Manon, Royal Ballet Winter 2024

[Scheherezade]

Back home from Manon and what can I say that hasn’t already been said so eloquently by everyone who has already posted. Although the fact that I am still sitting here, four hours later, should in itself say plenty.

Fumi’s debut was just extraordinary and she carried us with her with every sublime, nuanced step - from the excitement of her reunion with Lescaut in the courtyard to the horror of her death in the swamp. There was never any doubt that this Manon loved Des Grieux and that in itself made us love her more. 

I was in the camp that couldn’t quite make my mind up about Vadim’s Des Grieux in Act 1. I wouldn’t say it was lack of engagement; more like diffidence. But, my goodness, he had me by Act 2 - the adoration, the passion, the lack of comprehension, the hurt. And by the end, I had my heart ripped into little pieces. It was unbelievable, utterly wonderful and totally unforgettable.

Edited February 24 by Scheherezade

[Linnzi5]

I can’t add much more to what’s been said already really.
 

The star of the show, for me, was Fumi Kaneko. What can I say? She was sublime and, had I not known, I would never have guessed this was her debut. Her Manon was so likeable and I had no doubt that she loved DG. The depth of her love throughout was a different interpretation in some

respects, in that the riches and wealth offered didn’t really seem to appeal to her as much as the love she felt for DG and her brother - she felt a duty to do as asked. The revulsion for Monsieur GM was apparent instantly, though, at times, she played her part as his mistress well - even though it would not have been her choice to do so. Technically, I felt she was superb. Fumi’s nuanced performance meant I couldn’t take my eyes off her. 
 

I felt Muntagirov was a bit lacking in Act I, which surprised me - almost seemed a bit nervous to start with? I generally have found that for Act I anyway, and that it takes a while for everything and everyone to warm up a bit. However, he certainly made up for this in the next two acts, where his love for Manon was obvious and heartfelt. Technically, he was as assured as usual - especially in the latter acts and I enjoyed his Act II solo very much, particularly.

 

Both Dias and Sissens were very technically assured, giving it their all, though I was not a huge fan of Sissen’s mean, cold glares in Act I - they didn’t quite work for me. They were both good debuts, though I have preferred more experienced performers interpretations of the roles in this run. Just personal preference on my part, possibly? 

 

Gary Avis’ Gaoler was as vile as ever, though Saunders’ Monsieur GM was not as nuanced (or revolting) as I would like.  
 

It was a thoroughly enjoyable evening and I have to congratulate Fumi particularly on her marvellous debut. The end of Act III was absolutely heartbreaking. Well done to all. 
 

it was lovely, as usual, to meet up with forum members between acts - always a pleasure for me. 😀

 

[Mary]

7 hours ago, li tai po said:

But what an amazing performance of the opening solo - no-one can deliver that challenging solo with such legato fluidity and stunning line.  It is so difficult, but he makes it appear simple and beautiful.

Absolutely  - and this is why Muntagirov's dancing moves me more than anything else, the sheer beauty of it:  this is my favourite moment in Manon, that innocent and sincere declaration of love, and the way it grows in intensity and difficulty as he tries to get Manon's attention and convince her  - it is acting through dancing rather than on top of dancing,- I can't express it but know what I mean - and noone does it like him.

 

 

 

[Balletfanp]

12 minutes ago, Mary said:

….. it is acting through dancing rather than on top of dancing,- I can't express it but know what I mean - and noone does it like him.

 

 

 

You’ve hit the nail on the head - his acting comes from deep within him and expresses itself in every move, not just his face.

[Richard LH]

I thought Fumi Kaneko gave us a  flawless performance on her debut....excellent both in technique and in her own interpretation of the role. However I too found Muntagirov rather lacking in Act 1, seeming to wobble a bit a times in his solo, and somehow not really being convincing in this important first declaration of his feelings towards Manon. This meant that for me the overall partnership did not work quite as well as other casts I have seen; although all the passion was certainly there at the end of Act 3, it was rather less believable as it didn't really seem to have been there throughout.

 

Perhaps my problem arose  from drawing  comparisons -  looking back to the wonderful recent debut perfomances of Naghdi and Bracewell, as well as looking forward to seeing Hayward and Campell in these roles again shortly. 

