The Dante Project, Royal Ballet Autumn 2023

[MJW]

As I’m at the general rehearsal I thought I might as well start a thread for the forthcoming run.

 

[alison]

Just a reminder for anyone going tomorrow: it's a 7 pm start.

[theorist]

The ROH has just posted on Facebook that the Dante Project is a "brand new ballet". Who writes this stuff?

[Sim]

8 minutes ago, theorist said:

The ROH has just posted on Facebook that the Dante Project is a "brand new ballet". Who writes this stuff?

[capybara]

20 minutes ago, theorist said:

The ROH has just posted on Facebook that the Dante Project is a "brand new ballet". Who writes this stuff?

Someone pulled out old copy and used it without engaging their brain.

I think I saw that phrase somewhere else earlier in the week and cringed.

[JohnS]

Enjoyed the General Rehearsal and looking forward to tomorrow’s opening night (same cast). I’m sure tonight’s final Don Q will provide a very welcome contrast.

[Rob S]

1 hour ago, theorist said:

The ROH has just posted on Facebook that the Dante Project is a "brand new ballet". Who writes this stuff?

 

The same person that wrote that has very kindly informed me of a cast change in an opera performance they are welcoming me to despite me not having a ticket for that performance or any opera ever

[capybara]

6 minutes ago, Rob S said:

 

The same person that wrote that has very kindly informed me of a cast change in an opera performance they are welcoming me to despite me not having a ticket for that performance or any opera ever

Me too @Rob S 🙃

[MJW]

54 minutes ago, JohnS said:

Enjoyed the General Rehearsal and looking forward to tomorrow’s opening night (same cast). I’m sure tonight’s final Don Q will provide a very welcome contrast.

 

Glad you enjoyed it. I'm afraid I found it rather a struggle (especially compared to Woolf Works which was astonishing). Still, we can't like everything and it will save me having to buy a full priced ticket!

[Cescablue]

2 minutes ago, MJW said:

 

Glad you enjoyed it. I'm afraid I found it rather a struggle (especially compared to Woolf Works which was astonishing). Still, we can't like everything and it will save me having to buy a full priced ticket!

I agree, MJW, I loved Woolf Works but really couldn't find a way into Dante! I found it rather disjointed and I just couldn't find a way into the emotion of it. The dancing was, of course, wonderful - particularly the men I thought, especially Matty Ball, Marci Sambe, Lukas BB and Joseph Sissens who appeared in all three acts with Bracewell. I'm glad I only paid for a rehearsal ticket, but happy to have experienced it!

 

PS Does Gary Avis ever have a day off?!!

[Mary]

I can empathise with these comments. I wonder, has anyone found they changed their opinion of 'Dante', one way or the other, after a repeat viewing?

 

[Linnzi5]

1 hour ago, JohnS said:

Enjoyed the General Rehearsal and looking forward to tomorrow’s opening night (same cast). I’m sure tonight’s final Don Q will provide a very welcome contrast.

I'm going to both. I'm looking forward to tonight and though McGregor isn't my cup of tea particularly, I'm still looking forward to tomorrow.  

[Linnzi5]

1 minute ago, Mary said:

I can empathise with these comments. I wonder, has anyone found they changed their opinion of 'Dante', one way or the other, after a repeat viewing?

 

I'll let you know after tomorrow.  

[postie]

It will take me another visit to start to get my head around this. Hugely ambitious, very free - and that's just the design of stage and music.

 

I'm generally uncomfortable judging art at this level (in the end, it is what it is), though it's clear Mcgregor and Team Mcgregor took a very big, measured swing at the source material.

 

Quite the cast today. Will we get a full list of runners and riders?

[JohnS]

General Rehearsal cast which is likely to be the same for opening night:

https://static.roh.org.uk/digital/cast-sheets/The-Dante-Project-2023/The-Dante-Project-General-Rehearsal-Cast-Sheet-17-11-23.pdf?_ga=2.202437207.79908428.1700158232-1111864046.1694786165

[capybara]

2 minutes ago, postie said:

Quite the cast today. Will we get a full list of runners and riders?

 The full cast for the General can be accessed in the usual way: 

https://www.roh.org.uk/about/cast-sheets

[postie]

Ouf. That's quite the troupe.

 

I am probably misreading but I wondered if Matthew Ball - at the curtain call - wasn't completely happy with how he went ..

 

Edited November 17 by postie
Matthew Ball

[JohnS]

47 minutes ago, Rob S said:

 

The same person that wrote that has very kindly informed me of a cast change in an opera performance they are welcoming me to despite me not having a ticket for that performance or any opera ever

I too got this and tried to reply but it’s one of those infuriating email addresses which won’t accept replies. 
 

On the plus side I must say how good the Box Office staff are. In preparations for Spring booking I wanted to change several Manon bookings to dovetail with Spring options. I did it all on line the other day only for the payment to fail and a ‘Contact the Box Office’ message appear. The Box Office answered my call bang on 10:00 and sorted everything.

