DON QUIXOTE - ROYAL BALLET AUTUMN 2023

[Rob S]

2 hours ago, Occasional audience member said:

I was very taken with a few of the dancers in unnamed “roles” yesterday afternoon - no way of telling from the cast sheet who they were. In particular one of the four men dancing in ragged clothes as ?urchins? ?scruffy street lads? yesterday afternoon really stood out and if he is an early career artist I would be keeping an eye out for him for the future. Is there more detail anywhere? Does anyone who knows the company well know who those four were? Seems odd that the briefly appearing (lovely) guitar players get a full credit, but not some of the standout dancers.

I’m going to assume you mean Marco Masciari…the others were Francisco Serrano, Liam Boswell and Harrison Lee. 

[Rob S]

6 hours ago, Sim said:

Yes I noticed that…all he got was a handshake!  😂

She then blew him a kiss 😆

[capybara]

Controversy warning ⚠️ 

So other dancers spend weeks getting the choreography ‘spot on’ (some of them subject to very ‘picky’ coaching) whereas Osipova can basically come on and do whatever she likes and that’s OK?

 

I know that Carlos has encouraged the Basilios to include their own ‘tricks’ in their variations but changing the choreography completely seems a step too far for me. I appreciate Osipova’s unique characterisations but ……!!!! 

[Occasional audience member]

1 hour ago, Rob S said:

I’m going to assume you mean Marco Masciari…the others were Francisco Serrano, Liam Boswell and Harrison Lee. 

Thank you Rob S. They were all great, but looking at the headshots on the RoH site it was Liam Boswell who stood out for me.

[Paco]

8 hours ago, Sim said:

Furthermore, Natalia has always done her own thing on stage, which sometimes involves slight tweaks to the choreography. That’s what makes her so exciting to watch…you never know what you’re going to get.  As my daughter said today:  we are lucky enough to see wonderful dancers doing it the “correct” way, so it’s just very interesting to see a different interpretation, which is what we always get with Natalia. DonQ is one of those ballets that can take it. 

I agree and that's why I never miss a performance with her at the RB. She has that kind of genius that only very few ballerinas have in the World.

Furthermore, thanks to the partnership they have progressively built together during the past three years, yesterday even Reece Clarke did some innovative steps when he was dancing with her (like a kind of reverse jeté in the tavern scene, that I could not name exactly but was very subtle and well synchronized with what Natalia was doing at the same time).

 

I was not bothered by the very personal characterization of Osipova's Kitri. On the contrary I come to the RB also, and perhaps chiefly, for that! But yesterday I felt that she did not have the same physical easiness as usual. If I come back to her Act III variation for instance, it started extremely well, but then in the second part of the variation she only played a kind of pantomime, a smart and rather funny one, but I was missing steps and dancing at that point. Even the fouettes of the coda were not the usual Osipova's fouettes, with her stratospherical energy and precision. And during the performance I had the impression of cautiousness each time she had to perform some jetés or some abandons in the arms of Basilio, which is quite unusual for her and their partnership.

 

All this gave me the impression that she was not in a comfortable physical condition compared to her usual performances at the RB, but perhaps I am wrong.

 

Nevertheless, even in a so-so condition, I would still die to attend a performance with her, no doubt about it!!

Edited November 12, 2023 by Paco

[bridiem]

27 minutes ago, capybara said:

So other dancers spend weeks getting the choreography ‘spot on’ (some of them subject to very ‘picky’ coaching) whereas Osipova can basically come on and do whatever she likes and that’s OK?

 

I suspect there is an element of truth in this!

[Guest oncnp]

10 minutes ago, Paco said:

 

Furthermore, thanks to the partnership they have progressively built together during the past three years, yesterday even Reece Clarke did some innovative steps when he was dancing with her (like a kind of reverse jeté in the tavern scene, that I could not name exactly but was very subtle and well synchronized with what Natalia was doing at the same time).

