English National Ballet's Our Voices

[bridiem]

2 hours ago, Blossom said:

Please can someone confirm the run time tonight? The rehearsal last night had a rather long second interval in particular and finished much later than anticipated. 

 

By the time I was leaving the theatre is was about 10.10pm - so yes, a long overrun.

[LACAD]

I practically floated home after Four Last Songs!

 

Overall the mixed bill was definitely mixed, and I don’t mean that negatively. There’s truly something for everyone here, and I believe the bill succeeds in showing how diverse in repertoire ENB can be and perhaps will be under their new regime change.

 

Theme and Variations was all sparkle and radiance. Emma Hawes was delightful. The female corps - who have a lot of work to do in this ballet, like many of Balanchine’s tutu ballets - had some minor opening night jitters, but by the end were marvellous, my eye was especially drawn to Haruhi Otani as a demi-soloist and Anna Ciriano who’s rather new to the company.

 

Les Noces was very gripping. Incredibly intense scenery, music, and dancing, however not unrelenting. Miller’s sense of movement was fascinating, she’s not afraid to use the power of the dancers - especially Rentaro Nakaaki and Emily Suzuki’s leaps! There are some brilliant moments and then they seem to just linger. The music isn’t just orchestrated differently, but certain bars are repeated or extended, there are prolonged moments of silence, and an interesting piece of music that plays before Stravinsky’s score even begins. All of this unfortunately holds the action captive a little. I don’t have too much of a problem with the narrative not being the strongest as it’s Andrea Miller’s first time creating a narrative work and she comes from a very abstract world, so I’m ok with her loosening it up.

 

Dawson’s premiere isn’t the most radically new in regards to his choreography, but he is certainly an iconoclastic figure and wholly unique. To have a bespoke piece for London audiences on ENB is gorgeous, and not a single dancer can be faulted. It’s an unashamedly dreamy work. I was drawn to Angela Wood, she has a sense of old Hollywood glamour in her presence. Sangeun Lee made a major impression and was totally fluent and at ease in her ENB debut. Francesco Gabriele Frola holds the stage and shows his tender side. Rhys Antoni Yeomans’ also wasn’t afraid to let his port de bras flow and undulate - something the other male dancers seemed to struggle with a little. And while I feel Erina Takahashi was a little underused - though she may be more prominent in the second casting - this ballet does really allow everyone to dance as equals.

[bridiem]

35 minutes ago, Lindsay said:

In bad news, David Dawson has still not got over his obsession with male dancers carrying female dancers around upside down in nude leotards with their legs splayed.  The ballet got a standing ovation so I am probably in a minority here but it made me quite angry.  There was not one sequence in the ballet where women were not being manhandled……

 

Some extraordinary performances in Les Noces though.  Especially James Streeter.

 

It didn't get a standing ovation in the second circle (except from one person, who sat down pretty quickly when no-one else stood up!). I thought the whole work was largely made up of tedious clichés, to be honest. The music and singing were beautiful but when you have music that's so rich and emotional you really need quite austere choreography - you can't try and out-emote it. 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.

 

In spite of all the wonderful music, I was confused because it sounded to me as if it was all being amplified. Would that be the case? It made it sound as if it was recorded, which surely defeats the object of having live music.

 

I'd been looking forward to this bill with some excitement so for me it was a very disappointing evening, except for the talent and commitment of the dancers which were beyond reproach.

[capybara]

18 minutes ago, LACAD said:

Les Noces was very gripping. Incredibly intense scenery, music, and dancing, however not unrelenting. Miller’s sense of movement was fascinating, she’s not afraid to use the power of the dancers - especially Rentaro Nakaaki and Emily Suzuki’s leaps!

 

In which role did Emily Suzuki appear, please?

 

[Lindsay]

Yes Bridiem- I also thought there was something very odd going on with the sound (I was in the First Circle).  I had come largely for the music and it was very disappointing - it almost sounded recorded and some of the percussion in particular sounded like electronics.  I also agree with you about the orchestration for Les Noces - have never heard this version before and missed the pianos (which I fear we shall never hear again live in a ballet context) And while some of the singing was very good I don’t really like the text in English either.  
 

T&V indeed showed how much more Balanchine could do with classical steps than most other choreographers.  It was not the most ‘full-out’ performance though and looked a bit nervous.  I saw this ballet in Stockholm last year and the dancers seemed to be “going for it” much more.

