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The Sleeping Beauty, Royal Ballet 2023


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On 05/02/2023 at 11:12, capybara said:

I think that a lot of old clips (and not just of dance) are reproduced faster than the reality.

In my view, there is no way that musicians could play at the pace of the first clip on @Geoff’s link (above) .

I do agree, however, that speed adds a youthful freshness to Aurora’s first scene.

 

That might have been the case with early films.  If you look excerpts of Pavlova dancing the Dying Swan, these are definitely faster than they should be.  I am no expert, but I would have thought by the 60s these faults would have been ironed out.  There are plenty of examples of Fonteyn and others on Youtube doing the complete Rose Adagio from the 60s and 70s which seem to be a little quicker than those danced today.  Well worth a look. 

 

 

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3 hours ago, Fonty said:

That might have been the case with early films.  If you look excerpts of Pavlova dancing the Dying Swan, these are definitely faster than they should be.  I am no expert, but I would have thought by the 60s these faults would have been ironed out.  

 

They certainly were by the 1950s, which is the date of the Soviet feature film Ratmansky found.

 

If people want to start comparing tempi across recordings of the Sleeping Beauty score, a good and authentic place to start - as often recommended on this forum - is Andre Previn's recording with the LSO from 1974, currently on YouTube complete. Aurora's entrance on that recording is pretty fast, as are Tchaikovsky's metronome markings, which have been discussed here in the past. 

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20 hours ago, Geoff said:

 

They certainly were by the 1950s, which is the date of the Soviet feature film Ratmansky found.

 

If people want to start comparing tempi across recordings of the Sleeping Beauty score, a good and authentic place to start - as often recommended on this forum - is Andre Previn's recording with the LSO from 1974, currently on YouTube complete. Aurora's entrance on that recording is pretty fast, as are Tchaikovsky's metronome markings, which have been discussed here in the past. 

 

Always worth reviving the discussion!  I vaguely remember the discussion now you mention it. 

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Bracewell was fantastic tonight! His jumps, the flow of movement, the technique…very elegant and princely. Charming! Absolutely super.

 

Fumi pretty much perfect as always, although if I can be slightly critical (preparing for backlash!) she felt almost too perfect, the performance felt very controlled and tight and lots of smiles, but didn’t have the exuberant genuine joy of her debut I was very lucky to see a few years ago. But that I know is very unfair to compare to as that performance will be almost impossible to beat for me I think. 

 

I also really enjoyed Hannah Grennel’s Carabosse, and Gaspirani’s fairy. I felt Richardson and Hamilton’s performance was improved on when I saw them a few weeks ago, with Richardson retaining the bouncy airy dynamic of a bird but losing the overly wispy/floaty feel, and Hamilton conversely a little less stiff in her back and more natural and flowing. Both very good tonight.

 

I also felt the corps overall felt a lot tighter, so I think they’ve all benefited from a few performances under their belt! but maybe the fact there was a royal audience had something to do with it?

 

Overall a very solid performance. Even Storm-Jensen who I don’t usually find to my preference felt improved and more confident tonight. 

 

Lovely evening bar some audience behaviour (phones, lots more chatting than usual I felt). 

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On 07/02/2023 at 12:53, Suffolkgal said:

Slightly off topic but can anyone confirm my memory that the fairies entrance music was used many years ago as the theme tune for a dramatisation of Ballet Shoes? That piece of music resonates with me and that may be why! 

Yes - I remember that! The opening credits showed just the feet of a dancer stepping on pointe to that music. I think it was in the 1970s

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I so agree with this. The score almost suggests they are tip-toeing off a rainbow, and certainly I remember the fairies entry with a kind of radiance directed towards the little princess. Mostly they now do 'just enter' and don't convey (and add to) the sense of wonder (so crucial for Carabosse's to violently smash). Was is Alastair Macaulay who also commented on the stringy line up with double pirouette into attitude, so many out of line and out of sync. 

I so want to love this ballet in every way, but this season it has lost much of its magic, except perhaps for the Vision pdd. That said, Frankie Hayward absolutely cracked Aurora, exquisite balance of artistry, technique, strength and lyricism - sublime. Her Aurora was utterly real and three dimensional, developing over the three acts from girl to monarch-in-waiting. 

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Annette Buvoli was a really lovely Lilac Fairy projecting the grace and calm reassurance that Claire Calvert does so well. I think it will become her role.

 

Leticia Dias also stood out as one of the fairies and Princess Florine.

 

Both destined for promotion I think.

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1 hour ago, art_enthusiast said:

A sublime performance from Marcelino and Sarah today - absolute fireworks in Act 3.

Yes wasn’t it just. Love the way the whole house erupted into cheers after Marcelino’s solo and the way he gave a little triumphant ‘nailed it’ flourish at the end of it 🙌🙌🙌🙌

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A very appreciative audience for a lovely cast this afternoon. I had been disappointed that I wasn’t going to see Akane Takada but loved the classy partnership of Sarah Lamb and Marcelino Sambe. Terrific supporting performances throughout with a special shout out to David Donnelly’s wonderful wolf, I hope that it is filmed at some point. Joyous!

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