ENB Mary Skeaping Giselle January 2024

[Sim]

1 hour ago, PeterS said:

Question to those who might know: is the choreography of Albrecht’s dance towards death a choice for the dancer and a chance to display his skills or was it dictated by Mary Skeaping? 

I’m used to seeing the entrechats six and Aitor Arrieta danced a different, albeit beautiful, sequence last night. I just wondered if it might be different at other performances? 

 

(btw the bells heralding the dawn and thus the breaking of the Willis’ enchantment were so soft last night that had I not been expecting them they would have passed unnoticed).

I was going to mention the bells (or lack thereof) as well.  Certainly up in the Balcony they were virtually non-existent.  I listened hard because I knew they were coming, but I am sure others didn't hear them at all.  

[Mary]

Agreed - it sounded more like a doorbell than the Chimes at Midnight.

 

 

 

[Sebastian]

35 minutes ago, Dawnstar said:

 

I'm now dithering over whether or not to go tonight. Usually I'd always go to performance I'd booked regardless of cast changes but I'm still really struggling with the anxiety I've been suffering from since having a panic attack at Don Q at the end of October. I was going to basically force myself to go to Giselle because I so want to see Frola as Albrecht. But now he's not on then I'm not sure it's worth putting myself through all the stress.

Just sent you a PM which might help. 

[PatC]

I’ve normally based my booking on the Giselle casting - yesterday I changed the habit and booked for the Albrecht casting for tonight - and now ……sigh

[San Perregrino]

1 hour ago, Dawnstar said:

They've only gone & swapped almost all the lead cast for tonight. Yes, I know cast changes can happen at any time but after weeks of crossing my fingers for the scheduled cast I'm very disappointed to read this. Also if the dancers were already looking tired last night after their Nutcrackers then what are they going to be like tonight having to dance 2 nights in a row?

 

 

I'm also gutted not to be seeing Frola & Oliveira tonight. 

[CCL]

I don’t normally comment on cast changes because they are what they are and cannot be helped, but there’s something about the casual tone of ENB’s cast change notice that has really annoyed me. Perhaps I’m just projecting, having had a very bad day at work. Dawnstar, I really feel your disappointment. I hope you decide it’s worth making the trip.

[Sebastian]

For those wishing to see Frola and who can go to the matinee on Sunday (he is still showing as dancing that performance) I am waiting for some news. It may be that two good £25 tickets for the sold out Balcony for that performance may come available.

 

If the tickets come free I will advertise them early tomorrow Saturday morning on the Exchange section of the Forum.

 

Edited January 12 by Sebastian

[bridiem]

1 hour ago, Dawnstar said:

They've only gone & swapped almost all the lead cast for tonight. Yes, I know cast changes can happen at any time but after weeks of crossing my fingers for the scheduled cast I'm very disappointed to read this. Also if the dancers were already looking tired last night after their Nutcrackers then what are they going to be like tonight having to dance 2 nights in a row?

 

I'm so sorry for you Dawnstar especially since you come such a long way to see performances; and for everyone else who is disappointed. I didn't think the principals looked tired last night, though, and I'm sure they'll rise to the occasion tonight.

 

I know that casts are always subject to change, but I do think that when it's the leads involved there should be some indication of a reason, no matter how vague. 

[Dawnstar]

58 minutes ago, Mary said:

Arrieta is a good Albrecht- 'tall, dark handsome', someone said! and a fine dancer too.

 

I did see Arrieta in Swan Lake last season. I thought he was very good.... but then I saw Frola a few days later & thought he was another level up!

 

57 minutes ago, Silke H said:

I am debating the same and I don't even have the same train journey as you, @Dawnstar

I'm so sorry that you're having a tough time at the moment without those added disappointments.  Should you decide to come, let me know if you'd like to meet up.  I've got a seat in the Dress Circle

 

Thank you. I've deposited myself on the train to London at any rate. If I make it to London & as far as the interval then it'd be lovely to meet up, but at the moment I can't guarantee that I will.