[LACAD]

1 hour ago, capybara said:

 

In which role did Emily Suzuki appear, please?

 

She wasn’t in any sort of featured role, but in one sequence she leaps around James Streeter (I believe). While they’re not as astronomical in height as Nakaaki’s, hers seem to just burst out of thin air.

[li tai po]

Lindsay says that Theme and Variations was not the most 'full-out' performance.  You are telling me!  I am sure Rosalyn Whitten or Maina Gielgud would have drilled out a much more secure performance from the entire cast.  I remember a stunning performance by BRB at the Royal Opera House with Miyako Yoshida and Kevin O'Hare.  He was sitting tonight in the middle of the front row of the First Circle.  I wonder what he thought of the performance?  Maybe the second (?) cast of Katja Khaniukova and Gabriele Frola will make a better fist of it.

 

but - I found Four Last Songs breathtaking and exhilarating.  Sweeping choreography with echoes of MacMillan's Song of the Earth - sculptural groups, sequences of exhausting lifts and a lot of running round the stage - trademarks, I believe, of David Dawson.  Gavin Sutherland, another hero of the evening, generated a most exciting orchestral sound, rich and romantic.  Madeline Pierard's voice swept over the orchestra.  But why oh why was she miked?  Her voice would have penetrated to the back row of the Metropolitan Opera House.  She certainly did not need a mike in the small confines of Sadler's Wells.  I will be going back to see Four Last Songs again.

 

 

[annamk]

6 hours ago, Lindsay said:

Yes Bridiem- I also thought there was something very odd going on with the sound (I was in the First Circle).  

 

We were sitting in the back of the 1st circle and we also thought there was something strangely tinny sounding about the music, almost as if parts of it were recorded. 

 

The intervals were very long. Mostly it seemed due to the overrunning of the patrons event who were all very late coming back to their seats. So maybe other nights will be on time. 

[AnneMarriott]

"Our Voices".  What a strange evening of dance.  It's unusual to start a mixed programme with Theme and Variations instead of putting it last as a way of sending everyone home with a feeling of exhilaration.  I felt last night's performance was a bit careful, the steps delivered dutifully rather than with sparkle and the smiles a trifle fixed.  Then came bewilderment in Les Noces, Ascent to Days.  Arriving late, thanks to heavy traffic, and unable to read the programme notes beforehand, I was expecting an update of Nijinska's masterpiece, seen at Covent Garden in, I think, the early nineties.  The music was challenging then and even more so last night, and as I'm not a great fan of song (especially of the heavy neoclassical and Lieder kind) as an accompaniment to dance, the programme involved a degree of suffering.  Anyhow, Les Noces, Ascent to Days turned out to be a sequel to Nijinsky's Rite of Spring.  How odd, as bridiem mentioned above, to use the title and score of a wedding to choreograph the aftermath of a human sacrifice.  (I don't pretend to understand what "Ascent to days" means in context but it led to irreverent musings that perhaps "Noces" had been mistaken for Spanish for Night.)  The dancers gave it their all but nothing else about it gave me any pleasure.  Then, another sung score for David Dawson's Four Last Songs.  Wonderful soprano, dancers again giving their all, choreography easy-watching but unvaried in mood and movement - the Songs all looked and sounded similar.  So off  home with a sense of gloom.

[zxDaveM]

10 hours ago, bridiem said:

In spite of all the wonderful music, I was confused because it sounded to me as if it was all being amplified. Would that be the case? It made it sound as if it was recorded, which surely defeats the object of having live music.

 

I'd been looking forward to this bill with some excitement so for me it was a very disappointing evening, except for the talent and commitment of the dancers which were beyond reproach.

 

Yes, one of my gripes was the music/singing presentation (the orchestra being mic'd up). A solo violin seemingly coming from above the first circle (me in the second circle) for example. My guess is that with the chorus at the back of the stage, they, and the orchestra, were mic'd in order that the sound could be mixed and so balanced. Didn't work for me to be honest - sounded like a CD through a so-so hifi system.

The other gripe was the late start (again! - both shows I went to for Alvin Ailey also started 8-9 mins late), the extended intervals (c'mon 'great and good', quaff these freebie glasses of plonk a bit sharpish!) meant I missed my train I had hoped to be catching by 5 mins, which was irritating.