 

 

But as @capybara pointed out, that was Acosta encouraging his men to interpret the role as they wished.  Perhaps he did the same for his Kitri's, but no one else seems to have. 

Edited November 12, 2023 by oncnp

[Linnzi5]

Thank you for all the reviews/opinions about the matinee performance. Osipova is definitely a force of nature and unique (in my experience of when I have seen her) and I am looking forward to seeing what she does on Friday. She doesn't always present what I am looking for in performances but I like that she has the confidence and experience to do things her way. From World Ballet day, her Kitri appears to be spirited and 'sassy' and the comedic aspect of Kitri's character is something she likes. It will be refreshing to see a different approach. 

 

I'd be interested to know some more details about the Acri/Hinkis performance and what their interpretations were. I sadly didn't get to see them. 

[Linnzi5]

33 minutes ago, oncnp said:

 

But as @capybara pointed out, that was Acosta encouraging his men to interpret the role as they wished.  Perhaps he did the same for his Kitri's, but no one else seems to have. 

Indeed and if the Basilios are free to do that, then I can see no reason that the Kitris shouldn't be afforded the same individuality. From World Ballet Day, Osipova did say that, for her, she liked the comedic aspects of the ballet, so I'm guessing that is how she interprets her role? Lots of fun and cheekiness?  

[Linnzi5]

1 hour ago, capybara said:

Controversy warning ⚠️ 

So other dancers spend weeks getting the choreography ‘spot on’ (some of them subject to very ‘picky’ coaching) whereas Osipova can basically come on and do whatever she likes and that’s OK?

 

I know that Carlos has encouraged the Basilios to include their own ‘tricks’ in their variations but changing the choreography completely seems a step too far for me. I appreciate Osipova’s unique characterisations but ……!!!! 

I don't think you're being controversial here. Whenever I have seen Osipova, she does things her own, individual way - I think some love her impulsive nature, and her unpredictability as it is exciting; you just never know what she will do next.

 

On World Ballet Day, her dancing was tweaked (or there were suggested corrections) from Zenaida Yanowsky which she appeared to take on board. Whether those corrections made it into her performance, who knows.

 

I have read principals saying that they listen to corrections (particularly on technical aspects) but don't always do interpretative ones. Also, in interviews, I have read that pairings also may have different ideas and come to compromises.

 

For me, characterisation is vital - that's the whole point of a narrative ballet (well, generally,  in the big, classics, though sometimes it is just about pure dancing) - whether I like those characterisations or not is another thing.

 

I am looking forward to seeing my take on Osipova and Reece Clarke together. However I feel, I know it will be unique from Osipova - that is one of the reasons I decided to go (and I rarely see Clarke, so wanted to see his Basilio).

[capybara]

6 minutes ago, Linnzi5 said:

Indeed and if the Basilios are free to do that, then I can see no reason that the Kitris shouldn't be afforded the same individuality. 

But should that individuality extend to what amounted, in my view, to ducking out of executing the choreography?

 

My star Kitris of this run offered very individual interpretations without any such distortion.

 

I think I’m correct in saying that the Basilios are encouraged to fit some flashy moves into the basic structure of their solos, which is rather different from what Osipova was offering.

[Linnzi5]

10 minutes ago, capybara said:

But should that individuality extend to what amounted, in my view, to ducking out of executing the choreography?

 

My star Kitris of this run offered very individual interpretations without any such distortion.

 

I think I’m correct in saying that the Basilios are encouraged to fit some flashy moves into the basic structure of their solos, which is rather different from what Osipova was offering.

That is an interesting question. I suppose only Carlos Acosta can answer that. My favourite Kitris, so far, have tweaked little bits but mainly stayed true to the original choreography and that has worked for me. I am not someone who looks for flashy moves, so they generally (though nice to watch) are not what I appreciate, especially if the characterisation and storytelling aren't there. Don Q is basically a love story. If I don't believe that Kitri and Basilio are in love  then glorious dancing and technicality aside, it won't work for me.

