The Sleeping Beauty, Royal Ballet 2023

[Tango Dancer]

1 hour ago, Fonty said:

I don't understand why the Lilac Fairy should be taller than Aurora?   I agree that in aesthetic terms it looks better of the two ladies are not wildly different in height, but I see no reason why the LF shouldn't be a shorter dancer.  The dancer playing the LF should command the stage with her acting abilities, not her stature, surely?

 

Yes.  Moreover she's a fairy, and they're not usually all that tall when depicted in art.  Also height has nothing to do with an ability to convey a sense of power and strength.  Volodymyr Zelenskyy is barely 5'6 for example (shorter than his dance partner on the Ukrainian Strictly) and he is incredibly charismatic whether dancing or fighting.  Charisma and power comes from within.   

[emmarose]

27 minutes ago, Tango Dancer said:

 

Yes.  Moreover she's a fairy, and they're not usually all that tall when depicted in art.  Also height has nothing to do with an ability to convey a sense of power and strength.  Volodymyr Zelenskyy is barely 5'6 for example (shorter than his dance partner on the Ukrainian Strictly) and he is incredibly charismatic whether dancing or fighting.  Charisma and power comes from within.   

 

Surely it's better a shorter dancer who can cope with the demands of the role rather than a taller one who hasn't quite got the technique of the shorter dancers?

 

Anyway, I wouldn't say Marianela is a particularly tall dancer and she was Darcy's Lilac Fairy, and Darcy is quite a bit taller than Marianela.

[capybara]

53 minutes ago, emmarose said:

 

I often think how incredibly blessed we are that they both chose to spend their careers over here and we get to enjoy their artistry, they really are remarkable.

 

Agreed.

 

And to think that, a couple of months ago, Vadim also turned in two of the most extraordinary portrayals ever of Rudolf in Mayerling - and, now, a Prince among princes.

 

[Tango Dancer]

6 minutes ago, capybara said:

 

Agreed.

 

And to think that, a couple of months ago, Vadim also turned in two of the most extraordinary portrayals ever of Rudolf in Mayerling - and, now, a Prince among princes.

 

 

Vadim is just amazing.  As well as being a wonderful and inspiring dancer, he's also a really good teacher (which is not always the case; not all dancers can teach).  He does masterclasses at Danceworks and on zoom and I think he's lovely to learn from, gives really good explanations of the sequence and corrections to help people improve.  He's also really nice and funny and modest, coming across as down to earth and with no ego.  

[emmarose]

14 minutes ago, capybara said:

 

Agreed.

 

And to think that, a couple of months ago, Vadim also turned in two of the most extraordinary portrayals ever of Rudolf in Mayerling - and, now, a Prince among princes.

 

 

What I think is underrated in them both, because their technique is so flawless, is that they're both extraordinary actors to go with it. It's what makes their performances the highest of quality all around. 

[Mary]

Yes...

just what a Prince should be like...........

[art_enthusiast]

16 hours ago, Dawnstar said:

I was quite surprised by Magri's glitch last night because usually she seems very reliable techincally. In SL last year she seemed fine with the fouettes where Hayward & O'Sullivan had issues yet in the last run of SB I saw both of them get through the Rose Adage without mishap. As well as possible off-days, I wonder whether different dancers find different moves harder/easier?

 

I think that may be true - e.g. some dancers are natural turners (Tiler Peck et al.) and others have different strengths. I think that most of the RB principals must be equal technically though, and must be able to prove they can do everything in rehearsal, otherwise they would not be cast. In O'Sullivan's Swan Lake, I think first-night nerves were mainly her issue. As she had extra performances with Steven McRae due to Takada's injury, she was fortunate to be able to come back to the role and her latter performances were much stronger in my opinion (nearly all the fouettés completed, etc). It may have been the same with Hayward if she had more performances. 

 

I think it's a shame that principals only get two performances apiece (or 3, which I believe most are getting for this SB run apart from Magri/Kaneko who have 2 each). I understand that because of the number of principals at the RB that's the only option. But more frequent performances of the role would help with these confidence issues, which I think is the main concern.

[capybara]

Thinking about the discussion on here about the Prologue Fairies and other solos in SB, I feel that one of the problems is that the dancers have to FILL a huge expanse of stage on their own. Some are unaccustomed to that experience and the associated need for a 'here I am' persona whatever the individual character of the solo.

