Cecchetti, Ashton and the Royal Ballet

[Ondine]

EDITOR'S NOTE: This thread has been branched off from the thread discussing the retirement of Laura Morera as a Principal with the Royal Ballet - some of the posts referred to are still in that thread:

 

 

 

Letter from Ashton to 'Mim' (Rambert)  when he was with Rubinstein company.

 

"She (ie Nijinska) gives a brilliant class, very difficult and never dull & in doing it one realises over and over again that the best system of training is obviously Ceccetti (sic) (I can't spell his name, disgrace) her arms are I should say entirely based on his and her barre is the same ..."

 

And therin lies the basis for many Ashton ballets and the reason why his work is seen as 'difficult' by many?

 

Twee? Symphonic Variations?

[Emeralds]

I’ve resigned myself to the fact that nobody will dance Lise’s solo in the Fanny Elssler pas de deux in La Fille mal Gardee correctly with the backbend to the side during the grand jete any more- it’s invariably done as an upright grand jete (even photographed like that, yikes), making it no different from any “show off” solo used as competition fodder.

 

Brenda Last, former principal at BRB (under its old names) and former artistic director of Norwegian National Ballet, said some years ago that dancers were beginning to leave out important Ashton details like that because they were too difficult (to either remember or to add in) and they were starting to get forgotten in performances and coaching, and not look like Ashton’s creation any more (words to that effect). 

 

Why does that detail and others matter? Aside from the fact that it’s Ashton’s work and shouldn’t be altered in his absence without his permission, it gives a different flavour and meaning to the character and the ballet. They’re details that you don’t really think about while watching the show, but when they’re not there, you know something doesn’t quite look complete. I always thought the bend in Lise’s jete showed how happy she was to be out in the picnic with Colas without her mother interrupting or stopping them. Without the bend, it’s “look at me, low how high I can jump”, with the bend, it’s “Yippee! Such joy and bliss! To be free and with Colas at last!” There’s Nadia Nerina’s original Lise on DVD and if anyone copied Brenda Last’s Lise on the Ballet For All documentary on YouTube, the differences with today’s performances (whether in the U.K. or international companies) are obvious. Even when Miyako Yoshida and Kevin O’Hare were principals at BRB, the bend in the jetes were still being performed.....but not now.

Edited April 30, 2023 by Emeralds

[Ondine]

1 hour ago, Emeralds said:

dancers were beginning to leave out important Ashton details like that

 

I watched a recent Insights where Laura Morera coached Annette Buvoli for Fairy Godmother and at one point she pushed a shoulder back to add some epaulment and said something along the lines of 'There's your Cecchetti' and I died a little inside.

 

Sorry everyone but sticking a bit of epaulment in as a nice feature to have isn't what it's about.  And this is in my view, part of the root of the problem.

 

That Insights from above, worth watching further to hear what Wendy Ellis Somes has to say & Kevin O'Hare, the 'tricky' footwork isn't actually so tricky if it was part of daily classwork (Cecchetti again).

 

Dunno about the Vaganova. Ashton's early training (remember he began as an adult) was steeped in Cecchetti,  which was steeped in / based upon the line of great dancing masters who had gone before. The Cecchetti Manual is called 'A Manual of Classical Theatrical Dancing'. 

 

I did note William Bracewell point out in one interview his early training was Cecchetti based.  But how many others have ever even had a flavour of it in their training?

 

 

 

 

Edited April 30, 2023 by Ondine

[Ondine]

'Certain classes' though doesn't inculcate in the body what needs to be there to do things automatically, and build the core strength while being able to er... BEND freely above it all, use epaulment, position the arms, the head, and move the feet fleetly below!  It's not just a syllabus. It's an entire way of moving really.

 

I note that, in the interview with Morera, Paul Arrowsmith says Fonteyn 'created' the role of Juliet at the same age as Morera is now. No Fonteyn, as we all know, did not. That was Lynn Seymour, who was robbed of her opening night along with Gable as Fonteyn & Nureyev were seen as the box office big hitters. Seymour was relegated to fourth cast, and I don't think she ever really recovered from the shock & disappointment.  Let's not rewrite history, even if it suits the interview.

Edited April 30, 2023 by Ondine
Typos, lots of 'em!

