]

I attended the matinee on Saturday, as I wanted to see Emma Hawes dance.  She was just lovely in every way.  Areally clear portrayal with beautiful calm and lyrical dancing. 
 

Her John de Bryan was Aitor Arrieta, an elegant dancer who is maturing nicely in portrayal side.  There was real chemistry between these two … tenderness and understanding when the choreography deliberately has them go in opposite directions.

 

Rentaro Nakaaki as Abdur Rahman was always going to be more subdued to me after Eric Woolhouse’s towering performance earlier in the week.  Nevertheless it was a good portrayal.  And he gave enough flair to convince the audience that he could grab Raymonda’s attention.  Their pdd has wonderful choreo and music.  Tamara deserves much kudos for the choreo she has created in this ballet … these new pdd and also for the male ensembles.  
 

I loved both friends of Raymonda … Katja Khaniukova for her flirtatious Henriette, and also Natascha Mair for her conservative Sister Clemence.  She managed to not annoy me and had super control of her solos.  I guess she was more of the gentle persuasion type. 
 

The company must be suffering injuries as only 4 Abdur Rahman Guards came out … there were 6 on the programme.

 

I was going to say that Fabian Reimar has truly amazing stage presence but not really the technique at the moment to carry off a dancing role like leading the Hungarian workers … but perhaps company shortages meant needs must.  

 

Lots of other super performances … there is so much dancing in this ballet!
 

 

[Emeralds]

On 26/11/2022 at 00:42, jmhopton said:

Went to Bristol Thursday afternoon to see  Raymonda for the first time, which I enjoyed.  Some great dancing, especially for the men though I found the Crimean war setting rather understated.  Where was the war? Two bandaged men at the side of the stage and the nurses uniforms completely pristine. It could have been anywhere.  Liked the dream scene with the ramp,  echoing Bayadere  though the men got let off lightly with the choreography, nowhere near as difficult as for the Bayadere women. The lamps were used very effectively too.  Was a bit disappointed that the really dramatic music in the second act (my favourite) that used to be danced by the villain is now a Spanish dance. Seems a bit wasted on it. Loved the sets and costumes and thought the quality of dancing very high. Interesting seeing Bristol, though the main centre is a little bit away from the hippodrome. Have given up the idea of going today.  It was getting too complicated on the bus, having to get Megabus there and National Express back, and only one of those.

 

 

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I must admit I too spent quite some time during the January performances  - while trying to follow the dancing as well! - thinking about how clean soldier uniforms (and nurse ones where they appear) look in ballet and opera productions, and how much realism one should go for while balancing the needs of a classical production versus too much realism or expressionist detail (such as that in Pita’s Metamorphosis, where there was so much slimy goo everywhere that I was worried that Ed Watson and his fellow cast members would slip and injure themselves!)

 

I suppose if one wanted to be facetious - or possibly accurate - we could say that the historical Florence Nightingale wanted everything so shipshape, clean and disinfected, that they did indeed clean everything up....and the most infirm soldiers were kept in quiet and peaceful rooms to be tended to away from dancing?? (Bit of a stretch perhaps but it’s possible....) 

 

After the hassles of trying to get to the Royal Opera House yesterday amidst the Southeastern Trains rail strike, I was hoping that maybe I could try heading to Southampton for Raymonda to see the alternate cast dancers I missed out on during January, as the Mayflower Theatre  is so close to the train station, but I need to rearrange schedules or extricate myself from having to be elsewhere at the same time..... Glad you managed to catch Raymonda at last though, jmhopton. 👍

Edited November 27, 2022 by Emeralds

[alison]

Yes, with the pile-up of ballets across the UK at the moment (BRB and ENB at two relatively southern venues, plus the RB - "famine" followed by feast), I fear I'm likely to have to give Raymonda a miss.  Especially after the cast changes to Mayerling on Friday

[Irmgard]

Revisiting Tamara Rojo’s “Raymonda” on English National Ballet’s opening night in Bristol (23 November 2022) reinforced the issues I had with the production on its first outing in London in January, its trivialisation of war and nursing above all.  Rojo’s vision of the Crimean War appears to be of one long party for the nurses and camp followers, at odds with the projections during the overture which depict it as bloody and relentless. Given that there is currently a brutal war raging in Ukraine, of which Crimea is a part despite its annexation by Russia, all this frivolity seems particularly insensitive, although I realise Rojo decided to update the setting for the ballet before the current war started.  I noted again how derivative her choreography is.  For example, the opening scene of the ladies embroidering is inspired by the first scene of Cranko’s “Onegin”, the pas de deux/pas de trois for the three main characters in the dream sequence is heavily influenced by MacMillan but without his genius, and this time I recognised steps in the Act II dance for Abdurakhman’s guards which were very similar to the pirates’ dance in “Le Corsaire”.  I also despair of the changes Rojo has made to Act III.  Watching the Grand Pas Hongrois which has been changed into a Hungarian folk dance, despite this being led with brio by Emily Suzuki and Fabian Reimair, I longed for Nureyev’s version with its reverence for Petipa’s choreography and style and, of course, the sumptuous costumes which reflect its origins as a court dance.  Mercifully, most of Petipa’s choreography has been kept for the Pas Classique Hongrois but Rojo has stripped away the style so much that, apart from Raymonda herself (Fernanda Oliveira), it is only Katja Khaniukova amongst the lovely bridesmaids who, steeped in the tradition from her Kyiv training, instinctively imbues it with the aristocratic style this mini-masterpiece deserves.  Of course the crowning glory of this ballet is Glazunov’s fabulous score which sounded even more ravishing in Bristol with the ENB Philharmonic on the same level as the Stalls, instead of relegated to the pit, under the baton of Maestro Gavin Sutherland who brought forth all the beautiful colours and harmonies with his customary genius.