 

Hopefully, the multiple shows that newcomers to many of these roles are now getting will help their confidence grow and the necessary projection develop.

[Jamesrhblack]

2 hours ago, Emeralds said:

I too don’t really like these height “rules” but they’ve been around for over a century so examples include Monica Mason, Zenaida Yanowsky, Deborah Bull, etc not being cast as Aurora, although I don’t think they’d have done worse than some shorter dancers who have been cast. Likewise the shorter ballerinas don’t get cast as Lilac Fairy even though you might feel they could easily manage the technical and acting demands (eg we’re very unlikely to see Akane Takada, Meaghan Grace Hinkis or Francesca Hayward as LF). The unwritten rule also exists in other companies, although if you have a company that’s very tall to begin with eg Mariinsky Ballet, then everyone has a more equal chance. Likewise, Myrtha in Giselle generally also has to be a tall dancer to look imposing next to both Albrecht and Giselle- but she doesn’t have to be taller than Albrecht.

 

The LF also can’t look significantly  shorter than Carabosse as they are supposed to be equals in their powers and authority/status. Otherwise you could end up with a Thumbelina-versus-Goliath effect....probably not what Petipa intended! The original LF was actually a mime role like Carabosse is (still preserved in Peter Wright’s production for BRB, Dutch National Ballet, etc) and they still cast dancers who are not very short so that Carabosse and LF look similar in height and authority. 

Of course, both Deborah Bull and Monica Mason did dance Aurora with The Royal Ballet, although, if I recall correctly, Mason only for one series of performances and Bull only as a replacement. Ironically, she was ill for her only scheduled performance (at Hammersmith during the ROH Closure) and was never cast again.

[Fonty]

2 hours ago, Emeralds said:

I too don’t really like these height “rules” but they’ve been around for over a century so examples include Monica Mason, Zenaida Yanowsky, Deborah Bull, etc not being cast as Aurora, although I don’t think they’d have done worse than some shorter dancers who have been cast. Likewise the shorter ballerinas don’t get cast as Lilac Fairy even though you might feel they could easily manage the technical and acting demands (eg we’re very unlikely to see Akane Takada, Meaghan Grace Hinkis or Francesca Hayward as LF). The unwritten rule also exists in other companies, although if you have a company that’s very tall to begin with eg Mariinsky Ballet, then everyone has a more equal chance. Likewise, Myrtha in Giselle generally also has to be a tall dancer to look imposing next to both Albrecht and Giselle- but she doesn’t have to be taller than Albrecht.

 

The LF also can’t look significantly  shorter than Carabosse as they are supposed to be equals in their powers and authority/status. Otherwise you could end up with a Thumbelina-versus-Goliath effect....probably not what Petipa intended! The original LF was actually a mime role like Carabosse is (still preserved in Peter Wright’s production for BRB, Dutch National Ballet, etc) and they still cast dancers who are not very short so that Carabosse and LF look similar in height and authority. 

 

Surely the reason some of the tallest dancers are not cast in roles such as Aurora is because there is a lack of males tall enough to partner them, not because their height prevents them from executing the steps properly. However, I really cannot see the problem if it is a solo role, as to whether the Lilac Fairy is tall or short.  Mason and Yanowsky were presumably cast because they were fabulous dancers who were up to the technical challenges and who would otherwise not have had an opportunity to dance as much through lack of partners.  The same argument stands for Myrtha, and may explain why taller dancers are often cast in the role.  However, a superb dancer with the right acting skills should be able to dominate the stage with her presence, and who cares if she is under 5'5" or whatever?

 

If both the Lilac Fairy and Carabosse are mime roles, then maybe they should be similar in height, although not necessarily tall.  It might look odd if one is nearly a foot taller than the other, but that is a bit unlikely unless a man is cast as the bad fairy.   But  with the current production does it really make a difference if Carabosse is two or three inches taller than the LF? I hardly think so.  If the casting is based solely on height, that might explain why some of the choices in past years have really not coped with the choreography all that well.  I think casting should be entirely based on the best dancer for the role, not the one with the most inches.

 

Some years ago someone posted a clip on here of a production of  Sleeping Beauty done for television back in the 60s or 70s.  I believe Lucette Aldous was the Lilac Fairy, and I seem to remember she was exceptionally short.  If De Valois thought she was fine in the role, then that seems good enough to me!

