DON QUIXOTE - ROYAL BALLET AUTUMN 2023

[capybara]

Now that the DQ run has ended 😥 I’d just like to say what a super thread this has been. Thank you everyone for the ‘reviews’, contrasting opinions, insights and information herein 😊👏. BCF at its best!

[Linnzi5]

5 minutes ago, capybara said:

Now that the DQ run has ended 😥 I’d just like to say what a super thread this has been. Thank you everyone for the ‘reviews’, contrasting opinions, insights and information herein 😊👏. BCF at its best!

Yes, I totally agree with this.  I have really enjoyed the discussion and different viewpoints and other poster's opinions have inspired me to book extra performances - ROH can thank Balletcoforum for that!!

 

I have never seen so many casts for one ballet in a single run. I have to partially thank Yasmine Naghdi and Matthew Ball for that (though my bank balance does not!) I saw them in the General Rehearsal and loved them and the ballet so much that I booked extra tickets on top of what I had already booked (alongside the reviews from forum members here). I really, really hope this hasn't set a precedence for me - otherwise, I will have to do some creative accounting!! 

[ellyb]

Unfortunately I was not feeling well so had to leave after Act I. From what I saw I would have to agree that the technique was a little sloppy at times. I do confess I've never really 'gotten' Osipova. This may be because I never saw her in her heyday or it may be I just don't appreciate her style. I've been to a few performances now over the past few years from Sleeping Beauty to Romeo & Juliet and haven't really understood the hype, and this isn't the first performance that I've been surprised by her seeming lack of technique; I just assumed that it was intentional and she is choosing to push the boundaries of classism, I'm not a fan of contemporary dance and do feel her style is really pretty contemporary, even in the classics. Or maybe she's focussing so much on achieving the fireworks of yesteryear that she's letting the basics slide. 

 

It seemed a lot quieter than for Nunez too, though I was in a different part of the house so maybe it's just that the stalls are noisier than the amphitheatre? The crowd did certainly roar after the Kitri solo though! I am sort of glad, I was hoping the reaction to Nunez/Muntagirov was just a response to them in particular rather than the new done thing.

 

PS Has anyone else noticed how much nicer the downstairs loos are than the up? Seems a bit wrong somehow, like the peasants in the gods don't deserve automatic taps and hand soap! 

[LinMM]

I think when a dancers technique is declining it’s always the big classics like Swan Lake and Sleeping Beauty which suffer first. I can’t remember now when Fonteyn dropped these but think she was about 60!!! I saw her a few times in each. She was still glorious in other pieces like Marguerite and Armand though ….would love to have seen her in Month in the Country! 
It must be a difficult decision as to when it’s best to drop certain roles and Don Q because of the sheer speed of some parts must start to get a bit dangerous to dance at some point.
It’s just as difficult if not more so for the men because of all the jumping they have to do and landings do start to get heavier. Nureyev went on a bit too long in some roles in my view and I remember feeling sad that people who were coming to see him for the very first time must have been a bit disappointed because of all the hype (once very much deserved) about him. 

He still made me cry in Songs of a Wayfarer though nearing the end of his career as dancing is so much more than about technique only. 

[Sharon]

10 hours ago, FionaM said:

I was also worried by the flower throw … thinking retirement or maybe she was leaving, or that this was her last DQ ever.  

 

Natalia looked very tentative to me when jumping and getting on/off those tables.  I’m guessing she is carrying an injury.
 

What I say next I know will be at odds with many here … the truth is I’m so sad and disappointed to see the parody of herself that she has become.  I wish she’d retire from dancing the classics, so that the memories of her past glories can remain.  She should stick to narrative and contemporary ballets.  
 

I don’t understand the adoration today (many standing, not all) except as respect to her past achievements.  That I can agree with. 

Her technique post Covid is an embarrassment. (it was declining in 2019).   Today she had terrible feet and shoes, bent knees when they should be straight, especially the supporting leg in fouettés, turned in movements, shoulders lifted, chicken wing arms in pirouettes, often flat footed inbetween steps, and she can’t even tie her ribbons neatly to improve the foot and leg line.   

 

I don’t know what she was doing with facial expressions and characterisation today.  Overcompensating for the mess happening below is my guess. It was OTT and appropriate for a circus or gymnastics show, not for classical ballet.

 

Clips from her own shows in Dubai and Abu Dhabi reveal the same problems.  

 

Sad. 

In Osipova's defence, she has always performed in tatty shoes, so that's not new.....🙄

[Linnzi5]

47 minutes ago, ellyb said:

Unfortunately I was not feeling well so had to leave after Act I. From what I saw I would have to agree that the technique was a little sloppy at times. I do confess I've never really 'gotten' Osipova. This may be because I never saw her in her heyday or it may be I just don't appreciate her style. I've been to a few performances now over the past few years from Sleeping Beauty to Romeo & Juliet and haven't really understood the hype, and this isn't the first performance that I've been surprised by her seeming lack of technique; I just assumed that it was intentional and she is choosing to push the boundaries of classism, I'm not a fan of contemporary dance and do feel her style is really pretty contemporary, even in the classics. Or maybe she's focussing so much on achieving the fireworks of yesteryear that she's letting the basics slide. 

 

It seemed a lot quieter than for Nunez too, though I was in a different part of the house so maybe it's just that the stalls are noisier than the amphitheatre? The crowd did certainly roar after the Kitri solo though! I am sort of glad, I was hoping the reaction to Nunez/Muntagirov was just a response to them in particular rather than the new done thing.

 

PS Has anyone else noticed how much nicer the downstairs loos are than the up? Seems a bit wrong somehow, like the peasants in the gods don't deserve automatic taps and hand soap! 