 

51 minutes ago, Sim said:

Oh dear, I'm so sorry to hear this.  I have booked to see this cast on Sunday specifically to see Frola, so I'm keeping everything crossed.  I am very sorry for those who wanted to see them tonight.  If they tell me that tonight's cast is going to do the Sunday matinee, I might decide to sell my tickets.  ENB's casts have been changing like the wind for the past few weeks.  I do hope things settle down there.

 

If the scheduled cast were guaranteed to dance on Sunday then I might think about getting a ticket but what I absolutely don't want is to get one (and the offers seem to have ended so I'd have to pay £75+ for a decent view) only to read another cast change tweet from ENB on Sunday morning!

 

13 minutes ago, CCL said:

I don’t normally comment on cast changes because they are what they are and cannot be helped, but there’s something about the casual tone of ENB’s cast change notice that has really annoyed me. Perhaps I’m just projecting, having had a very bad day at work. Dawnstar, I really feel your disappointment. I hope you decide it’s worth making the trip.

 

"Please note that" does come over as a little offhand. It would be nice if it was a bit more apologetic or gave some sort of reason. Something like "We are sorry that due to injury/illness dancers A, B & C are unable to perform tonight. We are grateful to dancers X, Y & Z for performing at short notice." I wonder if Watkin will make an announcement beforehand like O'Hare, or for opera Mears, do at the ROH.

[CCL]

Where are you sitting tonight Dawnstar? I’m in the upper circle, row B. I’m wearing a green and black dress and I look very tired. Please do say hello if you think you see me!!

[Dawnstar]

Sorry, one more thought. While we don't know the reason for both leads being replaced tonight it does seem more likely that it's due to Frola, as he's the one coming back from injury. If that is the case then I feel very sorry for Oliveira, if she's having to sit out a performance when she's okay, given I believe she is about 40 now so this may be her last opportunity to dance Giselle.

 

@CCL Front row stalls, which I wouldn't have gone for if I'd known when I booked that I'd be having anxiety issues since an unobtrusive mid-show exit is not going to be possible. If you see anyone wearing both an FFP2 facemask & gloves indoors then that will probably be me.

[alison]

5 hours ago, Silke H said:

I am going tonight.

 

I was wondering whether running time really is 2:15 hrs.  (I have a late call with our SF head-office and am wondering how late/quickly I'll be able to join it).

 

Curtain came down last night at approximately 9.40, with a 5-minute or so delay to the start.

[alison]

2 hours ago, Dawnstar said:

They've only gone & swapped almost all the lead cast for tonight. Yes, I know cast changes can happen at any time but after weeks of crossing my fingers for the scheduled cast I'm very disappointed to read this. Also if the dancers were already looking tired last night after their Nutcrackers then what are they going to be like tonight having to dance 2 nights in a row?

 

 

 

Oh BLAST!!!  Just coming into Charing Cross and I've only just seen this.  I only booked at midnight, AND I went last night   I'd have gone for Takahashi tomorrow night instead had I known  At least it's a different Myrtha, I suppose  

[Dawnstar]

6 minutes ago, alison said:

Oh BLAST!!!  Just coming into Charing Cross and I've only just seen this.  I only booked at midnight, AND I went last night   I'd have gone for Takahashi tomorrow night instead had I known  At least it's a different Myrtha, I suppose  

 

That must be even more annoying if you've already seen them only 24 hours earlier, especially as the comments on here about last night don't indicate that it was the sort of earth-shattering performance that had audience members desparate to immediately see the dancers again. I can see why you're pleased to see a different Myrtha but I confess that personally I'm disappointed that McWhinney is the one dancer not reprising her role from last night as I'd like to see her so that would have been a slight consolation for me. Though I do like Suzuki too. And I would have been happy to see Wood for that matter. In fact the originally cast Choi is the only one of the possible Myrthas who I wasn't particularly interested in seeing (not that I have anything against her, I've just never seen her in any significant roles so have no opinion of her).

[Roberta]

2 hours ago, PeterS said:

Question to those who might know: is the choreography of Albrecht’s dance towards death a choice for the dancer and a chance to display his skills or was it dictated by Mary Skeaping? 

I’m used to seeing the entrechats six and Aitor Arrieta danced a different, albeit beautiful, sequence last night. I just wondered if it might be different at other performances? 

