ANEMOI/THE CELLIST - ROYAL BALLET AUTUMN 2023

[FionaM]

@capybara thanks for the correction on the ranks of Leticia and Mariko.   I obviously have my wishes in my mind rather than reality! 
 

As for”‘better than principals” … I was talking about technical accomplishment only … virtuosity, purity of technique, control of movements etc.  It takes much more than this to be a principal, of course!  

[zxDaveM]

2 hours ago, FionaM said:

... and some (many?) of the ones featured in this ballet are better than current principals.  Anemoi does have challenging choreo … I doubt many principals would want to take it on!    

 

 

I struggle to agree with this comment, much as I love some of the more junior dancers cast in this, and have no affinity for some of the current Principals

[zxDaveM]

2 hours ago, Scheherezade said:

I was certainly looking forward to seeing Tombeau before lockdown intervened. Dare we hope for next season?

 

Count me in too

[Dawnstar]

2 hours ago, FionaM said:

Of the men, David Donnelly and Daichi Ikarashi were super as I knew they would be. I would love to see David as Albrecht or Des Grieux in the not too distant future.

 

I hadn't thought of those roles specifically but I wish Donnelly was getting more roles involving acting/lead characters in general. I've been very impressed by his acting as Lensky, Hilarion & Paris and he always catches my eye when he's in groups or the ensemble. Actually one role I'd like to see him do is Hans-Peter & it can't be a lack of seniority preventing that casting, given there are dancers at Artist & First Artist ranks dancing it.

[capybara]

10 minutes ago, Dawnstar said:

 

I hadn't thought of those roles specifically but I wish Donnelly was getting more roles involving acting/lead characters in general. I've been very impressed by his acting as Lensky, Hilarion & Paris and he always catches my eye when he's in groups or the ensemble. Actually one role I'd like to see him do is Hans-Peter & it can't be a lack of seniority preventing that casting, given there are dancers at Artist & First Artist ranks dancing it.

I think he might be thought to be a little tall for Hans Peter.

[Silke H]

1 hour ago, Dawnstar said:

 

I wish Donnelly was getting more roles involving acting/lead characters in general. I've been very impressed by his acting as Lensky, Hilarion & Paris and he always catches my eye when he's in groups or the ensemble. 

I wish so too and would like to see Donnelly and Hay take on Drosselmeyer.

Both are very fine dancers and I'd hate to lose them in any soloist dance roles but think they'd both be excellent Drosselmeyers and bring their je ne sais quoi to that role.

[Dawnstar]

1 hour ago, capybara said:

I think he might be thought to be a little tall for Hans Peter.

 

I wouldn't have thought Donnelly is much taller than Sissens or Dixon. (Next Saturday I'll be busy comparing matador heights!)

[alison]

4 hours ago, capybara said:

Unfortunately, Hanna Park lacked the “poise” and experience to carry off the Queen of the Dryads variation in Don Quixote last weekend - which perhaps serves to illustrate that time is needed to develop stagecraft and confidence.

 

Yet I thought her performance was promising - although the Italian fouettés were problematic.  I've seen worse from more-experienced dancers.

[Linnzi5]

7 hours ago, capybara said:

I agree that showcasing the younger dancers is one of the benefits (and joys) of a mixed programme.

 

Unfortunately, Hanna Park lacked the “poise” and experience to carry off the Queen of the Dryads variation in Don Quixote last weekend - which perhaps serves to illustrate that time is needed to develop stagecraft and confidence. 
 

I wonder in which respects of their art (no names, of course) you feel that “many of those featured (in Anemoi) are better than current Principals”?

 

(PS Leticia and Mariko, whose initial promotion was obviously delayed by COVID  are Soloists (at the moment).)

Yes. I agree with this. Alas, Hanna Park could not cope with the choreography of the Queen of the Dryads at times - and if I noticed, it must have been very apparent. Being a principal dancer isn't just about technique - I can't think of any junior dancers who are 'better' than current principals, because it's about more than technical wizardry, surely? That being said, I think Mariko and Leticia have great futures ahead of them and I love their dancing.  

Edited October 22, 2023 by Linnzi5

[Linnzi5]

3 hours ago, Dawnstar said:

 

I wouldn't have thought Donnelly is much taller than Sissens or Dixon. (Next Saturday I'll be busy comparing matador heights!)

I didn't think so, and I've seen him a lot recently. I do think the more junior male dancers are so very promising at the moment.

[LinMM]

Yes it worries me that Caspar Lench is rather small and such a great promise as a dancer for me. 
Which is why I think he might be perfectly suited to Viola Pantuso….but promise I won’t mention this again! 

