Manon, Royal Ballet Winter 2024

[balletyas]

38 minutes ago, cjp said:

I saw Yasmine dance Mary Vetsera to both Vadim Muntagirov and Matthew Ball's Rudolfs during Mayerling last season and had wondered the same then, but she pretty convincingly demonstrated, to me anyway, that she could handle the more morally ambivalent/'minxy' characters, with as much conviction as she does the more conventional heroines and classical roles.  Her pas de deux with both partners were just electrifying and I found her characterisation intelligent, thought-provoking and nuanced, just as with her Manon.

 

I wish I had been able to see Yasmine dance last night, as I loved her (and Willliam's) debut performances on 20th January and remember how compelling I found the Act II brothel scene.  It felt to me that she absolutely owned the stage, not just in her own variation but the later dancing with the ensemble of men - such an effective moment in the ballet, conveying so much and one of those moments of genius from MacMillan in this ballet. 

 

I agree with you re Leo Dixon, who is always eye-catching and it always seems to me that his enjoyment in dancing shines through, whatever he is doing on stage. He was very good in the performance on the 20th, in fact all 3 'dancing gentlemen' were terrific and very well synchronised, the other two being Harry Churches and Joonhyuk Jun. If Leo is ever given a Lescaut, or one day Des Grieux, I hope I'll be able to see it.

 

Then the rest of the cast, from Luca Acri's rascally, amusingly drunk but ultimately tragic Lescaut, Anna-Rose O'Sullivan's comedic flair and beautiful dancing as his mistress, Gary Avis's gaoler (absolutely chilling, my goodness..) the list could go on ..the entire cast was brilliant, as usual.  So rich and layered, a story being told wherever you looked.  Just wish all the casts could be filmed and streamed, if only to fully appreciate all the details ...I can dream!

 

 

Ah yes I had to miss Yasmine’s Mary Vetsera for some reason and of course that would have been a good trial run  for Manon - so glad she pulled it off. Rather wonderful seeing such a controlled and poised dancer throw the shackles off - my admiration of her grows with every performance.  
 

Quite agree re Dixon - i feel he could be a wonderful ardent DG but not sure he is physically strong enough yet but hopefully that will come in time..

[Sim]

13 hours ago, cjp said:

I saw Yasmine dance Mary Vetsera to both Vadim Muntagirov and Matthew Ball's Rudolfs during Mayerling last season and had wondered the same then, but she pretty convincingly demonstrated, to me anyway, that she could handle the more morally ambivalent/'minxy' characters, with as much conviction as she does the more conventional heroines and classical roles.  Her pas de deux with both partners were just electrifying and I found her characterisation intelligent, thought-provoking and nuanced, just as with her Manon.

 

I wish I had been able to see Yasmine dance last night, as I loved her (and Willliam's) debut performances on 20th January and remember how compelling I found the Act II brothel scene.  It felt to me that she absolutely owned the stage, not just in her own variation but the later dancing with the ensemble of men - such an effective moment in the ballet, conveying so much and one of those moments of genius from MacMillan in this ballet. 

 

I agree with you re Leo Dixon, who is always eye-catching and it always seems to me that his enjoyment in dancing shines through, whatever he is doing on stage. He was very good in the performance on the 20th, in fact all 3 'dancing gentlemen' were terrific and very well synchronised, the other two being Harry Churches and Joonhyuk Jun. If Leo is ever given a Lescaut, or one day Des Grieux, I hope I'll be able to see it.

 

Then the rest of the cast, from Luca Acri's rascally, amusingly drunk but ultimately tragic Lescaut, Anna-Rose O'Sullivan's comedic flair and beautiful dancing as his mistress, Gary Avis's gaoler (absolutely chilling, my goodness..) the list could go on ..the entire cast was brilliant, as usual.  So rich and layered, a story being told wherever you looked.  Just wish all the casts could be filmed and streamed, if only to fully appreciate all the details ...I can dream!

 

 

I so agree with all of the above.  Someone standing next to me on Saturday night said 'what a tragedy that tonight hasn't been filmed.'  I so agree with that, too.  