[Ondine]

2 hours ago, Emeralds said:

I’ve resigned myself to the fact that nobody will dance Lise’s solo in the Fanny Elssler pas de deux in La Fille mal Gardee correctly with the backbend to the side during the grand jete any more- it’s invariably done as an upright grand jete (even photographed like that, yikes), making it no different from any “show off” solo used as competition fodder.

 

Brenda Last, former principal at BRB (under its old names) and former artistic director of Norwegian National Ballet, said some years ago that dancers were beginning to leave out important Ashton details like that because they were too difficult (to either remember or to add in) and they were starting to get forgotten in performances and coaching, and not look like Ashton’s creation any more (words to that effect). 

 

Why does that detail and others matter? Aside from the fact that it’s Ashton’s work and shouldn’t be altered in his absence without his permission, it gives a different flavour and meaning to the character and the ballet. They’re details that you don’t really think about while watching the show, but when they’re not there, you know something doesn’t quite look complete. I always thought the bend in Lise’s jete showed how happy she was to be out in the picnic with Colas without her mother interrupting or stopping them. Without the bend, it’s “look at me, low how high I can jump”, with the bend, it’s “Yippee! Such joy and bliss! To be free and with Colas at last!” There’s Nadia Nerina’s original Lise on DVD and if anyone copied Brenda Last’s Lise on the Ballet For All documentary on YouTube, the differences with today’s performances (whether in the U.K. or international companies) are obvious. Even when Miyako Yoshida and Kevin O’Hare were principals at BRB, the bend in the jetes were still being performed.....but not now.

 

I saw Brenda Last dance Lise. Once, in the scene where she was locked in the house by her mother, who pocketed the key with great theatricality, the 'locked door' slowly opened, thus negating a key point in the drama!  The audience began to chuckle, so Brenda Last, with huge aplomb, balletically took herself to the door and closed it again. I'm sure it was all done with the correct epaulment and ports de bras too, and a knowing shrug!

 

She was a real trouper.  Wonderful dancer.

 

 

[alison]

1 hour ago, Ondine said:

 

I saw Brenda Last dance Lise. Once, in the scene where she was locked in the house by her mother, who pocketed the key with great theatricality, the 'locked door' slowly opened, thus negating a key point in the drama!  The audience began to chuckle, so Brenda Last, with huge aplomb, balletically took herself to the door and closed it again. I'm sure it was all done with the correct epaulment and ports de bras too, and a knowing shrug!

 

She was a real trouper.  Wonderful dancer.

 

 

I have a lot of time for Brenda last - is she ever asked for her input?

[Richard LH]

5 hours ago, Ondine said:

But how many others have ever even had a flavour of it in their training?

Certainly Hay, Pajdak and Katsura from the Royal Ballet, plus Brill, Day, Lawrence and Monaghan from the BRB,  because they demonstrate the Cecchetti Diploma in the published Opus Arte DVD. Presumably others dancers in these companies would also be familiar with the method?

Edited April 30, 2023 by Richard LH

[Ondine]

But how many dancers have Cecchetti in their DNA as opposed to it being a much later add on for that DVD and other demos?

 

This was a brave attempt.  And others looked on and said 'Ooh that's difficult!'

 

 

 

 

And a comment under?  "In comparison, I would love someone to post the same adage who has been mostly Cecchetti trained and not as influenced by other methods.  This dancer did a WONDERFUL job!  Please do not get me wrong!  There are certain small details though that add that much more into the intricacies of the method and I would love for them to be demonstrated (position of the ritire, the initial releve of 2 legs, etc)."

 

Yes and other details, which would come naturally to anyone weaned on the work. 

 

Ashton certainly had it in his DNA. 

 

 

Edited April 30, 2023 by Ondine

[Fonty]

The way Ursula Hageli describes the Cecchetti method has me wondering why on earth other methods are considered more favourable?  Doing the same precision exercises every day and trying to maintain pin sharp accuracy are hugely beneficial to technique, surely?

[Ondine]

YES!!!

 

We have to remember Cecchetti's 'days of the week (six days!) were for professional dancers & companies, he also altered / added things depending who was in class (Pavlova etc) and of course did unset enchainments too, but everyone weould have used the 'embedded in the body' heads arms etc.

