English National Ballet's Our Voices

[Dawnstar]

26 minutes ago, JohnS said:

Disappointed to read about the amplification. I can’t think of any performance I’ve attended which has benefitted from amplification - save when there are speeches. I’d like to think amplification will be abandoned for future performances and at the very least things will have settled down for when I go on the 28th.

 

I found the upside of the amplification tonight was that it meant I couldn't make out most of the words, which was good because those words I did catch seemed to have nothing to do with what was happening on stage. The last few minutes of electronic music sounded like what I imagine tinnitus to be!

 

35 minutes ago, Lizbie1 said:

Your compensation for the delay should help I suppose?

 

I think I'll get half of the out portion of my ticket, which will be just under £5. Doesn't go very far towards a £35 ticket.

 

At least buying a cheaper restricted view ticket was fine for Les Noces. Frankly a ticket with no view of the stage at all might have been even better for me!

[LinMM]

So sorry you missed the Balanchine tonight Dawnstar how infuriating. 
Looks like these days you need to leave at least three hours earlier than you need to just in case. 
If you do go next Wednesday I am going that night! 

[Dawnstar]

@LinMM Ironically I actually got a  train that left 13 mins earlier than my usual one because the usual one was delayed. Unfortunately, while I knew the earlier one would be slower because it was a stopping one, I didn't realise it was scheduled to arrive 17 mins later. The 35 mins delay added on to the already later arrival = no Balanchine for me.

 

The running time has evidently been tightened up compared to the reports from last night. I was out in the foyer at 21.54. (I then half killed myself legging it to Kings Cross in time to squeak onto the 22.09 so maybe a finish time after 10pm would actually have made it easier for me!)

 

I was relieved to find the Dawson piece perfectly pleasant, if not exactly earth shattering. I'm not sure how much the choreography added to the Vier Letzte Lieder but at least it didn't detract from them.

 

So overall it's a Missed, Strongly Disliked & Liked for me. Not exactly the best triple bill outcome I've ever had!

 

SPOILER for the Miller piece

 

Can anyone hazard any sort of explanation as to why the Mother suddenly vanished into the rock steps? Most of the rest of the choreography I could vaguely understand, even though I disliked it, but that moment had me completely baffled.

[Irmgard]

Just back from this evening's performance and am happy to say that the amplification issue has been resolved - there was none, and the tempo was speeded up ever so slightly for "Four Last Songs", which helped the (non-amplified) soprano negotiate the long phrases much better.

[AnneMarriott]

7 hours ago, Dawnstar said:

 

...

So overall it's a Missed, Strongly Disliked & Liked for me. Not exactly the best triple bill outcome I've ever had!

 

SPOILER for the Miller piece

 

Can anyone hazard any sort of explanation as to why the Mother suddenly vanished into the rock steps? Most of the rest of the choreography I could vaguely understand, even though I disliked it, but that moment had me completely baffled.

Nope - not a clue!

[bridiem]

6 hours ago, Irmgard said:

Just back from this evening's performance and am happy to say that the amplification issue has been resolved - there was none, and the tempo was speeded up ever so slightly for "Four Last Songs", which helped the (non-amplified) soprano negotiate the long phrases much better.

 

Excellent news! I wish now that I hadn't gone to the first night.

[San Perregrino]

9 hours ago, Dawnstar said:

 

SPOILER for the Miller piece

 

Can anyone hazard any sort of explanation as to why the Mother suddenly vanished into the rock steps? Most of the rest of the choreography I could vaguely understand, even though I disliked it, but that moment had me completely baffled.

my interpretation is that the ‘mouth’ or ‘letterbox’ in the rocks is where the human sacrifices are offered or ‘posted’ by the high priest and that, in her grief, the mother either commits suicide by ‘jumping’/rolling into the gap or chooses to offer herself up as an alternative to the next young person the priest has selected. 