[alison]

I'm sure they'll get their chance in due course.  But there is a queue ...

[Rob S]

They are all filmed though, aren't they...just not in the same style as the cinema version. So Kevin O'Hare just needs to be sufficiently bribed in order for us to gain access to the archive 😄

[Missfrankiecat]

I just wanted to share how much I enjoyed Saturday's matinee performance, especially Ms Osipova's breath-taking performance.  Manon is one of my favourite ballets so I am looking forward to seeing a number of the castings. I have never seen NO in this role before, and she dominated this performance.  To me, her Manon was naturally voluptuous, a creature of the senses from the outset, as she greedily drank in the sights and sounds of the city stepping down from the carriage on her arrival and responded to Des Grieux's declarations of ardour without pretence at naivety.  Her love of material possessions was as sensuous as her love for DG - so many gestures conveyed her conflicts - I was struck by her leaving the stage with Avis  -where her perfunctory touch of his face was followed by a caress of her fur collar.  The other striking part of her interpretation was her relationship with her brother - I really felt that her love for Lescault was much more fundamental than in any previous interpretation I have seen and his death a major part in her decline. I  was in the balcony so facial expressions were hard to read but Osipova uses her body to convey emotion so forcefully this didn't feel like a handicap.  I don't always feel that she is particularly well matched with Reece Clarke but overall the partnership worked well here.  I did feel there were a few tentative notes in the Act 1 bedroom pdd - I was very aware of Osipova's technique assisting the above head holds and the final fiendish combination which as resulted in so many injuries in the past was either truncated deliberately or fluffed.  The third act work was outstanding from both.  I found accepting Alexander Campbell as drunk Lescault was much easier than accepting him as evil, manipulative Lescault but the complicity of the sibling relationship was convincing.  Avis as Mons GM was totally convincing - what a career he has at the moment!   The orchestra was on fine form, I thought - it is a magnificent score. 

[DoctorDerry]

How much do you think he needs😂🤸‍♂️

[Linnzi5]

2 hours ago, DoctorDerry said:

How much do you think he needs😂🤸‍♂️

We could do a fundraiser? 🤣

[JohnS]

A few thoughts on Saturday’s double Manon.

 

I found Saturday evening’s performance fabulous. From his first entrance Will Bracewell’s Des Grieux made for a philosophy student drawn to poetry, which he sustained and developed throughout the three Acts. His Act 1 solo must rank as one of the most ardent expressions of love I’ve ever seen in ballet leaving Yasmine Naghdi with no choice but to fall for him. Bracewell’s desperate tussling with Gary Avis’s Gaoler at the end of the first scene in Act 3 was gripping, making for an exit so anguished that it foretold of the appalling final two scenes. Naghdi rose to the occasion and Saturday evening became one of those so special performances that will live long in the memory. It must be wonderful partnering such a sensitive Des Grieux and with Naghdi really seizing the opportunity, they made for a compelling pair. Their scintillating PDDs were ‘edge of the seat’ as far as I’m concerned. I’d have loved them to have had another performance this run as one or two gestures might have looked a touch more natural with an extra performance. For example when Naghdi lent forward during Des Grieux’s Act 1 solo it seemed a little too considered to me as if a move suggested during rehearsal rather than a spontaneous reaction to Bracewell’s astonishing poetry. I very much enjoyed Luca Acri’s Lescaut and Anna-Rose O’Sullivan’s Mistress and thought the whole cast were on top form, all contributing to this tremendous performance.

 

It seems very remiss to me that we may well have to wait 3 years to see Naghdi’s/Bracewell’s next performance and that’s if they have chance to reprise this particular partnership. I’ve never really understood why so often we only have a couple of chances to see partnerships when there has been such an investment in rehearsal: all that time, effort and emotional commitment for two performances. I’d much prefer partnerships to be given three performances even if that means longer runs and probably one or two fewer productions in the season. Or one or two productions staged in the Linbury rather than main house? I don’t know how the finances stack up although I’d have thought it easier to recover the fixed costs over a longer run. And there is of course merit in variety and new works. But with so many ‘must see’ pairings and some dancers I’d like to see not even cast this run, I do think it would be good if future Manon and Mayerling runs were extended.

