RB Sleeping Beauty - May/June 2023

[San Perregrino]

11 minutes ago, capybara said:

 

@art_enthusiast - are you implying that it’s OK to adapt the choreography to suit the capacity of an individual dancer?

I’ve seen several performances during this run of Sleeping Beauty. There have been differences in the choreography performed by both male and female dancers in diverse roles. (The same for the recent run of Cinderella.)

Whether these variations have been worked out with the coaches in rehearsal or are as a result of conditions ‘in the moment’, I cannot say. I accept that choreography is a living art and so it can happen that it is adapted to suit the capacity of an individual dancer.
What I can say is that none of the variations in choreography have detracted from the overall performance. Similarly imho it would be very hard to identify said variations if one was unfamiliar with the production and/or choreography.

[Lizbie1]

Can someone please explain what we're talking about?

[Ondine]

Rather like those 32 fouettes in Swan Lake, where dancers such as  Anna Pavlova, Alexandra Danilova, Alicia Markova, Maya Plisetskaya apparently did alternative steps?

 

 

 

[LinMM]

I believe sometimes dancers do a bit of adapting of certain steps to accommodate minor injuries at times. 
Fonteyn in her very advanced age changed from doing the 32 fouettés in second Act Swan Lake to very fast pose turns ( and they were very fast still!) 

People still wanted to see her dance though. Her vision scene in Sleeping Beauty was one of the very best even then! 
I suppose it’s a bit of a fine line on just how much to change choreography if there are problems but as long as the overall performance is in line with the role then it’s not going to be too noticeable. 
Interpretation of a role is a different matter and more up to individual dancers. I haven’t seen Osipova in this run but she always has interesting takes …a very animated “in the moment” dancer which I very much enjoy …even though her classical line is not as pure as some she still brings great dynamics to the steps and is always fully present in her dancing. 


 

[San Perregrino]

36 minutes ago, PeterS said:

There have been differences in the choreography performed by both male and female dancers in diverse roles. (The same for the recent run of Cinderella.)

Quoting myself to say that, in addition to the ‘principal roles’, a friend of mine has pointed out to me variations in the way both the Jester was danced in Cinderella and Bluebird in Sleeping Beauty. Perhaps the basic steps have been embellished or some were missed. I couldn’t say. 

[Timmie]

14 minutes ago, LinMM said:

…a very animated “in the moment” dancer which I very much enjoy …even though her classical line is not as pure as some she still brings great dynamics to the steps and is always fully present in her dancing. 

 

This, exactly.

 

I was also at last night’s performance and knew something was different, but not familiar enough with the choreography to know what precisely. I just know I enjoyed it immensely. Her in-the-momentness just makes it pure joy to watch.

[Ondine]

45 minutes ago, LinMM said:

Fonteyn in her very advanced age changed from doing the 32 fouettés in second Act Swan Lake to very fast pose turns ( and they were very fast still!) 

 

I believe she had a chronic knee injury, towards the end of her dancing career.  She did the fouettes for many years.

 

Personally, I think they have become overrated and a circus act at times, with the audience whooping and clapping and cheering, rather like the balances in SB. The 'will she won't she' aspects of this don't always make for happy viewing. I dislike that a small mishap and that's all anyone can talk about, no matter how wonderful the rest of the performance and how beautifully danced all the other steps are.

 

In Nutcracker Sugar Plum Fairy, not many dancers actually perform the gargouillades 'properly' but I don't see mass outrage. 

 

Edited May 23, 2023 by Ondine

[art_enthusiast]

2 hours ago, capybara said:

@art_enthusiast - are you implying that it’s OK to adapt the choreography to suit the capacity of an individual dancer?

 

I'm not implying that it's OK to adapt choreography all the time, on pure whim. What I am saying is that these are consummate professionals who are clearly well aware of their strengths and limitations. Bearing in mind that Osipova was ill last week. She might still be slightly ill or tired, we as the audience aren't privy to this information. This is an extremely taxing role to perform even at optimum health.

 

If something can't be done properly in that moment, it's better to adapt the choreography slightly to avoid any on-stage mishaps. (Swan Lake is a good example - if the fouettés present a problem, it's better for the dancer to choose an alternative that they can finish cleanly with no issues).

