Australian Ballet - Royal Opera House, 2-6 August 2023

[Sophoife]

50 minutes ago, Dawnstar said:

 

That reminds me, does anyone know who the man who came to join the dancers on stage for the curtain call of Rubies was?

 

As @MAB suggests, it was the pianist, Andrew Dunlop. I wasn't there 😂😭 but from Instagram it's clear that's who it was. 

[Dawnstar]

Thanks. I hadn't realised there was a solo pianist so didn't twig that. I realised it couldn't, as happens for some modern works, be the choreographer!

[Sim]

2 hours ago, MAB said:

I assume it was the pianist.

Yes it was.  

[art_enthusiast]

Such an ethereal (Emeralds), dynamic (Rubies), stupendous (Diamonds) performance this evening. This was my first time seeing Jewels in full and I loved every minute of it.

 

Also my first time seeing the Australian Ballet live and they certainly are incredible!

Diamonds has even more of an impact when seen after the other two acts. I felt  extremely emotional towards the end for some reason - which I didn’t feel as much after the RB one last year.

 

Definitely has me craving more Balanchine! Really looking forward to ENB’s Theme and Variations.

[Rob S]

 

 

 

 

 

 

 

 

Edited August 4, 2023 by Rob S

[Bruce Wall]

Best combos so far this evening in TAB's fervid performance of Balanchine's triumphant Jewels.  Bless Sandra Jennings for having curated so effectively on behalf of the Trust.  Her work here speaks for itself.  Once again Marcus Morelli charmed radiantly in the Emeralds PDT - how I wish I could see him do it again - but I was propelled to write now because of the dazzling enticement that was Yuumi Yamada's take on the second woman's PDT solo following his own.  It defined soulfulness.  She more than sparkled; she coruscated through the stealth of her grace-filled glint.  To add to this rapture the euphoric flicker of Benedicte Bernet's sweetly dominant Diana in tonight's Diamonds added lustre to the ROH's historic gleam.  This diminutive powerhouse appeared to gently stretch its very dimensions.   Here one didn't require the skilled artifice of the recent RB  Cinderella's lit circle rounds.  No, sir - 'Why?', you ask.  Simple.  This ballerina didn't just glitter; she blazed.  Everyone present was enveloped in the heat of her heart.   Its reflective bliss practically blistered in euphoric communion.  It was more than a delight to witness; it was a privilege.  

 

 

 

 

 

Edited August 4, 2023 by Bruce Wall

[Missfrankiecat]

On 03/08/2023 at 19:56, Dawnstar said:

I thought a couple of the soloists in Emeralds reappeared in Diamonds so it's nice to have that confirmed.

 

By the way, I'd be interested to hear from anyone going tonight if the running time manages to be anywhere near the 2h17 given on the cast sheet. Last night it finished over 20 minutes late.

I didn't check my watch at end time but it started 9 minutes late and the intervals were the full 25 each so I'm guessing not.

[bridiem]

Wonderful and illuminating review from Helen Hawkins/Arts Desk in today's Links.

[Sim]

Just now, bridiem said:

Wonderful and illuminating review from Helen Hawkins/Arts Desk in today's Links.

Yes….although she refers to the great Edward Villella as Edward Villa!   Aside from that, lovely review.  

[zxDaveM]

8 hours ago, Missfrankiecat said:

I didn't check my watch at end time but it started 9 minutes late and the intervals were the full 25 each so I'm guessing not.

 

It was just gone 10pm when the curtain calls started, so I had to dash for the train. Adding up the times of each peice and the intervals, it should be timed at 2hr 25mins, and had they started on time, I wouldn't have needed to leave during the curtain calls

[Rob S]

Timings seemed to be all over the place last night....the 'show starts in ten minutes' announcement was made at 1916 although it didn't start until after 1935? The 10 minute bells were being rung far earlier than the announcement and the foyer was empty by the time the 5 minute announcement was made

[zxDaveM]

Start was nearer 19.38 Rob S (I just happened to glance at my watch) - and we'd all been in our seats/standing spots for what seemed like an age before Diamonds.

Still, I really enjoyed the performances last night - much more than I did Wednesday evening. Just wish I hadn't had to dash at the end

[Shade]

I was with a non ballet going friend Friday evening and we both thoroughly enjoyed the performance. I think Jewels is a good ballet for an infrequent attender as it offers three different styles and music (terrific yesterday).