 

For the matinee I’m afraid I wasn’t convinced that Natalia Osipova and Reece Clarke were in love in Act 1 where I thought Clarke rather struggled with the choreography which surprised me as I’ve always found him a hugely stylish dancer. It seemed to me Osipova came alive when offered GM’s furs, jewels and riches. I’ve seen the comments about the risks taken and the Act 3 thrown spins were excellent (as they have been for all the couples I’ve seen) but when Osipova falls towards the end of Act 3, Clarke was alongside her throughout and caught her when she was still virtually vertical: there was certainly no dash from the back of the stage for him (as Matthew Ball incorporates). There also seemed a bit of a ‘back from holiday’ untidiness in the matinee performance. For example I thought the three gentlemen a little ragged in the matinee and much crisper in the evening. And as a matinee, I think the audience weren’t as ready to respond to the drama and jokes. I’m hoping the cinema relay will help add to the adrenaline levels as I’m sure there’s more to come from this cast. 
 

Many dancers were performing double Manons and how lovely to see Elizabeth McGorian’s Madame twice. Fabulous to see Yasmine, Will, Anna-Rose, Luca and others at the Stage Door after such a performance and offer congratulations.

[Linnzi5]

37 minutes ago, JohnS said:

A few thoughts on Saturday’s double Manon.

 

I found Saturday evening’s performance fabulous. From his first entrance Will Bracewell’s Des Grieux made for a philosophy student drawn to poetry, which he sustained and developed throughout the three Acts. His Act 1 solo must rank as one of the most ardent expressions of love I’ve ever seen in ballet leaving Yasmine Naghdi with no choice but to fall for him. Bracewell’s desperate tussling with Gary Avis’s Gaoler at the end of the first scene in Act 3 was gripping, making for an exit so anguished that it foretold of the appalling final two scenes. Naghdi rose to the occasion and Saturday evening became one of those so special performances that will live long in the memory. It must be wonderful partnering such a sensitive Des Grieux and with Naghdi really seizing the opportunity, they made for a compelling pair. Their scintillating PDDs were ‘edge of the seat’ as far as I’m concerned. I’d have loved them to have had another performance this run as one or two gestures might have looked a touch more natural with an extra performance. For example when Naghdi lent forward during Des Grieux’s Act 1 solo it seemed a little too considered to me as if a move suggested during rehearsal rather than a spontaneous reaction to Bracewell’s astonishing poetry. I very much enjoyed Luca Acri’s Lescaut and Anna-Rose O’Sullivan’s Mistress and thought the whole cast were on top form, all contributing to this tremendous performance.

 

It seems very remiss to me that we may well have to wait 3 years to see Naghdi’s/Bracewell’s next performance and that’s if they have chance to reprise this particular partnership. I’ve never really understood why so often we only have a couple of chances to see partnerships when there has been such an investment in rehearsal: all that time, effort and emotional commitment for two performances. I’d much prefer partnerships to be given three performances even if that means longer runs and probably one or two fewer productions in the season. Or one or two productions staged in the Linbury rather than main house? I don’t know how the finances stack up although I’d have thought it easier to recover the fixed costs over a longer run. And there is of course merit in variety and new works. But with so many ‘must see’ pairings and some dancers I’d like to see not even cast this run, I do think it would be good if future Manon and Mayerling runs were extended.

 

For the matinee I’m afraid I wasn’t convinced that Natalia Osipova and Reece Clarke were in love in Act 1 where I thought Clarke rather struggled with the choreography which surprised me as I’ve always found him a hugely stylish dancer. It seemed to me Osipova came alive when offered GM’s furs, jewels and riches. I’ve seen the comments about the risks taken and the Act 3 thrown spins were excellent (as they have been for all the couples I’ve seen) but when Osipova falls towards the end of Act 3, Clarke was alongside her throughout and caught her when she was still virtually vertical: there was certainly no dash from the back of the stage for him (as Matthew Ball incorporates). There also seemed a bit of a ‘back from holiday’ untidiness in the matinee performance. For example I thought the three gentlemen a little ragged in the matinee and much crisper in the evening. And as a matinee, I think the audience weren’t as ready to respond to the drama and jokes. I’m hoping the cinema relay will help add to the adrenaline levels as I’m sure there’s more to come from this cast. 
 