[San Perregrino]

7 hours ago, Irmgard said:

Just back from this evening's performance and am happy to say that the amplification issue has been resolved - there was none, and the tempo was speeded up ever so slightly for "Four Last Songs", which helped the (non-amplified) soprano negotiate the long phrases much better.

I was sitting in exactly the same seat for both nights. I had trouble connecting with and enjoying the choreography on opening night due to the dominance of the soprano. I agree that the sound balance was much better last night. For me, the soprano was less intrusive, blending with the orchestra to create a harmonious soundtrack above which the beautiful celestial choreography came to the forefront of the piece which, for me, is how it should be.

 

In all three pieces the dancers were fully committed and delivered considered, polished and at times astonishing performances; sparkling in Themes, dramatic in Noces and fluid in Four Songs.
Dancing in both Themes and Four Songs Francisco Gabriele Frola’s mastery of two contrasting types of choreography juxtaposed together on one night confirmed, why, for me, he is an outstanding dancer of his generation. 

 

[capybara]

An interesting mix of ‘official’ reviews (see today’s links). I’m pleased for ENB and its new Director that there is much praise as well as some reservations.

I have only seen the rehearsal so far so I cannot comment myself.

However, in relation to the dancers in Four Last Songs, I couldn’t help but notice the following from Joy Sable in the Jewish Chronicle:

“There is not an ounce of fat of their finely-tuned physiques - it is very evident that they do not reach for that extra doughnut at lunchtime.”

I don’t want to divert this thread away from its proper (ENB show) purpose; but Forum members who watched the recent Panorama programme and have followed the related discussion on here will understand why that ‘brought me up with a start’ even though the almost continuous lifting in the Dawson piece does imply a need for the women to be very light.

[LinMM]

I would say that that comment is an indirect reference to the panorama programme ….the use of the word doughnut a bit too coincidental? 
 

[Dawnstar]

4 hours ago, PeterS said:

my interpretation is that the ‘mouth’ or ‘letterbox’ in the rocks is where the human sacrifices are offered or ‘posted’ by the high priest and that, in her grief, the mother either commits suicide by ‘jumping’/rolling into the gap or chooses to offer herself up as an alternative to the next young person the priest has selected. 

 

Thanks for the suggestion. Though I am still confused because I thought the sacrifice was done by the victim being enveloped in the large black cloth. If that's not the case then what happened near the end when what I thought happened was the Brother took the place of the second Chosen One & was sacrificed? Maybe I just shouldn't try to make sense of the piece!

 

Also ENB tweeted a cast update a few minutes ago.

 

 

[capybara]

And it was Shiori I booked for especially.

Feeling a bit like the supporters who have lost their Osipova shows of Don Q. But these things can’t be helped and all that really matters is the dancers’ well-being.

[art_enthusiast]

On 22/09/2023 at 00:11, bridiem said:

And I did think the performances in Les Noces were terrific (in fact the dancers were excellent all evening), but I also thought that the work wasn't worth their great efforts. The music is so extraordinary, but the choreography was all over the place (and there was far too much of bashing the stage with the black cloths and swinging of the black cloak - again, clichés that went on and on...). I also wondered why, when presented with a score that is very specifically concerned with a wedding, you would proceed with the commission if you don't wish to concern yourself with a wedding (as the choreographer admitted she did not). So there was a big disconnect between the music/words and the choreography. I wasn't keen on the orchestration of the score - it made it too operatic and too tame (though still a thrill to hear it again in any form) and I really missed the pianos (though I do understand the difficulties they present); the words were also in translation and so it sounded disconcertingly English when the music is so Russian. So for me the only success of the evening was Theme and Variations, which is so beautiful and was very well if perhaps a little carefully danced.

I do agree with your opinion here regarding Les Noces. I have to say I wasn’t particularly enamoured with it. I was there on Thursday night and didn’t really have a clue what to expect from any of the works, apart from Theme and Variations which I knew I would definitely like! (My first time seeing it live, I thought it was brilliant.)