 

And I agree with what @PeterS said - none of the variations in choreography have detracted from the overall performance, in my opinion. It certainly did not last night. I'm very familiar with this choreography, I've seen it multiple times this year with Nunez/Kaneko/Lamb/Hayward/Magri/O'Sullivan, I knew there were differences. The Prince's solo has also been changed a few times too. The impact doesn't necessarily have to be a negative one.

[alison]

6 hours ago, JohnS said:

Many thanks @Rob S - what a fabulous ‘Welcome back’ for Olivia Cowley.

 

Unfortunately, it doesn't look as though I shall get to see her after all: having failed to get a ticket for last night's Osipova cast, I see that Cowley moves to the matinee cast on Monday - always assuming I can find a ticket for Monday evening, anyway.

[Sim]

1 hour ago, art_enthusiast said:

 

If something can't be done properly in that moment, it's better to adapt the choreography slightly to avoid any on-stage mishaps. (Swan Lake is a good example - if the fouettés present a problem, it's better for the dancer to choose an alternative that they can finish cleanly with no issues).

 

Which Osipova actually did quite recently in the new Swan Lake. She was recovering from a knee injury so instead of the fouettes she did rapid-fire maneges around the stage.  That was also impressive.  

[Jan McNulty]

2 hours ago, Ondine said:

 

I believe she had a chronic knee injury, towards the end of her dancing career.  She did the fouettes for many years.

 

Personally, I think they have become overrated and a circus act at times, with the audience whooping and clapping and cheering, rather like the balances in SB. The 'will she won't she' aspects of this don't always make for happy viewing. I dislike that a small mishap and that's all anyone can talk about, no matter how wonderful the rest of the performance and how beautifully danced all the other steps are.

 

In Nutcracker Sugar Plum Fairy, not many dancers actually perform the gargouillades 'properly' but I don't see mass outrage. 

 

 

You have absolutely encapsulated my feelings about fouettés.

[Lizbie1]

22 minutes ago, Sim said:

Which Osipova actually did quite recently in the new Swan Lake. She was recovering from a knee injury so instead of the fouettes she did rapid-fire maneges around the stage.  That was also impressive.  

 

I actually preferred her manèges to most dancers' fouettés.

[capybara]

35 minutes ago, Lizbie1 said:

 

I actually preferred her manèges to most dancers' fouettés.

 

'Replacing' the Swan Lake fouettés with  manèges is common among Bolshoi dancers. I recall, especially, Bessmertnova and Semenyaka (and, I think, Alexandrova) circling the stage at great speed.

But this is a Sleeping Beauty thread ..........

[Dawnstar]

I saw this because ENB tweeted a link to the Twitter thread but as several tweets refer to the RB's SB production I hope this is on topic enough to go in this thread, as there's no current ENB SB thread. I am a bit confused by the fifth tweet referring to a Royal Opera House 2009 production, as the current production has been used since 2006. Does anyone know if the 2009 production referred to is an error of date or an error of company or what?

 

 

[Scheherezade]

14 hours ago, art_enthusiast said:

I very much appreciate Osipova’s unique style, characterisation and how she changes things in certain areas. I like seeing diversity in interpretations. It would be dull if every performance of this ballet was exactly the same.

 

 

 

On this, and the various subsequent replies as to variations in choreography, although Osipova is not my first choice for purely classical roles, I wholly agree that it would be dull if every performance was exactly the same and different interpretations and characterisations can be extremely invigorating.

 

Hayward, too, is not my 'go to' for classical roles but both she and Osipova, albeit in different ways, bring something unique to their performances (as has been mentioned, that 'in the moment' thing with Osipova, and an unforced natural quality with Hayward) and both have a way of engaging with the audience that seems very much to come from within.

[LinMM]

The Royal Opera House has just put a clip up of Hayward and Bracewell in Dances at a Gathering from the last run and to my mind these two show wonderfully in this Piece the sheer joy of dancing. 
I was lucky enough to see them twice in this last time. 
Anyway better get back to Sleeping Beauty ….there is the cinema stream tomorrow which unfortunately can’t get to this time but one of the near perfect casts just about if you want to see perfect classical form. 