Many dancers were performing double Manons and how lovely to see Elizabeth McGorian’s Madame twice. Fabulous to see Yasmine, Will, Anna-Rose, Luca and others at the Stage Door after such a performance and offer congratulations.

Thank you for your reviews - I found them so interesting and enjoyed reading your analysis of both performances.  

[Shade]

Before commenting further on the matinée performance I took the time to read the relevant entry in the Jan Parry biography of MacMillan, very interesting. When Manon and des Grieux are sitting on the chairs peering at each other  there is a parallel with R&J. 

 

I agree the earlier comment re the connection between Manon and her brother. They discuss - what? He promises her riches and she agrees I thought. So Osipova knows what she wants at that point.

Mr Campbell and Ms Magri were terrific in their roles as brother and Mistress. However, I don’t find the drunk scene funny - was he drinking to forget what he had done?

 

As for Mr Avis as GM, He brought his latest plaything to the brothel and proceeded to continually paw her. Very Fifty Shades. Made my flesh crawl. I would say evil. 

 

Osipova was torn between riches and love, which way would she go? She loved des Grieux but the wealth was so tempting. 

 
Of course there is only one end for a ‘girl gone bad’ and it is shocking and tragic.

 

The tale is highly relevant to our own times - very scarily so unfortunately.

 

Great art and artists are however, thought provoking.

 

 

 

[Mora]

2 hours ago, JohnS said:

It seems very remiss to me that we may well have to wait 3 years to see Naghdi’s/Bracewell’s next performance and that’s if they have chance to reprise this particular partnership.

Even more, considering that perhaps Bolle will be not able to perform a main roile in 3 years on, I bet that Nunez could choose William as her DG in future seasons. She has said several times that she wanted to dance R&J with him and that 

was she did in Japan last year once Bonelli retired as her Romeo. Otherwiswe F. Kaneko would have to dance with Bracewell as they did in 2021 (and I do hope to have the ocassion to see them dance R&J one day). 

[capybara]

The leading dancer roster will surely be very different in 3 to 4 years time with the following likely to feature when Manon returns (alphabetical order):

Hayward

Kaneko

Magri

Naghdi

O'Sullivan

Takada

Ball

Bracewell

Clarke

Corrales

Muntagirov

(Richardson)

Sambe

(Sissens)

 

This smaller number (there could be other emerging talent of course) would enable each couple to have 3 shows, which is what everyone (dancers as well as audience) seems to favour. It might seem harsh but the  'missing names' have had many opportunities to take the leading roles over the years. Time for the current late 20s/30-somethings to be put firmly in the limelight - and not only in Manon. 

 

 

 

[balletyas]

26 minutes ago, capybara said:

The leading dancer roster will surely be very different in 3 to 4 years time with the following likely to feature when Manon returns (alphabetical order):

Hayward

Kaneko

Magri

Naghdi

O'Sullivan

Takada

Ball

Bracewell

Clarke

Corrales

Muntagirov

(Richardson)

Sambe

(Sissens)

 

This smaller number (there could be other emerging talent of course) would enable each couple to have 3 shows, which is what everyone (dancers as well as audience) seems to favour. It might seem harsh but the  'missing names' have had many opportunities to take the leading roles over the years. Time for the current late 20s/30-somethings to be put firmly in the limelight - and not only in Manon. 

 

 

 

Absolutely agree with you on this… 

[annamk]

54 minutes ago, capybara said:

The leading dancer roster will surely be very different in 3 to 4 years time with the following likely to feature when Manon returns (alphabetical order):

Hayward

Kaneko

Magri

Naghdi

O'Sullivan

Takada

Ball

Bracewell

Clarke

Corrales

Muntagirov

(Richardson)

Sambe

(Sissens)

 

This smaller number (there could be other emerging talent of course) would enable each couple to have 3 shows, which is what everyone (dancers as well as audience) seems to favour. It might seem harsh but the  'missing names' have had many opportunities to take the leading roles over the years. Time for the current late 20s/30-somethings to be put firmly in the limelight - and not only in Manon. 