 

 

It's quite some time ago I last saw this version of Giselle, however the entrechats six, as far as I recall, are not part of Skeaping's choreography. They have been danced, though unscheduled, by Cesar Corrales. 

 

He then spoke about his own approach to entering the stage on his first performance in the role.   “Normally Albrechts do the entrechats six, but not in that version, so I had never rehearsed them . But I just love those ‘sixes’ so much that I said to myself  ‘I have to do this tonight.’, which is a most dangerous thing, which is something you should not do at all. I never prepared for it. People work for those famous entrechats for weeks and weeks to get the stamina for it. I decided to run in, get into the centre and everyone is looking ‘What is he doing, what is about to happen’ and I could imagine Irek saying to me ‘oh my god, what has he done?’” Linda said: “I saw you do that, that was a bit naughty but you brought it off, didn’t you?” “Luckily I pulled it off,” Cesar agreed. “I just managed to get to the end without literally having a heart attack but they were quite impressed. No-one was super angry or anything. But they told me ‘you could have hurt yourself pretty badly, especially when you don’t practice it. Your body needs to have the stamina for it.’”           

https://www.tlbc.org.uk/resources/135-in-conversation-with-cesar-corrales

 

There's an assumption that the six was an introduction by Nureyev, see John Percival's biography, as an alternative to 'traditional' brisées  though the Nureyev 32 six may only have been an introduction to the Royal Ballet version and may have been performed elsewhere prior to that.  I need to find my John Percival and double check what it says.  Serge Lifar is also credited with the entrechats in the 1930s.  Ratmansky doesn't have either to the best of my recall, and it's better for the omission. I dislike the 32 six as the audience tend to treat them as some huge feat and clap along in time. Nureyev loved that. He's quoted as saying he did 24 and if the audience was applauding he'd carry on to 32. It's really not required in Giselle, and breaks the mood. 

 

The story of Nadia Nerina wickedly substituting 32 six for the fouetté turns in Swan Lake one night, while grinning widely, is amusing, though I understand Nureyev didn't laugh. 

 

There's further discussion on an old Ballet Alert thread which has further information, however don't treat any of this as set in stone either.  the solo was introduced by Lifar in the 1930s (when he danced it at the Paris Opera with Spessivtseva). He performed the apparently endless series of entrechats. 

https://balletalert.invisionzone.com/topic/3324-question-6-entrechats-or-brises/

 

A quick skim through Cyril Beaumont and there's no mention of 32 six being part of the choreography as he describes it, 1944 revised 1945. Nor does he say anything about numerous exhausting brisées. He's very sniffy about Lifar and his overacting, so I suspect had they been performed by him he'd have sniffed at those as far too vulgarly crowd pleasing. 

 

If anyone can add to what I've said, or has alternative information, then please do post.  This is off the top of my head and I'm happy to be corrected. Giselle, remarkable survivor though it is,  as we know it now is not Giselle as it would have been seen at its premiere, even Skeaping's version, no matter how much we'd like to consider we are seeing something handed down, unsullied,  through the ages.   

 

[LinMM]

Oh my goodness naughty Corrales! 
I had no idea he hadn’t actually agreed to put these in on the night!! 
The folly of Youth I suppose. 
But he always had that cheeky side you could see clearly when he won the Emerging Dancer award at the Palladium. 
But it’s right to prepare for things properly though or you can set yourself up for injury and unfortunately we keep missing Cesar in his prime years too due to injury 

I hope he has learned a little bit of wisdom now alongside the exuberant  joys of Youth as we do SO want to see him dance.  He has been sadly missed this year 😥

However I do think we need to see some full on dancing from Albrecht in Act 2 in some form. In some cases I’ve seen a lot of imploring Myrthe to relinquish from the dance but almost more imploring than dancing!!  
We should feel Albrecht has been through something …that he has touched Death…. but just saved from it by Giselle!  
 

[alison]

I was just surprised that, given the number of casts they have for this production - some not scheduled until next week, and some which I may not get to see as a result - it was necessary to repeat last night's cast again.

