DON QUIXOTE - ROYAL BALLET AUTUMN 2023

[Ondine]

23 hours ago, ellyb said:

I've never witnessed a standing ovation mid performance before but the wedding pas de deux was that spectacular that a few people leapt to their feet!

 

Nothing to do with Don Q but a lighthearted piece here from the Guardian re standing ovations. Let's hope they don't become a 'thing' after every solo and PDD that an audience particularly enjoyed!

 

https://www.theguardian.com/stage/2023/oct/17/the-applause-clause-why-are-standing-ovations-suddenly-obligatory

 

 

 

[Rob S]

 

 

 

 

 

 

[ellyb]

8 minutes ago, Ondine said:

 

Nothing to do with Don Q but a lighthearted piece here from the Guardian re standing ovations. Let's hope they don't become a 'thing' after every solo and PDD that an audience particularly enjoyed!

 

https://www.theguardian.com/stage/2023/oct/17/the-applause-clause-why-are-standing-ovations-suddenly-obligatory

 

 

 

Oh, I hate them almost all the time! The only times I believe it acceptable is either at the retirement show of a much-loved artist or at a performance that is so completely outstanding it quite literally moves you (Vadim's Rudolf was the largest I've witnessed, that was quite something); as yet, I've not quite been there but I completely understood why some people felt the need last night, especially as this run may be the last outing of Marianela's Kitri at the ROH. Aw, now I've written that I rather wish I had stood up! 

[Linnzi5]

5 minutes ago, Rob S said:

 

 

 

 

 

 

Wow! These are stunning! Thanks for sharing! The last one of Fumi is just gorgeous! ❤️

[Sim]

What a beautiful performance from Will and Fumi tonight. I felt that, with the debut out of the way, Will really relaxed into the role and the dancing, which was noticeably upped a few gears.  Everything flowed so smoothly and with aplomb and subtlety at the same time. Their natural connection is a joy to behold and I could physically feel it. There were times when it looked as if Will was breathing Fumi right into his soul.  She was as stunningly beautiful as ever:  flirtatious, funny Fumi. And yes, those fouettés!  The disappointment of not seeing the scheduled cast was more than compensated for by the glorious replacements!

 

Once again I adored James Hay as Gamache and Leo Dixon as Espada.  
 

Once again I emerged into the night feeling happy and elated, and in this dark world I thank the whole company for that from the bottom of my heart. ❤️

[emmarose]

1 hour ago, Lindsay said:

The girl sitting next to me in the amphi filmed most of the show last night..

 

I've told people to stop before, or told them to stop playing with phones, if not tell an usher, it's distracting to the audience.

 

I feel that there should maybe be an announcement as so many seem to be doing it lately. 

[Sim]

They do say just before curtain up that everyone should switch their phones off and that photography is not allowed during the performance.  

[Silke H]

4 magnificent performances in as many days.

My cup runneth over!

 

 

 

 

[emmarose]

4 minutes ago, Sim said:

They do say just before curtain up that everyone should switch their phones off and that photography is not allowed during the performance.  

 

I obviously never listen to it (to hear it, not because I ever use my phone during a performance)

[Ondine]

I think that must be one of the most beautuful tutus I've ever seen. I love these photos as I get a close up of the wonderful craftsmanship, the detailed design!

 

A friend, a long time ago,  had her wedding dress made by a friend of hers who worked making costumes for the ROH and it was superb. Such skill, such talent.

 

 

[JennyTaylor]

Joy, joy and more joy.  I so agree with Sim, in this dismal world, this ballet is a haven of delight and I've found myself thinking many times - I don't want to go back to the real world.  So thankful I got a ticket for this bonus performance. 

 

Will did tell me at a Cinderella event at the ROH, when I was inarticulately trying to tell him how special and different their performances were, that he and Fumi had watched videos of the Cinderella pdd and worked out every time they could look at it each other throughout the piece. 

 

After that, I looked for it - and so they did whereas other couples did not - and it made a huge difference to the connection.  They do that again in DonQ - I have no idea whether it's deliberate this time round but it's so noticeable when you look for it. He looks at her so often - a smile, a twitch of the eyebrow, another smile - and it's melting.    

 

Yes, overall it seemed a little more relaxed tonight - less first night nerves and the whole show was a total delight. As for James Hay - utterly brilliant!  Really enjoying Tom Whitehead's performances too in the various shows I have seen.  