Oh - and no cast sheets is still an irritation - a photo of one on the wall not the same (especially as they still say you can vote for the people's dancer on the back!!!)

 

As for the actual dancing: well, as others have said a bit of a curate's egg of a bill. 'Theme' was beautiful to watch, without ever being exhaustingly thrilling as it can be. Still hugely enjoyable though. Can't say I enjoyed Les Noces much at all, despite all the frantic efforts going on, often to puzzling effect - especially with 'no wedding'! I really enjoyed Four Last Songs (especially the three last songs, so to speak). I really liked the way the couples varied the lifts and then drifted into beautiful diagonals, with each dancer casting gorgeous 'shapes' either in unison or uniquely. I found the overall effect quite moving.

Seeing it again Tuesday, so hoping I'll get more out of Les Noces, but even if I don't will look forward to the other two works - all the more so if they run to time!

[annamk]

I too thought it was rather odd to start with T & V instead of sending the audience home on the exuberance of it. I don’t think I’ve seen ENB dance such a challenging, nowhere to hide, purely classical piece and as if that wasn’t enough it was programmed immediately after the summer recess. It was a brave choice and I think one which largely paid off. Emma Hawes was marvellous in her solo work, was well partnered by Aitor Arrieta who was somewhat out of his comfort zone in the solo of many double tours (but then very few dancers in London wouldn’t be). The corps were by and large well co-ordinated and the company tried very hard to project the joy of dancing the piece. It must have been nerve wracking for them all and I expect that having got the premiere out of the way future performances will be more relaxed.

 

I didn’t understand what was going on in Les Noces, I’m hoping one of the critics will explain it all so it will make more sense on a second viewing. There were some eye catching performances from the soloists, Rentaro Nakaaki really stood out for me.

 

As for Four Last Songs somehow I seem to agree with both @AnneMarriott and @zxDaveM !

[capybara]

Aaron Watkin explained at an Insight evening that Theme and Variations was (and I paraphrase) programmed first because its classical demands would have been too great for the dancers after  the very different physicality of the other two pieces on the bill.

[bridiem]

44 minutes ago, zxDaveM said:

Yes, one of my gripes was the music/singing presentation (the orchestra being mic'd up). A solo violin seemingly coming from above the first circle (me in the second circle) for example. My guess is that with the chorus at the back of the stage, they, and the orchestra, were mic'd in order that the sound could be mixed and so balanced. Didn't work for me to be honest - sounded like a CD through a so-so hifi system.

 

So that's what was going on. I find it unbelievable that anyone with any musical sense would think that this was acceptable. As you say, it sounded like a recording and not a good one at that. Which was so disappointing given how wonderful the music is (and how good the orchestra and singers actually were, except that their work was sabotaged from the word go). 

[bridiem]

3 minutes ago, capybara said:

Aaron Watkin explained at an Insight evening that Theme and Variations was (and I paraphrase) programmed first because its classical demands would have been too great for the dancers after  the very different physicality of the other two pieces on the bill.

 

Interesting to hear an acknowledgement that dancing completely different styles in quick succession makes impossible demands on dancers' bodies (and in this case actually affected the programming order). But I don't think that having two works to very soulful and powerful vocal music straight after each other (or maybe even on the same programme) worked either.

[Scheherezade]

Brief thoughts as follows: 

Agree that T&V seemed a little tentative although perhaps not surprisingly on opening night and I did enjoy it nevertheless. Emma Hawes characteristically lovely. Looking forward to Frola/Khaniukova next Wednesday;

Haven't a clue what was going on in Les Noces - perhaps I should have bought a programme. Can only say that it was very dark; I didn’t loathe the orchestration, although I did dislike the amplification; and I was impressed by the dancers’ energy and total commitment to creating and enhancing a mood.
Four Last Songs: what a stunning performance by Madeleine Pierard, who really was the star of this piece and singularly worth the ticket price. In a way, the dancers, whose performances couldn’t be faulted, seemed almost incidental, but having said that, and despite the repetition of my two pet hates - running around in circles, horizontals or diagonals and extensive and extended lifts - I did feel that the fluidity of the choreography fitted the music and helped embed an otherworldly sense of piety and, ultimately, peace.

Notwithstanding any reservations, I am glad to have seen this programme, will be interested to compare next week’s performance and look forward to seeing how the company develops under Aaron Watkin. 