[Roberta]

14 minutes ago, LinMM said:

However I do think we need to see some full on dancing from Albrecht in Act 2 in some form. In some cases I’ve seen a lot of imploring Myrthe to relinquish from the dance but almost more imploring than dancing!!  
We should feel Albrecht has been through something …that he has touched Death…. but just saved from it by Giselle!  

 

Ratmansky's Giselle Act II is available to watch on YouTube, excerpts and also split into sections. As I recall it, Albrecht certainly is made to dance to exhaustion, utilising a wider variety of steps, grand allegro, and far more interesting choreography than simply repeating 32 six. Everyone will have their own views and favourite versions, of course. At the end of this article, Ratmansky discusses his sources, though he states he has altered the version he did for the Bolshoi when he restaged it for the United Ukrainian Ballet.  https://www.theguardian.com/stage/2022/sep/18/united-ukrainian-ballet-giselle-coliseum-london-review-alexei-ratmansky-a-moving-act-of-defiance

 

In some older versions of Giselle, Albrecht dies at the end anyhow.  These days, we like to consider Giselle's love beyond the grave has saved him from her fellow Wilis. Ratmansky has Giselle telling him to go back to his fiancé before she sinks back into the cold, cold ground.

 

The original question of Skeaping's choreography? No not the 32 six, unless you're determined to change it on the night, in which case you'd better pull it off with aplomb. 

 

[Geoff]

58 minutes ago, Roberta said:

They have been danced, though unscheduled, by Cesar Corrales. 

 

Wonderful posts Roberta, thank you. Here is what I wrote about Corrales in 2017:-

 

Those entrechats: of course there is the question of authenticity, if only to the intentions of this production. But if you do them as well as Corrales delivered last night, I found that they actually make some kind of narrative sense (ie not showing off but somehow expressive of the dance-till-you-die, what-am-I-going-to-do-I-love-her-but-shes-dead, they-all-want-to-kill-me crisis Albrecht is in at the end) Never felt that before, so perhaps this is an example of the power of dance. Imho.

[LinMM]

The clue to him pulling them off so well no doubt is in him saying “ I just love those sixes so much” 

I do hope ENB don’t leave it another 7 years before doing Giselle again!! 

[Mary]

Yes we could have done with something along those lines last night- I kept waiting for Albrecht to do something that looked really exhausting.

Hilarion too. It was a bit hard to quite believe they could have been so easily knackered.

[Paco]

7 hours ago, LinMM said:

Evdokimova Makarova Cojocaru Osipova Hayward

Agree with you for Osipova (unforgettable Giselle for my whole life) and Cojocaru. My other 3 are Olesia Novikova, Dorothée Gilbert (Paris) and Guillem. If I could add a 6th one it would be Nunez.

[Paco]

Regarding the productions, for me the ENB Skeaping production is the best of the best, mostly because it is the only one showing the integrality of the Willis act, with that spectacular fugato of the Willis hassling Hillarion.

 

I love the RB production too, but sometimes I wonder whether I love the production itself, or just the amazing, unique level of the RB corps de ballet and Principals. I mean, I am not sure this production would be so much enjoyable with another company, chiefly a company with less theatrical skills.

 

On the contrary, the very classic, aesthetically beautiful, authentic productions of Paris Opera and Milano la Scala could be danced by any other company, thanks to their anchoring in pure tradition of Giselle.

[CCL]

I did enjoy this evening’s show. Khaniukova was a lovely Giselle- she seemed so very young in Act One that my heart was breaking for her almost immediately. Arrieta was a completely smitten Albrecht who seemed to have completely forgotten the existence of any life away from Giselle in Act One. They had beautiful chemistry and I was moved by their performances.

[Roberta]

4 hours ago, alison said:

I was just surprised that, given the number of casts they have for this production - some not scheduled until next week, and some which I may not get to see as a result - it was necessary to repeat last night's cast again.

 

It's possible alternative casts are not yet fully rehearsed and certain dancers not even in London right now? Last night's cast was all ready to go again. 