Edited May 23, 2023 by LinMM

[JennyTaylor]

"Bearing in mind that Osipova was ill last week. She might still be slightly ill or tired, we as the audience aren't privy to this information. This is an extremely taxing role to perform even at optimum health."

 

OK, as I was the person to start this particular thread, I will come clean. I was very disappointed in what I saw last night and really did wonder if Osipova was in the best of health as the performance seemed underpowered and a bit hesitant to me. I don't mind changes in choreography and that wasn't why I commented. I had expected a full throttled, energetic performance but I didn't feel I saw that. 

 

I can see that other Forum members really enjoyed it, so all down to personal taste and impression once more.   

[Ondine]

49 minutes ago, LinMM said:

The Royal Opera House has just put a clip up of Hayward and Bracewell in Dances at a Gathering from the last run

 

Yes, it was put on Twitter and I can't stop watching it, and humming along and 'doing the arms'. Gorgeous. I love that ballet.

 

Though nothing to do with SB May & June run as you say,  & I was told off earlier in this thread for posting vintage SB tutus (Margot Fonteyn's frilly gussett takes some beating though) so here's Carabosse's goth carriage to get us back on track (sorry).

 

I can't decide if I like this or Cinderella's buttoned padded pumpkin the best.

 

 

[theorist]

4 hours ago, JennyTaylor said:

"Bearing in mind that Osipova was ill last week. She might still be slightly ill or tired, we as the audience aren't privy to this information. This is an extremely taxing role to perform even at optimum health."

 

OK, as I was the person to start this particular thread, I will come clean. I was very disappointed in what I saw last night and really did wonder if Osipova was in the best of health as the performance seemed underpowered and a bit hesitant to me. I don't mind changes in choreography and that wasn't why I commented. I had expected a full throttled, energetic performance but I didn't feel I saw that. 

 

I can see that other Forum members really enjoyed it, so all down to personal taste and impression once more.   

This conforms to my impression of last night's performance by Osipova. I was sitting closer than I usually do to the stage (Stalls Row E) and from there her performance came across at times as a sort of triumph of will. She was very evidently nervous during the Rose Adage. I was also struck later on by a larger than usual number of alterations to the choreography I am familiar with. (I'm not referring to the variations and codas, where alterations to suit individual dancers are relatively common, but to the main pas de deux.) I'm used to the fact that she's an idiosyncratic dancer, and in some roles that's what makes her so watchable. But in the classics the scope for idiosyncracy is inevitably more limited.

Elsewhere on stage there was much to enjoy. I loved Olivia Cowley's facial gestures as Carabosse, although I'd be interested to know how many of them carried to the Amphi. And Mullova-Barley lit up the stage as the Lilac Fairy.

[Linnzi5]

6 hours ago, LinMM said:

The Royal Opera House has just put a clip up of Hayward and Bracewell in Dances at a Gathering from the last run and to my mind these two show wonderfully in this Piece the sheer joy of dancing. 
I was lucky enough to see them twice in this last time. 
Anyway better get back to Sleeping Beauty ….there is the cinema stream tomorrow which unfortunately can’t get to this time but one of the near perfect casts just about if you want to see perfect classical form. 

I have watched this so many times on the ROH stream that I've lost count. It's exquisite.

 

I am very much looking forward to Sleeping Beauty tomorrow! We're taking my elderly mum to the cinema relay, so I'm really hoping she enjoys it. She hasn't been to ROH for several years now (mobility too poor) and this will be the first cinema relay she's seen. I'm crossing my fingers it all goes smoothly!

[LinMM]

I hope you both have a lovely time ….these cinema relays do allow you to get a closer view of the dancers which is great. 
 

I’ve just remembered I saw the cinema relay of Dances at a Gathering too so think I saw the Hayward Bracewell cast three times altogether  But not sure if the cinema that night was a livestream or not🤔 

 

[Linnzi5]

1 minute ago, LinMM said:

I hope you both have a lovely time ….these cinema relays do allow you to get a closer view of the dancers which is great. 
 