[PeterS]

4 minutes ago, Mary said:

I can empathise with these comments. I wonder, has anyone found they changed their opinion of 'Dante', one way or the other, after a repeat viewing?

 

Yes. That would be me. 
I didn’t get it at all on first viewing from the orchestra stalls on opening night.  An unheard score, an overly dark staging in the act 1 which made it impossible to connect with and follow any hint of a narrative of what was happening, the central character who at the time i mistakenly believed to be most important so I was following him with my eyes was actually often on the opposite side of the stage to where the interesting dancing was taking place and the act 3 projections above the dancers distracted me from the important choreography below.
Put together this was all too much for my simple brain to process and when the final curtain fell I was left feeling bemused, confused, disappointed and short-changed.

However also in the audience that night were Adès fans who had bought tickets merely to watch and hear him conduct his original score. They raved about what a masterpiece it was. So, I bought a slips ticket above the orchestra pit returning to spend an evening focussed on the music. It soared up into and filled the auditorium beautifully and touched me especially, the act 2 solo horn or trumpet refrain followed by the bells (?) which is simply heavenly.

Music now in my head, a third visit to a standing place, deciding to discard all but the simplest narrative thread left me able to concentrate on and enjoy the choreography created on the multi-talented and stunning company that is the Royal Ballet. The advantage of stalls circle standing in this instance was that it cut off the act 3 projections above the stage making it much easier to enjoy the complex choreography for what it is. Much better without the distractions.

So, not the most instantly accessible ballet for me.  I had to allow myself to accept the challenge and be open minded to what I am seeing and hearing on stage. It was worth it. I

I enjoyed today’s rehearsal, and have to bear in mind that it was only a rehearsal, not all the dancers were giving it “the full welly” and Jonathan Lo, new to the score I believe, needs to settle in too.

I have more performances booked this run and am looking forward to seeing it again. 

[alison]

45 minutes ago, Mary said:

I can empathise with these comments. I wonder, has anyone found they changed their opinion of 'Dante', one way or the other, after a repeat viewing?

 

 

Yes, several people, me included, decided last time round that it was a "grower", especially Act II.  And the score is worth a listen all on its own - multiple times, in my opinion.

[bangorballetboy]

39 minutes ago, postie said:

Ouf. That's quite the troupe.

 

I am probably misreading but I wondered if Matthew Ball - at the curtain call - wasn't completely happy with how he went ..

 

 

It was a rehearsal.

[Cescablue]

17 minutes ago, PeterS said:

Yes. That would be me. 
I didn’t get it at all on first viewing from the orchestra stalls on opening night.  An unheard score, an overly dark staging in the act 1 which made it impossible to connect with and follow any hint of a narrative of what was happening, the central character who at the time i mistakenly believed to be most important so I was following him with my eyes was actually often on the opposite side of the stage to where the interesting dancing was taking place and the act 3 projections above the dancers distracted me from the important choreography below.
Put together this was all too much for my simple brain to process and when the final curtain fell I was left feeling bemused, confused, disappointed and short-changed.

However also in the audience that night were Adès fans who had bought tickets merely to watch and hear him conduct his original score. They raved about what a masterpiece it was. So, I bought a slips ticket above the orchestra pit returning to spend an evening focussed on the music. It soared up into and filled the auditorium beautifully and touched me especially, the act 2 solo horn or trumpet refrain followed by the bells (?) which is simply heavenly.

Music now in my head, a third visit to a standing place, deciding to discard all but the simplest narrative thread left me able to concentrate on and enjoy the choreography created on the multi-talented and stunning company that is the Royal Ballet. The advantage of stalls circle standing in this instance was that it cut off the act 3 projections above the stage making it much easier to enjoy the complex choreography for what it is. Much better without the distractions.

So, not the most instantly accessible ballet for me.  I had to allow myself to accept the challenge and be open minded to what I am seeing and hearing on stage. It was worth it. I

I enjoyed today’s rehearsal, and have to bear in mind that it was only a rehearsal, not all the dancers were giving it “the full welly” and Jonathan Lo, new to the score I believe, needs to settle in too.

I have more performances booked this run and am looking forward to seeing it again. 

That's really interesting, thank you. Maybe I'll give it another try!

[zxDaveM]

3 hours ago, theorist said:

The ROH has just posted on Facebook that the Dante Project is a "brand new ballet". Who writes this stuff?

 

well, it was brand new when it was first made... 😉

[zxDaveM]

1 hour ago, capybara said:

 The full cast for the General can be accessed in the usual way: 

https://www.roh.org.uk/about/cast-sheets

 

suggest everyone bookmarks (make a favourite) this link in the web browser of their choice. Will come in handy, I promise!

[Swan]

2 hours ago, Mary said:

I can empathise with these comments. I wonder, has anyone found they changed their opinion of 'Dante', one way or the other, after a repeat viewing?

 

it’s a no from me although I really enjoyed seeing these amazing dancers in a very different production to Don Q, they’re so adaptable! 👏 👏  It was a privilege to see the dancers commit to the choreography and perform brilliantly at an 11:30am rehearsal but the ballet overall doesn’t move me. Very happy to have revisited this ballet at a reduced price but I’m unlikely to see it again.