 

 

 

I see your point but I think it's more difficult than pensioning off your "missing names"  

 

- I look at Leanne Benjamin who didn't retire until she was 48 and some of the performances in the latter part of her career were truly astonishing - a completely convincing Juliet in her late 40's; and

 

- Lauren Cuthbertson will be 40 this year but her Manon (at the rehearsal) was one of the best things I've seen her do and one of the most memorable performances of Manon I've seen;

 

- Alina Cojocaru at 42 is still bringing her unique artistry to roles;

 

- when ticket sales are slow retiring Marienela Nunez or Natalia Osipova might not be an appealing prospect to the powers that be. It seems to me that the following a dancer generates is more about them and less about the RoH putting them in the limelight. Some artists are unique: the audience know it when they see it and once they've seen it they return time and time again. For myself, I only had to see Johan Kobborg and Alina Cojocaru together once and I was hooked, I wouldn't miss a performance; same with young Natalia Osipova, same with Fumi Kaneko and William Bracewell.  

 

Maybe there need to be more performances, or maybe time for a rethink when it comes to casting every principal dancer in every principal role regardless of suitability. 

 

It's all very difficult .... I wouldn't care to be in Kevin O'Hare's shoes.

 

 

 

 

 

 

[Legseleven]

It does seem (and this is of course only my opinion, which may be quite wrong) that some dancers who excel in the big classical roles are considered less likely to do so in the MacMillan repertory and for their chance to take on roles other than the big classics to be delayed as a result. And there is no doubt that the Royal Ballet previously publicised the career of one of the younger principals much more than those of their contemporaries. This affects all of the principals in terms of who Joe Public has read about and may consider the only dancer to go to see. 

Edited February 6 by Legseleven

[alison]

How much is it the RB doing the publicising, and how much the individual dancers and/or their PR team, though, I wonder?

[Sim]

2 minutes ago, alison said:

How much is it the RB doing the publicising, and how much the individual dancers and/or their PR team, though, I wonder?

This is the whole issue.  The dancers are often having to do it themselves (or via their PR agent) because it is not being done from within the ROH.  Once the current 'big names' (Nunez, Osipova, Cuthbertson) do retire within the next few years, they will need to replace those names.  They should be starting now, but I don't see it happening yet.  Hopefully this will change.

[JohnS]

19 minutes ago, annamk said:

It's all very difficult .... I wouldn't care to be in Kevin O'Hare's shoes.

I very much agree. 
 

I’ll be very pleased to see Sarah Lamb’s Manon later in the run and it’s only a few months ago when Laura Morera was astonishing audiences with her fabulous performances. But I think I’d prefer slightly longer run’s, particularly of Manon and Mayerling.

[capybara]

11 minutes ago, JohnS said:

I very much agree. 
 

I’ll be very pleased to see Sarah Lamb’s Manon later in the run and it’s only a few months ago when Laura Morera was astonishing audiences with her fabulous performances. But I think I’d prefer slightly longer run’s, particularly of Manon and Mayerling.

Completely agree about her fabulousness but Laura Morera had not been cast multiple times previously.

[Missfrankiecat]

44 minutes ago, Sim said:

This is the whole issue.  The dancers are often having to do it themselves (or via their PR agent) because it is not being done from within the ROH.  Once the current 'big names' (Nunez, Osipova, Cuthbertson) do retire within the next few years, they will need to replace those names.  They should be starting now, but I don't see it happening yet.  Hopefully this will change.

 

With respect, I'm not sure I agree, although it is sometimes difficult to distinguish between ROH generated publicity and individual principals own efforts - in this day and age when all of us are expected to take an active role in promotion via social media etc, the point is probably moot anyway.  It seems to me that, for eg, Francesca Hayward and, to a slightly lesser extent, Marcellino Sambe, have been very well promoted by the ROH of recent years.  They got the Jubilee gig for eg which had a much wider audience range than any of the mainstream arts showings.  Both get a lot of mainstream press coverage outside of their dancing, as does Yasmine.  