[Dawnstar]

38 minutes ago, Fonty said:

If both the Lilac Fairy and Carabosse are mime roles, then maybe they should be similar in height, although not necessarily tall.  It might look odd if one is nearly a foot taller than the other, but that is a bit unlikely unless a man is cast as the bad fairy.   But  with the current production does it really make a difference if Carabosse is two or three inches taller than the LF? I hardly think so.

 

Christina Arestis must be taller than most if not all of the Lilac Fairies because she's one of the tallest female dancers in the company, though admittedly as the Lilac Fairy goes en pointe & Carabosse doesn't that would reduce the height difference. It didn't occur to me that the Lilac Fairy should be as tall as Carabosse because Carabosse wears that headdress with big spikes which makes her look taller so why would she wear that if the intention was for her not to look much taller than the Lilac Fairy.

[Balletfanp]

Last night…. well, what a cast and what a sublime performance!

 

Marianela was possibly the best I’ve seen her in this role. It’s hard to believe she is now 40. She made the Rose Adage look like a walk in the park, all whilst portraying a 16 year old princess at her party. In the vision scene she was ethereal and other-worldly and in Act 3 she simply conquered.

 

Vadim was incredible. In his opening scenes with the hunting party there was no doubt that it was the Prince making his entrance. He appeared to be taking part somewhat in the fun and games but you could tell his heart wasn’t in it. That soliloquy…. Vadim has such an expressive body, quite apart from anything, and every line portrayed his melancholy. In Act 3 the audience became wildly enthusiastic halfway through his beautiful variation and his gorgeous barrel jumps and grand jetés started the applause ending in a positive eruption at the end! Quite right too, it was spectacular.

 

But both of them create these exquisite performances without ever forgetting the characterisation. Last night Marianela was very convincing as a 16 year old (more so that I have thought her previously) and her initial effervescence changed to remoteness in the vision scene and finally, maturity and dignity mingled with a bride’s happiness in Act 3. With Vadim, less is very much more - minute changes of expression, a gesture, his posture, all tell a tale. This came out very strongly in his Rudolf. I know that some (myself included) would like to see them both paired with others sometimes, but it still has to be said that they are wonderful together - the way they exchange glances and smiles whilst looking each other in the eye with what seems like perfect understanding. They know each other so well now and it’s obvious that they are just so comfortable with each other that they can probably read each other very well - and it makes for a sublime performance in the classics. Both Marianela and Vadim posted a lovely photo today on their Instagram accounts taken backstage last night, that really seemed to show their affection and ease with each other.

 

Having said that (and having seen clips of them dancing together online), how I would love to see Fumi and Vadim paired together more often. Fumi’s Lilac Fairy was beautiful to behold in every way and she took that Prologue variation and showed it who was in charge. Lovely, controlled and flowing. She had a beautiful, smiling benignity and her and Vadim’s interactions in Act 2 were charming. Having witnessed them in Mayerling in something completely different, they plainly work together really well and I’d like to see them more often.

 

There has been a lot of discussion about the fairies and I would say that in my opinion, last night they all performed very well without being outstandingly good, with two exceptions. I loved Sophie Allnatt’s wonderfully fluttery Songbird Fairy and Yuhui’s Fairy of the Golden Vine was as good as you would expect from an experienced and high-calibre performer like her.

 

Some other standouts. Others have praised Joseph Sissens and Isabella Gasperini’s Bluebird pas de deux and I agree wholeheartedly. Both were splendid. Sissens is surely due to become a Principal one day. I have always liked Isabella and her brilliant smile, but now she is being given bigger roles the quality of her dancing and acting is really emerging. They had a great reception from the audience, deservedly.

 

Thank you, whoever it was ( I can’t remember!) for identifying the Wolf as David Donnelly! The Red Riding Hood divertissement is usually my least favourite part of the ballet and I count it as a blessing that it’s so short! However, the audience (me too) were behind it from the moment the Wolf strutted onstage (never seen a Wolf entrance quite like that before! 😁) and his subsequent acting up made everyone giggle and actually gained very good applause (the audience is usually a bit muted there!). It was mentioned that Donnelly’s Mouse King was very similar and I do recall seeing a recent Mouse King either live or at the cinema who died very melodramatically and made me laugh - I now suspect Donnelly! Talking of which, one of the rats caught my eye last night as he seemed to have got very rat-like scuttling and scurrying down to a fine art!