 

The four main characters on opening night were performed by the same dancers who gave the last performance at the Coliseum in January about which I did not have time to write, and this cast appears to be the only one which has remained intact since the departure of various dancers at the end of last season and some current indispositions. Francesca Velicu, as Henriette, was a delightfully silly young girl, leading her suitors, the dashing Henry Dowden and Ken Saruhashi, a merry dance but her character is still one of the anomalies of Rojo’s production.  What would a young girl who looks barely sixteen and is neither a nurse nor a prostitute be doing in a military camp? Jean de Brienne (or John de Bryan as Rojo has decided to rename him) is burdened with a particularly dull personality in this production and Francesco Gabriele Frola subdues his usual magnetism to accommodate the production but still makes him a man of honour and earnestness.  Of course, his dancing is nothing less than superb, especially in Act III, with his elegance and effortless, gravity-defying jumps.  Erik Woolhouse’s Abdurakhman is a mixture of entitlement and gallantry tinged with danger in his relentless pursuit of Raymonda.  His Act I solo was tailor-made for the compact, mercurial Jeffrey Cirio but the more imposing Woolhouse overcame this very well and really came into his own in Act II where his dancing and command of the action was electrifying.  As his character is killed off at the end of Act II in the original scenario, Rojo has had to create something for him to do in Act III which unfortunately consists of nothing more than unsettling Raymonda each time she sees him but Woolhouse certainly made the most of this:  even when almost disappearing into the wings whilst on the periphery of the action, his gaze never left her.  Raymonda was the glorious jewel of a ballerina, Fernanda Oliveira, so rarely afforded an opening night during Rojo’s regime. I have long considered her a great dramatic dancer, as well as a superb technician of beauteous lyricism, all qualities which she brings to Raymonda, especially in the dream sequence where those exquisite legs and feet of hers were so expressive in the pas de trois when being manipulated by Frola and Woolhouse.  In her Act III solo, even when her innate musicality has to go against the grain with Rojo’s conception of it as a solo of despair, contrary to the majesty of the music, Oliveira brings great dignity to it.  I find Rojo’s ending an act of calculated callousness on Raymonda’s part (she has a nursing colleague standing by with suitcase and coat to exit the wedding celebrations so it is obviously planned and not a spur of the moment decision) but Oliveria’s beautifully expressive face was very moving as she spurns Abdurakhman for the last time.

 

Despite this being a very flawed production, this was an evening of superb, committed dancing and music, and the audience certainly rewarded those onstage and in the pit with the huge ovation they so richly deserved.

 

[Dawnstar]

17 minutes ago, Irmgard said:

I find Rojo’s ending an act of calculated callousness on Raymonda’s part (she has a nursing colleague standing by with suitcase and coat to exit the wedding celebrations so it is obviously planned and not a spur of the moment decision)

 

I didn't notice that when I saw it in January. Having not liked the ending at the time, realising that it was planned makes me like it even less. I can just about understand someone running out on their wedding due to a sudden revulsion of feeling but to plan in advance to wreck your own wedding by leaving during it beggers belief!

[bridiem]

11 minutes ago, Dawnstar said:

 

I didn't notice that when I saw it in January. Having not liked the ending at the time, realising that it was planned makes me like it even less. I can just about understand someone running out on their wedding due to a sudden revulsion of feeling but to plan in advance to wreck your own wedding by leaving during it beggers belief!

 

Yes - initially I thought I must have misunderstood the ending. Sadly not.

[capybara]

A terrific review Irmgard - thank you!

[Jan McNulty]

Thank you for you brilliant review Irmgard.

[Irmgard]

I went to Southampton for the matinee on 1 December 2022 which featured the last two debuts in principal roles of this run.  It is always a pleasure to be in the Mayflower Theatre where I saw my first ballet at the age of five (when the theatre was called the Gaumont and the company was called London Festival Ballet, giving one of the fabulous Ballet Russes triple bills which were a staple of its touring rep back then).  Sitting in the front row of the stalls for a change, with a great view of the orchestra pit and the stage, people on both sides of me remarked how wonderful it was to have a live orchestra, with which of course I concur.  Brooklyn Mack took on the role of Jean de Brienne for the first time, and I found that, compared to his appearances with the company in “Le Corsaire” a few years ago, his dancing was rather untidy and laboured.  He also did not appear particularly interested in his Raymonda, Natascha Mair, also making her debut at this performance, although he partnered her well.  She is pretty but, to me, seemed to dance steps without any real flow of movement, especially in her solos which are among the precious few moments of Petipa remaining in this production. Of course, it does not help that the sequence of relevés retirés en passant for Raymonda in Act III is done in a bridal dress, looking like it was borrowed from Lise in La fille mal gardée, which has a skirt too long for us to see the beautiful retire line or that Rojo has imposed a sentiment on it completely at odds with the grandeur of the music.  I felt both dancers were still getting to grips with the choreography and had not fully explored their characters, even as sketchily drawn as they are in Rojo’s production.  In fact Mair made such a timid Raymonda that I could not believe she would walk out on her own wedding, let alone take herself off to Crimea to nurse wounded soldiers.  I much preferred her Clemence, which I saw last season, when she radiated an aura of serenity which was perfect for the solos allotted to her then. 