Edited September 22, 2023 by Scheherezade

[zxDaveM]

2 hours ago, zxDaveM said:

 

Yes, one of my gripes was the music/singing presentation (the orchestra being mic'd up).

The other gripe was the late start (again! - both shows I went to for Alvin Ailey also started 8-9 mins late), the extended intervals ....

 

 

Oh - and the programme at eight quid! (two thirds of which are cast/creatives biogs, ads, and begging)

[Scheherezade]

1 hour ago, zxDaveM said:

 

Oh - and the programme at eight quid! (two thirds of which are cast/creatives biogs, ads, and begging)

Well on reflection I’m glad I didn’t buy a programme. I shall remain, fittingly, in the dark for the next performance of Les Noces. 

Edited September 22, 2023 by Scheherezade

[Irmgard]

Attending the opening night of the first programme curated by Aaron Watkin, albeit crafted around the previously commissioned “Les Noces”, there was indeed something for everyone.  The highlight for me was “Theme and Variations”, not only for the very fine dancing on offer but also for the obvious enjoyment displayed by the dancers.  The ladies in their exquisite, glittering tutus literally glowed!  My eye was drawn several times to the petite Anna Ciriano, new to the company last season, for the infectious joy on her face, something I noticed last season, and to the glamorous, elegant style of Ivana Bueno as one of the Demi Soloists.  Emma Hawes sparkled prettily in the ballerina role.  The standout performance for me came from Aitor Arrieta, for his gorgeous, always elegant technique.  The ease, height, beautifully pointed feet and panther-like landings of all his jumps was breathtaking.  Tchaikovsky’s glorious music received a ravishing performance from the English National Ballet Philharmonic, under Maestro Gavin Sutherland, although I was puzzled by the obvious amplification in so small a theatre.

 

Andrea Miller’s “Les Noces”, retitled “Le Noces, Ascent to Days”, received some very powerful performances and I thoroughly enjoyed her choreography, especially when it reflected the rhythmic complexities of Stravinsky’s score.  I did not read the brief synopsis until after the performance so I was unaware that the first Chosen One (a tour-de-force performance by the supremely talented Breanna Foad) was actually the ghost of the previously sacrificed girl but that makes everything clearer for my further viewings of this piece.  There was a very strong performance from Alice Bellini as the grief-stricken mother of the sacrificed girl, as well as from James Streeter as the father she obviously blames for it.  I have long felt that Henry Dowden is one of the company’s best dramatic dancers, and he proved this again as the Priest who chooses the next victim, the beautifully vulnerable Francesca Velicu.  The standout performance for me was the visceral, electrifying dancing of Rentaro Nakaaki as the Son. Bizarrely, using the full orchestra version of Stravinsky’s score made it sound more like “Rite of Spring” than “Les Noces” but I did not like it being sung in an English translation, as I missed the forward, bright sound of singing in a Slavic language and I found that the volume of the amplification of the singers at times hurt my ears, but, as with any new production, no doubt the amplification issues will be addressed and resolved.  I am also not keen on the introduction of other pieces of music and lengthy silences not composed/indicated by Stravinsky.  It put me in mind of his famous reply to Billy Rose, the producer of a Broadway revue for which he composed “Scènes de ballet”.  Rose telegraphed him to say the music was a great success but could be sensational if he allowed Robert Russell Bennett to retouch the orchestration.  Stravinsky replied “Satisfied with great success”!

 

I remember from David Dawson’s “Million Kisses to my Skin” created for ENB under the adventurous leadership of Wayne Eagling, that he favours busy choreography and creating gorgeous shapes with the body, predominantly females while being manipulated by men.  His “Four Last Songs” proved no exception.  When it is as exquisitely danced as it was last night by the whole ensemble, it seems churlish to criticise but I would have liked perhaps just a little bit more variety in the lifts and in the dynamics of the partnering work.  My favourite line in Strauss’s Four Last Songs comes in “Beim Schlafengehen”, just after the ethereal violin solo (beautifully played by Matthew Scrivener).  Freely translated, it is “and the unfettered soul soars up into the magic circle of the night to live a thousandfold” which is the essence of all the songs, that death is transfiguring.  It is perhaps not the fashion to use facial expression very often in contemporary works but I did think more expression would have actually transfigured the ballet for me.  However, there was one moment when the light hit Angela Wood to reveal a radiant serenity on her face which was magical.  I did feel that, choreographing to a recording of the legendary Jessye Norman has its drawbacks, as no mere mortal has her extraordinary power and breath control which made it possible for her to sing them at a speed which I would label as “La plus que lente”.  Taking them at such a slow tempo, which was obviously at times uncomfortable for the soprano, also prevents her from word-painting, which is the essence of German Lied, whether accompanied by piano or full orchestra, and which would have added vocal colours to this sublime music.