[Peanut68]

On 21/10/2023 at 08:36, Linnzi5 said:

If Dances at a Gathering had been in the programme, I would have been buying multiple tickets! 

I certainly would’ve seen that as better value for money! 

[San Perregrino]

55 minutes ago, LinMM said:

Yes it worries me that Caspar Lench is rather small and such a great promise as a dancer for me. 
Which is why I think he might be perfectly suited to Viola Pantuso….but promise I won’t mention this again! 

Caspar Lench is noticeably smaller than the other matadors in Don Q. Admittedly he is only in Act 3 as a matador, (in Act 1 he’s identifiable as a village boy and in Act 2 presumably a gypsy (?)) but if someone has gone to the trouble of making a matador costume then hopefully he’ll get more chance to dance in a later performance or run. 
I can see him following the path of Liam Boswell or Marcelino Sambé as Drosselmeyers assistant, Clara’s partner, Chinese & Russian dances in Nutcracker then progressing to Hans Peter. Probably the Neopolitan dance in Swan Lake, Jester In Cinderella, Bluebird in Sleeping Beauty, Benvolio & Mercutio perhaps Romeo in R&J etc etc a whole treasure chest of roles await such a promising dancer. 

[Guest oncnp]

8 hours ago, PeterS said:

... but if someone has gone to the trouble of making a matador costume .....

The matador costumes are generic, intended to fit many people. Only the Principals have costumes made for them

[Silke H]

10 hours ago, PeterS said:

Caspar Lench is noticeably smaller than the other matadors in Don Q. Admittedly he is only in Act 3 as a matador, (in Act 1 he’s identifiable as a village boy and in Act 2 presumably a gypsy (?)) but if someone has gone to the trouble of making a matador costume then hopefully he’ll get more chance to dance in a later performance or run. 
I can see him following the path of Liam Boswell or Marcelino Sambé as Drosselmeyers assistant, Clara’s partner, Chinese & Russian dances in Nutcracker then progressing to Hans Peter. Probably the Neopolitan dance in Swan Lake, Jester In Cinderella, Bluebird in Sleeping Beauty, Benvolio & Mercutio perhaps Romeo in R&J etc etc a whole treasure chest of roles await such a promising dancer. 

adding to the wish list: Blue Boy in Les Patineurs, Bratfisch in Mayerling, Alaskan Rag in Elite Synchopations (with maybe Annette Buvoli?), Puck in The Dream

Edited October 23, 2023 by Silke H
typo

[San Perregrino]

2 hours ago, oncnp said:

The matador costumes are generic, intended to fit many people. Only the Principals have costumes made for them

That would suggest Caspar Lench isn’t the first or won’t be the last short matador. I wonder who has danced this role previously in this costume ? 

Edited October 23, 2023 by PeterS

[Rob S]

 

 

 

 

 

 

[art_enthusiast]

Loved the performance last night, my first time seeing the Cellist live. Very moving, I definitely shed a few tears.

 

I was also hugely impressed with Amenoi, particularly by Mariko Sasaki, Lukas B. Brændsrød, Leticia Dias and Taisuke Nakao. Such a great ensemble work.

[JennyTaylor]

Stellar performance this evening from Mayara Magri and Calvin Richardson which drew a standing ovation from the audience. Equally stellar performance from Hetty Snell on the cello and the entire orchestra.  

 

I feel privileged to have seen and heard both.   

 

 

Edited October 25, 2023 by JennyTaylor

[Bruce Wall]

I so agree about tonight.  The Cellist is exactly the kind of work this Company SHOULD be doing, leaving the hardcore purity of balletic classicism to entities now specifically focused on such.  This VERY much plays to their strengths and I felt tonight that - in many ways - the second cast was better than the first.  Richardson was an instrument of quite a different ilk to Sambe's - the very colour seeming to drain out of his life-blood; becoming ever more wan as this fine dance work progressed.  By the end he seemed entirely hollowed; ashen; a spent force.  Calvin's height and lithe dramatic prowess enthralled; enveloping the richly detailed prominence - both on the ascendant and in its harrowing reverse - of Magri's heartrending depiction of the title role.  I think this is quite the best thing I have seen her do.  Brændsrød breathed enhanced detail into his Conductor: It being the most under developed of the three significant ones.  Buvoli's maternal instinct too pranced decorously.  Marston has judiciously given these two the bones, they've added flesh that sears.  I was thoroughly engaged throughout the privilege of this piece.  