 

Both dancers were outclassed and outshone by the intensely charismatic Katja Khaniukova as Henriette and Fernando Carratalá Coloma as Abdurakhman.  I was impressed by Coloma’s Abdurakhman last season, and he made even more of an impression this time, with his intoxicating mixture of elegance and sensuality.  There was a wonderfully sinuous quality to his Act I solo which made some of the awkward movements Rojo has given him look intriguingly exotic.  His dancing in Act II was nothing short of spectacular, especially his manège of ‘flying camel’ Cossack turns, and everything was done with finesse.  And he certainly made his presence felt in Act III, gazing with dignity at his lost love. I still find it an anomaly to have a high-born party girl such as Henriette in a bleak military encampment, but Khaniukova, as always, lit up the stage with her megawatt smile whenever she appeared, and made her such fun, especially when flirting outrageously with her enamoured suitors, Daniel McCormick and Noam Durand. In the solos she was allotted in each Act, her impeccable style in these Petipa gems shone through, characterised by her exquisite footwork, delicious épaulement and beautiful ports de bras.  The perfection of her classical line was also showcased in the Pas Classique Hongrois, especially in the shoulder lift where she was the picture of elegance, with secure support from McCormick. Amongst the other bridesmaids in the Pas Classique Hongrois, Chloe Keneally showed the beautiful style and elegance which made her Aurora in last season’s Emerging Dancer the standout performance for me.  Another delight in this performance was the vivacity and charm with which Adriana Lizardi and Miguel Angel Maidana led the Grand Pas Hongrois.  On the whole, the company danced up a storm throughout and were rewarded with a very enthusiastic ovation from the audience.

 

This week marked Maestro Gavin Sutherland’s final performances as ENB’s Music Director but thankfully he will remain as Principal Guest Conductor so we can look forward to many more performances of outstanding music-making from him and the ENB Philharmonic, starting with the first week of “Nutcracker” performances. He is quite simply the best conductor the company has ever had, with his intuitive understanding of the support dancers need to be able to give of their best and he is certainly the best ballet conductor I have ever come across in all my years of attending performances all over the world, bringing his Midas touch to even the most mediocre of scores.

[alison]

Gavin Sutherland was on BBC Radio 3's In Tune yesterday evening, talking about The Nutcracker, I think - I guess it can be found somewhere on BBC Sounds.

[Guest oncnp]

16 minutes ago, alison said:

Gavin Sutherland was on BBC Radio 3's In Tune yesterday evening, talking about The Nutcracker, I think - I guess it can be found somewhere on BBC Sounds.

In Tune - Alexandra Wood, Huw Watkins, Gavin Sutherland - BBC Sounds

 

About 1:26:30

[Pas de Quatre]

Thank you Irmgard for such a detailed review. I attended that performance of Raymonda too and agree with everything you say.  Natascha Mair was pretty but insipid and there seemed little engagement with either of her suitors.  Brookland Mack started well with beautiful high jumps, landing well, but quickly ran out of steam. His balance was off both in pirouettes and tours en l'air. Fernando Carratalia Columna as Abdurakham by contrast was excellent. Also a mention for the male dancers in general, the moment when they are in formation appearing to ride forward towards the audience was very effective. I also loved the dream scene at the end of Act 1. Act 2 was spectacular with lots of good dancing. Unfortunately Act 3 didn't work for me at all, and I didn't care for the ending either.

[LinMM]

Yes I found with the new Raymonda when I saw it last January that although there is still lots of nice dancing in Act 3 I missed that original rather elegant Act 3 Raymonda in the more courtly setting but decided this Act three as is often performed on its own anyway should just remain separate from this production and don’t see why can’t co exist for different occasions!! 
I didn’t like the new ending then either. 
I didn’t see it as showing wonderful independence of spirit but massive indecision with more than a touch of narcissism lol! Though can’t now remember what the synopsis said about it!! Nevertheless inspite of some plot flaws there were enough dancing treats and nice scenes throughout the three Acts to make it an overall success. 

Edited December 8, 2022 by LinMM

[bridiem]

15 minutes ago, LinMM said:

I didn’t like the new ending then either. 
I didn’t see it as showing wonderful independence of spirit but massive indecision with more than a touch of narcissism lol!

 

Exactly. I therefore found it a very depressing reflection of current 'values' that we're apparently being asked to admire her.