[Linnzi5]

6 hours ago, Sim said:

What a beautiful performance from Will and Fumi tonight. I felt that, with the debut out of the way, Will really relaxed into the role and the dancing, which was noticeably upped a few gears.  Everything flowed so smoothly and with aplomb and subtlety at the same time. Their natural connection is a joy to behold and I could physically feel it. There were times when it looked as if Will was breathing Fumi right into his soul.  She was as stunningly beautiful as ever:  flirtatious, funny Fumi. And yes, those fouettés!  The disappointment of not seeing the scheduled cast was more than compensated for by the glorious replacements!

 

Once again I adored James Hay as Gamache and Leo Dixon as Espada.  
 

Once again I emerged into the night feeling happy and elated, and in this dark world I thank the whole company for that from the bottom of my heart. ❤️

This summarises how I felt too. I could see a much more confident Will (I totally understand the caution of his and Fumi's debut together. Mayara had slipped and Steven was seriously injured in previous performances, so to be more careful is understandable. I'm sure some nerves must have been involved as well?) I loved the matinee performance, but felt last night's was more comfortable and showed more of the technical prowess of both Will and Fumi. In the matinee, the one-arm lifts were quite tentative, last night, the second one, particularly, was long and secure (in the matinee that was the only obvious nervousness that was apparent to me).

 

The connection these two performers have is beautiful. The glances, looks, smiles and the adoring way they look at each other really works for me. I need to believe these are two young people in love and I do. Will's acting is sublime (as is Fumi's) and I was convinced in all they did. I didn't feel either were acting - it was natural and believable. I am so impressed!

 

Fumi was lovely. I can't fault her in any way. She is so beautiful when dancing and her dancing flawless. I am so impressed with the way she connects with the audience and she was a delight to watch. I'm still stunned by those fouettés. I'm sure they were identical on Saturday but I didn't take in the fan being used in the first section of them - wow, I was blown away. I am usually someone who prefers their fouettés to be understated - but not when they work as well as Fumi's. I am not sure I have seen them performed like that before, but I may be wrong and I'm sure someone here can correct me.

 

James Hay? He just made me laugh! He is amazing. I do wonder if his future is as a Principal Character Artist? Leo Dixon was brilliant - I liked him better today. Matadors as great as always. Mariko Sasaki's Queen of the Dryads was lovely - probably my favourite so far. Again, I'm sure someone can correct me about the technicalities of this difficult role, but she looked like she had a firm grasp on the choreography and was elegant at the same time. Amour, Ashley Dean, was lovely and very delicate and compelling. Kitri's friends were lovely, again, I particularly noticed Sae Maeda - I really love that her personality shines though in her dancing.

 

Chris Saunders and Philip Mosely were their usual excellent selves - I think the night before, Monday's performance, his hoisting into the air was a little uncontrolled towards the end of the sequence, last night it was more controlled, thank goodness! 

 

Thomas Whitehead has really impressed me no matter which role he has taken on, though I do prefer James Hay's Gamache, I have loved his Don Q, Lorenzo so much. 

 

I thought the orchestra was on top form again and thought they were amazing. I was pleased the audience wasn't as 'cheery'  as Monday night - seriously, I think if Vadim or Marianela had sneezed the audience would have roared with their approval 🤣 It was uplifting but a little OTT and distracting for me, at times. 

 

Overall, what a lovely evening. I left with the biggest smile on my face. My last minute purchase (divorce pending!) was well worth every penny. I had never chosen the seat I had last night before but wow, what a view! ❤️

Edited October 18, 2023 by Linnzi5

[Linnzi5]

6 hours ago, Ondine said:

I think that must be one of the most beautuful tutus I've ever seen. I love these photos as I get a close up of the wonderful craftsmanship, the detailed design!

 

A friend, a long time ago,  had her wedding dress made by a friend of hers who worked making costumes for the ROH and it was superb. Such skill, such talent.

 

 

I have been thinking the same. I had never noticed the delicate and beautiful detail on the dress as much as I have recently - it's beautiful craftsmanship.

[capybara]

Nice to read that people enjoyed last night so much.

I think I’m correct in saying that Fumi suffered two ACL tears, the first during Don Q 10 years ago, the second quite soon after a long absence from that. Yet, with both legs affected, she dances like a dream, including ‘those fouettés’. So fingers crossed for Steven.