 

I was also somewhat underwhelmed by Joseph Sissens as Lescaut, by Joshua Junker as Beggar Chief, and by Christopher  Saunders as G. M., so my high expectations of this cast were a little deflated from the outset! 

 

However this is really well staged production, and there is always much to enjoy...and the Corps ladies and gentlemen, and the orchestra, were again excellent overall.

 

 

[Nina99]

An absolutely wonderful evening yesterday with a fantastic debut by Fumi Kaneko, and Vadim Muntagirov taking his performance as DG, which I’ve only seen on DVD, to another level. My only complaint was that it was over all too quickly. Thank goodness I’m going to the performance on Tuesday. 
 

The audience was hugely enthusiastic, and although I’ve only been going to ballet for a few years, I haven’t heard such loud cheering at the end of a performance. I thought it was a nice touch that while Fumi and Vadim were taking their curtain call bows, the house lights were put on so that they could see that there was a standing ovation for them - In the stalls at least. 
 

Roll on next Tuesday when I can, hopefully take in all the details that I missed last night. 

[LinMM]

I often find that if the first performance you see in a run is exceptional it’s very hard to get that out of your head at other performances and to engage to the same degree etc. 

Looking forward to this on Tuesday. 
 

Am intrigued by the “three stairs down” to the old part of the house …not sure where this is but sounds a bit “twilight zone” 😳

[Linnzi5]

9 minutes ago, LinMM said:

I often find that if the first performance you see in a run is exceptional it’s very hard to get that out of your head at other performances and to engage to the same degree etc. 

 

It’s a bit strange for me as the performances I prefer can be anywhere in the run and I often can’t express why I like some over others, even for the same casts! 😳

[Silver Capricorn]

To yesterday's Manon.  For me, by all accounts, the best performance I've seen.  After the pairs of Osipova/Clarke and Naghdi/Bracewell, Fumi and Vadim performed not only technically, but above all a perfect acting performance.  Manon Fumi was not so frivolous and whimsical, her love for DG was visible in all moments.  After initial slight hesitation, Vadim developed his role technically (his arabesques are unrivaled) and his performance in the 2nd and 3rd act was amazing.  It is known the immense progress from his DG, which I know from the record of the older show.  The partnership between the two is wonderful and I look forward to seeing them together in Swan Lake and certainly in other repertoire.

[Linnzi5]

37 minutes ago, Richard LH said:

 

I was also somewhat underwhelmed by Joseph Sissens as Lescaut, by Joshua Junker as Beggar Chief, and by Christopher  Saunders as G. M., so my high expectations of this cast were a little deflated from the outset! 

I have to admit that I did find the Beggars a little scruffy in this performance generally,  certainly compared to other performances I have seen. I’m embarrassed to say that I can’t remember who I have seen previously in the Beggar chief roles, but they have been excellent and I did feel Junker fell a bit short in comparison, yes. I will go and check to see who they were.  
 

Edit: Daichi Ikarashi and  Taisuke Nakao.

Edited February 24 by Linnzi5

[Linnzi5]

5 minutes ago, Silver Capricorn said:

After initial slight hesitation, Vadim developed his role technically . . . and his performance in the 2nd and 3rd act was amazing.  It is known the immense progress from his DG, which I know from the record of the older show.  The partnership between the two is wonderful and I look forward to seeing them together in Swan Lake and certainly in other repertoire.

I would agree with this, as I have watched his Manon with Sarah Lamb quite a few times and I feel his acting and ability to emote has improved dramatically since then. 

[Scheherezade]

21 minutes ago, Linnzi5 said:

I would agree with this, as I have watched his Manon with Sarah Lamb quite a few times and I feel his acting and ability to emote has improved dramatically since then. 

Yes, over the last couple of seasons he has evolved into the ‘complete’ performer. The sheer beauty informing his flawless technique has always been on another level but after his Rudolf in the last Mayerling run and now this DG, Vadim is delivering masterclasses in dramatic interpretation too. For which I think we should add a massive bravo to the coaches, too. 
 