I have seen Osipova in Swan Lake and Nutcracker some years ago and liked her in both and I loved her Giselle. However, in recent years, I have not enjoyed her interpretations as much as before. In fact, I have found some of her dancing ungainly and not what I'm looking for. For example, her Dying Swan. I actually disliked her interpretation of that, which surprised me. I think you are right. My impression is that she pushes boundaries. Contemporary dance is not what I love best, though I really have loved some works I have seen. 

 

There was one bit of pointe work from Osipova last night, where she had her foot at a really strange angle that had me quite worried - I thought she had hurt herself but later she seemed ok. However, I did enjoy seeing her and her joy - she looked like she was having such fun. Her Kitri was coquettish and the humour was turned up a notch (though not always to my taste, I admit) and I wonder if this is deliberate because she has injuries or is limited because of something physical, so she attacked the role from a different perspective? I still enjoyed her fouettés - yes, they were't like she used to do, but they were still impressive, I thought. I could see she has a lot of trust in Reece Clarke - sometimes she just threw herself at him! He is a big, strong man, so was well placed to catch her. They have a nice partnership, I think. I did like Clarke. I thought he was technically good and confident. He was cheeky and fun - a bit of a 'Jack-the-lad' type of character but sweet alongside that. He just lifts Osipova with such ease. I didn't realise how long his legs are though! I noticed he had to adjust his stance when partnering because of his height and I thought he did that well. 

 

Now. The audience were just perfect from the stalls last night, in my opinion. Clapping in the right places, a few very loud 'bravos' - always from older men with really, really loud, deep voices, always sitting right behind me - I don't mind that but it does make my ears hurt! They could shatter concrete! 🤣 But, the clapping and cheers were well-timed and appropriate, I thought and I was surprised that, at times, there wasn't more. I am glad though. I felt the Nunez/Muntagirov response was too OTT for my taste and was distracting for me. I do like the audience to show appreciation but not constantly and loudly in places where it's disruptive to the flow of the music, particularly. 

 

Otherwise - the good points. Richardson - loved him. So funny and brilliant characterisation. I thought Avis was on top form as was Whitehead. Loved Ikarashi! I think his Panza is brilliant. Kitri's friends were excellent, I thought. Dias and Mariko Sasaki really are excellent dancers and worked well together. Sumina Sasaki, I felt, did a great job with the Dryad Queen. She was confident and elegant and is so young. She is one to watch, I think. Amour, Ashley Dean, was lovely! 

 

The things that fell a bit flat for me: Anette Buvoli. I think she is such a lovely dancer (her Dryad Queen was so elegant, assured and lovely, as she has been in other roles I have seen her in) but I did not feel she quite captured the spirit and fire that I feel Mercedes needs. I did not feel her character shining through. I also didn't feel she was confident last night though she was still elegant when dancing. I can say the same for Braendsrod though I felt he did look the part -  he had a stage presence and certainly had the swagger! At times, I felt he wasn't confident though and that broke the spell for me on a couple of occasions. I don't think he compares technically to Richardson, Dixon or my favourite, Hirano. I felt the matadors, on a few occasions,  weren't as slick as I've seen in previous performances. It's difficult not to compare when you have seen really exciting, touching, emotive or technically excellent performances recently.

 

In summary, I am glad I went. I enjoyed myself and was pleased I got to see the cast. I did not think it was one of the better performances I have seen, but some aspects were really enjoyable. I was pleased to see Clarke and Osipova  

[Odyssey]

33 minutes ago, LinMM said:

It’s just as difficult if not more so for the men because of all the jumping they have to do and landings do start to get heavier. Nureyev went on a bit too long in some roles in my view and I remember feeling sad that people who were coming to see him for the very first time must have been a bit disappointed because of all the hype (once very much deserved) about him. 

He still made me cry in Songs of a Wayfarer though nearing the end of his career as dancing is so much more than about technique only. 

Yes, I only saw Nureyev once in La Sylphide on the tiny stage at Stratford upon Avon when he was considerably past his best. Frankly it was excruciating to watch from a technical point of view, but we all cheered him because of what he had achieved .  I also saw Fonteyn in Swan Lake quite  quite late in her dancing career. I can’t remember how secure she was technically but her Odette was mesmerising to me and brought me to tears. She’s been the touchstone for me ever since. 
 

[Linnzi5]

38 minutes ago, LinMM said:

I think when a dancers technique is declining it’s always the big classics like Swan Lake and Sleeping Beauty which suffer first. I can’t remember now when Fonteyn dropped these but think she was about 60!!! I saw her a few times in each. She was still glorious in other pieces like Marguerite and Armand though ….would love to have seen her in Month in the Country! 
It must be a difficult decision as to when it’s best to drop certain roles and Don Q because of the sheer speed of some parts must start to get a bit dangerous to dance at some point.
It’s just as difficult if not more so for the men because of all the jumping they have to do and landings do start to get heavier. Nureyev went on a bit too long in some roles in my view and I remember feeling sad that people who were coming to see him for the very first time must have been a bit disappointed because of all the hype (once very much deserved) about him. 

He still made me cry in Songs of a Wayfarer though nearing the end of his career as dancing is so much more than about technique only. 

I never had the opportunity to see Fonteyn, I'm sad to say.  I can see Nunez going till she is 60! 

 

I would say, that last night, the Act I turns Osipova did at the end of her solo (I call it the castanet dance! Though I noticed last night that Osipova didn't have any in her hands, which looked a bit strange and she clicked her fingers together with nothing there!) were so fast that they lacked grace. Being super fast for the sake of it doesn't always work for me.