 

His barre was simple and loads of repeats of the basic tendu etc. The fancy choreographed barres which are the  norm these days I find baffling.

 

And the first and second set of ports de bras, which Ashoton said every dancer should do daily! 

 

 

 

 

 

[Ondine]

3 hours ago, alison said:

I have a lot of time for Brenda last - is she ever asked for her input?

 

I suspect not!

 

I came across this about her though. One for Gasparini fans.

 

https://www.onedanceuk.org/after-50-years-of-teaching-in-the-studio-brenda-last-obe-will-deliver-her-first-online-masterclass/

 

And if you follow the link to FB it has a small snippet of film of Cleo Nordi teaching a young Brenda Last.  I'm a sucker for this 'passed on' history stuff.

 

https://www.facebook.com/bbodance/videos/2678558679127192/

 

 

[Emeralds]

2 hours ago, Ondine said:

But how many dancers have Cecchetti in their DNA as opposed to it being a much later add on for that DVD and other demos?

 

This was a brave attempt.  And others looked on and said 'Ooh that's difficult!'

 

 

 

 

And a comment under?  "In comparison, I would love someone to post the same adage who has been mostly Cecchetti trained and not as influenced by other methods.  This dancer did a WONDERFUL job!  Please do not get me wrong!  There are certain small details though that add that much more into the intricacies of the method and I would love for them to be demonstrated (position of the ritire, the initial releve of 2 legs, etc)."

 

Yes and other details, which would come naturally to anyone weaned on the work. 

 

Ashton certainly had it in his DNA. 

 

 

Great job Nicol! That fouette in centre - not the kind that spins round 32 times in Swan Lake but the kind where you change  position and direction slowly in the middle of the room, is such a wobble magnet, as I call it. You could probably do it ok in the bedroom with nobody watching but on stage or in front of a Clore studio audience and a livestream camera, you need nerves of steel not to get an attack of the wobbles!

 

A lot of today’s “prodigies” or “sensations” have great flexibility, even extreme flexibility, both men as well as women, and have practised tricks like triple pirouettes, even quadruple pirouettes, triple fouettes and 540s, but those without Cecchetti or Bournonville training often are weak at this kind of exercise where core strength and the ability to control changes of position and direction aren’t as strong as they should be. Aside from technical practice, this exercise is important for the Prayer role in Coppelia and Giselle’s Act 2 pas de deux. Both are potential wobble magnets! 

 

Some dancers are very good at it as well as the flexibility and tricks. But many young students are not getting taught the Cecchetti type basics sufficiently because many teachers/coaches think it won’t give them the tricks to win competitions or have successful auditions, both of which are, ultimately, to get jobs in ballet companies.

Edited April 30, 2023 by Emeralds

[Ondine]

As this is the topic with the Cecchetti posts in it (see previous pages) I thought it worth adding this here, new from Pointe magazine. There's an article also but you have to be logged in to read it, it describes the execution of the step in greater details.

 

Chasse seems to be another 'lost' step. It's interesting to see how many dancers simply don't do it,  but 'step' instead, though I believe Ashton was a stickler for it, not only in Les Patineurs.  We're losing so much of the intracacy, the light and shade, the depth of movement, in the quest for bigger and higher and the rest. Diana Byer, of New York Theatre Ballet.

 

 

Kate Simmons teaching a selection of the Cecchetti Diploma work

 

https://youtu.be/r0hZHu4UOds

 

And of course there are all the Julie Cronshaw marvellous Cecchetti Method films on You Tube, her explanatory website, and her free to watch documentary 'Ballet's Secret Code'.

Edited May 1, 2023 by Ondine

[alison]

People have been mourning the loss of the chassé for quite some time now, it seems to me.  I seem to remember it being missing in a number of cases the last time the RB put on Les Patineurs   Anybody'd think it was difficult ...

[Fonty]

I do find it very depressing that the chassé seems to be vanishing.  As @alison says, it is not exactly a difficult step.  I don't know if there is a specific thread for the Cecchetti method?  I would be interested to know why something that teaches the very essence of ballet imo is apparently no longer used much?  I asked the question before, and I assume nobody knows the answer as to why such basic moves are now being disregarded.  What exactly do dancers do in classes now?  