I’ve just remembered I saw the cinema relay of Dances at a Gathering too so think I saw the Hayward Bracewell cast three times altogether  But not sure if the cinema that night was a livestream or not🤔 

 

I agree the cinema relays give excellent close-ups, sometimes to advantage and sometimes not. I thought Swan Lake was excellent at the live relay but didn't feel it translated as well for Cinderella - preferred ROH  live performance I saw by far, for example. I'm hoping Sleeping Beauty will give a good balance of close-ups and longer shots. I am also looking forward to the information and snippets before the performance and in the intervals.

 

Lucky you on seeing Hayward/Bracewell so many times! I love all of the ballet/ performances and dancers in that recording. I also have to say Rob Clark is just sublime on the piano.

[Rob S]

Is tonight's cinema screening going to be of tonight's performance (rather than the same cast last week that was filmed) or does the ROH website no longer warn in advance that the there is filming?

[Paco]

16 hours ago, JennyTaylor said:

"Bearing in mind that Osipova was ill last week. She might still be slightly ill or tired, we as the audience aren't privy to this information. This is an extremely taxing role to perform even at optimum health."

 

OK, as I was the person to start this particular thread, I will come clean. I was very disappointed in what I saw last night and really did wonder if Osipova was in the best of health as the performance seemed underpowered and a bit hesitant to me. I don't mind changes in choreography and that wasn't why I commented. I had expected a full throttled, energetic performance but I didn't feel I saw that. 

 

I can see that other Forum members really enjoyed it, so all down to personal taste and impression once more.   

Hello, this is my first contribution to this forum. I mostly write on the French Dansomanie forum, where I post reviews (in French) of Royal Ballet and ENB performances, but I am a daily reader of BalletCoForum and its fantastic community. I am a fan of the Royal Ballet, which is for me, by far, the diamond of all European ballet companies.

I decide to intervene here, because indeed there are rational reasons that can explain your feeling, JennyTaylor, regarding Osipova’s Aurora. It is not only a question of taste. I don’t know if Monday’s evening was your first experience of Osipova performances, but if I had to advise, I would never start an Osipova’s experience with Aurora. Start with Odette/Odile, Giselle, Juliet, Kitri, Tatiana, a Month in the country, even Sylvia, ... THEN, at the end try her Aurora.

Because her Aurora is something so special, extremely different from traditional interpretations and, actually, a character that Ms Osipova is still trying to shape. In Giselle, Odette etc., Osipova also has a strongly personal and continuously evolving approach of the characters, totally unreachable by more “traditional” ballerinas. But Aurora is a very special milestone in her dancing life. I am a fan of Natalia Osipova, but frankly it took me many years before understanding what she was trying to do in Sleeping Beauty. And it is only now that I really appreciate her interpretation of this ballet.

You are right in your feeling about “hesitations”: Yes! There have been hesitations on Monday, even in her last act’s variation. You are right to mention the lack of “energy”. Yes, Ms Osipova’s Aurora is full of Russian spleen, melancholy. But hesitations and melancholy had nothing to do with health. In Aurora, Natalia Osipova has always been in a “Research” mood, and yesterday she was still in that mood. Looking for building something very complex with the character.

Ms Osipova’s relationship with Aurora has always been complex. The first time I saw her in that character, it was ten years ago, in a gala where she was playing the Act III Pas de Deux. It was a disaster. Obviously, she was not ready (whereas at that time she was already an amazing Giselle). Then, if I remember well, she was due to dance Aurora for her first appearance as RB Principal, 9 years from now. She cancelled, not ready… Then at last I could see her some years ago, in one of RB revivals of SB. And what a shock for me! At that time, she was already a brilliant diamond star of the company, having made audiences – and me- totally mad for her Odette/Odile, Kitri, Giselle, Juliet, Manon, Marguerite, Anastasia… But her Aurora was sooo special and confusing!

Since then, Ms Osipova has continuously renewed her interpretation of the character, as she does for all characters (even her last Giselle had nothing similar to the first one she did at the RB). However, there is a continuity in her approach: her Aurora is absolutely NOT the little, innocent girl of the tradition. She might be at Act one (which, frankly, has never been Osipova’s best compared to the queens of “équilibres” Nunez, Lamb, Naghdi, or abroad Gilbert, Zakharova or Manni). But even in Act I Ms Osipova assumes that Aurora is not any more a child, she is already an adult. This is visible in her behaviour towards the 4 princes in the Adage: she completely assumes her position as a princess, a woman-princess, not a girly princess trying to play a Disney movie.