 

I would not say that seeing Osipova was sad for me - I liked watching her and found her interpretation interesting. So, I don't personally think that she is at a point where someone new to seeing her would be disappointed - not yet. I haven't seen her dance big classical roles recently, so I don't know if last night was something new, but I would agree that something was not quite right at times. However, I feel my money was well spent  

[FionaM]

Mercedes … could someone please list them?

 

The ones in this RB run that I have seen , have not had the fire I’ve noticed in say Bolshoi/Mariinsky versions.   Perhaps Laura Morera is unique?   Perhaps Carlos wanted something else?  Perhaps they have all been intimidated by the difficult Act 1 technique?  

Edited November 18, 2023 by FionaM
Grammar and spelling 🙄

[Silver Capricorn]

I came to yesterday's performance because I wanted to see Osipová, I know her style quite well, so I knew what to expect and the reality did not disappoint me.  Reece Clarke works primarily as her reliable partner, his solos are technically fine, but for me they lack something like a "wow effect".  Because I love the classics and I don't like to see flaws in the technique, for me the highlight of this Don Q series remains the pair Nuñez - Muntagirov, completely unmatched.  And next year I'm looking forward to the Kanako - Muntagirov collaboration, from which I have high hopes.

[ellyb]

11 minutes ago, Linnzi5 said:

I have seen Osipova in Swan Lake and Nutcracker some years ago and liked her in both and I loved her Giselle. However, in recent years, I have not enjoyed her interpretations as much as before. In fact, I have found some of her dancing ungainly and not what I'm looking for. For example, her Dying Swan. I actually disliked her interpretation of that, which surprised me. I think you are right. My impression is that she pushes boundaries. Contemporary dance is not what I love best, though I really have loved some works I have seen. 

 

There was one bit of pointe work from Osipova last night, where she had her foot at a really strange angle that had me quite worried - I thought she had hurt herself but later she seemed ok. However, I did enjoy seeing her and her joy - she looked like she was having such fun. Her Kitri was coquettish and the humour was turned up a notch (though not always to my taste, I admit) and I wonder if this is deliberate because she has injuries or is limited because of something physical, so she attacked the role from a different perspective? I still enjoyed her fouettés - yes, they were't like she used to do, but they were still impressive, I thought. I could see she has a lot of trust in Reece Clarke - sometimes she just threw herself at him! He is a big, strong man, so was well placed to catch her. They have a nice partnership, I think. I did like Clarke. I thought he was technically good and confident. He was cheeky and fun - a bit of a 'Jack-the-lad' type of character but sweet alongside that. He just lifts Osipova with such ease. I didn't realise how long his legs are though! I noticed he had to adjust his stance when partnering because of his height and I thought he did that well. 

 

Now. The audience were just perfect from the stalls last night, in my opinion. Clapping in the right places, a few very loud 'bravos' - always from older men with really, really loud, deep voices, always sitting right behind me - I don't mind that but it does make my ears hurt! They could shatter concrete! 🤣 But, the clapping and cheers were well-timed and appropriate, I thought and I was surprised that, at times, there wasn't more. I am glad though. I felt the Nunez/Muntagirov response was too OTT for my taste and was distracting for me. I do like the audience to show appreciation but not constantly and loudly in places where it's disruptive to the flow of the music, particularly. 

 

Otherwise - the good points. Richardson - loved him. So funny and brilliant characterisation. I thought Avis was on top form as was Whitehead. Loved Ikarashi! I think his Panza is brilliant. Kitri's friends were excellent, I thought. Dias and Mariko Sasaki really are excellent dancers and worked well together. Sumina Sasaki, I felt, did a great job with the Dryad Queen. She was confident and elegant and is so young. She is one to watch, I think. Amour, Ashley Dean, was lovely! 

 

The things that fell a bit flat for me: Anette Buvoli. I think she is such a lovely dancer (her Dryad Queen was so elegant, assured and lovely, as she has been in other roles I have seen her in) but I did not feel she quite captured the spirit and fire that I feel Mercedes needs. I did not feel her character shining through. I also didn't feel she was confident last night though she was still elegant when dancing. I can say the same for Braendsrod though I felt he did look the part -  he had a stage presence and certainly had the swagger! At times, I felt he wasn't confident though and that broke the spell for me on a couple of occasions. I don't think he compares technically to Richardson, Dixon or my favourite, Hirano. I felt the matadors, on a few occasions,  weren't as slick as I've seen in previous performances. It's difficult not to compare when you have seen really exciting, touching, emotive or technically excellent performances recently.

 

In summary, I am glad I went. I enjoyed myself and was pleased I got to see the cast. I did not think it was one of the better performances I have seen, but some aspects were really enjoyable. I was pleased to see Clarke and Osipova  

I really didn't like her Dying Swan! I wonder if it's just the evolution of her artistry though; she was known for pushing boundaries to great effect and she's still doing that, maybe it's just gone a bit too far? I did like her Mary Vetsera though, and I believe she has the cinema showing of Manon so am looking forward to that.

 

I think I agree with all your other assessments as well, of those I saw; I was looking forward to seeing what Buvoli would do with Mercedes after her wonderful Dryad Queen but she didn't really 'sizzle' as much as she might. It is a very different role though of course, it may just not suit her. I was very conscious of Braendsrod's cloak which he seemed to find a bit distracting. I think that made him look a bit awkward, which is not what you want from Espada! I was wondering if they both settled into the roles a bit more as the night progressed, but seemingly not. Also agree about the matadors, they were a bit messy and didn't always seem to be totally in sync. More positively though, I really really loved Richardson and am disappointed I didn't get to see him to the end - that walk!

 

I am glad I went as I would be kicking myself if I hadn't taken the opportunity to see Osipova in her 'signature role', I only wish I'd seen all of it.