Diamonds is my personal favourite but not sure about my friend. She was surprised at the difference between Emeralds and Rubies.

Curtain down at 10.00 despite late start meant we had to dash for trains. At least the weather was better yesterday!

[Sophoife]

3 hours ago, Sim said:

Yes….although she refers to the great Edward Villella as Edward Villa!   Aside from that, lovely review.  

 

"Isabolle" Dashwood anyone? 😳 Someone had Roberto in the back of their mind 🤣

[Dawnstar]

Hearing how the performances are still running significantly late is making me twitchy about tomorrow's supposed 2h22 running time, especially as being a Sunday I only have 1 train an hour.

[alison]

3 hours ago, Rob S said:

Timings seemed to be all over the place last night....the 'show starts in ten minutes' announcement was made at 1916 although it didn't start until after 1935? The 10 minute bells were being rung far earlier than the announcement and the foyer was empty by the time the 5 minute announcement was made

 

I understand that with one escalator out of action the bells are being rung earlier to give people more time to get back to their seats. Doesn't explain why I haven't heard specific five and ten minutes recently, though.

[Sophoife]

15 minutes ago, Dawnstar said:

Hearing how the performances are still running significantly late is making me twitchy about tomorrow's supposed 2h22 running time, especially as being a Sunday I only have 1 train an hour.

 

It's a matinée and you'll be able to watch the end of the men's road race while waiting for the train 😉

[Dawnstar]

4 minutes ago, Sophoife said:

It's a matinée and you'll be able to watch the end of the men's road race while waiting for the train 😉

 

I certainly don't have enough data allowance to try to watch an eight hour video on my phone!

[bridiem]

14 minutes ago, alison said:

I understand that with one escalator out of action the bells are being rung earlier to give people more time to get back to their seats. Doesn't explain why I haven't heard specific five and ten minutes recently, though.

 

I abandoned my attempt to come down to the Floral Hall when I realised the escalator was still in up only mode in the intervals. But I didn't notice the bells/announcements at all.

[Silke H]

15 hours ago, Missfrankiecat said:

I didn't check my watch at end time but it started 9 minutes late and the intervals were the full 25 each so I'm guessing not.

ROH website run-time has been updated to 2 hrs 25 mins

[MJW]

Despite the inclement weather and train strikes. I spent a very pleasant afternoon at this afternoon's matinee of Jewels. I have only seen Diamonds before (performed last year as part of the Diamond Celebration). 

 

Diamonds is certainly the strongest of the three pieces followed by Rubies (which is jolly good fun and clearly enjoyed by the dancers) and then Emeralds which I found rather slow - possibly not helped by the music by Fauré which was very unmemorable.

 

How lovely to see the Australian Ballet on stage at Covent Garden and let us hope they will be back soon especially if the Russian companies are unlikely to be visiting in the near future.

 

Diamonds - https://www.instagram.com/p/CvkiaLmIcAg/

Rubies - https://www.instagram.com/p/CvkmQCnocyk/

Emeralds - https://www.instagram.com/p/CvknisloPIT/

 

Rather a long wait now until October !

 

[Emeralds]

On 03/08/2023 at 16:27, annamk said:

But did they all come to London ?

I believe 6 of the dancers stayed back to dance on their National Tour, with senior students, sort of like the equivalent of BRB2 or NDT2- Lilla Harvey, Samara Merrick, Hugo Dumapit, Cameron Holmes, Maxim Zenin, and I’m afraid I didn’t see them say who the sixth dancer was (info from their FB page). Robyn Hendricks and Amber Scott haven’t come on the trip- Hendricks has just had a baby, and I don’t know about Scott. There could be others who haven’t come either. 

[Silke H]

cast sheet for tomorrow's gala is up on the ROH website

 

ROH - TAB Gala cast sheet Sunday 06-08-2023

[Sophoife]

3 hours ago, Emeralds said:

I believe 6 of the dancers stayed back to dance on their National Tour, with senior students, sort of like the equivalent of BRB2 or NDT2- Lilla Harvey, Samara Merrick, Hugo Dumapit, Cameron Holmes, Maxim Zenin, and I’m afraid I didn’t see them say who the sixth dancer was (info from their FB page). Robyn Hendricks and Amber Scott haven’t come on the trip- Hendricks has just had a baby, and I don’t know about Scott. There could be others who haven’t come either. 