[Josette]

I have loved this brilliant, deep work from the premiere of Inferno in Los Angeles and my second viewing the next night in July of 2019, through the five performances when I came from Los Angeles to London  during Covid in October of 2021, to the four performances I saw last spring danced by the Paris Opera Ballet, and I am looking forward to the four performances that I will see in this run, making the trip from California on Nov. 28.  I also heard the Los Angeles Philharmonic perform it twice in April of 2022 with Dudamel conducting and had the opportunity to thank Ades.  

[JennyTaylor]

A good start. As far as I can see, the programme has no "action" or rehearsal photos of either of the 2 principal men taking the role of Dante this time round.  

[Linnzi5]

Well. I enjoyed it very much. It definitely has grown on me! The dancing was superb! 

[Texan]

Watching tonight's performance, I wondered how long we would have to wait to see William as Rudolf, with Fumi as his Mary.

Edited November 18 by Texan
typo

[Scheherezade]

7 minutes ago, Texan said:

Watching tonight's performance, I wondered how long we would have to wait to see William as Rodolf, with Fumi as his Mary.

His mesmerising Hamlet in the Ashton Undiscovered programme in the Linbury a couple of years back, with Francesca Hayward as a luminous Ophelia, was like a calling card for Rudolf but he wasn’t cast in the last run. Although we did have Vadim’s mind-blowing performance to make up for it. 

[Linnzi5]

26 minutes ago, Texan said:

Watching tonight's performance, I wondered how long we would have to wait to see William as Rudolf, with Fumi as his Mary.

Yes! I really hope that's a possibility. 

14 minutes ago, Scheherezade said:

His mesmerising Hamlet in the Ashton Undiscovered programme in the Linbury a couple of years back, with Francesca Hayward as a luminous Ophelia, was like a calling card for Rudolf but he wasn’t cast in the last run. Although we did have Vadim’s mind-blowing performance to make up for it. 

I loved his Hamlet. Next time for Rudolph. I saw an interview or read one, can't remember which, where William Bracewell said he was understudy for Rudolph. Shame he didn't get the chance to dance the character but there's hopefully next time.

[Scheherezade]

11 minutes ago, Linnzi5 said:

l loved his Hamlet. Next time for Rudolph. I saw an interview or read one, can't remember which, where William Bracewell said he was understudy for Rudolph. Shame he didn't get the chance to dance the character but there's hopefully next time.

I loved his Hamlet too. And I’d say there’s a good chance of a Bracewell Rudolf next time round.
 

In a totally different way, I think Corrales could make an interesting Rudolf too. 

[JohnS]

I was impressed with much of tonight’s performance but some issues trouble me.
 

Tomas Ades gives a fabulous score albeit I still have some reservations about the Act 2 taped chant. But Acts 1 and 3 are tremendous and fabulously played with Jonathan Lo conducting. I do though have concerns about the sound balance where some amplification seems way too much (double basses) but that’s one of the problems of using tape and live music. The worst aspect of the sound was the very loud hum for the entire Act 3. I assume this was a byproduct of the screen display which I think was projected from the central Balcony. I was in the Balcony and the most central seats (8? seats and all 4 rows) were roped off - a significant loss of potential revenue. The hum was incredibly loud, audible throughout the Act, and completely drowned the quietest passages. I don’t recall such an issue in previous performances but it may be at its most intrusive in the Balcony.

 

As regards the choreography there was much to admire. Bracewell made a convincing Dante, even when simply observing what was going on. I found his active dancing fully engaging, a remarkable debut as I was more convinced by him than previous Dantes. In Act 1 many roles were reprised from last time and I very much enjoyed Sambe/Naghdi (Ferryman), Hayward/Ball (Francesca and Paolo), and O’Sullivan (Dido) with Acri. I know Richardson had danced Ulysses previously but his solo was mesmerising. Sissens and Boswell were fabulous Soothsayers. As ever the Thieves almost brought the curtain down but had to give way to Hamilton’s chilling Satan. In Act 2 I do like the three Dantes and Beatrices and their interplay. Kaneko made a fabulous Beatrice and I very much enjoyed Hayward dancing the middle Beatrice with Masciari as the middle Dante. Act 3 built inexorably to the final Dante/Beatrice scene and Dante’s enlightenment, with Bracewell and Kaneko both transcendent.

 

But I do think the ROH urgently needs to sort the appalling hum for Act 3. And whilst it’s good that the Cast Sheet names the characters, it would be far better to add a one sentence explanation of what they’re doing. Headings such as ‘The Selfish’ or ‘Ferryman’ aren’t anywhere near sufficient and I fear some audience members didn’t make it to Act 3. The ROH really needs to treat its audience with more consideration. We have decent synopses for classics but for some bizarre reason, audiences aren’t allowed helpful synopses for many modern works: a real bugbear and so easy to rectify.