[Linnzi5]

41 minutes ago, ellyb said:

I really didn't like her Dying Swan! I wonder if it's just the evolution of her artistry though; she was known for pushing boundaries to great effect and she's still doing that, maybe it's just gone a bit too far? I did like her Mary Vetsera though, and I believe she has the cinema showing of Manon so am looking forward to that.

 

I think I agree with all your other assessments as well, of those I saw; I was looking forward to seeing what Buvoli would do with Mercedes after her wonderful Dryad Queen but she didn't really 'sizzle' as much as she might. It is a very different role though of course, it may just not suit her. I was very conscious of Braendsrod's cloak which he seemed to find a bit distracting. I think that made him look a bit awkward, which is not what you want from Espada! I was wondering if they both settled into the roles a bit more as the night progressed, but seemingly not. Also agree about the matadors, they were a bit messy and didn't always seem to be totally in sync. More positively though, I really really loved Richardson and am disappointed I didn't get to see him to the end - that walk!

 

I am glad I went as I would be kicking myself if I hadn't taken the opportunity to see Osipova in her 'signature role', I only wish I'd seen all of it.

Yes. I agree with what you say here. It's the 'sizzle' that was missing from Mercedes. Buvoli is a lovely dancer - I have been so impressed with her and it could be that I just thought she didn't fit with how I like Mercedes?

 

Oh, the cloak! Yes. Definitely some issues with that - it looks pretty hard to navigate but I have to say that Hirano, Dixon and Richardson were great with it. No. I'd agree that they didn't settle.

 

 

Yes! The matadors were a bit messy - that sums it up perfectly. Up to last night, I think they've been fantastic. Maybe just an off night?  

 

Richardson was so funny. I can't decide whether I like him or Hay best - Hay was amazing (those eyes) but Richardson's walk made me giggle so much! So, I'll call it a tie! 

 

I have to say, I wasn't feeling great last night and am not today either. I have Dante this evening (I hope I like it more than I did last time. I'm hoping it's a 'grower'!) though I am primarily going to see William Bracewell. I really hope I'm up to it!  

 

 

Edit: I meant to say I'm sorry you had to leave early due to feeling ill   

Edited November 18, 2023 by Linnzi5

[ellyb]

6 minutes ago, Linnzi5 said:

Yes. I agree with what you say here. It's the 'sizzle' that was missing from Mercedes. Buvoli is a lovely dancer - I have been so impressed with her and it could be that I just thought she didn't fit with how I like Mercedes?

 

Oh, the cloak! Yes. Definitely some issues with that - it looks pretty hard to navigate but I have to say that Hirano, Dixon and Richardson were great with it. No. I'd agree that they didn't settle.

 

Yes! The matadors were a bit messy - that sums it up perfectly. Up to last night, I think they've been fantastic. Maybe just an off night?  

 

Richardson was so funny. I can't decide whether I like him or Hay best - Hay was amazing (those eyes) but Richardson's walk made me giggle so much! So, I'll call it a tie! 

 

I have to say, I wasn't feeling great last night and am not today either. I have Dante this evening (I hope I like it more than I did last time. I'm hoping it's a 'grower'!) though I am primarily going to see William Bracewell. I really hope I'm up to it!  

I do hope you feel better, it's pretty soul-destroying having to walk out early. I'm not doing Dante as a bit contemporary for me - plus all my money's gone on a record 5 Manons, including Mr Richardson... I certainly hope I can forget the walk before then!

[Paco]

I do not have the impression that Osipova is already at the "turning point" of leaving classical roles. Neither are the other RB "old" stars Nunez and Lamb, who are still absolutely amazing in classical ballets. Osipova's recent Odette/Odile, Nutcracker and Giselle at the RB were just mezmerizing and I would be extremely sad if she decided to abandon them and focus only on contemporary dance (where there are hundreds of other excellent dancers in the World and where she does not bring something differentiating).

 

Regarding her supersonic turns, they have always been like this since the beginning of her career and I am ashamed to say that I do love that! The question, from n spectator point of view, is just "do I like that approach of classical ballet or not". But it is not a question of declining technique.

 

Perhaps her Kitri were not at the level of her previous ones, but we should remember that she was injured less than a month ago and has probably not completely recovered yet.

 

Personally I love the passion and engagement she brings in classical ballet. Other RB Principals also bring lots of passion and interpretation - and this is why I come so often to the RB-, but honesty when there is Osipova the evening is just not the same. We are suddenlly in another planet, unforgettable, unique. This is why for every ballet I always book a performance with her, in addition to a performance with other Principals.

 

I know that here and there, on a very pure and academic approach of classical technique, there are some imperfections. Mostly resulting from that energy and engagement. But I much prefer that to a dancer 100% pure and perfect in the academics but icy and unable to make her character living.

 

This is exactly what has killed the Paris Opera Ballet during the last 20 years: With their artistic directors' (before Martinez) obsession of total perfection of the most tiny physical detail they have killed strong personalities and ended in paralysing their dancers to such an extent, that paradoxically they declined in technical ability: For fear that the right toe of the left foot is not oriented exactly 37 degrees to the nail of the left index finger when the pirouette ends, men do not jump anymore and women' fouettés are so cautious that the orchestra often has to play adagio instead of allegro. (Of course there are exceptions like Gilbert).

 

So I much prefer an Osipova supersonic fouettés, even if the angle of the right knee is not perfectly right, to academic perfection without life.

 

So, long life to Natalia Osipova in the world of classical ballet! At "only" 37 years-old she still has plenty of opportunities to put fire to RB audience in the next Swan Lake!

[Linnzi5]

58 minutes ago, FionaM said:

Mercedes … could someone please list them?

 

The ones in this RB run that I have seen , have not had the fire I’ve noticed in say Bolshoi/Mariinsky versions.   Perhaps Laura Morera is unique?   Perhaps Carlos wanted something else?  Perhaps they have all been intimidated by the difficult Act 1 technique?  