 

On a final note, phone haters will be very happy to know that an usher took action last night. I was right at the stage end of my Stalls Circle row and a chap in the front row (too far to my left to enable me to tap him on the shoulder) started looking at his phone during the orchestral break between Acts 2 and 3 - and then didn’t bother to stop 😠. Very distracting. However, an usher suddenly appeared next to me, apologised for leaning across me, and requested him politely, but in a way that didn’t invite argument, to desist. He did 😁.

Edited January 21, 2023 by Balletfanp
Typo

[Ian Macmillan]

There are times when a Rose Adagio doesn't quite become Balletfan's "walk in the park."  After a bit of rooting around, I give you Eric Taub's unforgettable description of such a night, ABT's Spring Gala in 2007, recorded for ballet.co - the fondly-remembered site whence we sprang some 11 years ago.  

 

https://web.archive.org/web/20070703020525/http://www.ballet.co.uk/magazines/yr_07/jun07/et_rev_abt_0507.htm

 

Just read the whole thing - Eric's reports from New York were always a joy.  My thanks to Buddy, who mentioned Eric in the Lyrical Dance thread and that got me searching.

 

 

[Balletfanp]

Oh dear….! 🤣 “Princely Traffic Jam” -  I’ve read a lot of reviews but not many that make me laugh out loud like that one - thanks for posting!

 

 I’d give a lot for a glimpse of those costumes that he so comprehensively and hilariously trashed….

Edited January 22, 2023 by Balletfanp

[alison]

45 minutes ago, Ian Macmillan said:

There are times when a Rose Adagio doesn't quite become Balletfan's "walk in the park."  After a bit of rooting around, I give you Eric Taub's unforgettable description of such a night, ABT's Spring Gala in 2007, recorded for ballet.co - the fondly-remembered site whence we sprang some 11 years ago.  

 

https://web.archive.org/web/20070703020525/http://www.ballet.co.uk/magazines/yr_07/jun07/et_rev_abt_0507.htm

 

Just read the whole thing - Eric's reports from New York were always a joy.  My thanks to Buddy, who mentioned Eric in the Lyrical Dance thread and that got me searching.

 

Glorious, thanks, Ian - I don't remember reading it first time around, which is surprising, as I rarely missed Eric's posts.

[San Perregrino]

10 hours ago, Ian Macmillan said:

There are times when a Rose Adagio doesn't quite become Balletfan's "walk in the park."  After a bit of rooting around, I give you Eric Taub's unforgettable description of such a night, ABT's Spring Gala in 2007, recorded for ballet.co - the fondly-remembered site whence we sprang some 11 years ago.  

 

https://web.archive.org/web/20070703020525/http://www.ballet.co.uk/magazines/yr_07/jun07/et_rev_abt_0507.htm

 

Just read the whole thing - Eric's reports from New York were always a joy.  My thanks to Buddy, who mentioned Eric in the Lyrical Dance thread and that got me searching.

 

 

 

those were the days 😉

 

what amazes me is the reference to:

 

" the precious and soon-to-be retired Alessandra Ferri"

 

and yet, in 2023, almost 16 years later Ms Ferri will be on stage at the ROH in Woolf Works.  Fabulous.

 

[LinMM]

Yes I’m seeing her hopefully on March 1st!! 

[Fonty]

That review was rather cruel, and I felt a bit guilty about laughing out loud, but oh how accurate he was about those dreadful balances in the Rose Adagio.  Which only backs up what I have said before, that ballerinas should have a plan B if plan A simply won't work.  Quite what that should be I don't know. 

[emmarose]

12 hours ago, Ian Macmillan said:

There are times when a Rose Adagio doesn't quite become Balletfan's "walk in the park."  After a bit of rooting around, I give you Eric Taub's unforgettable description of such a night, ABT's Spring Gala in 2007, recorded for ballet.co - the fondly-remembered site whence we sprang some 11 years ago.  

 

https://web.archive.org/web/20070703020525/http://www.ballet.co.uk/magazines/yr_07/jun07/et_rev_abt_0507.htm

 

Just read the whole thing - Eric's reports from New York were always a joy.  My thanks to Buddy, who mentioned Eric in the Lyrical Dance thread and that got me searching.

 

 

 

Well, I loved this, what I wouldn't pay to actually see this right now too!