 

My small niggles aside, it was wonderful to see the whole company rising to the occasion and giving powerful, committed performances of all three pieces, and I look forward to several more visits before next Saturday.

 

Edited September 22, 2023 by Irmgard
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[Dawnstar]

After reading some of the comments about last night's performance, I will be heading off to tonight's performance with considerable trepidation. I had thought that if I didn't enjoy the choreography of two new pieces at least I'd be able to enjoy the music but it sounds like even that won't be the case.

[Sim]

We will be interested to hear your views, Dawnstar, especially as you aren't familiar with some of the music.  I have to wait until the 30th to see it, so maybe any bugs will have been squashed by then.

[LinMM]

I believe they toned down the volume of Creature a bit after some complaints it was certainly deafening ( as well as being horrible) the night I went. 
Is this a Sadlers Wells issue? 
The loudness of some music does often seem to be happening there. 
Perhaps they are using the same volume of sound for the Wells as they are at the Coli ….a much bigger space! 

[Dawnstar]

Having just printed out my ticket for tonight, I am reminded that there is going to be a post-show talk. I've never been to an ENB talk before. Can anyone give any idea as to how long they usually run & what sort of topics may be covered, so I can make a more informed decision as to whether or not I stay for it?

[LinMM]

I’m surprised it’s a post show talk if it doesn’t finish till 10 or after. I always get the feeling they like the theatre cleared by 10.30 so can’t imagine it would be that long. I’ve heard of pre performance talks but not post ones! 

[Dawnstar]

I've been to a couple of post-performance talks at my local theatre over the years with the casts of plays. I'm guessing ENB's probably won't involve dancers though. Though as I'm currently stuck on a train that's running late due to signalling problems if it doesn't get a move on I might not even get to Sadler's Wells in the first place!

[Dawnstar]

The train I'm on is now running half an hour late & isn't going to get to Kings Cross until at least 7.20pm so I'm never going to get to Sadler's Wells by 7.30pm & therefore I'll miss the Balanchine. Of course that's the one out of the three pieces that I really want to see. I'm not sure I even want to go if I can only see the other two pieces.

[bridiem]

5 minutes ago, Dawnstar said:

The train I'm on is now running half an hour late & isn't going to get to Kings Cross until at least 7.20pm so I'm never going to get to Sadler's Wells by 7.30pm & therefore I'll miss the Balanchine. Of course that's the one out of the three pieces that I really want to see. I'm not sure I even want to go if I can only see the other two pieces.

 

Oh dear! It did start about 7 or 8 minutes late last night so maybe you will still be in time . Good luck!

[Dawnstar]

33 minutes ago, bridiem said:

Oh dear! It did start about 7 or 8 minutes late last night so maybe you will still be in time . Good luck!

 

It evidently started on time tonight. Sitting in the foyer waiting for the second piece - which frankly I am expecting to dislike! Livid with the train company.

[bridiem]

4 minutes ago, Dawnstar said:

 

It evidently started on time tonight. Sitting in the foyer waiting for the second piece - which frankly I am expecting to dislike! Livid with the train company.

 

I'm so sorry Dawnstar!

[Dawnstar]

I'm currently looking up ticket offers for next Wednesday, as I'll be travelling back from a matinee in Richmond via Kings Cross so could pop up to Sadler's Wells & just see the Balanchine. Not exactly happy about having to pay for 2 tickets to see 1 complete triple bill though!

[Lizbie1]

16 minutes ago, Dawnstar said:

I'm currently looking up ticket offers for next Wednesday, as I'll be travelling back from a matinee in Richmond via Kings Cross so could pop up to Sadler's Wells & just see the Balanchine. Not exactly happy about having to pay for 2 tickets to see 1 complete triple bill though!

 

Your compensation for the delay should help I suppose?

[JohnS]

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.

[Scheherezade]

22 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.

it does seem to be somewhat de rigour at Sadlers Wells.