 

National is pushing it 😉 it's a Regional Tour, country Victoria and NSW only this year, and I went to company class here where I live yesterday, which was taught by Steven Heathcote. There was a 3yo in front of me, enthusiastically but silently conducting the pianist...in time! She was brilliant.

 

I do love what used to be called Dancers' Company, such a good chance to spot potential stars of the future (Callum Linnane, O'Neill, Benedicte Bemet...).

 

Traditionally it's the graduating year from the ABS with guests from the main company. Occasionally with injury or lack of numbers level 7s will tour as well, Hannah O'Neill was one such.

 

The corps dancers on the tour, getting invaluable experience in roles they would not normally yet be considered for, are Sara Andrlon, Lilla Harvey, Samara Merrick, Hugo Dumapit, Cameron Holmes and Maxim Zenin.

 

Harvey is this year's Rising Star Award winner, Isobelle Dashwood the People's Choice. Holmes spent much of 2022 in the Australian company of An American in Paris as Jerry (after Robbie Fairchild), and Zenin is ex-Mariinsky and has beautiful upper body lines.

 

Grace Carroll who was never not going to London is the beautiful publicity image - typical of a company that once released a DVD with cover photos featuring dancers not actually on the DVD 😂

 

Of the current company principals, as @Emeralds says, neither Robyn Hendricks nor Amber Scott is in London. I think soloist Ingrid Gow may still be on maternity leave too. Otherwise all the dancers at soloist, senior artist and principal rank are there. Coryphée and corps I'm pretty sure are all there apart from the six on Regional Tour.

 

[capybara]

9 hours ago, Silke H said:

cast sheet for tomorrow's gala is up on the ROH website

 

ROH - TAB Gala cast sheet Sunday 06-08-2023

 

Unfortunately, unprintable for me in that format.

[Bluebird]

30 minutes ago, capybara said:

 

Unfortunately, unprintable for me in that format.

I had the same problem and found that, if I saved it as a pdf, it was possible to print it.

[Silke H]

2 hours ago, capybara said:

 

Unfortunately, unprintable for me in that format.

I had to select fit to printable page (or something like that) on the print selections. Do you have an option like that?

[LinMM]

Looking at alternative Balanchine Pieces to Jewels for Companies to possibly acquire …..I’ve just been looking at his ballet Quadrille to Vivaldi and Corelli music …never heard of this one but would love to see it performed more often though doesn’t have the costume hit etc  of Jewels. 

Wondering how the Gala went 

[Sim]

What an utterly delightful afternoon.  I really enjoyed it. It was very well put together, and it was great to see some different gala fare!  I didn’t like the Pam Tanowitz piece, nor the Alice Topp. Loved the Justin Peck and Johan Inger.  The company were having a great time whilst paying beautiful respect to the classics.  A couple of small errors did nothing to detract from the fireworks of the Tchaikovsky PDD nor the DonQ pdd.  I think that was the best I have ever seen Joe Caley dance.  I really enjoyed the charm and execution of Harlequinade…special bravo to Marcus Morelli.  I was deeply impressed with Amy Harris in Anna Karenina;  a powerful depiction of love lost, and impending tragedy.  I loved it.  She also gave a deeply felt account of the pdd in Concerto.
 

I have a massive crush on Callum Linnane who was impressive in everything I've seen him dance.  But that’s an aside;  I have really enjoyed seeing this company and wish them the very best for their next 60 years!  And a huge thank you for the lovely free commemorative programmette.  The cherry on the cake of a beautiful day...as was the playing of the Royal Ballet Sinfonia.  I'm always in awe of them, playing for different companies, with different conductors and so many different styles.  Huge kudos to them and to Jonathan Lo, who always brings out the best in them.  

[zxDaveM]

Much the same Sim.