Edited November 12, 2023 by Linnzi5

[Odyssey]

Now this would be an interesting topic for the Open Barre ballet podcast. 

[Missfrankiecat]

2 hours ago, capybara said:

Controversy warning ⚠️ 

So other dancers spend weeks getting the choreography ‘spot on’ (some of them subject to very ‘picky’ coaching) whereas Osipova can basically come on and do whatever she likes and that’s OK?

 

I know that Carlos has encouraged the Basilios to include their own ‘tricks’ in their variations but changing the choreography completely seems a step too far for me. I appreciate Osipova’s unique characterisations but ……!!!! 

 

From where I was sitting, she wasn't 'doing whatever she likes'.  The Act 3 fouettés were modified - I would regard that as good judgment if she was concerned about not finishing cleanly.  Far better than to aggravate an injury or fall flat on your backside.  

[Lizbie1]

I probably have an Osipova bias, but as with her substitution of pique turns for fouettes in Swan Lake a few years back, I think certain dancers get to the stage where they have pretty much earned the right to make their own decisions in some respects. Osipova has probably forgotten more about Don Q than most dancers will ever learn.

 

Incidentally, Peter Wright singled her out as a dancer who was very receptive to taking direction in Giselle - much more so than Cojocaru IIRC.

[LinMM]

Well I won’t be seeing Osipova in this run of Don Q but as she has given me one of the best ballet performances and as Kitri that I’ve seen albeit a few years back now and one of the best Giselle performances (she’s in my top four for Giselle) I can forgive her almost anything …..even not sticking to some original choreography on occasions!! 

[San Perregrino]

6 hours ago, Occasional audience member said:

I was very taken with a few of the dancers in unnamed “roles” yesterday afternoon - no way of telling from the cast sheet who they were. In particular one of the four men dancing in ragged clothes as ?urchins? ?scruffy street lads? yesterday afternoon really stood out and if he is an early career artist I would be keeping an eye out for him for the future. Is there more detail anywhere? Does anyone who knows the company well know who those four were? Seems odd that the briefly appearing (lovely) guitar players get a full credit, but not some of the standout dancers.

 

i call them urchins but have heard them referred to as beggars, homeless boys etc

the matinee was Liam Boswell, Harrison Lee, Francesco Serrano & i think Marco Masciari (?)

the evening was Liam Boswell, Harrison Lee, Francesco Serrano & Daichi Ikarashi

 

Amongst other notable appearances,

Liam, Marco & Daichi all danced the Jester in Cinderella earlier this year

all four were featured in the recent casts of Anemoi with Daichi & Harrison dancing in lead roles (as much as there are lead roles in Anemoi)

Marco played the young Dante in the first run of Dante Project

Liam is cast as Hans-Peter in The Nutcracker on 5/1 & 10/1/24 and all four will doubtless reprise their multiple roles in the Nutcracker including as Drosselmeyer's assistant and in the National Dances.

 

Edited November 12, 2023 by PeterS

[Sim]

5 minutes ago, PeterS said:

 

i call them urchins but have heard them referred to as beggars, homeless boys etc

the matinee was Liam Boswell, Harrison Lee, Francesco Serrano & i think Marco Masciari (?)

the evening was Liam Boswell, Harrison Lee, Francesco Serrano & Daichi Ikarashi

 

 

Yes, Marco was the fourth urchin at yesterday’s matinee.  

[Paco]

2 hours ago, Linnzi5 said:

Indeed and if the Basilios are free to do that, then I can see no reason that the Kitris shouldn't be afforded the same individuality. From World Ballet Day, Osipova did say that, for her, she liked the comedic aspects of the ballet, so I'm guessing that is how she interprets her role? Lots of fun and cheekiness?  

Yes and I loved that characterization. I even laughed at times. And it was also the same approach for Clarke's Basilio, definitely a Basilio I will remember!

[San Perregrino]

1 hour ago, Missfrankiecat said:

 

From where I was sitting, she wasn't 'doing whatever she likes'.  The Act 3 fouettés were modified - I would regard that as good judgment if she was concerned about not finishing cleanly.  Far better than to aggravate an injury or fall flat on your backside.  

