DON QUIXOTE - ROYAL BALLET AUTUMN 2023

[capybara]

1 hour ago, JohnS said:

 I didn’t understand the Act 1 one arm lifts where the conductor both times brought the lift to an end: on opening night the conductor waited for Muntagirov albeit Muntagirov and Nunez were cleaner. I thought Leo Dixon made an impressive Espada, exuding insouciance.

I think that Steven used both his arms to hoist Anna Rose up and then released one of them. This shift of weight led to a slight wobble which possibly made the Conductor nervous about hanging on too long.

 

More in due course but Leo Dixon (making his debut and as a relatively  last minute substitute apparently) was indeed a swoon-worthy Espada. 

[Morgane]

We very much enjoyed yesterday evening’s performance, and there was such great energy in the House- both from the dancers and spectators! That being said, there were a few underwhelming moments for us. The Kitri Act I variation was not quite what Osipova or Nunez do (oh, just look at their splits..), a couple of lifts were wobbly and Magri could not quite hold certain positions with the same precision. I note that the feedback on Magri’s dancing is very positive so far - are we being unreasonably picky or is anyone else in the same boat?

But again, a fabulous evening and congratulations to both Sambe and Magri on making their characters come alive!

[Missfrankiecat]

14 minutes ago, Morgane said:

We very much enjoyed yesterday evening’s performance, and there was such great energy in the House- both from the dancers and spectators! That being said, there were a few underwhelming moments for us. The Kitri Act I variation was not quite what Osipova or Nunez do (oh, just look at their splits..), a couple of lifts were wobbly and Magri could not quite hold certain positions with the same precision. I note that the feedback on Magri’s dancing is very positive so far - are we being unreasonably picky or is anyone else in the same boat?

But again, a fabulous evening and congratulations to both Sambe and Magri on making their characters come alive!

I don't think it's 'picky' to point out the areas where improvements could be made.  The standard Nunez (and Osipova) sets is very high indeed.  I was struck during Apollo in the 50th Costa celebration, where you can view principals side by side how clearly Nunez was in a class of her own.

[JohnS]

A scintillating evening with Mayara Magri and Marci Sambe having a ball along with the entire cast. They make an ideal couple, so well matched and inhabiting their roles throughout. As in the matinee the one armed lifts seemed odd: the first brought to a close by Sambe/Magri; the second by the conductor. Koen Kessels was in the audience for the matinee but I see Valery Ovsyanikov is conducting the full run. There’s a lot I like with his conducting and was very taken with the opening night but I’d much prefer the lifts to end in unison. I enjoyed Joseph Sissens’ Espada although I thought he was too genial, dancing with a broad smile for much of the time, quite a contrast to other Espadas. Mariko Sasaki, after a fabulous Queen in the matinee, made for a stunning Mercedes. Isabella Gasperini was a delightful Amour. The Royal Ballet has such strength throughout the company and it’s a joy to see such tremendous ensemble work. I also like much of the production, particular the opening and windmill scenes for Don Quixote and the village scenes, if not so much the gypsy and tavern scenes and the language. I find the ending rather touching: Sancho Panza leading on Rocinante for Don Quixote to set off on further adventures having helped bring about the happy resolution and leaving the village a better place.

[Jan McNulty]

Hello @Morgane and welcome out of the lurking shadows!

[Scheherezade]

You are right, Morgane, there was the odd wobble, and Sambe was a little unsteady in the second one-handed lift in particular, but nothing that in any way detracted from my enjoyment of two performances that were lifted to another level by the bang on characterisation and sheer force of personality of the two leads. Having initially booked for Osipova, I found Magri an utterly convincing Kitri and absolutely thrilling replacement, and am very much looking forward to seeing how her interpretation has developed when she dances with Ball on November 7. 

[JohnS]

Opening night was exceptional and Nunez and Muntagirov set the bar at an incredibly high level as regards technical excellence. But for my part, I find when seeing Nunez I’m too conscious that I’m watching a ballerina in performance rather than a character brought to life. I should say that I find Muntagirov hugely impressive both technically and in inhabiting the role, his Rudolph a revelation.

[Sim]

Just now, Scheherezade said:

You are right, Morgane, there was the odd wobble, and Sambe was a little unsteady in the second one-handed lift in particular, but nothing that in any way detracted from my enjoyment of two performances that were lifted to another level by the bang on characterisation and sheer force of personality of the two leads. Having initially booked for Osipova, I found Magri an utterly convincing Kitri and absolutely thrilling replacement, and am very much looking forward to seeing how her interpretation has developed when she dances with Ball on November 7. 