 

SIDE NOTE:  It was heart breaking in the extreme to see the back of the Amphi of this relatively small theatre SO empty.  The kind usher on the house right side was asking people to move down.  Perhaps the ROH management had run out of friends, associates and their acquaintances to fill these spaces with their heavily discounted offers.  It will have been very much their loss.  Those who were present unquestionably saw a very fine performance indeed and were notable in the hearty sycophancy of their sonant adulation.

 

 

 

 

Edited October 25, 2023 by Bruce Wall

[capybara]

17 minutes ago, Bruce Wall said:

The Cellist is exactly the kind of work this Company SHOULD be doing, leaving the hardcore purity of balletic classicism to entities now specifically focused on such.  This VERY much plays to their strengths

 

SIDE NOTE:  It was heart breaking in the extreme to see the back of the Amphi of this relatively small theatre SO empty. 

Not wishing to detract in any way from a fine performance of The Cellist tonight, I agree that the piece plays to the RB’s strengths BUT so does (or should) works of classical purity. Ballet watchers who can ‘shop around’ may be content with the RB’s current fare but the rest of the UK population should surely expect its premier company to offer productions which represent the highest quality ballet in (most of) its forms. I can envisage The Cellist sitting well on other companies; the RB should be aiming more often than it does currently to offer what others cannot.

 

Until half way through yesterday there were hundreds of unsold seats in the Stalls too. The bleakest sales picture of all the shows this autumn. Then, suddenly, most of them had gone.

Interestingly tonight, there appeared to be a lot of patrons in the newly sold off areas who were unfamiliar with the building and they seemed to make up the bulk of those who stood  to applaud at the end (good for them on that score).

[annamk]

8 hours ago, Bruce Wall said:

I so agree about tonight.  The Cellist is exactly the kind of work this Company SHOULD be doing, leaving the hardcore purity of balletic classicism to entities now specifically focused on such.  This VERY much plays to their strengths …….

I know you’ve made this point before and I don’t understand why you think it. Surely the Royal Ballet is a classical ballet company ? These forays into whatever genre one calls The Cellist are not the core of the company. I know the rep includes much MacMillan which isn’t pure classical ballet either but it’s lived happily enough alongside work like Sleeping Beauty for many years now. In any event works like the Cellist are clearly not what most of the audience want to see on the main stage as the truly dreadful ticket sales indicate. At the moment it rather looks like The Dante Project could suffer the same fate.
There was a time when I’d go to multiple performances of every programme at the RB but the programming for 23/24 is incredibly unappealing and so far it appears I’m not alone in finding that. 

[bridiem]

8 hours ago, capybara said:

Interestingly tonight, there appeared to be a lot of patrons in the newly sold off areas who were unfamiliar with the building and they seemed to make up the bulk of those who stood  to applaud at the end (good for them on that score).

 

Well - I did wonder when I read about a standing ovation for The Cellist, since standing ovations hardly ever happen at the RB unless it's a farewell performance for a beloved dancer or some such. So (no offence intended to The Cellist, or to the individuals involved) I suspected that those those standing may have been more used to other types of shows where a standing ovation is the norm, or that they were especially pleased and excited to be in the theatre for the first time and to have got excellent seats at very low prices. That is very touching, but not a genuine standing ovation and is is precisely the sort of distortion that will happen if the audience is not there by informed choice and (frankly) know nothing about what they are seeing. Of course it's excellent when someone comes to ballet, or to the ROH, for the first time, but if that's only achieved by giving them a one-off massive discount they're presumably not going to be able to come again and learn more about ballet so all it achieves is giving them a nice night out. Good for them, but it doesn't do anything for the RB or for ballet as an art form. And if standing ovations become the norm no matter what's happened on the stage, it cheapens everything. (I already get annoyed at Sadler's Wells, where almost everything gets great whoops and cheers as if it's the best thing ever staged, even when it's been complete rubbish.)

 

OK, got that off my chest.

[zxDaveM]

39 minutes ago, bridiem said:

 

Well - I did wonder when I read about a standing ovation for The Cellist, since standing ovations hardly ever happen at the RB unless it's a farewell performance for a beloved dancer or some such.

 

They seem to happen all the time at ROH these days (as many a curtain call photo ruined with heads and raised clapping hands attest)

[bridiem]

7 minutes ago, zxDaveM said:

 

They seem to happen all the time at ROH these days (as many a curtain call ruined with heads and raised clapping hands attest)

 

I haven't been to the main auditorium yet this season (too expensive) so I was speaking from past experience.

[JennyTaylor]

Has everyone got out of the wrong side of the bed this morning?

 

I will repeat - this performance was fully justifiable of a standing ovation regardless of which audience members it was who gave it, and it was even better to see this, given that this ballet is not a "standard" offering such a Swan Lake where one might expect ovations for the 2 Principals involved. 