[Scheherezade]

13 hours ago, Ian Macmillan said:

There are times when a Rose Adagio doesn't quite become Balletfan's "walk in the park."  After a bit of rooting around, I give you Eric Taub's unforgettable description of such a night, ABT's Spring Gala in 2007, recorded for ballet.co - the fondly-remembered site whence we sprang some 11 years ago.  

 

https://web.archive.org/web/20070703020525/http://www.ballet.co.uk/magazines/yr_07/jun07/et_rev_abt_0507.htm

 

Just read the whole thing - Eric's reports from New York were always a joy.  My thanks to Buddy, who mentioned Eric in the Lyrical Dance thread and that got me searching.

 

 

 

53 minutes ago, emmarose said:

 

Well, I loved this, what I wouldn't pay to actually see this right now too!

Oh yes! What a joyous read from start to finish and how I would love to have seen it too!

[Balletfanp]

Wow….. thanks @Sophoife! I see what he means, although almost disappointingly they aren’t quite as bad as I envisaged…. 🤣 but that Aurora tutu is awful, especially the sleeves!

[Lizbie1]

What's with the fish scale theme in the Act 3 designs??

[Emeralds]

Oh my goodness....the Act 3 costumes for Aurora and Florimund! Vishneva looks like she’s trying to be regal and to rise above it all while that cloak (which basically fails all basic principles of how to make and attach a cloak) looks like it’s strangling her! Was it made by Carabosse as a plan B in case her curse failed?! David Hallberg as Florimund looks like he thoroughly disapproves of what he was given to wear (his cloak looks like it’s strangling him and the costume strangely reminiscent of cheapest-of-the-range school recital costumes). Stella Abrera looks like she is trying to be a serene Lilac Fairy while trying not to laugh at the costumes and props  (why is she carrying that oversized pantomime prop crown)... 😂😂 

Edited January 22, 2023 by Emeralds

[Balletfanp]

They all look a bit like cheap costumes you might hire from a fancy dress shop!

[Beryl H]

Aurora looks like she has a splitting headache, but I love the photo of the 3 girls, they look perfectly poised.

 

[Tango Dancer]

Oh my goodness those are some ugly costumes! Also what's with the fish scales?

 

The lilac fairy outfit is really ugly with the eyes, and poor David Hallberg.  It takes a job of work to make a handsome, elegant dancer look short and washed out.  Those colours do nothing for him.  

[Sophoife]

I'm on the case regarding the rose adage's princes' costumes 😉

[Fonty]

3 minutes ago, Sophoife said:

I'm on the case regarding the rose adage's princes' costumes 😉

 

I looked but I couldn't find them anywhere.

[Blossom]

I’d like to know about the previous costumes for Royal Ballet’s version. I have a gorgeous DVD with Alina Cojacaru from around 2007 where costumes are completely different, but I had thought the current design was introduced around then. Marianela Nunez is the Lilac Fairy but costume is quite pale,  somewhat insipid esp vs current costumes. However, I had thought the timing of the production meant that this was the version which reopened the ROH around then.

 

Can anyone familiar with the production shed any light? Haven’t found anything in the ROH online archive which helps…

[Bluebird]

54 minutes ago, Blossom said:

I’d like to know about the previous costumes for Royal Ballet’s version. I have a gorgeous DVD with Alina Cojacaru from around 2007 where costumes are completely different, but I had thought the current design was introduced around then. Marianela Nunez is the Lilac Fairy but costume is quite pale,  somewhat insipid esp vs current costumes. However, I had thought the timing of the production meant that this was the version which reopened the ROH around then.

 

Can anyone familiar with the production shed any light? Haven’t found anything in the ROH online archive which helps…

 

The production dates from 2006 but the costumes were changed some years later so as to be closer to the original Messel designs.  Might it have been during Monica Mason's final year as director - i.e. the 2011/12 season?  I'm sure somebody will remember.

[Jane S]

Yes - October 2011.

 

Mason wrote in a programme note:

 

“We have become convinced that a bolder realisation of the costumes was necessary to truly reflect the genius of Messel,”

[Fonty]

Is there some reason why the photos have been removed?  They were freely available on the web.

[Blossom]

46 minutes ago, Jane S said:

Yes - October 2011.

 

Mason wrote in a programme note:

 

“We have become convinced that a bolder realisation of the costumes was necessary to truly reflect the genius of Messel,”

This makes sense. And noticed that the current Lilac Fairy costume seems closer to the original…