 

I agree.  Some dancers that we enjoy watching have had long careers and I am careful not to expect to see them dance today how they danced 10 or even 20 years ago. 

Isn't it better to have the steps in your' toolkit' and to have the maturity and experience to modify what you dance at a particular performance depending on what you feel capable of on the day rather than to attempt to dance something that might not be physically possible for whatever reason? 

If I'm not mistaken, the choreography for Steven McRae's first performance as Basilio seemed to have been adapted to take into account his past injuries.

 

 

[Sophoife]

I'd love to see Osipova as Kitri now, having seen her with Vasiliev guesting with AusBallet in 2013.

 

Her speed was incredible!  She and Vasiliev hammed up the dress rehearsal: fast, strong, and utterly joyous to watch. In the second one-handed lift he got her up, put his arm out, moved into arabesque, then rose on to demi-pointe. And held it. And held it. Everyone on stage was whooping, as were we, and finally the then-AD got on his mic and said, "OK enough please", and was heard to be laughing as Vasiliev lowered Osipova like a piece of porcelain, then made fists and displayed his biceps.  I'm told their actual shows were somewhat more restrained.

 

[Paco]

1 hour ago, PeterS said:

 

I agree.  Some dancers that we enjoy watching have had long careers and I am careful not to expect to see them dance today how they danced 10 or even 20 years ago. 

Isn't it better to have the steps in your' toolkit' and to have the maturity and experience to modify what you dance at a particular performance depending on what you feel capable of on the day rather than to attempt to dance something that might not be physically possible for whatever reason? 

If I'm not mistaken, the choreography for Steven McRae's first performance as Basilio seemed to have been adapted to take into account his past injuries.

 

 

I agree with both of you. Keeping in mind that she was injured not later than 6 weeks ago (thus having to cancel October performances), then having this gala in Dubai last Wednesday (with Clarke), and anticipating that she still has to dance Kitri next Friday, it is probable (and wise) that she has adapted her choreography in order not to get injured once again. We don't even know whether she has fully recovered or is still in a kind of convalescence regarding the October injury.

Edited November 12, 2023 by Paco

[Sim]

Just now, Sophoife said:

I'd love to see Osipova as Kitri now, having seen her with Vasiliev guesting with AusBallet in 2013.

 

Her speed was incredible!  She and Vasiliev hammed up the dress rehearsal: fast, strong, and utterly joyous to watch. In the second one-handed lift he got her up, put his arm out, moved into arabesque, then rose on to demi-pointe. And held it. And held it. Everyone on stage was whooping, as were we, and finally the then-AD got on his mic and said, "OK enough please", and was heard to be laughing as Vasiliev lowered Osipova like a piece of porcelain, then made fists and displayed his biceps.  I'm told their actual shows were somewhat more restrained.

 

Although when they first danced DonQ in London with the Bolshoi Vasiliev did it in performance and drew gasps and huge applause. I will never forget those shows!  

[Sophoife]

16 minutes ago, Sim said:

Although when they first did it in London Vasiliev did it in performance and drew gasps and huge applause. I will never forget those shows!  

 

Gosh I know we're not "supposed" to like that sort of thing, but in such hands it was pure joy and fun.

 

When I marvel at Osipova's speed, it's that diagonal turning past the matadors I specifically remember. She was almost a blur to the naked eye.

[capybara]

19 minutes ago, Sim said:

Although when they first did it in London Vasiliev did it in performance and drew gasps and huge applause. I will never forget those shows!  

It was fun and the foundation for Osipova’s fame. 
 

By the way, was anyone at last night’s show? Unfortunately, my lack of stamina precluded my ‘doing the double’ but I would love to hear what people thought.