[Ondine]

I don't  know either. I'm sure it is all taught to students, and examined, but by the time dancers are in companies perhaps the details get lost in daily class and many choreographers don't do the details any longer?

 

Another loss is terre a terre work. It's all big jumps now isn't it? 

 

 

 

[alison]

2 hours ago, Fonty said:

I do find it very depressing that the chassé seems to be vanishing.  As @alison says, it is not exactly a difficult step.  I don't know if there is a specific thread for the Cecchetti method?  I would be interested to know why something that teaches the very essence of ballet imo is apparently no longer used much?  I asked the question before, and I assume nobody knows the answer as to why such basic moves are now being disregarded.  What exactly do dancers do in classes now?  

 

A quick forum search doesn't yield much that might be of help, apart from this one - in Doing Dance, obviously:

 

 

I'm afraid I don't know much about the subject either, despite the fact that I used to have a friend who taught the Cecchetti method.

[FLOSS]

Who knows what is now taught at the school and at the Upper School in  particular? I have no doubt that the concerns of the current director and his two immediate predecessors have been to achieve excellence but that each of them has had very different ideas about how that was to be achieved.

 

I believe that when he was at the school Michael Messerer asked why the students were taught old fashioned steps that no one danced. He was told that they were taught those  steps because they were in ballets that were still danced.But that was at least a couple of decades ago and things have changed a great deal since then, much less Ashton is danced; the company recruits  many more competition winners than it once did and the school's function is less that of a feeder school for the company than as a place to train dancers for an international dance  market. 

 

Inevitably if you recruit  extensively from dancers who were  not trained at the school few of your new recruits will have been exposed to these old steps in repertory classes. I don't believe  that petite batterie looms that large in the sort of training which produces modern  bravura technicians  of the sort who win international competitions. Indeed Mason has said that the last time  Les Biches was revived she had found it necessary to bring in a teacher to get the corps' petite batterie up to standard. And of course there is the corrosive effect of the persistent myth of improved standards and the lottery of who coaches individual dancers. At the root of the problem of lost steps is whether or not those who  teach and coach specific roles know what the choreography should look like in performance and whether they care or have the time to get the choreography to look right aesthetically and stylistically.

[Ondine]

The Florence section of Julie Cronshaw's video is filmed in the magnificent studios of Scuola Hamlyn, Florence, opened by Brenda Hamlyn. This must rank among the most beautiful ballet studio anywhere!

 

 

https://cicb.org/brenda-hamlyn-bencini/?v=893f26889d1e

 

 

In case anyone is wondering how we got from Laura Morera's retirement to Cecchetti, its is through Ashton. She is to coach Ashton's works to Royal Ballet dancers after leaving the stage.

 

I made a small comment about her mention of Cecchetti while coaching at a Cinderella Insights event. And now I'm off on my hobbyhorse and pleased to find I'm not alone! 

[Ondine]

9 minutes ago, FLOSS said:

Mason has said that the last time  Les Biches was revived she had found it necessary to bring in a teacher to get the corps' petite batterie up to standard.

 

 

Yes. I believe a Cecchetti teacher!  Monica Mason was herself Cecchetti trained.

 

It's mentioned from about 1.26 here by Alastair Macaulay

 

 

Edited May 2, 2023 by Ondine
Addition

[FLOSS]

I believe that at one point a meeting of the great and good connected with the Ashton Foundation held a conference which discussed whether or not the time had come to devise special classes to be taught  when Ashton ballets were about to be revived. I think that what they had in mind was something along the lines of the special Bournonville training which the Danes provide for members of their company who have been trained abroad.

 

I recall reading an unofficial account of the discussion produced by a former teacher at the school. It suggested that while everyone thought that such classes might be a good idea there was a certain lack of commitment to the project which suggested that everyone was rather anxious about such a scheme  might be devised and implemented. 

[Ondine]

The difficulty is of course that the subtleties of the work can't be an add on, learned in a short while. It is a method of working, of dancing, of shaping the arms, the body, even the gaze, which builds and builds and there is so much detail to take on board. Adding on a bit of epaulment (another thing being lost) is not the answer is it?

 

The Cecchetti Method encompasses a vast range of steps and step-combinations, movement qualities and dynamics, gesture and virtuosity.