There is currently an unusually strong (especially for the men) roster of principal dancers and, while I 'get' individuals would like to see their favourite multiple times in leading roles, I can understand the sense in each being given the chance of a couple of performances - it builds company esprit, 'hands the baton' of teaching from distinguished predecessors (especially in MacMillan and Ashton) to as many as possible as well as spreading the burden of generating ticket sales.  To me it speaks well of the ethos of a company that does invest precious time with each couple and illustrious teachers for 'only two' performances - they will take that knowledge into other companies if they leave and build the long-term legacy if they stay.  

As for any suggestion that the likes of Nunez, Osipova and Lamb should be denied further chances to perform these roles while they remain at the top of their game, I deplore it, not only because of ticket sales [though it was very noticeable that Nunez and Osipova performances sold much faster than Muntagirov with Fumi for eg - which surprised me as I thought he would be an equal draw with Nunez] but because they still offer the best of RB as well as offering the living template to future stars.  In any event, I think people make bold assumptions about imminent retirements.  I would be unsurprised if Osipova moved elsewhere in the next few years to pursue much broader dance ambitions - all the more reason to drink in her classical work now - and equally unsurprised if Nunez didn't wish to emulate Fonteyn/Ferri in dancing longevity.  

[MAB]

1 hour ago, JohnS said:

But I think I’d prefer slightly longer run’s, particularly of Manon and Mayerling.

 

I'd like far shorter runs and far more different ballets each season.  I would also like many years to elapse before seeing those two ballets again.

[Sim]

30 minutes ago, Missfrankiecat said:

 

With respect, I'm not sure I agree, although it is sometimes difficult to distinguish between ROH generated publicity and individual principals own efforts - in this day and age when all of us are expected to take an active role in promotion via social media etc, the point is probably moot anyway.  It seems to me that, for eg, Francesca Hayward and, to a slightly lesser extent, Marcellino Sambe, have been very well promoted by the ROH of recent years.  They got the Jubilee gig for eg which had a much wider audience range than any of the mainstream arts showings.  Both get a lot of mainstream press coverage outside of their dancing, as does Yasmine.  

There is currently an unusually strong (especially for the men) roster of principal dancers and, while I 'get' individuals would like to see their favourite multiple times in leading roles, I can understand the sense in each being given the chance of a couple of performances - it builds company esprit, 'hands the baton' of teaching from distinguished predecessors (especially in MacMillan and Ashton) to as many as possible as well as spreading the burden of generating ticket sales.  To me it speaks well of the ethos of a company that does invest precious time with each couple and illustrious teachers for 'only two' performances - they will take that knowledge into other companies if they leave and build the long-term legacy if they stay.  

As for any suggestion that the likes of Nunez, Osipova and Lamb should be denied further chances to perform these roles while they remain at the top of their game, I deplore it, not only because of ticket sales [though it was very noticeable that Nunez and Osipova performances sold much faster than Muntagirov with Fumi for eg - which surprised me as I thought he would be an equal draw with Nunez] but because they still offer the best of RB as well as offering the living template to future stars.  In any event, I think people make bold assumptions about imminent retirements.  I would be unsurprised if Osipova moved elsewhere in the next few years to pursue much broader dance ambitions - all the more reason to drink in her classical work now - and equally unsurprised if Nunez didn't wish to emulate Fonteyn/Ferri in dancing longevity.  

I am not making 'bold assumptions' about anyone retiring.  I'm just being realistic; no-one can go on forever.  So those dancers in their early 40s probably only have a few years left to dance at the level required by the RB.  

 

If Yasmine has had lots of press coverage it has passed me by.  Francesca Hayward, yes.  Anna-Rose?  Virtually nothing.  Mayara?  Yes, especially with Matthew Ball...and of course she now has representation so is getting more exposure.  Sarah Lamb?  Virtually nothing over the years.  She doesn't promote herself either.  Neither did Laura Morera.  They didn't self-promote, nor did they get any coverage generated by the internal ROH machine.  So these two consummate artists remain virtually unknown outside of ballet fans.  