 

I didn’t get a programme, and assumed Les Noces would be something like MacMillan’s Rite of Spring, which I have only seen clips of on YouTube. There were parts that I liked, but I think most of it was quite stilted, the silent pauses I found quite awkward, and I was only registering the jumps/leaps within the choreography (the rest I don’t really remember). It seemed very disjointed and unfinished in parts. Also the music… the use of English really bothered me. It didn’t match the choreography at all, felt very out of place.

 

I did like Four Last Songs though, I felt the accompaniment really matched the choreography and all the pairings were lovely to watch. Wasn’t feeling the costumes too much but I didn’t find them too bad. Perhaps a bit too many lifts but I think it worked for this.

 

Theme and Variations - absolute highlight, Emma Hawes and Aitor Arrieta superb. I thought the corps/Demi soloists were all brilliant - I loved the parts with the increase in tempo, all dancers absolutely brimming with energy, it was so invigorating. Only got a bit nervous when I thought some dancers might bump into each other slightly - the spacing certainly looks tricky to manage!

 

 

 

[annamk]

I see from the daily cast sheet that some words of explanation have been added re Les Noces. 

 

I trust it's ok to cut and paste here.

 

Looking forward to seeing whether this makes it clearer next time I go. 

 

I. A family grieves their daughter sacrificed by the rite. II. The people shoulder the debris from the sacrifice and at the same time rush to collect promised returns. A priest prays for the fulfillment of divine favour. III. The people return empty handed. They vote. The sacrifice will be repeated. IV. The father’s heart is a battlefield between his faith and his grief, he has only has his son to turn to. The priest, infatuated with the chosen one, needs a plan to keep her alive. The chosen one and the community prepare for another rite. V. A brother and sister reunite.

[AnneMarriott]

6 minutes ago, annamk said:

I see from the daily cast sheet that some words of explanation have been added re Les Noces. 

 

I trust it's ok to cut and paste here.

 

Looking forward to seeing whether this makes it clearer next time I go. 

 

I. A family grieves their daughter sacrificed by the rite. II. The people shoulder the debris from the sacrifice and at the same time rush to collect promised returns. A priest prays for the fulfillment of divine favour. III. The people return empty handed. They vote. The sacrifice will be repeated. IV. The father’s heart is a battlefield between his faith and his grief, he has only has his son to turn to. The priest, infatuated with the chosen one, needs a plan to keep her alive. The chosen one and the community prepare for another rite. V. A brother and sister reunite.

I hope it helps future audiences but from my impressions of Thursday evening I still don't think I'd have got it!

[Dawnstar]

Thanks for that @annamk. I think I understood about half of that last night. I certainly didn't realise that the priest didn't want to kill the second Chosen One. Does that mean that he persuaded the Brother to take her place? When watching I thought that the Brother was defying the priest by getting in the way of the sacrifice at the last minute & being killed instead.

 

I've just read through all the reviews in today's links and these two comments about the Dawson piece stood out for me.

 

Telegraph

Quote

I wonder if even the late Kenneth MacMillan, working at white heat, could have fully done it justice.

 

While watching last night's performance I found myself wishing MacMillan had had a go at choreographing to the either VLL or various other of my favourite Strauss pieces.

 

Evening Standard

Quote

Dawson’s elegant but unfelt movement is simply decoration.

 

[capybara]

Where critical opinion of David Dawson’s work is concerned there is ‘history’ arising from the negative reviews he received for his Human Seasons for the RB and his ‘kick back’ response to them.

One can only hope that the critics involved in that spat are approaching his new work for ENB uncluttered by the past and with clear eyes.

[Dawnstar]

More cast changes from ENB.

[AnneMarriott]

41 minutes ago, capybara said:

Where critical opinion of David Dawson’s work is concerned there is ‘history’ arising from the negative reviews he received for his Human Seasons for the RB and his ‘kick back’ response to them.