I am also really looking forward to seeing Magri/Ball 7th.  I agree with you about the small wobbles, etc. as I said yesterday on the casting thread:  it's how they make me feel that matters to me!  It was like not caring if La Callas didn't quite reach or hold a note....no-one could move me like she could (and I have only seen her on screen) and that's what made her performances unforgettable.  Tebaldi/Sutherland (especially the latter) were much more technically accomplished, but no-one has ever moved me like Callas.  So for me, that's what counts.  A perfect technical performance is just a bonus!  Just my opinion.

[emmarose]

1 hour ago, Morgane said:

We very much enjoyed yesterday evening’s performance, and there was such great energy in the House- both from the dancers and spectators! That being said, there were a few underwhelming moments for us. The Kitri Act I variation was not quite what Osipova or Nunez do (oh, just look at their splits..), a couple of lifts were wobbly and Magri could not quite hold certain positions with the same precision. I note that the feedback on Magri’s dancing is very positive so far - are we being unreasonably picky or is anyone else in the same boat?

But again, a fabulous evening and congratulations to both Sambe and Magri on making their characters come alive!

 

Funily enough, I think the opening night really set the bar exceptionally high. So much so that I had tickets for last night (I really wanted to see Natalia)  and the person I took to opening night said they didn't want to go as nothing could really be as good again, they thought they would be picking fault for not living up to it.

 

I myself couldn't go yesterday as I was having a bad pain flare up.

[Scheherezade]

7 minutes ago, Sim said:

I am also really looking forward to seeing Magri/Ball 7th.  I agree with you about the small wobbles, etc. as I said yesterday on the casting thread:  it's how they make me feel that matters to me!  It was like not caring if La Callas didn't quite reach or hold a note....no-one could move me like she could (and I have only seen her on screen) and that's what made her performances unforgettable.  Tebaldi/Sutherland (especially the latter) were much more technically accomplished, but no-one has ever moved me like Callas.  So for me, that's what counts.  A perfect technical performance is just a bonus!  Just my opinion.

I am absolutely on the same page. Art - performance art in particular- is all about communication and although I can objectively admire technical perfection, what stays with me is what touches my heart and soul rather than my critical faculties and my mind.

And I so agree with you about Callas, one of the few artists that I truly wish I could have seen on stage although, paradoxically, I would also place Jussi Bjorling - not someone ever feted for his dramatic heft - high on my “wish I had seen” list. The sheer beauty of his voice frequently brings me close to tears. 

[Morgane]

10 minutes ago, emmarose said:

 

Funily enough, I think the opening night really set the bar exceptionally high. So much so that I had tickets for last night (I really wanted to see Natalia)  and the person I took to opening night said they didn't want to go as nothing could really be as good again, they thought they would be picking fault for not living up to it.

 

I myself couldn't go yesterday as I was having a bad pain flare up.

That may be what this is; my two previous Kitris were Osipova and Nunez (setting a very high benchmark).

Any other favourite dancers (not necessarily at ROH) for the Kitri part?
(Emmarose, sorry to hear you could not be there yesterday).

[Sim]

2 minutes ago, Scheherezade said:

I am absolutely on the same page. Art - performance art in particular- is all about communication and although I can objectively admire technical perfection, what stays with me is what touches my heart and soul rather than my critical faculties and my mind.

And I so agree with you about Callas, one of the few artists that I truly wish I could have seen on stage although, paradoxically, I would also place Jussi Bjorling - not someone ever feted for his dramatic heft - high on my “wish I had seen” list. The sheer beauty of his voice frequently brings me close to tears. 

Me too!  I recently sold my lifetime's collection of vinyl, but kept a very few that had special meaning to me.  One of those was a box set of Jussi Bjorling.  Gives me goosebumps.  The other opera one I kept was Sutherland/Pavarotti in Beatrice di Tenda.  So rare to find or see performed these days.

 

Sorry, I am taking this thread offtrack...

[Sim]

2 minutes ago, Morgane said:

That may be what this is; my two previous Kitris were Osipova and Nunez (setting a very high benchmark).

Any other favourite dancers (not necessarily at ROH) for the Kitri part?
(Emmarose, sorry to hear you could not be there yesterday).

Yasmine Naghdi.  Beautiful, classical technique and a sassy, characterful Kitri.  And Mayara.

[alison]

1 hour ago, JohnS said:

I enjoyed Joseph Sissens’ Espada although I thought he was too genial, dancing with a broad smile for much of the time, quite a contrast to other Espadas.

 

Yes, I think that was what I found I was missing with his first performance: a bit more attitude/swagger, maybe even taking it as his due that he has women falling at his feet. Unless, of course, my understanding of Espada has been wrong all these years - which it may well have been!