I think you've hit the nail on the head here. For me, Morera WAS unique.  I adore her Mercedes and it could well be that she is my gold standard and nobody has shown me anything I like more. As far as I'm aware, the Mercedes dancers for this run have been: Choe, Medizabal, Gasparini, Diaz, Magri , Marino Sasaki and Buvoli?

[Linnzi5]

12 minutes ago, ellyb said:

I do hope you feel better, it's pretty soul-destroying having to walk out early. I'm not doing Dante as a bit contemporary for me - plus all my money's gone on a record 5 Manons, including Mr Richardson... I certainly hope I can forget the walk before then!

Dante is a bit contemporary for me too - but, hey, it's William Bracewell, so I wanted to go and support him  

[Linnzi5]

12 minutes ago, Paco said:

I do not have the impression that Osipova is already at the "turning point" of leaving classical roles. Neither are the other RB "old" stars Nunez and Lamb, who are still absolutely amazing in classical ballets. Osipova's recent Odette/Odile, Nutcracker and Giselle at the RB were just mezmerizing and I would be extremely sad if she decided to abandon them and focus only on contemporary dance (where there are hundreds of other excellent dancers in the World and where she does not bring something differentiating).

I don't think she is either. I felt she had an injury or physical problem, personally, but I have not seen her in classical, big ballet recently. 

12 minutes ago, Paco said:

Regarding her supersonic turns, they have always been like this since the beginning of her career and I am ashamed to say that I do love that! The question, from n spectator point of view, is just "do I like that approach of classical ballet or not". But it is not a question of declining technique.

You don't need to be ashamed that you love the supersonic turns - lots of people love those and I do sometimes too. We all enjoy different things, which is good.

12 minutes ago, Paco said:

Perhaps her Kitri were not at the level of her previous ones, but we should remember that she was injured less than a month ago and has probably not completely recovered yet.

Yes. This is what I wondered about. 

12 minutes ago, Paco said:

 

Personally I love the passion and engagement she brings in classical ballet. Other RB Principals also bring lots of passion and interpretation - and this is why I come so often to the RB-, but honesty when there is Osipova the evening is just not the same. We are suddenlly in another planet, unforgettable, unique. This is why for every ballet I always book a performance with her, in addition to a performance with other Principals.

I agree. I have my favourites but enjoy watching other dancers too.

12 minutes ago, Paco said:

I know that here and there, on a very pure and academic approach of classical technique, there are some imperfections. Mostly resulting from that energy and engagement. But I much prefer that to a dancer 100% pure and perfect in the academics but icy and unable to make her character living.

A perfect technique is not something I look for. I want to feel moved. I need to have a connection and to feel something.

12 minutes ago, Paco said:

 

This is exactly what has killed the Paris Opera Ballet during the last 20 years: With their artistic directors' (before Martinez) obsession of total perfection of the most tiny physical detail they have killed strong personalities and ended in paralysing their dancers to such an extent, that paradoxically they declined in technical ability: For fear that the right toe of the left foot is not oriented exactly 37 degrees to the nail of the left index finger when the pirouette ends, men do not jump anymore and women' fouettés are so cautious that the orchestra often has to play adagio instead of allegro. (Of course there are exceptions like Gilbert).

 

This is interesting to read about. It's also quite sad to think individuality waned due to a demand of flawless technique. Dancers are not robots.

12 minutes ago, Paco said:

 

So I much prefer an Osipova supersonic fouettés, even if the angle of the right knee is not perfectly right, to academic perfection without life.

To be honest, I am not an expert on technical things, so didn't noticed whether the angles were right or not. I thought her fouettés were still impressive. I noticed she did some triples? I think she did? I'd guess they are pretty hard. I have to say the fouettés winner this run, for me, has been Fumi Kaneko. Her 'fanouettes' were simply breathtaking! I'm not usually a fireworks sort of girl, but she converted me!

12 minutes ago, Paco said:

So, long life to Natalia Osipova in the world of classical ballet! At "only" 37 years-old she still has plenty of opportunities to put fire to RB audience in the next Swan Lake!

I hope so.  

[art_enthusiast]

I do find it a bit depressing reading this forum, as it does tend to imply that some of the golden age of 21st century big ballet names has passed - Osipova gets the most negativity on here from what I’ve seen, the greats like Acosta/Rojo/Bussell are no longer dancing, McRae is not as active as he was (I still think he’s brilliant and commend him for his tenacity), etc. 

 

I feel a bit sad that I seem to have missed this era, going by the past glories referenced on this forum. All I can say is, I didn’t feel the slightest bit disappointed after the matinee last Saturday with Osipova and Clarke. I walked out feeling really invigorated, she brought such vivacious energy to the role, they worked very well together. She really lights up the stage with her presence, her turns at the end of the Kitri solo seemed super fast and controlled as usual.

 

Maybe her fouettés at the end were different but I saw her changing the arm positions and she seemed very strong to me. I saw Meaghan have a bit of trouble starting them in the evening performance - understandable as it was only her second show and I’m not comparing them - I’m just saying, Osipova is a very experienced ballet dancer and it still shows. I was sitting front row Orchestra stalls and she didn’t seem lacking in energy or enthusiasm at all to me. Obviously I can’t speak for last night, but on the whole last Saturday’s performance was brilliant to me. Also loved Meaghan and Luca in the evening - for only a second performance they were truly remarkable in my opinion. (Luca’s entrance alone was incredible to me, and Meaghan also nailed that Kitri energy. I can only see them getting better and better in these roles.)