 

Edited February 24 by Scheherezade

[MildConcern]

42 minutes ago, Scheherezade said:

Yes, over the last couple of seasons he has evolved into the ‘complete’ performer. The sheer beauty informing his flawless technique has always been on another level but after his Rudolf in the last Mayerling run and now this DG, Vadim is delivering masterclasses in dramatic interpretation too. For which I think we should add a massive bravo to the coaches, too. 
 

 

 I cannot agree more. I was so thrilled by Vadim when he first joined the RB - the beauty of his first Des Grieux was a real shock to the system. Over the years, I found myself taking the stunning classicism of his lines for granted and wishing that he would emote more even beyond the natural beauty of his dancing. I also (she says quietly) never found his partnership with Nunez emotionally demanding and so inevitably saw him less the more they danced together. 

 

Mayerling was a real turning point for my connection to him - I could not believe that this agonisingly tortured and consumed portrayal came from him. And he has gone from strength to strength since. HIs Des Grieux now glows, and when he looked at Kaneko's Manon last night, the love was from inside, not just his wonderful dancing. I am still agape - and counting the hours to Tuesday's performance. 

[Scheherezade]

13 minutes ago, MildConcern said:

 I cannot agree more. I was so thrilled by Vadim when he first joined the RB - the beauty of his first Des Grieux was a real shock to the system. Over the years, I found myself taking the stunning classicism of his lines for granted and wishing that he would emote more even beyond the natural beauty of his dancing. I also (she says quietly) never found his partnership with Nunez emotionally demanding and so inevitably saw him less the more they danced together. 

 

Mayerling was a real turning point for my connection to him - I could not believe that this agonisingly tortured and consumed portrayal came from him. And he has gone from strength to strength since. HIs Des Grieux now glows, and when he looked at Kaneko's Manon last night, the love was from inside, not just his wonderful dancing. I am still agape - and counting the hours to Tuesday's performance. 

Totally!

[Missfrankiecat]

2 hours ago, LinMM said:

I often find that if the first performance you see in a run is exceptional it’s very hard to get that out of your head at other performances and to engage to the same degree etc. 

Looking forward to this on Tuesday. 
 

Am intrigued by the “three stairs down” to the old part of the house …not sure where this is but sounds a bit “twilight zone” 😳

I wonder if this is the case for me - certainly in this run of Manon - because I could not help comparing Fumi's fairly standard interpretation of Manon [total innocence and pure love defiled by machinations of men] with Osipova's much more complex and nuanced creation [which I felt tried to examine Manon's own agency in her downfall and her conflicting desires far more than any of the other interpretations I have seen - though Sarah Lamb in previous years has also conveyed this to an extent].  Had I not seen Osipova (and she's not my usual first choice) I would probably be raving about Fumi too.  I thought she was technically excellent from beginning to end and I liked her chemistry with Vadim - the gorgeous Act 1 bedroom pdd was one of the most playful and charming I have ever seen.  However, I really missed the complexity of the dynamics of Manon's sibling relationship compared to the Osipova/Campbell outing and, ultimately, despite all the roughing up of her appearance and some solid artistry, Fumi remained a bit too ethereal for my tastes in this role.  Gorgeous dancer though.  Joseph Sissens made a very good debut but it was slightly one note villainy at this stage of his journey with the role.  For me, Vadim soared.  I agree with Richard LH that there were a couple of tiny, almost nervous, wobbles on arabesque in his first solo - I was so convinced by his acting that I was even prepared to consider they might be deliberate because I read his opening not as confident wooing but as diffidence slowly losing his self consciousness as the sincerity of his love overcame his shyness.  From there this performance soared.  I know from hearing him being interviewed that he considers that he struggles with the demands of MacMillan lifts but the cleanness of his lines however torturous the manoeuvre is breath-taking.  I found his acting on point throughout; I was particularly moved by the sense of his humiliation and degradation at being pulled into cheating at cards and it struck me that in many ways it is Des Grieux not Manon who is purity defiled in this story.  How I wish we could have seen his interpretation alongside Osipova and Campbell to really shift the axis of the story telling.

 

Edited February 24 by Missfrankiecat

[San Perregrino]

There was much to appreciate in last night’s performances: so many debuts, so many different emphasises and nuances in characterisations from what has gone before. Some hit the spot, some underwhelmed.