Must confess to not checking the running order at half time, so was thinking 'Everywhere We Go' by Justin Peck was Anna Karenina at first (until that duet came on) and thinking "I don't remember this when the Bolshoi did it!!!" Really enjoyed the Peck, and would love to see the full version. Harlequinade was a charming delight, and a lovely way to start the afternoon - again, wouldn't mind seeing that in its entirity.  Also enjoyed 'I Knew Then' (to Van 'the man' Morrison - never hard work hearing him) - I often enjoy more modern things done to a rock music piece. I was also disappointed by the Tanowitz, as I've enjoyed her work when she has choreographed on the Royal Ballet. But found this one a bit dull. Same for the Alice Topp piece and it's 'wheel of fire'. Or candlestick holder, couldn't decide. Whilst I enjoyed most of the DonQ excerpts (and especially the gpdd) - what the bloomin' 'eck were the women in the first section wearing? Ghastly shaped and coloured (multi) 'dresses' - mind you, the toreadors weren't much better kitted out.

Overall though, an enjoyable and uplifting afternoon.

[Blossom]

The gala was overall wonderful. David Hallberg came on stage before the dancing began to explain how Ninette de Valois sent Peggy van Praagh to Australia with the mission to set up a ballet company and to introduce what we were going to see - not as a history of the company, but as a statement of where they have arrived. Sixty years later, the company's interpretation of the diverse range of choreography shown today indeed shows how far they have come and how proud they should be  of what has been built over the past 6 decades.

 

The classical pieces danced were danced so beautifully, opening with Harlequinade (which is attributed wholly to Petipa but I thought this was a reconstruction by Ratmansky?). Marcus Morelli shone as Harlequin which seems to be a great vehicle for demonstrating technical skill. Sharni Spencer was a beautiful Columbine and enjoyed their pdd. 

Concerto followed and Amy Harris and Nathan Brook danced with such musicality, each step and port de bras melted into the next. 

I New Then was a starkly contrasting piece of contemporary dance (Johan Inger) which was well delivered and again demonstrated the company's musicality.

Act 1 ended with Tchaikovsky Pas de Deux danced by  Ako Kondo and Chengwu Guo which was suitably exciting and thrilling. Unfortunately they missed the second fish dive. but then even Marianela did back during the Covid programmes. 

Act 2 opened with Everywhere We Go by Justin Peck - I loved the geometric projection on the back cloth and the simple yet effective striped tops for the ladies and striped belt/band for the men. I really enjoyed  the choreography, particularly the different groupings and patterns on stage as well as the overall energy of the piece - and great music.

I have to admit I don't know the story of Anna Karenina but this was a beautifully and emotively danced piece.

Watermark by Pam Tanowitz followed and left me utterly confused. At first the choreography seemed to be getting somewhere with the introduction of a gently danced mazurka step by 2 or 3 of the dancers but then everything became incredibly pared back and uninteresting to watch. Incidentally, in the year I was on the panel for the Olivier Awards dance category, it became incredibly clear that anything 'postmodern' is not for me. The piece was followed by a piece by Alice Topp of Australian ballet which set things back on track.

To finish, we had Joe Caley and Benedicte Bemet leading Don Quixote which as with the Tchaikovsky pdd gave us a thrilling finish.  Don Q opened with a lively Spanish dance which hit the right notes, followed by a bridesmaid's dance which led us into the Kitri/Basilio pas de deux. Choreographed by Nureyev, there was quite a difference with other versions I've seen, but was thoroughly enjoyable to watch and again demonstrate the classical credentials of the company. There was an audible gasp from the audience as Bemet momentarily wobbled off point during the final fouette pirouettes but only because the audience were so engaged and invested.

A fabulous performance and the Australian Ballet have done themselves proud. Hopefully they will return to London more frequently. 

Edited August 6, 2023 by Blossom

[Blossom]

As a final aside from my performance notes, I sat in the central block of the stalls circle today after a few dates of SCS. Unfortunately Row C is  not the row to sit in as it's not really raised vs the row infront and although little was obscured by heads infront, the view is just so much better when standing without the worry of the view being obstructed, which happily reinforces my decision to mostly stand in autumn.

Edited August 6, 2023 by Blossom

[LinMM]

This is why I like row D in the Balcony as it’s raised just a bit higher than the rows in front and if you wanted you could also choose to stand behind your seat (though I never have so far)  because of the passageway behind Row D seats. 
Thanks for your review above!!