 

I for one am glad Osipova is still dancing the classics otherwise I wouldn’t be able to see her in them at all, given that I only got into watching live ballet in late 2021, post-pandemic. I certainly wish I had got into it sooner (when tickets were also much cheaper) but it can’t be helped. I have only seen 3 performances of Don Q this run (splashed out more on Manon so sacrifices had to be made) and I’m very glad that one of them was hers.

[Ondine]

I think it fitting and so very kind that the Royal Ballet did this.

 

There is no doubt that Natalia Petrovna Osipova is a world class star, an amazing dancer,  and the RB is fortunate that she chose to make the company her home.

 

BALLET IN THREE ACTS

17.11.2023 7:30 PM

The 125th performance by The Royal Ballet at the Royal Opera House. At tonight's performance the Company celebrates Natalia Osipova's 10th anniversary as a Principal with The Royal Ballet.

 

https://www.roh.org.uk/tickets-and-events/43/don-quixote-by-carlos-acosta/cast-list/56226

 

Happy anniversary Natalia.  Long may you continue.

 

 

 

 

 

[Linnzi5]

15 minutes ago, art_enthusiast said:

I do find it a bit depressing reading this forum, as it does tend to imply that some of the golden age of 21st century big ballet names has passed - Osipova gets the most negativity on here from what I’ve seen, the greats like Acosta/Rojo/Bussell are no longer dancing, McRae is not as active as he was (I still think he’s brilliant and commend him for his tenacity), etc. 

 

I feel a bit sad that I seem to have missed this era, going by the past glories referenced on this forum. All I can say is, I didn’t feel the slightest bit disappointed after the matinee last Saturday with Osipova and Clarke. I walked out feeling really invigorated, she brought such vivacious energy to the role, they worked very well together. She really lights up the stage with her presence, her turns at the end of the Kitri solo seemed super fast and controlled as usual.

 

Maybe her fouettés at the end were different but I saw her changing the arm positions and she seemed very strong to me. I saw Meaghan have a bit of trouble starting them in the evening performance - understandable as it was only her second show and I’m not comparing them - I’m just saying, Osipova is a very experienced ballet dancer and it still shows. I was sitting front row Orchestra stalls and she didn’t seem lacking in energy or enthusiasm at all to me. Obviously I can’t speak for last night, but on the whole last Saturday’s performance was brilliant to me. Also loved Meaghan and Luca in the evening - for only a second performance they were truly remarkable in my opinion. (Luca’s entrance alone was incredible to me, and Meaghan also nailed that Kitri energy. I can only see them getting better and better in these roles.)

 

I for one am glad Osipova is still dancing the classics otherwise I wouldn’t be able to see her in them at all, given that I only got into watching live ballet in late 2021, post-pandemic. I certainly wish I had got into it sooner (when tickets were also much cheaper) but it can’t be helped. I have only seen 3 performances of Don Q this run (splashed out more on Manon so sacrifices had to be made) and I’m very glad that one of them was hers.

I've missed nearly all of the past glories forum members talk about but I really don't mind - I enjoy reading and learning about them. They're a part of history that I have been fascinated to hear about - in the scheme of things, I'm pretty new to ballet. Does it worry me I didn't see them? No. You can't turn back the clock but I am so glad there are people here who can talk about these amazing dancers and that their performances meant something to them and in that sense, those performances live on - I think that's wonderful. I truly believe more unique and memorable dancers are here or will emerge. So I feel positive. For example. Kaneko/Bracewell's Cinderella totally overwhelmed me. I went to that performance not expecting I'd like the ballet and I walked away on Cloud 9!  I will never forget how I felt watching that. 

 

I've always felt Osipova divides opinion. I went to see Osipova as I was very curious (and wanted to see Clarke and some others new to roles). I do not regret going. I liked her smiles, her joy and her coquettishness (is that even a real word?!). I can't deny that at times I felt a bit concerned though, but it didn't ruin anything for me. Even though this wasn't a favourite performance, it didn't mean it wasn't enjoyable. Even if I don't particularly gel with a characterisation, I still like to see it and what I look for won't be what someone else wants. I also don't mind if I'm in the minority - it's so nice everyone has different opinion. 

 

I honestly thought her fouettés last night were good. However, I do not claim to be an expert.

 

You and I both as far as getting more into ballet sooner because of the ticket prices! 😱

[annamk]

18 minutes ago, art_enthusiast said:

I do find it a bit depressing reading this forum, as it does tend to imply that some of the golden age of 21st century big ballet names has passed - Osipova gets the most negativity on here from what I’ve seen, the greats like Acosta/Rojo/Bussell are no longer dancing, McRae is not as active as he was (I still think he’s brilliant and commend him for his tenacity), etc. 

 

I feel a bit sad that I seem to have missed this era, going by the past glories referenced on this forum. All I can say is, I didn’t feel the slightest bit disappointed after the matinee last Saturday with Osipova and Clarke.

 

You're not alone ! I feel like this sometimes when people reminisce about Nureyev, Baryshinikov, Guillem and others because I hadn't found ballet as a passion when they were dancing but as you said there are moving, golden performances to be discovered in every era. 

[art_enthusiast]

5 minutes ago, annamk said:

I feel like this sometimes when people reminisce about Nureyev, Baryshinikov, Guillem and others because I hadn't found ballet as a passion when they were dancing but as you said there are moving, golden performances to be discovered in every era. 

Yes, exactly. I wasn’t alive in the Nureyev/Baryshnikov eras so couldn’t have seen them anyway! Luckily there is still recorded footage to be found.  I also had many interesting conversations with my grandmother about them.