His Method appears to have been worked out with much logical forethought and with careful study it reveals the science behind the art of classical ballet.

A student trained in the Cecchetti Method dances with co-ordination and control, purity of line and can move with astonishing speed or measured lyricism. They are able to change planes and directions without difficulty and always with intense musicality and a sense of the innate joy of dancing.

 

http://www.thececchetticonnection.com/maestro-enrico-cecchetti/

 

I'm saddened that Darcey Bussell (mainly Cecchetti trained) is heading up Another Ballet Org so can't really promote the Cecchetti work as she could have been a great help I feel. (Yes I know what many here feel about her dancing but she was / is a well known dancer & a star.)

 

"The Cecchetti work has given me strength, discipline and co-ordination. It wasn't until I got into the Royal Ballet Company that I realized how lucky I was to have had that training."

 

 

Edited May 2, 2023 by Ondine

[Fonty]

I am surprised to learn that Bussell was mainly Cecchetti trained.  I didn't think White Lodge had ever used it as the main method of teaching.  I thought it was more an add on to whatever system was the main one.  Having said that, I am a bit ignorant on the various other types of ballet training.  

[Ondine]

White Lodge certainly had many Cecchetti trained teachers 'back in the day', Nora Roche was one who taught Bussell I recall. Yes I'm sure Cecchetti work amounted to only part of the week but I'm pretty sure Cecchetti exams were taken. Anita Young, Nancy Kilgour, Patricia Linton, and more, all Cecchetti.

 

Richard Glasstone taught many of the boys (including Jonny Cope and Bruce Sansom!*)

 

https://cicb.org/the-cecchetti-centre-london-england/?v=893f26889d1e

 

Bussell was also awarded a Cyril Beaumont scholarship and would have attended extra Saturday Cecchetti classes.

 

*Who incidentally is now making baskets. I kid you not.

 

Edited May 2, 2023 by Ondine

[Fonty]

3 minutes ago, Ondine said:

White Lodge certainly had many Cecchetti trained teachers 'back in the day', Norah Roche was one who taught Bussell I recall. Yes I'm sure Cecchetti work amounted to only part of the week but I'm pretty sure Cecchetti exams were taken. Anita Young, Nancy Kilgour, Patricia Linton, and more, all Cecchetti.

 

Richard Glasstone taught many of the boys (including Jonny Cope and Bruce Sansom!*)

 

https://cicb.org/the-cecchetti-centre-london-england/?v=893f26889d1e

 

Bussell was also awarded a Cyril Beaumont scholarship and would have attended extra Saturday Cecchetti classes.

 

*Who incidentally is now making baskets. I kid you not.

 

 

We only had Cecchetti classes once a fortnight on a Saturday when I was a nipper.  Of course, it may have been different for the older students.  

[Ondine]

Yet any Cecchetti teacher would have been instilling in you the principles & methods even if not doing 'syllabus' work I'm sure.

 

I like the idea of a Noah's Ark of steps, of exercises, saving them for when they are needed! Watching this makes me want to get up and join in. Probably unwise as getting out of a chair becomes more difficult with the passing years, let alone getting off the floor. I can do the arms... 😏

 

 

 

 

Edited May 2, 2023 by Ondine

[OnePigeon]

8 hours ago, Fonty said:

I do find it very depressing that the chassé seems to be vanishing.  As @alison says, it is not exactly a difficult step.  I don't know if there is a specific thread for the Cecchetti method?  I would be interested to know why something that teaches the very essence of ballet imo is apparently no longer used much?  I asked the question before, and I assume nobody knows the answer as to why such basic moves are now being disregarded.  What exactly do dancers do in classes now?  

How can they not dance the chasse any more?  I had no idea.  I learned under the Imperial syllabus and did many a chasse in my time and my lessons definitely had a lot of Cecchetti influence. I wonder if it is due to current ISTD/RAD syllabuses removing the chasse, or different training schools who don’t teach it which are responsible for the change. I suspect, as Ondine suggested, it is still taught but not used by ballet companies as a short cut to more bravura steps.
 

It definitely does negatively impact how Ashton is danced and the dancers will not feel comfortable with his style as they will have a whole other balletic vocabulary.  As wonderful and competent as they are, if it’s not instilled from early on it will probably never sit right with them - it won’t be in their bones.  I wonder if I am so drawn to Ashton, in part, because his steps and style seems so familiar to how I learned; when I see Ashton danced it’s how I feel I want to move to the music.