One can only hope that the critics involved in that spat are approaching his new work for ENB uncluttered by the past and with clear eyes.

I was unaware of the detail of this history but knew that his work was less appreciated here than in Europe.  However I felt that the Evening Standard critic, though harsh, confirmed my impression of Four Last Songs. I wonder if the piece suffers from following on from Les Noces, Ascent to Days.  Reading earlier points about Theme and Variations making such heavy demands on the dancers that it would be inappropriate to place it last on the Our Voices programme makes me question the balance of the whole bill.

[LinMM]

Just a quick check..the music for Les Noces is Stravinsky …but it’s not the Rite of Spring music is it? 

[Dawnstar]

1 hour ago, capybara said:

Where critical opinion of David Dawson’s work is concerned there is ‘history’ arising from the negative reviews he received for his Human Seasons for the RB and his ‘kick back’ response to them.

One can only hope that the critics involved in that spat are approaching his new work for ENB uncluttered by the past and with clear eyes.

 

29 minutes ago, AnneMarriott said:

I was unaware of the detail of this history but knew that his work was less appreciated here than in Europe.  However I felt that the Evening Standard critic, though harsh, confirmed my impression of Four Last Songs.

 

I don't know anything about Dawson & the critics. In fact I'd never heard of Dawson, as far as I can recall, until the announcement of the ENB triple bill programming a few months ago, let alone seen anything by him. I quoted that line from the Evening Standard because it summed up how I personally (with no Dawson "history") felt about the choreography.

Edited September 23, 2023 by Dawnstar

[San Perregrino]

8 minutes ago, LinMM said:

Just a quick check..the music for Les Noces is Stravinsky …but it’s not the Rite of Spring music is it? 

No it’s Les Noces rearranged for orchestra instead of 4 grand pianos

Les Noces, Ascent to Days Choreography: Andrea Miller Music: Igor Stravinsky by permission

of Chester MuSIc _to

Orchestration: Steven Stuckv

Artwork Concent: Phvllida Barlow

Costume Design: Marie Cantenys ana Margaux Lalanne

Lighting Design: Mark Henderson

Original clectronic Music: will Eostein

Creative Assistants: Emma Thesing and Alvsen Hooks

Chorus: Opera Holland Park

Soloists: Sian Griffiths, Jack Roberts, Frazer Scott and Janice Watson

[Irmgard]

Yesterday evening saw the triumphant début of Katja Khaniukova as the ballerina in “Theme and Variations”, generously accorded a solo bow by her partner, the phenomenal Francesco Gabriele Frola, also making his début, and applauded by all her colleagues onstage.  I have long admired the quiet elegance of her dancing and her exquisite footwork, qualities which were on display in abundance in Balanchine’s fiendishly difficult choreography which she made look effortless, and all with that megawatt smile of hers which outshone all the sparkling jewels on her costume and tiara.  Perhaps most breathtaking was the moment when she performs a series of développés en pointe, finally turning into arabesque penchée, supported only by the ladies on each side of her, also en pointe, holding her hands in an open 5th en haut.  The way she serenely and slowly unfolded her leg, reaching the final position of each développé with the last millisecond of the musical phrase was a thing of rare beauty.  She absolutely nailed the solo, with her quicksilver footwork in all the tricky petite allegro steps and virtually flying across the stage in her châiné turns.   This led into the ravishingly beautiful pas de deux, in which Frola partnered her to perfection, again making it look effortless.  Throughout the whole ballet, there was Khaniukova’s glorious use of the upper back and the most regal of ports de bras.  Frola’s début was also a triumph, especially the solo, in which the height of his jumps was astonishing, as was his impeccable series of double tours en l’air, all landing in perfect 5ths. His exceptional partnering skills were evidenced by the height which Khaniukova reached when he threw her into the air, catching her in picture-perfect positions. This was a tremendously thrilling first performance from both of them (and demonstrated yet again that Khaniukova’s promotion to principal is long overdue), and they received sterling support from everyone onstage. This being the same supporting cast as the previous evening, not to diminish that spectacular performance, they seemed to be even more at home with the choreography and its style, with the ladies vivacious in everything they did and their cavaliers, who do not appear until the last section, bringing a joyful exuberance, especially to all the jumps. Sitting closer to the stage than the previous evening, I could definitely see that there was not one forced smile.  They were all smiling with genuine delight at performing this challenging piece.    And what a joy it was to hear Tchaikovsky’s glorious music with no amplification!