 

[Sim]

Yes, I did manage to do the double.  After the afternoon's show, it felt a bit flat to me.  Having said that, I loved Luca Acri as Basilio.  His dancing was worthy of many a principal who has done the role before, and he had a very Latino type of characterisation for Basilio which worked really well.  Meaghan Grace Hinkis tried hard but for me didn't quite pull it off as Kitri.  Ditto Ben Ella;  he just isn't an Espada for me, although there was nothing wrong with his dancing.

 

My other highlights from this performance were Julia Roscoe as Queen of the Dryads (a lovely, graceful and confident interpretation of this small but important role; plus her very warm smile always makes it feel like the sun is shining on that stage) and Sae Maeda as Amour.  Again, radiant and very sweet.

[Sim]

Just now, Sophoife said:

 

Gosh I know we're not "supposed" to like that sort of thing, but in such hands it was pure joy and fun.

 

When I marvel at Osipova's speed, it's that diagonal turning past the matadors I specifically remember. She was almost a blur to the naked eye.

And she still was yesterday.  She whipped downstage doing those turns!  

[Shade]

Thanks for all the feedback- can’t wait for Friday’s performance, which will be my only one. Crossing fingers that all the performers are ok. 
From previous experience Ms Osipova likes to end a run on a high note (thinking of a Giselle run) so I am hoping for excitement and have treated myself to an expensive ticket. 

[Sim]

9 minutes ago, Shade said:

Thanks for all the feedback- can’t wait for Friday’s performance, which will be my only one. Crossing fingers that all the performers are ok. 
From previous experience Ms Osipova likes to end a run on a high note (thinking of a Giselle run) so I am hoping for excitement and have treated myself to an expensive ticket. 

Please report back....and enjoy it!

[Linnzi5]

53 minutes ago, Sim said:

Yes, I did manage to do the double.  After the afternoon's show, it felt a bit flat to me.  Having said that, I loved Luca Acri as Basilio.  His dancing was worthy of many a principal who has done the role before, and he had a very Latino type of characterisation for Basilio which worked really well.  Meaghan Grace Hinkis tried hard but for me didn't quite pull it off as Kitri.  Ditto Ben Ella;  he just isn't an Espada for me, although there was nothing wrong with his dancing.

 

My other highlights from this performance were Julia Roscoe as Queen of the Dryads (a lovely, graceful and confident interpretation of this small but important role; plus her very warm smile always makes it feel like the sun is shining on that stage) and Sae Maeda as Amour.  Again, radiant and very sweet.

Thanks for the information - I have been so curious about this cast. I was sorry not to be able to see this performance.  I think Acri makes a terrific Benno, so I'm not surprised his Basilio was very good. I am a huge fan of Sae Maeda - I love her dancing. Julia Roscoe I have seen several times but not in something as prominent as Queen of the Dryads (though I did see her in rehearsal with Monica Mason for Giselle online and thought she was very graceful then). That is such a tricky solo and I don't think it's easy to pull off with grace and elegance. I believe she had a bad injury? Glad she is back to top form and I'm sorry not to have seen her.

 

I think Espada is difficult to pull off. It's not about the dancing so much for me, it's more about the swagger and character. I have really loved Hirano, so far, and particularly liked Richardson too - the latter being very swoon worthy!  I think that Hinkis is a good First Soloist and I have seen her quite a lot in those sort of supporting roles. Kitri is a challenging role that surely requires an established Principal to do it justice? It seems to be technically very demanding and needs a good actor to pull it off too.I  know she was covering the role and that Takada''s injury meant she couldn't dance, so this was a great opportunity. 

 

I am very much looking forward to Friday's Don Q. I'm rather intrigued to see what I think. 

Edited November 12, 2023 by Linnzi5
Typo

[Lindsay]

7 hours ago, capybara said:

Controversy warning ⚠️ 

So other dancers spend weeks getting the choreography ‘spot on’ (some of them subject to very ‘picky’ coaching) whereas Osipova can basically come on and do whatever she likes and that’s OK?

well yes, because she is a generational talent who can sell tickets globally.  And “whatever she likes” can often show us these roles in a new creative way (see her Giselle for example).  This is art - not the army - the aim isn’t to create replicants.