[Fonty]

 Maybe just call it "Cecchetti and the impact on Ashton's ballets" or something like that?  And keep it in this forum, rather than in the Doing Dance one?  Edited to add I don't look at the Doing Dance one that often, as it is usually full of stuff about classes for children.  Absolutely nothing wrong with that, I hasten to add, but as I don't have any children and don't go to classes myself at the moment, I don't think I will find anything that will be of interest to me.  

Edited May 2, 2023 by Fonty

[Ondine]

I feel rather guilty, I didn't mean to hijack the thread,  the Cecchetti discussion grew organically from the original one as I explained above!  It is connected to the retirement of course but in a different way.

[Fonty]

1 minute ago, Ondine said:

I feel rather guilty, I didn't mean to hijack the thread,  the Cecchetti discussion grew organically from the original one as I explained above!  It is connected to the retirement of course but in a different way.

 It is a very interesting discussion.  

[alison]

Don't worry, ondine, you didn't hijack the thread - it was a perfectly understandable digression. We've had far worse cases of hijacking!

[Ondine]

Another connected retirement is that of Lesley Collier from her coaching role at the Royal Ballet. though I think she's still doing a little it's not as full on as it was.

 

I'm assuming Laura Morera is taking over a certain amount of that.

 

Collier of course worked with Ashton and also has Cecchetti connections which many people won't know about!

 

I'll post this here, which explains some of it.

 

https://cicb.org/the-cecchetti-centre-london-england/?v=893f26889d1e

 

And hands up how many of you knew that the new and revised edition of the 'Cecchetti Manual' 1977 £5 featured photographs illustrating aspects of the work instead of the line drawings of the original?  And who was in those photos? Lesley Collier (and Mark Silver).

 

Also (2022)

 

The afternoon finished with a very special lecture demonstration. With the kind permission of Kevin O’Hare, Director of the Royal Ballet, Lesley Collier CBE coached company dancers Leticia Dias and Calvin Richardson in the pas de deux from Frederick Ashton’s Rhapsody, with Philip Gammon accompanying. The work was created in 1984 by Ashton for Lesley Collier and Mikhail Baryshnikov for a Gala to mark Queen Elizabeth, the Queen Mother’s 80th Birthday. Philip Gammon as Royal Ballet Company pianist accompanied the first performance. The lecture demonstration was a wonderful opportunity to see how a ballet is passed down from one generation to the next with such care and detail, and to hear how Ashton used his dancers and music in the creative process and how he incorporated Cecchetti style and qualities in his work. A memorable end to a very special day. 

 

More here.

 

https://www.cecchettisocietytrust.org/cecchetti-day-2022

 

 

 

 

 

Edited May 2, 2023 by Ondine

[Ondine]

This seems as good a place as any to add this!  Yes it's Laura Morera connected.  Yes it's open to all who can get a ticket. And there will be cake. Also, fizz.

 

https://www.cecchettisocietytrust.org/from-studio-to-stage

 

All details, links and booking via that link

 

The Cecchetti Society Trust Presents
From Studio to Stage

From Studio to Stage
Sunday 14th May 2023
The Royal Ballet School, Covent Garden

The Cecchetti Society Trustees cordially invite you to attend From Studio to Stage on 14th May 2023 at The Royal Ballet School, Covent Garden - 13.15 - 17.30 . The afternoon will showcase some of the work the Trust supports, including performances by the Cecchetti Scholars and the 2023 Vocational Award and Scholarship winners. There will also be the opportunity to socialise with colleagues and guests over afternoon tea.

We are delighted to be joined by our Trust Patron, Dame Monica Mason who will be introducing Laura Morera, Principal of The Royal Ballet coaching the Spring and Summer Fairy Variations from the company’s new production of Frederick Ashton’s Cinderella.

 

Also

To conclude the programme we are very pleased to welcome dance writer and author Gerald Dowler, in conversation with Brandon Lawrence, Principal, Birmingham Royal Ballet. Brandon will be sharing his experieniences from studio to stage, before he takes up his new role next season as Principal with Ballett Zürich