 

Likewise, with “Four Last Songs”, the music was allowed to float freely throughout the auditorium, as was the singer’s voice.  Picking up the tempo even a fraction made such a difference to the flow of the music and, for me, to the flow of the movement, giving the many runs around the stage an extra impetus, as if leaves blown by the wind, very apt for the second song, “September”. Seeing it for a second time, I was able to marvel at how effortlessly the dancers changed partners throughout the piece, involving some very complicated lifts.  I was also more struck this time by the sculpted beauty of positions in the moments of stillness. This is definitely a work in which there is something new to discover at each viewing.  I am not particularly enamoured of the flesh-coloured costumes although I suppose it might be following the idea that naked we come into the world and naked we leave it, but I would have loved just a little contrasting colour for the costumes, as appears on the poster and programme cover. 

[Irmgard]

20 hours ago, Dawnstar said:

 

Can anyone hazard any sort of explanation as to why the Mother suddenly vanished into the rock steps? Most of the rest of the choreography I could vaguely understand, even though I disliked it, but that moment had me completely baffled.

My take on it was that the Mother's grief is so overwhelming that she kills herself by throwing herself into the 'pit'.  There was actually a 20-minute Q&A session with Andrea Miller, Gavin Sutherland et al after last night's performance but, as you didn't catch the opening announcement, you would not have known about it.  I didn't stay for it but that certainly would have been a question for Miss Miller!

[alison]

3 hours ago, annamk said:

 

I. A family grieves their daughter sacrificed by the rite. II. The people shoulder the debris from the sacrifice and at the same time rush to collect promised returns. A priest prays for the fulfillment of divine favour. III. The people return empty handed. They vote. The sacrifice will be repeated. IV. The father’s heart is a battlefield between his faith and his grief, he has only has his son to turn to. The priest, infatuated with the chosen one, needs a plan to keep her alive. The chosen one and the community prepare for another rite. V. A brother and sister reunite.

 

Well. That's far from what it says in the programme, surely?

[LinMM]

Thankyou PeterS 

 

I can see Khaniukova is doing some extra performances which is great…as long as she’s okay for Wednesday!!! 
 

And agree time she was made a Principal dancer. 

[bridiem]

6 minutes ago, alison said:

 

Well. That's far from what it says in the programme, surely?

 

Yes. The programme note says:

 

'The chosen one is sacrificed. A ghost, she watches the debris of her death. She is carved into their lives. she stands at the fringes of their world: sometimes brushes against thoughts, sometimes against routines. A mother's love, a brother's rage, a father's duty.

The sacrifice, their collective hope machine - promises returns - abundance and satisfaction. The exchange of life for more? For what? They return empty handed. How many times should they repeat the sacrifice? A vote is cast. A family reunion awaits on both sides of mortal shores.' 

[Dawnstar]

1 hour ago, Irmgard said:

My take on it was that the Mother's grief is so overwhelming that she kills herself by throwing herself into the 'pit'.  There was actually a 20-minute Q&A session with Andrea Miller, Gavin Sutherland et al after last night's performance but, as you didn't catch the opening announcement, you would not have known about it.  I didn't stay for it but that certainly would have been a question for Miss Miller!