On another subject, I wish that @JennyTaylor hadn’t told us that the looks and glances between Fumi and Will were choreographed.

[LinMM]

I remember her first one as I’d only just noticed this lovely radiant dancer in the corps… in a Balanchine piece …and managed to find out her name! Then she suddenly completely disappeared and I thought she had left the Company! Am so glad she had not! 

Those photos above are lovely and especially that last one of Fumi ..so beautiful. Thankyou Rob S 

 

[Sim]

22 minutes ago, capybara said:

Nice to read that people enjoyed last night so much.

I think I’m correct in saying that Fumi suffered two ACL tears, the first during Don Q 10 years ago, the second quite soon after a long absence from that. Yet, with both legs affected, she dances like a dream, including ‘those fouettés’. So fingers crossed for Steven.

On another subject, I wish that @JennyTaylor hadn’t told us that the looks and glances between Fumi and Will were choreographed.

I think many of those looks are natural, Capybara!  

[Richard LH]

Totally agree with all the plaudits about last night....another very special performance. Fumi and Will have such a rapport, and such smooth, apparently effortless, dancing from them both! And this time the gypsy dancing went very well...

Evereyone seemed to be on top form .....and Mariko Sasaki is certainly one to watch...her Queen of the Dryads was superb! 

[MildConcern]

A couple more thoughts, following my immediate plaudits of Fumi and Will yesterday evening.

 

Mariko Sasaki's Queen of the Dryads was very lovely and she executed that variation with an enforced, dreamy air. 

 

I was also very taken by Joonhyuk Jun as lead gypsy - he filled the stage and made a very memorable impression in a short appearance.

 

Leo Dixon seemed a little nervous as Espada and came across slightly rigid, though perhaps the swagger will come more as he beds down in the role. 

 

How wonderful is James Hay! I can't quite believe his range and I do potential for a very successful path as a principal character artist, should he desire it. 

 

Finally, and though I have already spoken about them, the brief windmill pdd at the beginning of Act 2 gave me an intense longing to see a Kaneko/Bracewell Swan Lake later this year. I do really hope this comes true - they were my favourite O/O and Siegfried in the last run by some distance, though both partnering others. If I see them together by the lake, I might just explode. 

[San Perregrino]

On 17/10/2023 at 00:18, ellyb said:

I've never witnessed a standing ovation mid performance before but the wedding pas de deux was that spectacular that a few people leapt to their feet!

if people are unfamiliar with this Don Quixote they can mistakenly think that the wedding pas de deux is the end of the performance. We are nearing the end of an evening of nearly 3 hours. This is the climax in terms of the choreographic fireworks. But, it’s not the end of the story which culminates in the wedding and the villagers celebrating. A fitting finale that includes the whole cast and jazz hands.

In fact, I have noticed over the course of seeing several performances that people regularly leave at the end of the wedding pas de deux thinking that’s the end. 

Without detracting in the least from what had happened onstage, given the current propensity of people to want to be the first to leap to their feet in acclamation sometimes, IMHO of absolutely nothing at all, I’d suggest that, in this case, these audience members were caught out by their own misguided (?) enthusiasm and hoisted on their own petard. 
(I’m reminded of a saying I heard once when visiting Leicestershire , “They think they’re as clever as Kitty Mullet, who wiped ´er ass before she done it.”)

Edited October 18, 2023 by PeterS
Add info

[Jan McNulty]

A friend and I witnessed a standing ovation mid Don Q gpdd in Copenhagen some years ago.

 

The RDB were performing Alicia Alonso's production (as it happens my favourite production) with the glorious Anette Delgado and Joel Carreno guesting.  The whole of the front stalls leapt to their feet before the solos started!

[Dawnstar]

21 hours ago, emmarose said:

I would say this, it's always good to cherish dancers while they're here, you never know what can happen, you hope they can stay on to have a long career, but injury and also burnout can happen to any dancer, so no matter what age, cherish them all.

 

This is probably me being autistic but I don't see how one can cherish a dancer whom one does not know? My understanding of the meaning of cherish is that it requires a warm personal relationship with someone. I admire & appreciate performers but would never be presumptuous enough to imagine I could get to know any of them them well enough to be able to cherish them.

 

4 hours ago, MildConcern said:

Finally, and though I have already spoken about them, the brief windmill pdd at the beginning of Act 2 gave me an intense longing to see a Kaneko/Bracewell Swan Lake later this year. I do really hope this comes true - they were my favourite O/O and Siegfried in the last run by some distance, though both partnering others.