[Morgane]

5 minutes ago, Scheherezade said:

I am absolutely on the same page. Art - performance art in particular- is all about communication and although I can objectively admire technical perfection, what stays with me is what touches my heart and soul rather than my critical faculties and my mind.

And I so agree with you about Callas, one of the few artists that I truly wish I could have seen on stage although, paradoxically, I would also place Jussi Bjorling - not someone ever feted for his dramatic heft - high on my “wish I had seen” list. The sheer beauty of his voice frequently brings me close to tears. 

I want both  - technical perfection and being moved to tears.

Let’s be clear though that technical perfection doesn’t mean zero mistakes (but rather a certain class overall)- I’ve seen world famous principals fall on stage seemingly because they got carried away by the peformance…

[Sim]

3 minutes ago, alison said:

 

Yes, I think that was what I found I was missing with his first performance: a bit more attitude/swagger, maybe even taking it as his due that he has women falling at his feet. Unless, of course, my understanding of Espada has been wrong all these years - which it may well have been!

No, I think Espada is supposed to be the cod Latin Lover; hot, gorgeous....and he sure knows it!  So with that comes some arrogance and smugness, all coated in that Latin charm. 

 

[emmarose]

15 minutes ago, Morgane said:

That may be what this is; my two previous Kitris were Osipova and Nunez (setting a very high benchmark).

Any other favourite dancers (not necessarily at ROH) for the Kitri part?
(Emmarose, sorry to hear you could not be there yesterday).

 

Sometimes we can't help but compare, other times it helps to try to forget those previous things and go in with no expectations and let that cast take you away.

 

Thanks, I'm OK, it does happen but it is what it is. I was looking forward to the cast, especially Marci, who I always love to see. 

[Scheherezade]

6 minutes ago, Morgane said:

I’ve seen world famous principals fall on stage seemingly because they got carried away by the peformance…

To deliver the unforgettable, the performer has to be prepared to throw caution to the wind, with the inevitable, accompanying, inbuilt risk. 

[Morgane]

2 minutes ago, Scheherezade said:

To deliver the unforgettable, the performer has to be prepared to throw caution to the wind, with the inevitable, accompanying, inbuilt risk. 

Absolutely agree.

[emmarose]

3 minutes ago, Scheherezade said:

To deliver the unforgettable, the performer has to be prepared to throw caution to the wind, with the inevitable, accompanying, inbuilt risk. 

 

It's interesting when I've heard a few speak about being filmed/cinema casts, in that they have to give a little more in some places, but hold a little back in others because they're very aware that if they fall that'll forever be on film and they don't really want that. I find it so interesting that those performances are somewhat held back to a degree compared to how they might normally go into it.

[Sim]

18 minutes ago, Scheherezade said:

To deliver the unforgettable, the performer has to be prepared to throw caution to the wind, with the inevitable, accompanying, inbuilt risk. 

Think Cojocaru/Kobborg....

[Scheherezade]

14 minutes ago, emmarose said:

 

It's interesting when I've heard a few speak about being filmed/cinema casts, in that they have to give a little more in some places, but hold a little back in others because they're very aware that if they fall that'll forever be on film and they don't really want that. I find it so interesting that those performances are somewhat held back to a degree compared to how they might normally go into it.

That is interesting, Emma Rose, and perhaps also because the qualities required for a convincing film portrayal are somewhat different from the stage. It’s still noticeable, I’d say, that many of the truly great stage performances do not translate well either to TV or to the cinema screen, both of which are far more intimate, with the result that any element of ‘projecting’ comes across as overblown. 

Edited October 8, 2023 by Scheherezade

[Henry]

26 minutes ago, emmarose said:

 

It's interesting when I've heard a few speak about being filmed/cinema casts, in that they have to give a little more in some places, but hold a little back in others because they're very aware that if they fall that'll forever be on film and they don't really want that. I find it so interesting that those performances are somewhat held back to a degree compared to how they might normally go into it.

When being filmed, it is usual to film 2 performances with the same cast.  Then the 2 performances are editted together.  Thus mistakes are usually missing from the final result.  

 

Previously we have discussed the difference between a "live performance" (i.e. recorded live) versus a "live broadcast" (i.e. broadcast as it happens).  ROH often don't seem to distinguish between them.  