 

I did think that she might have committed suicide but it seemed an oddly muted way to do it. I glanced over at the choir & looked back to find she'd just vanished. Maybea Tosca-esque throwing herself off the back of the rocks would have made more of an impact! I had seen when I printed my ticket out that there was a post-performance talk mentioned on there but as there was no announcement at the end I wasn't sure if it was still on or not. As I wasn't exactly in the best mood, after missing the Balanchine, when I found at the end that if I really hurried I could just catch an earlier train I decided to do that rather than wait to see if the talk was or wasn't happening.

Edited September 23, 2023 by Dawnstar

[Don Q Fan]

I saw Friday evening's performance.

Theme and Variations was the best. Frola was beautiful and Khanuikova radiant why is she not a principal dancer?!

Four Last Songs was very nice even if the costumes were truly awful. Hate these nude bits of Lycra. Poor dancers. I quite enjoyed the patterns in the choreography and the music. 

Les Noces was, sorry to say, my worst nightmare come true. The less said the better! Matters were not helped by the amplification of the singing it was so loud I had to put my ear plugs in for both this and Four Last Songs. Someone up thread said it wasn't amplified last night, but I respectfully beg to differ,  it most certainly was from where I was sitting in 2nd circle. 

No surprise that for me T&V was definitely the best piece of the night just far too short!  I hope ENB will do more Balanchine in future. Do they do Who Cares? I feel that would suit them extremely well. 

 

[Emeralds]

16 hours ago, Don Q Fan said:

I saw Friday evening's performance.

Theme and Variations was the best. Frola was beautiful and Khanuikova radiant why is she not a principal dancer?!

Four Last Songs was very nice even if the costumes were truly awful. Hate these nude bits of Lycra. Poor dancers. I quite enjoyed the patterns in the choreography and the music. 

Les Noces was, sorry to say, my worst nightmare come true. The less said the better! Matters were not helped by the amplification of the singing it was so loud I had to put my ear plugs in for both this and Four Last Songs. Someone up thread said it wasn't amplified last night, but I respectfully beg to differ,  it most certainly was from where I was sitting in 2nd circle. 

No surprise that for me T&V was definitely the best piece of the night just far too short!  I hope ENB will do more Balanchine in future. Do they do Who Cares? I feel that would suit them extremely well. 

 

Re: Who Cares, they danced it a long time ago on tour, and ENB School danced it for their graduation performance this year, but the company hasn’t performed the full ballet recently- just the Fascinatin’ Rhythm solo in a mixed bill. I agree that would be a fun one to see, and uplifting for audiences.... especially since NYCB & Sadler’s Wells are not planning to present any of it for the 2024 visit. Gershwin does well at the box office for ENB! I’d like to see it too.  Hope Mr Watkin and the leadership team are able to see this. 😊

Edited September 24, 2023 by Emeralds

[Emeralds]

On 22/09/2023 at 00:12, capybara said:

 

In which role did Emily Suzuki appear, please?

 

Took me a while to find her in the dark lighting, but at our performance Emily Suzuki danced the woman with the silvery dress that looked like a silvery crop top and silvery skirt. It also took me ages to find Erik Woolhouse in a less easily distinguishable costume in the lighting. (I wouldn’t be surprised if the costumes look more colourful in broad daylight!) Emily took her bows on the right (Erik on the left), if you are going to another performance and want to look for her. That’s assuming they don’t have to change roles to cover injury or illness.

[OnePigeon]

I saw them perform Who Cares sometime in the early 2000s.  I used to watch the Baryshnikov version on video as a child and am such a huge fan, though he’s ruined it for me as I find his performance so definitive.  It does need the very sharp dancers which NYCB are masters at who understand the style and can bring out the syncopated rhythm - I recall not being overly impressed with the ENB when I saw it. I can imagine Tiler Peck would be wonderful and am sad they aren’t bringing it over.

[OnePigeon]

I saw it last night and unfortunately there was no Emma Hawes or Aitor Arietta.  I hope they recover quickly from whatever prevented them from dancing.

Edited September 24, 2023 by OnePigeon