 

I too am hoping they will get paired together in Swan Lake. Kaneko will have to have a new partner anyway.

[emmarose]

13 minutes ago, Dawnstar said:

 

This is probably me being autistic but I don't see how one can cherish a dancer whom one does not know? My understanding of the meaning of cherish is that it requires a warm personal relationship with someone. I admire & appreciate performers but would never be presumptuous enough to imagine I could get to know any of them them well enough to be able to cherish them.

 

 

I too am hoping they will get paired together in Swan Lake. Kaneko will have to have a new partner anyway.

 

The ones you enjoy watching, if you enjoy watching any of them, never take anything for granted. You never know when it's their last performance.

I wouldn't expect you to cherish a dancer you've never seen nor heard of. You don't have to know them personally to cherish their work/performance.

 

I'm autistic too.

[Dawnstar]

1 hour ago, emmarose said:

The ones you enjoy watching, if you enjoy watching any of them, never take anything for granted. You never know when it's their last performance.

 

While I can absolutely see that's a sensible & pragmatic viewpoint, I would prefer not to adopt it myself as I think I'd find it awfully depressing to end every performance thinking "What if that's their last performance ever?" when in the vast majority of cases it won't be.

[emmarose]

28 minutes ago, Dawnstar said:

 

While I can absolutely see that's a sensible & pragmatic viewpoint, I would prefer not to adopt it myself as I think I'd find it awfully depressing to end every performance thinking "What if that's their last performance ever?" when in the vast majority of cases it won't be.

 

It doesn't have to be an ever present thought, it's just a simplistic way of saying enjoy every performance. You don't actually have to say that in your head, that it could be the last performance, we just never know about anything, even the world itself, so just enjoy them all while they're here.

[capybara]

6 minutes ago, emmarose said:

 

It doesn't have to be an ever present thought, it's just a simplistic way of saying enjoy every performance. You don't actually have to say that in your head, that it could be the last performance, we just never know about anything, even the world itself, so just enjoy them all while they're here.

 

And the wonderful thing about a live performance is that every one of them is unique.

[Sim]

On 17/10/2023 at 09:28, capybara said:

Mayara Magri is, of course, very good indeed but one can’t help notice from what has been announced that she is being featured far more than other women Principals:

- opening night Mercedes

- 2 substitute Kitris

- 3 Jacquelines  in The Cellist

- 2 scheduled Kitris, including the live relay

- 4 Sugar Plums (2 different partners)

- 4 Lescaut’s Mistress

The most any another Principal ballerina is cast for to date on the main stage is Nunez (3 Kitris then nothing until January) but otherwise it’s a maximum of two shows apiece for Don Q, Nutcracker and Manon plus Dante yet to be revealed.

Notwithstanding my huge admiration for Mayara, I can’t help but wonder about this imbalance, especially when the RB is so rich in top talent. I personally want to see as much from Fumi Kaneko and Yasmine Naghdi - the latter in particular appears to be being under-used.

(Apologies for the diversion.)

 

I agree.  Yasmine has two Kitris (plus the general rehearsal), then a quick turn in Dante, then two SPFs in December, then  her two Manons.  So just six performances in four months.  I want more!  

[Sim]

I have just been looking at some rehearsal footage of Osipova/Clarke on DancersDiary's IG page and just from that minute or two alone I am so looking forward to this!

[OnePigeon]

There are too many wonderful principal pairings these days for my liking:  I used to just book to see whichever cast had Mukhamedov or Acosta and it was quite a simple choice (though hindsight tells me I overlooked some other wonderful dancers.)  Now I don’t have an actual favourite couple or dancer I am constantly wondering if I’ve booked the right cast.  I really need to win the lottery.

 

With regards to standing ovations and audience enthusiasm, the most amazing atmosphere I have experienced was in Havana seeing the Ballet Nacional de Cuba, complete with an appearance by Alicia Alonso who waved from the box and got a huge cheer.  They truly love their ballet and it was an exhilarating and heartwarming evening.

[annamk]

41 minutes ago, Sim said:

I agree.  Yasmine has two Kitris (plus the general rehearsal), then a quick turn in Dante, then two SPFs in December, then  her two Manons.  So just six performances in four months.  I want more!  