 

I booked because a friend had recommended Calvin Richardson in the Cello role and they were absolutely right. He was phenomenal. I completely agree with Bruce when he writes about his colour seeming to drain away - it did. The expression he brought with his arms, legs, body language and face was extraordinary.  Can't wait to see him in Manon. 

 

Mayara brought extreme pathos to the role as well as joy and together their dancing was immaculate.   

 

I was fortunate enough to be able to see the real cellist Hetty Snell as she performed parts of Elgar's cello concerto and the combination of the music and the emotional dance made for a great audience experience for me. 

 

I'm not a fan of modern work and normally avoid "triple bills" of such. However,  last night's performance was an exception for me, such was the brilliance of the dancing and acting.  

 

[LinMM]

I enjoyed this very much last time I saw it with Cuthbertson cast and had originally planned to see it this time with Mayara Magri cast on the 25th but unfortunately …. for tax reasons (I always leave until the last minute so only have myself to blame) I had to be in Brighton this morning so couldn’t stay over yesterday. 
There’s nothing wrong with somebody giving a standing ovation for a performance they’ve really appreciated ….whatever it is …..but sometimes what happens is others are forced to join in because if somebody stands in front of you it forces you to stand up too or you can’t see the dancers at the curtain calls!
I don’t mind too much as I have rarely totally disliked a performance ….and then it’s usually the choreography or the music or too dark a setting etc…..rather than the dancers but can see why if you haven’t enjoyed it much having to stand up when you don’t want to would be annoying! 
Anyway am only sorry I missed it yesterday as I’m sure it would have been well worth seeing and can’t get to any other performances this run. 

[capybara]

46 minutes ago, JennyTaylor said:

Has everyone got out of the wrong side of the bed this morning?

 

I will repeat - this performance was fully justifiable of a standing ovation regardless of which audience members it was who gave it, and it was even better to see this, given that this ballet is not a "standard" offering such a Swan Lake where one might expect ovations for the 2 Principals involved. 

 

I booked because a friend had recommended Calvin Richardson in the Cello role and they were absolutely right. He was phenomenal. I completely agree with Bruce when he writes about his colour seeming to drain away - it did. The expression he brought with his arms, legs, body language and face was extraordinary.  Can't wait to see him in Manon. 

 

Mayara brought extreme pathos to the role as well as joy and together their dancing was immaculate.   

 

I was fortunate enough to be able to see the real cellist Hetty Snell as she performed parts of Elgar's cello concerto and the combination of the music and the emotional dance made for a great audience experience for me. 

 

I'm not a fan of modern work and normally avoid "triple bills" of such. However,  last night's performance was an exception for me, such was the brilliance of the dancing and acting.  

 

 

In my defence, I mentioned the fact that it might have been 'newbies' who stood for The Cellist as a point of interest. No criticism of them was intended. Indeed, I said, "Good for them" because I, too, had admired the performance. Were you standing @JennyTaylor 😉 ? I wasn't last night but I do on occasion.

 

I thought that Calvin Richardson's portrayal of The Instrument was truly remarkable both emotionally and physically, with his long limbs providing added intensity to the mood of the story. I believe that I saw him perform the role with Beatriz Stix Brunell early in 2020 and, in a away, that worked even better because she was a taller dancer. I think I should see Mayara Magri again because, on the one viewing, whereas I caught the agony in her movement, I didn't quite see that in her face. Lukas BB is progressing nicely as an actor but I think he would convey more if he 'unknit' his brows. (I know - that's damning with faint praise!) In contrast, each one of the supporting roles was excellently portrayed, with the port de bras of the children showing great promise.

 

However, in contrast to @Bruce Wall and as I said last night, whilst I admire and enjoy The Cellist, in my view it is equally suited to other UK companies and I would prefer the RB to 'play' to its unique talents and honour its heritage works more prominently.

 

A quick word about Anemoi, which I enjoyed. This provides not only a great opportunity for some whizzy young dancers to shine but should also help the main couples to develop their partnering skills. On last night's showing, there is work remaining to be done in that respect.

[alison]

3 hours ago, bridiem said:

Of course it's excellent when someone comes to ballet, or to the ROH, for the first time, but if that's only achieved by giving them a one-off massive discount they're presumably not going to be able to come again and learn more about ballet so all it achieves is giving them a nice night out. Good for them, but it doesn't do anything for the RB or for ballet as an art form.

 

They may come again, if another massive discount is offered, but will they make the step up either to the "cheaper" seats in the amphi, or splash out on the "good" seats? 