For all that, I went home wishing that Fumi Kaneko had made her debut as Manon with William Bracewell as DG. Theirs is a special chemistry that i hope has not been consigned to history. 

[Jamesrhblack]

Re “purity defiled,” I’m not sure there is much “pure” about Manon as a character. There’s a good reason she is being sent off to a convent and it doesn’t take her long to elope with a young man she has just met, stealing the money entrusted to her care by an admittedly foolish older man. I’d agree re the strength of the Osipova / Campbell depiction of the siblings, but I thought Fumi Kaneko excellent last night, almost hard-boiled in her detachment for much of the brothel scene and actively spiteful to des Grieux in the Bracelet Duet before being reduced to catatonic stupefaction in the last act. Inevitably, for a debut it was less complex than Osipova’s very remarkable performance with Campbell which I am delighted was broadcast (and must surely appear on DVD) and, as  Missfrankiecat observes above, explores Manon’s own agency in her downfall.

 

I rather enjoyed Joseph Sissens’ sharp, opportunistic take on Lescaut and find him compulsively watchable as a dancer and stage presence. And I thrilled to Vadim Muntagirov’s long lines in Act 1 and didn’t see him as reticent, rather bashfully shy in trying to articulate his sudden intensity of feeling, whilst the humiliation of Act 2 and the despair of Act 3 really gripped. 

[OnePigeon]

48 minutes ago, Missfrankiecat said:

I wonder if this is the case for me - certainly in this run of Manon - because I could not help comparing Fumi's fairly standard interpretation of Manon [total innocence and pure love defiled by machinations of men] with Osipova's much more complex and nuanced creation [which I felt tried to examine Manon's own agency in her downfall and her conflicting desires far more than any of the other interpretations I have seen - though Sarah Lamb in previous years has also conveyed this to an extent].  Had I not seen Osipova (and she's not my usual first choice) I would probably be raving about Fumi too.  I thought she was technically excellent from beginning to end and I liked her chemistry with Vadim - the gorgeous Act 1 bedroom pdd was one of the most playful and charming I have ever seen.  However, I really missed the complexity of the dynamics of Manon's sibling relationship compared to the Osipova/Campbell outing and, ultimately, despite all the roughing up of her appearance and some solid artistry, Fumi remained a bit too ethereal for my tastes in this role.  Gorgeous dancer though.  Joseph Sissens made a very good debut but it was slightly one note villainy at this stage of his journey with the role.  For me, Vadim soared.  I agree with Richard LH that there were a couple of tiny, almost nervous, wobbles on arabesque in his first solo - I was so convinced by his acting that I was even prepared to consider they might be deliberate because I read his opening not as confident wooing but as diffidence slowly losing his self consciousness as the sincerity of his love overcame his shyness.  From there this performance soared.  I know from hearing him being interviewed that he considers that he struggles with the demands of MacMillan lifts but the cleanness of his lines however torturous the manoeuvre is breath-taking.  I found his acting on point throughout; I was particularly moved by the sense of his humiliation and degradation at being pulled into cheating at cards and it struck me that in many ways it is Des Grieux not Manon who is purity defiled in this story.  How I wish we could have seen his interpretation alongside Osipova and Campbell to really shift the axis of the story telling.

 

I completely agree with you.  Osipova was my first and only other Manon in this run and she brought so much nuance to the role - I was mesmerised from the minute the curtain went up, whereas last night I was distracted by comparisons and therefore some critical thoughts which took me out of just absorbing what I was watching.  I was a little underwhelmed by the bedroom PDD, usually a big highlight for me, by thinking she’s too tall for him for the lifts to look completely comfortable and I felt that I wanted more emotion from Fumi than just a huge smile.   What I love about Osipova is that she’s willing to inhabit the character and move more naturalistically when not dancing, so I’m not just watching a beautiful ballerina playing a role, albeit very well.
 