 

[Jamesrhblack]

1 hour ago, Sim said:

I am also really looking forward to seeing Magri/Ball 7th.  I agree with you about the small wobbles, etc. as I said yesterday on the casting thread:  it's how they make me feel that matters to me!  It was like not caring if La Callas didn't quite reach or hold a note....no-one could move me like she could (and I have only seen her on screen) and that's what made her performances unforgettable.  Tebaldi/Sutherland (especially the latter) were much more technically accomplished, but no-one has ever moved me like Callas.  So for me, that's what counts.  A perfect technical performance is just a bonus!  Just my opinion.

 

Renata Tebaldi was so beautiful physically, and, in the right repertoire, so beautiful and eloquent to hear. There’s also a remarkable film of her as Madama Butterfly which is not a role to which I would ever consider her physically suited and she’s absolutely convincing. 

Edited October 8, 2023 by Jamesrhblack

[Silver Capricorn]

1 hour ago, emmarose said:

 

Funily enough, I think the opening night really set the bar exceptionally high. So much so that I had tickets for last night (I really wanted to see Natalia)  and the person I took to opening night said they didn't want to go as nothing could really be as good again, they thought they would be picking fault for not living up to it.

 

I myself couldn't go yesterday as I was having a bad pain flare up.

I also consider the opening night cast to be absolute perfection that no one else can match.  That's why I'm going to see Don Q again on October 16th.  If I'm lucky, I'll see Natalia Osipova on November 17.  I don't need to see anything else about Don Q.

[Linnzi5]

I will have seen four casts (all being well) of DQ (some twice) if all goes to plan. I recently booked for Nunez because I just cannot be sure she will dance it again at a performance I can get to -  and after the rave reviews, booked for 16th. I don’t want to have any regrets. So much for my ‘scaling back how many performances I attend due to increasing price of tickets’ 🙄

 

Edit: meant to say that I am really interested to see how I feel about the different performances when comparing them.

Edited October 8, 2023 by Linnzi5

[Mary]

5 hours ago, JohnS said:

I find the ending rather touching: Sancho Panza leading on Rocinante for Don Quixote to set off on further adventures having helped bring about the happy resolution and leaving the village a better place.

I completely agree and was really quite moved by the ending this time.

I found myself humming the music as I carried the clothes prop down the garden this morning.

[Sim]

2 hours ago, Jamesrhblack said:

 

Renata Tebaldi was so beautiful physically, and, in the right repertoire, so beautiful and eloquent to hear. There’s also a remarkable film of her as Madama Butterfly which is not a role to which I would ever consider her physically suited and she’s absolutely convincing. 

She was wonderful.  Always my father's favourite...until they saw Callas at the Met in the late 50s.  He said it was so stunning and exciting that he never felt the same about any other singer again!  It was Lucia di Lammermoor and he and my mother said they had never heard such a roar from the audience as when she finished the mad scene!

[Jamesrhblack]

3 hours ago, Sim said:

She was wonderful.  Always my father's favourite...until they saw Callas at the Met in the late 50s.  He said it was so stunning and exciting that he never felt the same about any other singer again!  It was Lucia di Lammermoor and he and my mother said they had never heard such a roar from the audience as when she finished the mad scene!

How wonderful to have seen them boith live

[Sim]

1 hour ago, Jamesrhblack said:

How wonderful to have seen them boith live

Yes…they were so lucky.  They saw Fonteyn and Nureyev, Plisetskaya, Judy Garland at Carnegie Hall…a golden time!

[Silke H]

2 pics preview, full set here on Facebook

or Instagram 07 Oct 2023 matinee  07 Oct 2023 evening

[emmarose]

On 08/10/2023 at 12:56, Scheherezade said:

That is interesting, Emma Rose, and perhaps also because the qualities required for a convincing film portrayal are somewhat different from the stage. It’s still noticeable, I’d say, that many of the truly great stage performances do not translate well either to TV or to the cinema screen, both of which are far more intimate, with the result that any element of ‘projecting’ comes across as overblown. 

 

There's a lot to think about too, so with it being a different beast. When performing on the stage, that performance has to reach the amphitheatre, but the same performance that's being captured by film will also be using close ups, so it's about finding the balance of not being overdone in the close up, but still reaching those far away audience members. 

 

I don't know if anyone has watched Kathryn Morgan and her deconstruction of Nunez's black swan, which is fascinating anyway, but she says a few times about her choice, that she doesn't want to overshoot something and be messy, so she's making a safe choice, and obviously that was for a cinema screening, so it adds to the insight of what you go for when you know it's being projected.

[capybara]

I don’t need perfect but there are, for me, too many dancers, including those  I love, who signal that something difficult is coming up or look worried when partnering.  This has the effect of taking them out of character, even if temporarily.

 

It goes to illustrate just how many skills are in play at any one moment in a ballet like Don Q.