Then, beginning Act II Ms Osipova makes a clear comparison with Odette: Like the swan, she is in a bewitched prison. She cries, she is totally distressed and calls for help. This was so obvious in her expressionist face, arms and fingers last Monday (exactly the arms movements of the swan in Act I of Swan Lake, absolutely amazing parallel…). And this is so coherent with the dramatic, extremely romantic music in the orchestra at that moment of the piece. Her Act II is not gentle, nor dreamy: It is the passion of a distressed princess. For Ms Osipova, Carabosse is Rothbart!

And she is an adult in her mind. This detail is also really perceivable in Act III: The Pas de Deux is a Pas de Deux of a mature woman, an adult, not a young girl. As if, in the conception of Ms Osipova, 100 years of sleep would not mean that once awaken you were the same person like at the beginning. Obviously, she considers Aurora as a woman. And this is very different from all the Auroras I have been seeing.

Then comes her solo variation, and this has never been her best (like Act I “équilibres”), except at last revival three years ago, where she was really convincing. I guess her problem here is that the music and choreography do not really match with the adult Aurora: with the violin glissandi, they allude more to a kind of girly play. On Monday it was visible on her face that she was… “hesitating”, as you say (and you are 100% right in that feeling!). She was obviously “searching” for something with her arms and legs, that would reflect her vision of Aurora at that moment.

However, her technic and maturity are so brilliant that those “hesitations” were really not disturbing, chiefly when thinking about the extremely deep, thoughtful, original and engaged interpretation of the whole character. And remind the amazing several “porté-poissons” of the Pas de Deux, so smoothly and easily realized that one would never feel how difficult this figure is…!!! (even the outstanding Nunez-Muntagirov do not realize them so smoothly, sweetly, effortless). It was all music and poetry, not technic.

So, globally Natalia Osipova’s Aurora is not a fire of energy, you are right. It is full of spleen, melancholy, romanticism. For Osipova, the climax of the piece is Act II, where Tchaikovski’s music is so deep and moving.

But all this would not have been possible without the wonderful partnership of Reece Clarke. For many years Kevin O’Hare has been trying to find a suitable partner to Natalia Osipova. All were very good because extremely reliable (Bonelli, Muntagirov, Ball…). Sometimes more than reliable because they had been Osipova’s dancing partners in a former life, allowing alchemy (Shklyarov, Hallberg). Then early 2020 came the genial decision: Reece Clarke. Mr O’Hare did have the right intuition.

Because Mr Clarke’s approach of dance is very similar to Osipova’s: In addition to a robust technic (powerful jumps, virtuosity, elegance…) and reliable partner, he is always questioning the characters, always trying to find something new. He is probably the one of the RB Principals who has the better understood Natalia Osipova way of interpretating and dancing classical ballet. I always see, in his face on stage, to what extent he is prepared to adapt to Osipova’s spontaneous decision to adopt this or that behaviour for the character, which could sometimes be the exact opposite of what it was during the last rehearsal…

This marvellous partnership also allows to realize those poetic, smooth “porté-poissons” of Act III. Have a look at Mr Clarke’s Instagram, where yesterday he posted a photo of one of those porté-poissons: so effortless, so smooth!

Globally, whereas in Giselle, Swan Lake, Manon etc. Ms Osipova has now fixed her vision of the characters, changing only details at each revival, her Aurora is still a “work in progress” and a kind of research laboratory. Personally, I love it and Monday was a very exciting performance, but I can really understand that Aurora is not the role where one should see Natalia Osipova for the first time of its life. Too peculiar, still too much questioning. But sooo, sooo deep and moving! – And once again, thanks to her fabulous partner Mr Clarke!

[Benjamin]

1 minute ago, Rob S said:

Is tonight's cinema screening going to be of tonight's performance (rather than the same cast last week that was filmed) or does the ROH website no longer warn in advance that the there is filming?

I think it would have to be live? On the website it says: The Sleeping Beauty, Live: Wednesday 24 May.