Having said that, in Act 2 they really began to dazzle me and Vadim took it up a whole other notch, his Act 2 solo being so sublime and emotive I felt privileged to be in the same room watching it.  He was so impassioned and anguished that I lived it with him and came away a little in love with his DG.  I thought Fumi sizzled with an aloof sexuality, aware of her beauty and its effect on the men around her, but remaining a little aloof as if to say, “Yes, I’m beautiful, but you can’t actually have me.”  Although she was lured by the promise of the riches bestowed on her and was prepared to do what it takes to get them, she was never going to fully give herself over to anyone apart from DG.  I thought the bracelet scene between them was really well done, with her flaunting it in front of him and his at times violent response to her taunting, full of passion and anguish which she responded to by being confused at his anger.  Those final lifts/throws in Act 3 actually made my stomach flip and had me wondering what I’d actually just seen - so dangerous, skilled and shatteringly spectacular.

 

The first cast I saw was so stellar I was a little underwhelmed last night by comparison (principals not withstanding).  Sissens danced beautifully, though I thought his characterisation needs a little work to bridge the gap from his initial brooding brute to pure comedy drunkard.  Dias did well but doesn’t have Magri’s skill just yet and the beggars and gentlemen needed to tighten up - some of it was very untogether and sloppy.

Is there any role Gary Avis is less than amazing in?  Someone give him a one man show!  I loved his Monsieur GM when I saw it and he brought an extra layer of hideous lasciviousness to it that was lacking last night.  His gaoler was fantastically brutal though.  I think I shall weep when he retires from performing.

Edited February 24 by OnePigeon

[Jake]

Thoroughly enjoyed Fumi’s Manon. Such an interesting role in terms of characterisation, to bring out how torn she must be between her ‘true love’ and the promise of riches and jewels.

She risks losing much of our sympathy if she (all too understandably in the conditions of the time, and bearing in mind how young she is) goes too enthusiastically for the latter option. I felt Fumi brought out her dilemma particularly well, especially at one point where she couldn’t bring herself to look Des Grieux in the eye.

And what beautiful lines she and Vadim created in their duets; can only hope to see this partnership in many further roles in the future (yes, I’ve booked for their Swan Lake).

Must agree with others that in his maturity Vadim has taken his dramatic abilities to a different level.

As my only other Manon this time was the cinema screening it’s probably unfair to make too many comparisons based on just two performances, though as ever Gary Avis is for me in a class of his own in the ‘nasty’ roles. Felt Campbell’s Lescaut brought out the ‘charming rogue’ side of the character whereas Sissens had rather more of the ‘rogue’ especially in his interactions with Des Grieux at the end of act one.

Re act three, one aspect that Muntagirov really brought out was a sense of liberation, of at long last being worthy of Manon’s love, when Des Grieux finally rose to the occasion and saved her from the gaoler’s ghastly intentions. Whereas what I loved about Osipova’s act three was the sheer sense of exhaustion she portrayed. Of other Manons I’ve seen, only Yanowsky had quite the same impact for me in the devastating finale.

Can I say a big thank you to Rob S for his invariably wonderful curtain call photos, always so much appreciated. Wherever I’m seated, my iPhone efforts are always abject failures as the attached demonstrates all too well!

Edited February 25 by alison
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[Sim]

About last night. Fumi made an incredible debut, up there with Yasmine Naghdi’s of a few weeks ago.  Fumi’s Manon just made me sad.  I had a visceral feeling of abject sadness throughout the evening.  This Manon’s misery in her situation was made clear from the moment she clapped eyes on GM in the Act 1 bedroom scene.  She was pleased to get her coat and necklace, but at what price?  One that she really resented paying,  but did so to please her brother and raise them both up from poverty.  From the off she let me know that love was more important to her than lovely things, but that these last were the one thing that love couldn’t give her.  Money can’t buy you love, but here love couldn’t buy her money; DG is also relatively poor. 

 

Vadim had already made an indelible impression on me as DG in the past, and unlike some others I didn’t find his Act 1 disappointing in any way.  I remember people saying the same thing about the Naghdi/Bracewell first show.  Maybe it just takes time to warm up, but I don’t think that’s the case.  For me, Vadim (and Fumi) danced joyous young love in both of the Act 1 pdd.  Some people commented on a ‘lack of passion.’  Again, these pdd are about the tentative first steps of young love, not the deep passion that comes later.  Manon and DG are, after all, teenagers.  When I think back to being a teenager in the first flushes of love or even a crush, it wasn’t deeply passionate,  it was all about discovery:  discovery of this new thing called love, both emotional and physical (I was thinking of Bob Marley “is this love that I’m feeling?” which Vadim and Fumi were also wondering).  The deep passion came later!  But maybe that’s just me.  I thought that these two made their feelings soar in both of the Act 1 pdd, their winning smiles lifting the choreography even more, their delight in each other reaching the rafters.  So, no disappointment for me in Act 1. 