 

Is it not possible I wonder for the RB to schedule more mixed bills with a lot of principal roles. There are so many principals currently that it seems impossible to give everyone enough stage time in full length ballets. I was thinking that even with Lauren Cuthbertson, Francesca Hayward and Sarah Lamb not cast in Don Q there are still not really enough shows to go around. I know Marianela Nunez and Natalia Osipova had more scheduled performances but they are better known and their ticket sales are better. 

 

Reading the reports from New York it seemed to me that the principals have been dancing much more regularly than the principals do in London, but maybe I am mistaken or maybe it's just because it was the 75th anniversary. Perhaps this kind of triple bill scheduling needs a company the size of NYCB. 

[Linnzi5]

8 hours ago, MildConcern said:

Finally, and though I have already spoken about them, the brief windmill pdd at the beginning of Act 2 gave me an intense longing to see a Kaneko/Bracewell Swan Lake later this year. I do really hope this comes true - they were my favourite O/O and Siegfried in the last run by some distance, though both partnering others. If I see them together by the lake, I might just explode. 

I was thinking exactly the same. I was hoping they'd be cast together in Manon, but I am really looking forward to Yasmine Naghdi and William Bracewell in that together. However, If there is no Kaneko/Bracewell Swan Lake pairing, I will cry, stamp my feet and generally have a hissy fit! Please, please, please, Mr O'Hare! I'll book multiple performances! 😇

[Jan McNulty]

33 minutes ago, annamk said:

 

Is it not possible I wonder for the RB to schedule more mixed bills with a lot of principal roles. There are so many principals currently that it seems impossible to give everyone enough stage time in full length ballets. I was thinking that even with Lauren Cuthbertson, Francesca Hayward and Sarah Lamb not cast in Don Q there are still not really enough shows to go around. I know Marianela Nunez and Natalia Osipova had more scheduled performances but they are better known and their ticket sales are better. 

 

Reading the reports from New York it seemed to me that the principals have been dancing much more regularly than the principals do in London, but maybe I am mistaken or maybe it's just because it was the 75th anniversary. Perhaps this kind of triple bill scheduling needs a company the size of NYCB. 

 

I would prefer more triples - I would be more likely to make the journey for those!

[Bruce Wall]

1 hour ago, annamk said:

Reading the reports from New York it seemed to me that the principals have been dancing much more regularly than the principals do in London, but maybe I am mistaken or maybe it's just because it was the 75th anniversary. Perhaps this kind of triple bill scheduling needs a company the size of NYCB. 

 

Hi Anna,

 

Vis a vis NYCB in the standard season fare (as opposed to The Nutcracker, say, where there are 48 performances this year) the principals mix with the soloists and the corps in the three-ballet programmes - short of, say, when with longer Robbins' works (e.g., Goldberg Variations) where there will be only two.  This has always been the way at NYCB.  All levels mix and always have.  Balanchine was adamant that he didn't want people hanging about as relative set dressing.  They always fundamentally dance.  Apprentices are always thrown into the deep ends.  That's why they are there to see how they fare in terms of the needed stamina.  Even in the pieces drawn from Balanchine's Broadway work such as Slaughter on Tenth Avenue (and, say, Robbins' West Side Story Suite) everyone is active.  That is simply part of the NYCB ethic.  

I would say this Fall '23 season was pretty standard in this regard - with, of course, injury, illness, pregnancy, etc., taken into consideration.  Here is a study showing exactly how many roles rostered dancers (as opposed to apprentices and corps members without specific itemised assignments) actually danced and in what number of roles during the Fall Season just ended of one full month with seven performances each week - not including special presentations.  Mira Nadon alone had five major debuts - but that is not in any way unusual.  At the very end of his life Balanchine was throwing 16 year old Darci Kistler into EVERYTHING if memory serves.  

Even in the NYCB full-lengths there tend to be a greater variety of focused opportunities.  Think of Balanchine's Coppelia or Harlequinade - or even in the narrative one-acts, say, e.g., La Sonnambula which, outside of the principals, has a whole segment of delightful divertimenti and are on a bill with two other distinctive ballets.  Also, where there are smaller works, say, the Unanswered Question, Ballo, Valse Fantasie or Tarantella for example they are always done with two (sometimes three) ballets in that one act.  

Hope that helps

 

 

 

Edited October 18, 2023 by Bruce Wall

[emmarose]

2 hours ago, capybara said:

 

And the wonderful thing about a live performance is that every one of them is unique.

Absolutely, it's why we love it!