[JohnS]

I very much enjoyed last night’s Don Q and was delighted to have seen Natalia Osipova’s Kitri on a special night for her and the Royal Ballet. It’s the explosion and whirlwind speed that she delivers with such gusto that I’ll remember. I thought Reece Clarke a fabulous Basilio and partner. The first one armed lift was astonishingly well executed - immediately in position and both Natalia and Reece statuesque.
I was hugely impressed by the four beggars, Liam Boswell and Marco Masciari both excellent. I know there’s been some comments about the beggars’ prominence, particularly when they’re not central to the action, but I’ve enjoyed their contribution and it’s the delivery of their dance, complementing Kitri’s attack, which I’ve found so attractive.

Very good to see Tom Whitehead’s Don Q, my first choice Don Q, and Daichi Ikarashi’s Sancho Panza again. Gary Avis made the most of Lorenzo. Calvin Richardson certainly put his stamp on Gamarche: it’s been great to see his Espada and Gamarche this run.

I thought Annette Buvoli became more confident as Mercedes as the evening progressed: it must be a bit disheartening to lose her fan so early in Act 1, excellently retrieved and presented to her, and clip the first tankard. As others have said, her Queen of the Dryads was lovely. For me, and apologies for being stuck in a groove, Itziar Mendizabel has been the stand out Mercedes. 
Lukas B Braendsrod as Espada didn’t seem as assured as when I saw him earlier when he really impressed but he did well to hold an early slip. That earlier performance put him high on my list of Espadas.

The dream sequence was fabulous and I very much enjoyed Ashley Dean’s Amour, Sumina Sasaki’s Queen, and the corps.

I thought Leticia Dias and Mariko Sasaki excellent as Kitri’s friends.

I was most surprised by Sancho Panza’s horn solo as I was expecting the usual cacophony but last night we were treated to the tune. Was this a first?

Despite some blemishes, this was a night to remember and congratulations to Kevin O’Hare for recognising Natalia’s first 10 years. Here’s looking forward to the next chapter.
 

[OnePigeon]

I think every generation brings something special which we may regret missing, and some generations seem to be extra special.  I am sad to never have witnessed Gable and Seymour, Dowell and Sibley or Baryshnikov in his prime - to name just a very few.
 

I started attending the ballet just over 20 years ago and then stopped going for many years when life, parenthood etc came along.  I missed the beginning of Osipova’s career and the end of Rojo/Acosta’s etc, but did see them at their physical and artistic peak.  I think it was a special era and, if I’m honest, I don’t think  as many of the current dancers have quite the same sheer magnetism as the likes of Acosta, Rojo, Cojocaru, Kobborg, Mukhamedov etc.  We are lucky to still have Nunez, who I was a big fan of from very early in her career.
 

However, I do believe the company has some wonderful dancers who bring something different from those ‘stars’ of the previous generation.  No, we don’t currently have a magnetic, virile performer in the mould of Acosta or Mukhamedov - which I do miss and wonder if the RB will opt to bring in a dancer of their ilk again - but we do have the grace, technicality and beauty of Muntagirov and the charm and musicality of Bracewell etc.  I think the company seem like a they are currently in a good place with a large amount of talent across the ranks.  We all have our personal favourites, but I feel that each principal pairing brings something special to their roles and it can be hard to choose who to see sometimes. We should sit back and enjoy what we do have - there is lots to be very positive about.

[art_enthusiast]

15 hours ago, capybara said:

 

Agree that such recognition is very nice but I can't quite get my head round the rationale: Marianela was celebrated at 20 years, then again at 25; for others, 25 seems to be the norm, with some notable exceptions (e.g. Christopher Saunders at 40 years.

I guess that’s because they started with the RB and did not join a bit later in their career, as Osipova did. Now seems the right time for her to get a recognition award IMO.

[Linnzi5]

17 minutes ago, OnePigeon said:

I think every generation brings something special which we may regret missing, and some generations seem to be extra special.  I am sad to never have witnessed Gable and Seymour, Dowell and Sibley or Baryshnikov in his prime - to name just a very few.
 

I started attending the ballet just over 20 years ago and then stopped going for many years when life, parenthood etc came along.  I missed the beginning of Osipova’s career and the end of Rojo/Acosta’s etc, but did see them at their physical and artistic peak.  I think it was a special era and, if I’m honest, I don’t think  as many of the current dancers have quite the same sheer magnetism as the likes of Acosta, Rojo, Cojocaru, Kobborg, Mukhamedov etc.  We are lucky to still have Nunez, who I was a big fan of from very early in her career.
 

However, I do believe the company has some wonderful dancers who bring something different from those ‘stars’ of the previous generation.  No, we don’t currently have a magnetic, virile performer in the mould of Acosta or Mukhamedov - which I do miss and wonder if the RB will opt to bring in a dancer of their ilk again - but we do have the grace, technicality and beauty of Muntagirov and the charm and musicality of Bracewell etc.  I think the company seem like a they are currently in a good place with a large amount of talent across the ranks.  We all have our personal favourites, but I feel that each principal pairing brings something special to their roles and it can be hard to choose who to see sometimes. We should sit back and enjoy what we do have - there is lots to be very positive about.

Yes. I agree with this. Sadly, I didn't see Rojo live or Cojocaru, though I have many recordings of them. Mukhamedov I have never seen at all, so this needs investigating! I will google. I also never saw any of the dancers you name in your first paragraph dance live.  

 

For me, (whether he be my favourite or not) Muntagirov is a world class dancer. I think Kaneko will be one as well. Nunez is amazing, technically, and she is 41, I think which is brilliant - she has such a joy in dancing. I think the company is in a wonderful place. I can see some outstanding dancers waiting in the wings but also feel the company has amazing ones up front and centre too. No matter your personal dislikes/likes, I think there are dancers to suit everyone's taste?