 

Of course in the second two acts everything changes, and Vadim embodied these changes so beautifully, through his aching dancing to the look of pain and heartbreak on his face in the brothel scene.  Just when he discovered love for the first time, it was torn away from him, and he just couldn’t fathom it.  Here he was in a world that disgusted him, but he would do anything to get his Manon back.  The way he conveyed this in his yearning Act 2 solo broke my heart (not for the first time).  My daughter and I were saying one of the things we loved about Fumi’s interpretation was how she separated her feelings from the gifts.  So the only time she looked happy in the brothel scene was when GM gave her the bracelet after her solo.  It was as if looking at it made her remember the whole reason she was subjecting herself and DG to all this unhappiness.  The bracelet pdd in Act 2 spoke volumes to me.  It is the genius of MacMillan, and the sheer artistry of the RB dancers, that the whole story can be summed up in these few minutes.  At the beginning, they are so happy to be reunited, but as things move on we quickly understand that Manon does not want to be constricted by anybody, even the man she loves.  DG, on the other hand, wants her for himself and doesn’t understand that she needs to be free.  There is also the matter of her recent past.  He is understandably hurt and angry that she is still wearing the bracelet given to her by GM, and that she has kept the dress.  This comes between them and it is at that moment, when the music becomes ominous, that they both realise that this isn’t going work, that love is not enough.  The look on Vadim’s face at that point made me shiver with sad anticipation.  It prepared us for what was coming in Act 3, and my goodness, what an act it was.  Gary Avis as the gaoler was, as ever, evil incarnate, and he and Fumi made very clear what was happening to her.  Humiliation, physical and emotional pain, a pathetic and inadequate man trying to exert power over a vulnerable young woman…all was so devastatingly apparent.  The final pdd was heartbreaking:  DG willing on his Manon, but knowing from the start it was futile; looking around desperately for help when none was forthcoming, trying to elicit some form of hope from Manon where none was there…I just wanted to throw my arms around him.  Both of them danced it beautifully and with such depth.  Vadim’s despair at the end, arms raised in desperation, alone in a physical and emotional wasteland, made my jaw drop along with the curtains.  Just amazing how so much can be said without uttering a word. 

 

For the other debuts, I liked Joe Sissens’ Lescaut but there is room for character development and that will come.  His dancing was, of course, wonderful.  Likewise Leticia Dias as the Mistress.  Lovely dancing and characterisation.  I also liked Tara as Madame:  as my daughter said, she had a lot of class and you can imagine that she had done well as a courtesan/prostitute and was then able to open her own establishment. 

 

My big disappointment of the evening was Christopher Saunders as M. GM.  He made no impression on me of any kind.  This character needs to be very nasty in order for us to understand why Manon and Lescaut risk everything to escape from him.  When it is Gary Avis, he makes it so clear that he believes he owns Manon, that he decides if anyone else can touch her, and when, and for how long.  There is also that menacing aura about him, so that when he does what he does at the end of Act 2 it doesn’t surprise us.  Instead, here we had an almost avuncular GM, smiling all the time and often looking more like a proud father than a nasty individual who has just bought a gorgeous young girl.  Very bland and I’m afraid that aspect of the ballet just didn’t work for me.

 

Gosh I have just seen how much I have written.  This was only meant to be a few words, but then my few words couldn’t do justice to the poetry of last night’s performance. 

[art_enthusiast]

4 minutes ago, Sim said:

My big disappointment of the evening was Christopher Saunders as M. GM.  He made no impression on me of any kind.  This character needs to be very nasty in order for us to understand why Manon and Lescaut risk everything to escape from him.  When it is Gary Avis, he makes it so clear that he believes he owns Manon, that he decides if anyone else can touch her, and when, and for how long.  There is also that menacing aura about him, so that when he does what he does at the end of Act 2 it doesn’t surprise us.  Instead, here we had an almost avuncular GM, smiling all the time and often looking more like a proud father than a nasty individual who has just bought a gorgeous young girl.  Very bland and I’m afraid that aspect of the ballet just didn’t work for me.