 

ANYWAY....we are now diverting away from Manon a bit too far.  Mea culpa.  If anyone would like to continue the discussion please start a new thread.  Thank you.  

[art_enthusiast]

1 hour ago, MAB said:

 

I'd like far shorter runs and far more different ballets each season.  I would also like many years to elapse before seeing those two ballets again.

I agree about more variety needed in each season. However, bear in mind that some people haven’t seen either of those two ballets before. Some of us haven’t been alive for the last 50 or so years getting to see all the greats of ballet perform. This year was my first time seeing Manon by the RB, and I do think it’s an absolute work of art that I definitely wouldn’t mind seeing many times (if time/cost allowed). 

[Mora]

15 hours ago, Mora said:

Even more, considering that perhaps Bolle will be not able to perform a main roile in 3 years on, I bet that Nunez could choose William as her DG in future seasons. She has said several times that she wanted to dance R&J with him and that 

was she did in Japan last year once Bonelli retired as her Romeo. Otherwiswe F. Kaneko would have to dance with Bracewell as they did in 2021 (and I do hope to have the ocassion to see them dance R&J one day). 

 

15 hours ago, Mora said:

"...  should have had to dance" I meant. Sorry. 

 

[RobR]

1 hour ago, MAB said:

 

I'd like far shorter runs and far more different ballets each season.  I would also like many years to elapse before seeing those two ballets again.

Like @JohnS, and many other regulars living in London and the South, I like to go to a few performances of the same ballet, generally classics (I would have said 'white' ballets meaning Swan Lake, Giselle etc but didn’t want to be misinterpreted), MacMillan, Scarlett, Wheeldon, Balanchine, Ashton, to name a few.
 

I like to watch different casts so I’m all for long runs. 

 

I'm not such a fan of newer, shorter works, with quite a few exceptions which I enjoy, but would be happy for these to have shorter runs, as they currently seem to do.

[Dawnstar]

Given Roberto Bolle is about to dance Des Grieux at 48, I'm not sure any of the current RB Principals could be counted out of the next run of Manon on the grounds of age, as they will all still be younger than that in 3-4 years time! In fact after seeing Acosta do the bedroom pdd last summer I wouldn't have been entirely surprised if he'd come back to do Des Grieux at 50!

 

In terms of role opportunities it's the Lescauts this run that I find slightly disappointing, with only the one role debut, for Sissens. There are several other dancers who I would have liked to have seen trying the role. When Hirano replaced McRae was Des Griuex perhaps he could have dropped one of his two sets of Lescaut performances & a debuting dancer get that opportunity? (I know Hirano ended up not dancing his first Lescaut but that was at fairly short notice so presumably unplanned illness or injury & no time to rehearse anyone new.) Actually in terms of replacements, when Takada was announced as not dancing Manon I thought it was a bit of a shame, as it was a fairly long notice period, that neither Magri nor O'Sullivan were given the opportunity to debut. Though perhaps it wasn't possible in terms of dates for Magri, as her first SL performance falls between Takada's two Manons, and I suppose as O'Sullivan was debuting the Mistress two debuts might have been considered too much. Just some thinking out loud.

[JennyTaylor]

20 hours ago, JohnS said:

Bracewell’s desperate tussling with Gary Avis’s Gaoler at the end of the first scene in Act 3 was gripping, making for an exit so anguished that it foretold of the appalling final two scenes

Gary has commented in IG about this ......."the drama was real ! I love his spontaneity" 

[capybara]

4 hours ago, Missfrankiecat said:

There is currently an unusually strong (especially for the men) roster of principal dancers and, while I 'get' individuals would like to see their favourite multiple times in leading roles, I can understand the sense in each being given the chance of a couple of performances - it builds company esprit, 'hands the baton' of teaching from distinguished predecessors (especially in MacMillan and Ashton) to as many as possible as well as spreading the burden of generating ticket sales.  To me it speaks well of the ethos of a company that does invest precious time with each couple and illustrious teachers for 'only two' performances - they will take that knowledge into other companies if they leave and build the long-term legacy if they stay.  