 

I was at ENO last night, and as I looked at their much-trumpeted free tickets for under-21s I wondered whether it was really a good idea to make them free rather than charging, say, a nominal fiver.  I just think that the concept of getting something for nothing only encourages you to expect the same in the future (and/or abuse the privilege - possibly you may just not bother to turn up if the ticket is free - in the same way that I see schoolchildren hop on a bus for one stop because they're not paying) and may not encourage you actually to PAY to go and see something when you're older.  I wonder how much research has been done into whether that has really helped develop audiences?

[OnePigeon]

I agree @alison, I only have to pay £6 to take my son to see the LSO and I really appreciate the discount and it’s very affordable - I don’t actually want to it to be free as I believe we need to ensure people understand that art isn’t and can’t be free, otherwise we’ll end up with no artists.  Younger generations are growing up  not having to go out and invest in purchasing albums etc so I think it’s really important they understand that artists need to eat and pay bills too.

[Bruce Wall]

4 hours ago, annamk said:

I know you’ve made this point before and I don’t understand why you think it. Surely the Royal Ballet is a classical ballet company ? These forays into whatever genre one calls The Cellist are not the core of the company. I know the rep includes much MacMillan which isn’t pure classical ballet either but it’s lived happily enough alongside work like Sleeping Beauty for many years now. In any event works like the Cellist are clearly not what most of the audience want to see on the main stage as the truly dreadful ticket sales indicate. At the moment it rather looks like The Dante Project could suffer the same fate.
There was a time when I’d go to multiple performances of every programme at the RB but the programming for 23/24 is incredibly unappealing and so far it appears I’m not alone in finding that. 

 

Thanks for yours, @annamk.  I have a lot on at the moment - and as I wrote a reply yesterday to @Fonty about her note that raised very much the same points as yours I hope you will forgive me if I quote that here.  I fear such points may well become more numerous in the short term as the stings of reality are having to be drawn ever closer.  

 

In any event, the response I referenced - 

I entirely agree with you, @Fonty.  Please don't get me wrong in what I have written.  I, too, am going to the Royal Company less and less - JUST LIKE YOU.  In absolute fairness, I feel the Company's title should be rebranded given the future looking dedications of its current Director - such as I have heard with my own ears.  Will this happen?  I doubt it.  I have respected both what I heard and seen (in many ways I feel I have no choice) and have moved heaven and earth in terms of my own professional career so that, ultimately, I can achieve the balance you quote; one that we unquestionably share.  For ME it is THAT important.  I recently said to an authority at State Theater in NYC - If NYCB wasn't here I wouldn't be either!'.  I meant it.  It is just for this damned 'balance' issue.  As I have written previously we can ONLY live in the time we do and I believe I was patient in watching to see if the very real balance with the Royal might modify.  It hasn't. You can't make things other than they are in real time with wishing I've found.  Perhaps fate will be kinder to you - but certainly in the meantime we all - ALL OF US - have to make provisions based on our own judgements.  It seems @Fonty that THIS is EXACTLY what you are I currently doing and from recent ROH marketing reports it seems, sadly, that we are simply falling into line with certain chartered desires.  

 

Having noted the above, I SO hope we can return here to a discussion of The Cellist programme.  It is such a vibrant work and most certainly one that the current Royal Company clearly excels in and the audiences there attendant - at whatever tariff - hold in jocular thrall.  This work itself offers much to celebrate on the ROH stage.  

 

 

[Ondine]

5 hours ago, annamk said:

much MacMillan which isn’t pure classical ballet either

 

Nor indeed was quite a lot of Ashton... 

[Fonty]

5 hours ago, annamk said:

. I know the rep includes much MacMillan which isn’t pure classical ballet either but it’s lived happily enough alongside work like Sleeping Beauty for many years now.

@Bruce Wall has copied the response he made to my post on the RB 2024 thread which I wrote yesterday on this topic.   It is a very common theme which crops up in multiple threads.  One of the things I said was "I know that MacMillan pushed the boundaries with many of his dramatic works, but it was still clearly based on classical ballet, and recognisable as such.  He also produced works created specifically in order to maintain the dancers' classical technique, so he was well aware of the pitfalls of being too experimental. "  I know Ashton did the same.  

I have seen the Cellist before, and enjoyed it, but wasn't desperate to see it again.  I knew nothing about Anemoi apart from what I had read on here and wasn't particularly keen to buy a ticket on that basis.   As so many people have said, this is a very short programme.  I might have bought a ticket if there had been a third piece included, but only if it had been a tried and trusted piece of classical ballet.

Edited October 26, 2023 by Fonty