 

Edited January 12 by Roberta

[Emeralds]

8 hours ago, Dawnstar said:

They've only gone & swapped almost all the lead cast for tonight. Yes, I know cast changes can happen at any time but after weeks of crossing my fingers for the scheduled cast I'm very disappointed to read this. Also if the dancers were already looking tired last night after their Nutcrackers then what are they going to be like tonight having to dance 2 nights in a row?

 

 

I only found this out as I was going to my seat! At first I thought the cast list on our level was surely wrong as Katja and Aitor had just danced the exhausting lead roles last night. But they announced their names (plus Emily Suzuki as Myrtha) over the PA system before curtain up - no reason given- so evidently the cast list was correct (as proven after the curtain went up)!

Edited January 13 by Emeralds

[alison]

56 minutes ago, Emeralds said:

I only found this out as I was going to my seat! At first I thought the cast list on our level was surely wrong as Katja and Aitor had just danced the exhausting lead roles last night.

 

Totally understandable, especially when you think that on Wednesday night at least one of the Nutcracker cast sheets on display at the Royal Opera House was from the previous evening!

[Irmgard]

Just to answer a few questions, Fernanda Oliveira unfortunately is indisposed but is planning to do her performance this Sunday.  Francesco Gabriele Frola is fine!  Due to the company's punishing "Nutcracker" schedule with so many double-show days, by this evening, there had been four stage calls of "Giselle" in three days (including the dress rehearsal) to cover this week's casts.  With both the Lee/Haw casts and the Takahashi/McCormick casts having their first performances tomorrow, the decision was made this morning, when it was clear Oliveira was unable to perform, to ask Khaniukova and Arrieta to step into the breach which, in my opinion, they did brilliantly, especially as it meant they had danced the complete ballet three nights in a row!  

 

With regard to Berthe's mime of the story of the Wilis, there is a full explanation in the programme of the gestures.  In the Royal Ballet's current production, it is longer than Skeaping's as she edited it slightly.  Tamara Karsavina was the source for both versions.

 

Albrecht's solos in Act 2 are not set in stone by Mary Skeaping, as each dancer is allowed some freedom, as long as they remain in the Romantic style and do not perform the 32 entrechats six, which Skeaping abhored.  The series of 32 were first introduced into the UK by Nureyev and are certainly not part of the Sergueyev staging for the Camargo Society or Sadler's Wells Ballet.

 

 

[annamk]

As others have said this production is stunning and indeed I’d forgotten just how incredibly beautiful the second act is. It really is an absolute treasure and the best production I’ve seen. 
 

I think Aitor Arrieta and Katja Khaniukova are naturally understated actors/dancers so nothing is performed with big gestures and showmanship but in their quiet way they draw you in so you care very much for them and their story. Arrieta is a beautifully elegant dancer and a considerate partner perfectly suited to Khaniukova’s fragile Giselle. Bravi to them for stepping in last night and giving such excellent performances. 
 

The supporting cast was strong;  in particular Emily Suzuki’s Myrtha was terrific as were Ivana Burno and Zulma, Francesca Velicu as Moyna and Adriana Lizardi in the Peasant Pdd. 
 

Looking forward to other casts. 

[capybara]

7 hours ago, Irmgard said:

Just to answer a few questions, Fernanda Oliveira unfortunately is indisposed but is planning to do her performance this Sunday.  Francesco Gabriele Frola is fine!  Due to the company's punishing "Nutcracker" schedule with so many double-show days, by this evening, there had been four stage calls of "Giselle" in three days (including the dress rehearsal) to cover this week's casts.  With both the Lee/Haw casts and the Takahashi/McCormick casts having their first performances tomorrow, the decision was made this morning, when it was clear Oliveira was unable to perform, to ask Khaniukova and Arrieta to step into the breach which, in my opinion, they did brilliantly, especially as it meant they had danced the complete ballet three nights in a row!  

 

With regard to Berthe's mime of the story of the Wilis, there is a full explanation in the programme of the gestures.  In the Royal Ballet's current production, it is longer than Skeaping's as she edited it slightly.  Tamara Karsavina was the source for both versions.

 

Albrecht's solos in Act 2 are not set in stone by Mary Skeaping, as each dancer is allowed some freedom, as long as they remain in the Romantic style and do not perform the 32 entrechats six, which Skeaping abhored.  The series of 32 were first introduced into the UK by Nureyev and are certainly not part of the Sergueyev staging for the Camargo Society or Sadler's Wells Ballet.