As for any suggestion that the likes of Nunez, Osipova and Lamb should be denied further chances to perform these roles while they remain at the top of their game, I deplore it, not only because of ticket sales [though it was very noticeable that Nunez and Osipova performances sold much faster than Muntagirov with Fumi for eg - which surprised me as I thought he would be an equal draw with Nunez] but because they still offer the best of RB as well as offering the living template to future stars.  In any event, I think people make bold assumptions about imminent retirements.  I would be unsurprised if Osipova moved elsewhere in the next few years to pursue much broader dance ambitions - all the more reason to drink in her classical work now - and equally unsurprised if Nunez didn't wish to emulate Fonteyn/Ferri in dancing longevity.  

 

Not to take anything away from Nunez but I don't think we should overlook 'the Bolle factor' in terms of the early booking pattern for Manon. To attend a performance by him in Italy is as near to being at a 'rock concert' as it gets in ballet and he has legions of extremely enthusiastic fans following him all over the world. 

[Mora]

7 minutes ago, capybara said:

 

Not to take anything away from Nunez but I don't think we should overlook 'the Bolle factor' in terms of the early booking pattern for Manon. To attend a performance by him in Italy is as near to being at a 'rock concert' as it gets in ballet and he has legions of extremely enthusiastic fans following him all over the world. 

I agree.

[Peanut68]

I booked Nunez/Bolle as felt it a golden chance to see my 2 all time favourite stars! Equal draw

[Paco]

There are so many fantastic Principals nowadays at the RB that choosing a cast is always a cruel dilemma. For this Manon I chose Osipova / Clarke, because Osipova approaches the 40s and I am so afraid these could be her last years at the RB in great roles that I don't want to miss it. (and I hope she will be in June' Swan Lake).

Then I also chose Nunez/ Bolle, exactly for the same reason regarding Ms Nunez, and also because I much prefer Mr Bolle when he dances at the RB than when he dances at la Scala. At Covent Garden there is always something very special between him, the audience and the company. He is just no the same dancer, so much more engaged and emotional than at la Scala.

 

But these choices were really dilemma, because I would also have loved to see most of the other casts (and am frustrated to have missed the Naghdi-Bracewell). Just can't see 3 performances of a same run, financially speaking...

[Sharon]

Just home from watching Manon at my local cinema. All went well - except they had no cast sheets - apparently ROH didn't send the info through 🤷🏾

And I lost my shawl in the restaurant 😪

However the performance was fantastic,  the whole company amazing.  The orchestra wonderful and I loved that the lead cellist was given a close up. 

The stars of the show were Osipova and Clarke. I knew she was a great actress but it was brilliant to see just how good he was close up. They were outstanding! I cried at the end, they were superb 😭

[WoodlandGladeFairy]

Just got back from the cinema relay of Manon with Osipova/Clarke, another wonderful evening.

 

Natalia Osipova was absolutely devastating in Act III, got very emotional at the end, as good as when I saw her live in 2018.

 

Reece Clarke is an incredibly handsome, tall, elegant and with lovely long lines, a dreamy Des Grieux, who wouldn't fall head over heels in love with him.

 

Gary Avis remains the GOAT (Greatest of All Time) Character Artist, can play nice and nasty equally, his Monsieur G.M. is such a perfect sleazoid, top stuff.

 

Also have to mention Alexander Campbell as Lescaut, just brilliant, a proper mean but charming rogue and Mayara Magri was saucy and sparkling as Lescaut's Mistress.

 

The entire company was vibrant and full of energy as well, just fabulous to watch.

 

Already mentioned previously how much I love the costumes and the cinema close ups really made me appericate the textures and fabrics. And the music remains as gorgeous as ever, top playing from the ROH Orchestra as usual.

 

Yes I look forward to returning to this ballet each time it is revied, always discovering new things about it.

Edited February 7 by WoodlandGladeFairy