[LinMM]

In that particular run all the dancers were terrific ….the only time Nunez has brought me to tears for the sheer beauty of one of her pas de deux. But really loved Hayward and Bracewell together  they both use their upper backs and heads so well. Bracewell generally outstanding in this role. I also enjoyed Morera very much in the Green girl role in that run. 
But Dances at a Gathering  is one of my truly favourite ballets stretching back to when first performed with Nureyev and Dowell and Seymour et al!! ….so I am just a bit biassed! 

I originally had a seat in the Balcony at ROH booked to see tonight’s Beauty but had to cancel for various reasons mainly because have to be in Brighton early tomorrow morning (it didn’t stay back on sale for long though I noticed) 

Then I was going to go to the cinema relay instead with a group of Saturday ballet friends but can’t go now as is only day can meet up with another friend before has to have an operation so naturally takes priority. So not to be for me but I’m sure this will be one of those definitive Beauty’s though can’t complain at all as have already seen Fumi at least ❤️

[Rob S]

9 minutes ago, Benjamin said:

I think it would have to be live? On the website it says: The Sleeping Beauty, Live: Wednesday 24 May.

 

Oh ok....they've stopped saying that it's filmed on the booking dates page then.

[Jan McNulty]

Hello @Paco and welcome to the Forum!

[Ondine]

31 minutes ago, Rob S said:

Is tonight's cinema screening going to be of tonight's performance (rather than the same cast last week that was filmed) or does the ROH website no longer warn in advance that the there is filming?

 

Live relay, I think filmed last week in case of disaster.

 

Then I understand cinemas 'download' the live relay while it is happening to show as 'encores'.

 

 

[Benjamin]

5 minutes ago, Ondine said:

 

Live relay, I think filmed last week in case of disaster.

 

Then I understand cinemas 'download' the live relay while it is happening to show as 'encores'.

 

 

Do you mean the recording they are using was from last week or it was additional footage or footage in case tonight’s performance was canceled or something?

[Benjamin]

Already a video on ROH’s YouTube Channel about why The Royal Ballet thinks The Sleeping Beauty is a classic.

Edited May 24, 2023 by Benjamin

[bridiem]

38 minutes ago, Paco said:

Because Mr Clarke’s approach of dance is very similar to Osipova’s: In addition to a robust technic (powerful jumps, virtuosity, elegance…) and reliable partner, he is always questioning the characters, always trying to find something new. He is probably the one of the RB Principals who has the better understood Natalia Osipova way of interpretating and dancing classical ballet. I always see, in his face on stage, to what extent he is prepared to adapt to Osipova’s spontaneous decision to adopt this or that behaviour for the character, which could sometimes be the exact opposite of what it was during the last rehearsal…

 

I agree that Clarke is good at dealing with Osipova's unpredictability, which I'm sure is why she likes to be partnered by him. He sets her free. But I don't feel that he does it by trying to find something new himself in response to her; my sense is rather that he enables Osipova to shine by largely effacing himself. Which is, I think, a shame.

[Ondine]

24 minutes ago, Benjamin said:

Do you mean the recording they are using was from last week or it was additional footage or footage in case tonight’s performance was canceled or something?

 

Tonight will be a live broadcast from the ROH as it happens. That includes live presenters, though spliced with that will be some film (interviews, explanations etc) which form part of the relay, before the performance and during intervals. Those films are normally put on the ROH YT channel FB etc.

 

There is a film made in advance in case the live broadcast goes t*ts up, in which case cinema patrons the world over will be offered a refund or a fresh ticket to see the film made last week (same cast as tonight, unless there are injuries).

 

I don't know which is used for the cinemas in other countries where there can be delays of weeks, but I suspect it's a recording of the live broadcast (tonight).

 

The 'encore' which happens in some cinemas (probably next Sunday, so look out for that if you can't make tonight) will be an 'encore' of tonight's live relay. Each cinema will 'download' tonight's performance.

 

This is how some very bad and extremely naughty people manage to put the cine relay recordings out on YouTube, until the ROH has them removed under copyright claims! They have friends in projection boxes who record.

 

Cinderella was there on YT for weeks, the entire thing, Darcey Bussell intros, intervals and all.  Gone now apart from a small clip. This is VERY BAD and we should not encourage this or watch. No. Not at all. Never.