[Linnzi5]

10 minutes ago, art_enthusiast said:

I guess that’s because they started with the RB and did not join a bit later in their career, as Osipova did. Now seems the right time for her to get a recognition award IMO.

Yes. I agree. I doubt very much she will be dancing big roles in 10 years time? So it's good to honour her for this achievement. 

[annamk]

23 minutes ago, OnePigeon said:

No, we don’t currently have a magnetic, virile performer in the mould of Acosta or Mukhamedov - which I do miss and wonder if the RB will opt to bring in a dancer of their ilk again - 

 

Is this a role Corrales might have fulfilled had he not been derailed by injury since joining the RB ? Here's hoping he gets back on stage before too long. 

[AYSHEL]

13 hours ago, FionaM said:

I was also worried by the flower throw … thinking retirement or maybe she was leaving, or that this was her last DQ ever.  

 

Natalia looked very tentative to me when jumping and getting on/off those tables.  I’m guessing she is carrying an injury.
 

What I say next I know will be at odds with many here … the truth is I’m so sad and disappointed to see the parody of herself that she has become.  I wish she’d retire from dancing the classics, so that the memories of her past glories can remain.  She should stick to narrative and contemporary ballets.  
 

I don’t understand the adoration today (many standing, not all) except as respect to her past achievements.  That I can agree with. 

Her technique post Covid is an embarrassment. (it was declining in 2019).   Today she had terrible feet and shoes, bent knees when they should be straight, especially the supporting leg in fouettés, turned in movements, shoulders lifted, chicken wing arms in pirouettes, often flat footed inbetween steps, and she can’t even tie her ribbons neatly to improve the foot and leg line.   

 

I don’t know what she was doing with facial expressions and characterisation today.  Overcompensating for the mess happening below is my guess. It was OTT and appropriate for a circus or gymnastics show, not for classical ballet.

 

Clips from her own shows in Dubai and Abu Dhabi reveal the same problems.  

 

Sad. 

 

Edited November 18, 2023 by Geoff W
need to add comment

[OnePigeon]

1 minute ago, Linnzi5 said:

Mukhamedov I have never seen at all, so this needs investigating! I will google.

Oh yes, it does indeed! Check out his Spartacus with the Bolshoi for starters and I recommend his Mayerling, which he worked on very closely with Macmillan.  His was my defining Prince Rudolf (though I missed the recent much lauded Muntagirov performance) and he was dancing it the night Macmillan died backstage.

 

3 minutes ago, annamk said:

 

Is this a role Corrales might have fulfilled had he not been derailed by injury since joining the RB ? Here's hoping he gets back on stage before too long. 

Yes, I was thinking that after I had posted.  I’ve only ever seen him in Swan Lake, but he’s certainly got that bravura style which I think is missing a bit currently.  Such a shame he’s been out for so long at this point in his career.

[Linnzi5]

29 minutes ago, JohnS said:

29 minutes ago, JohnS said:

I thought Annette Buvoli became more confident as Mercedes as the evening progressed: it must be a bit disheartening to lose her fan so early in Act 1, excellently retrieved and presented to her, and clip the first tankard. As others have said, her Queen of the Dryads was lovely. For me, and apologies for being stuck in a groove, Itziar Mendizabel has been the stand out Mercedes.

 

I couldn't identify who retrieved the fan but I was so impressed with the way that was done. I obviously knew the fan had flown off but the way it was handled by the male dancer was so, so  professional. Did you see who it was? Because he deserves much praise. I saw the tankard go too and the worst thing is, just before that bit, in my head I was thinking, I wonder if anyone ever knocks those over? Then a second later, over it went. I think I need to stop thinking! That bit must be so tricky. I did wonder if it had been placed correctly? I thought Mendizabal was extremely good, followed by Dias. Though, Morera is still my number one. 

[Paco]

1 hour ago, art_enthusiast said:

I do find it a bit depressing reading this forum, as it does tend to imply that some of the golden age of 21st century big ballet names has passed -

I don't think so regarding the Royal Ballet. I loved the amazing Guillem, Rojo, Bonelli, Yanowsky, Cojocaru, Acosta period, but find the current Osipova Nunez Cuthbertson Magri Kaneko Lamb Muntagirov Bracewell Clarke Sissens etc. as flamboyant as were the early 2000s.

 

Notably I consider the level of the corps de ballet and young generation of first artists/ soloists of what I would call the "Kevin O'Hare period" as the highest they had ever reached before. The RB as an ensemble is just at a stratospheric level that you can realize only when you are able to see other companies (Paris, Milan, Wien, Amsterdam...) and compare. And even on DVD, when I compare a classical ballet by the RB today to a DVD from the early 2000s, I am amazed to see how much the corps de ballet has improved in quality. When I look at the previous DVD, sometimes I react like "What? Was it the RB at that time? How disappointing...". The company is, from my point of view, living a golden era. And this is probably partly due to the excellent quality of coaches - who are often former Principals...-.

 

Perhaps we miss some outstanding charismatic figures: it is true that Nunez, Osipova or Lamb are now starting the last cycle of their career in classical ballet, and the new generation of outstanding Principals do not have the same charisma - except, perhaps, Magri. But it is too early to assess that, time will help them to develop their personality and evolve from outstanding to unique.

Edited November 18, 2023 by Paco

[OnePigeon]

I think it’s hard with the Mercedes role as it was created on Morera, an experienced and very beautiful principal dancer with a strong artistic sensibility - not to mention a Spanish dancer who was collaborating with a fellow Spanish speaker which probably helped bring so much more authentic feeling and fire into the role.  I wonder if the role should have possibly gone to a principal, as it did with Morera and Hirano, with a bit more artistic flair - possibly Magri could have done more justice to Mercedes.  I definitely felt the fire and sass required was underwhelmingly conveyed.