[AYSHEL]

I must say that the matinee on Saturday was a very great performance indeed. Have seen so many ‘Don Quixote’s’ in my 51 years of opera house attendance and having seem some of greatest Russian Kitri’s such as Maximova, Bessmertnova, Komleva, the performance by Natalia Osipova on Saturday raised the role to superb heights within Carlos Acosta’s production. There was so much detail in Act 1 in the partnership between her and Reece Clarke it was simply amazing. She has danced in 3 productions in London alone and numerous times – mostly with Ivan Vasiliev. But yesterday the interaction between Kitri and Basil was taken to another level. The freedom which a demi-caractere role offers gives her all the leeway she needs to put an interpretation across the footlights away from the strictly classical canon. The charm of the relationship between them was overflowing and engulfing. I never thought I would find ‘Don Quixote’ a moving experience, full of humanity in such a way. When she danced with the Mikhailovsky and Bolshoi usually with Vasiliev her performances were technically stunning with her prodigious technique, and her innate stage charm came across wonderfully. They were very technically charged renditions – and I remember the performance with the Mikhailovsky where they earned a 15-minute standing ovation – I checked my performance diaries today to check I hadn’t misremembered that!

 

I did not feel that she tired or was breathless during the performance – I was only 8 rows back in the stalls and she charged with energy throughout. The final solo in pas de deux was a joy as she had now opted for the variant using the fan (as per Vishneva and Makarova) which she despatched with absolute brilliance and clarity, and it was certainly not ‘half-delivered’. The fouettes have always been her strength (and I remember the Swan Lake where she opted for the Plisetskaya, late Bessmertnova pique/chaine tour which certainly was a surprise at the time) Yesterday, she offered a variety in the doubles with a variety of arm positions, which to me was also a first from her.

 

The classical act (the usual Dulcinea as per Russian versions) was executed with an absolute crystalline purity of tyle – just as it had always been since her first performance in the Bolshoi with the Bolshoi. The suspension of time with the beautifully held positions was arresting and showed her classical credentials perfectly.

 

One must mention Reece in his first performance. An absolute joy, with some beautiful long held lines, clarity of movement and positioning, and his responsive charm to his ballerina. They really are a superb partnership – and I think he must have learned from her experience. If you watch the World Ballet Day rehearsal on youtube for this performance, you can see how well they work with each other – and her genuine artistic affection for him. The interplay between for me even rivalled that of Maximova and (Vladimir) Vasiliev – and I don’t think I can say better than that. It was a truly great performance and the audience felt that. The stalls did rise to a standing ovation.

 

Of the other performers, Lukas B Brændsrød was an excellent Espada burning with passion, but I wasn’t overly impressed by Annette Buvoli as Mercedes. She seemed rather loose and flaccid, and her personality was not very strong. Indeed when Espada was flirting with Kitri’s friends, and she warded them off, she did it without any change to her facial expression or dynamic, she just kept smiling. This should have been addressed during the rehearsal period. A Spanish Street Dancer would surely show more temperament.

 

Hugh admiration for Gary Avis, who really made the role of Lorenzo into something central to the development of the story. He was so full of detail and offered a absolutely complete character study. Such a brilliant theatrical personality and dancers could learn so much from watching him!

 

The two friends of Kitri (Leticia Dias and Mariko Sasqaki) were very well drawn and worked very well together.  The Queen of the Dryads was very nicely danced by Sumina Sasaki with clarity and ease. A very tidy set of Italian fouettes. Calvin Richardson was a hilarious Gamache, very foppish indeed.

 

I am not a fan of the musical arrangement by Martin Yates but it was also well conducted with Valery Ovsyanikov paying great attention to the dynamics of the dance on stage.

 

All in all a fabulous afternoon!

[Mummykool]

Thank you Geoff for encapsulating my feelings exactly. It was indeed a privilege to have been there on Saturday afternoon.