 

 

Your updates and additional information are very much appreciated, @Irmgard

 

[Missfrankiecat]

Just to say thanks for so many interesting and informative posts.  For one reason or another, Giselle is the great classic I am least familiar with and I have seen very few ENB productions at all in recent years, so the insights are wonderful preparation for a visit next weekend.

[Fonty]

A few thoughts from last night.

 

Overall I loved the production, and although it wasn't the cast I was expecting I really enjoyed the performances from the two leads.   As Giselle, Khaniukova in act 1,  was so delicate and fragile it was almost as if she was already part of another world.  In act 2, she appeared to be so light, it was as if she was actually flying and Albrecht was having trouble holding her back .I thought the corps were excellent, and I really enjoyed Suzuki’s Myrtha.  Did I read that it was her debut in the role?  She seemed very polished and accomplished.   I also agree that Burno and Velicu were great as Zulma and Moyna.   Albrecht either has to be hopelessly and helplessly in love with Giselle, or an out and out bad boy who is faced with the impact of his actions in a horrific way.  Arrieta was good as far as the dancing and partnering were concerned, but I didn't get much of an impression of the character, other than he was rather young and seemed a nice chap. 
 

It was interesting to see the differences between this production and that of the RB.  Here it is made very clear that Giselle is in poor health, and dies as a result of that.  Very traditional, and exactly how I remember it being performed many years ago by the RB.  However, I did feel that the mad scene was much more muted.  No tumbling hair, only a small amount of playing with the sword. I am not bothered that Giselle doesn't commit suicide, in fact I think Act 2 makes much more sense if she doesn't, but I didn't feel it made the dramatic impact I am used to.  Of course, this could be the result of Khaniukova's interpretation, and I shall be interested to read about other casts.  

Giselle's act 2 is one of my favourite ballet experiences, and generally I prefer it to act 1.  I loved the staging for this, but I did feel that the very subdued lighting for parts of it was a big mistake.  Fine right at the beginning to create the correct atmosphere, but after that it was very difficult to make out what was going on.  Surely they don't need to dim the lights so much that you can barely see anything?  Also, I didn't get the feeling that any male was being danced to exhaustion.  

 

My brother and niece, as newcomers to Giselle, loved it.  They said they preferred act 1, but they did say that although I had explained the story beforehand, the lighting for act 2 made it very hard for them to understand a lot of it.  Such a pity.    

I have to say that the reaction of some of the audience was most peculiar.  A row of women behind me seemed to find much of it very funny.  The first appearance of the Wilis in the background, the retrieving and throwing of the flowers by Mrytha, the arrival of the corps in their veils, the menacing sequence where the  Wilis move from side to side in arabesque, Giselle's veil removal,  were all greeted with loud hoots of laughter. In the end I turned round and gave them the evil eye and a loud shush.  They did shut up after that, but goodness knows what they were finding so amusing, 

[OnePigeon]

I also noticed the laughter in strange places, glad I wasn’t the only one who was bemused by what they found so amusing.

 

I’m not usually a massive Giselle fan, but I really enjoyed this production and loved some of the beautiful Cecchetti style footwork and epaulement.  It was frustrating not to see either of the principals I had booked to see, but enjoyed Khaniukova’s fragile beauty and innocence and Arrieta’s charm.  My reaction to his Albrecht was that he was a charming but spoilt and thoughtless young man behaving just like the entitled nobleman he was, indulging his whims without thinking about the consequences. He had a very rude awakening when she died as the result of his behaviour and realised too late the gravity of his dalliance with this beautiful young girl, who I do believe he cared for, though wasn’t desperately in love with.  I can see why he came across as just a bit of a nice young man though.  
 

I thought Henry Dowden made a great Hilarion and his acting and mime made the story really clear - even his stance and the way he held his arms conveyed a person with an internal rage and frustration.  
 

The corps were beautiful and I didn’t mind the lighting as I found it atmospheric,  but I wonder if it depended on where you were sitting?