 

I have to agree with you there - after seeing Gary Avis as G.M with Hayward and Osipova, I didn’t get the same impression when seeing Saunders as G.M alongside Nunez. I didn’t feel the same level of revulsion at his character as I did before. Of course, Avis as the Gaoler brings all of that, to the point where I can barely watch that scene.

[Mary]

But in a way Gary Avis has entirely  re-created the role of GM in recent runs, and especially in this one,  I think,  giving it a depth that never used to be there in anyone else's performances, turning a rather 2 nasty man into a fully 3D evil and twisted  real character. In particular the way he conveys the horrible idea of Manon as a thing, a possession, belonging to him, which he has paid for,  is very convincing and makes me shudder.

 

[art_enthusiast]

37 minutes ago, Jamesrhblack said:

Inevitably, for a debut it was less complex than Osipova’s very remarkable performance with Campbell which I am delighted was broadcast (and must surely appear on DVD) and, as  Missfrankiecat observes above, explores Manon’s own agency in her downfall.

 

I rather enjoyed Joseph Sissens’ sharp, opportunistic take on Lescaut and find him compulsively watchable as a dancer and stage presence. 

I certainly hope it ends up on the Stream and on DVD! I would certainly be buying it.

 

I am looking forward to seeing Sissens as Lescaut on Tuesday - I don’t expect him to have nailed the character as well as the Campbell and Hirano portrayals (unfortunately missed Acri’s), but I think this is his first time playing a morally dubious character, from what I understood in the rehearsal insight anyway! I’m sure his interpretation will continue to evolve.

[MildConcern]

It is really interesting to read Forum members' different reactions to the roles. For me, Osipova and Kaneko's respective Manons are very different (disclaimer - I have not seen Osipova this run, but I have seen virtually every one of her Manon performances in previous runs starting from her London debut with Acosta). 

 

Osipova's Manon always came across as a real agent of her own destruction - she is a candle that burns brilliantly at both ends, seeking pleasure and never destined for a long life of contentment. I always feel her sexual liberation very keenly, and there is an eroticism to the bedroom pdd when she dances, a young girl discovering adult pleasures. When her downfall happens, I feel that she does not so much exhibit remorse, but more despair that everything she worked for has disappeared. The relationship with Des Grieux is one of blazing attraction and first love, but I don't necessarily believe that it was destined to last in any event. This is Manon with very much a capital 'M' - she is the sun around which everyone revolves and falls into orbit. In the final pdd, I feel she is throwing herself into the grave with abandon - one last reckless fling (and Des Grieux happens to one left who supports her to the end). 

 

Kaneko's Manon (based only one run out so far!) is very different. I wrote about it above and as Sim says, her downfall comes about through a mix of brotherly manipulation and a predilection for luxury that sits uneasily with a private distaste of immoral means. There is an inner turmoil and a private battle of wills that is much more complex than 'I like him, but I also love money'. In Act 2, I think her sense of shame at being a courtesan comes across much stronger than most Manons I've seen. The bedroom pdd is flush with bright and promising love, not lust, and accordingly it comes across very differently. In Act 3, she is shell-shocked and catatonic at what has befallen her and vey much retreats into herself. Similarly, the final pdd is one saturated in regret and a doomed realisation at how she has caused Des Grieux to fall also. I came out feeling I'd experienced a real love story. 

 

It really is a matter of personal taste and we're very lucky to have such range to choose from!

[Mora]

1 hour ago, PeterS said:

For all that, I went home wishing that Fumi Kaneko had made her debut as Manon with William Bracewell as DG. Theirs is a special chemistry that i hope has not been consigned to history. 

Vadim's acting was a revelation to me since I saw his DG via streaming; I did not know that he was capable to embrace that role so believable (at least for me). And I saw some photos of him as Rudolf in Mayerling that arose my admiration for him. Hence, I think he is the most rounded male dancer in the the company.

However, I completely agree about the chemistry Fumi and William show, even throughout pictures. I have never seen sth like that. So, let's hope for a double debut in Mayerling and/or R&J in the next run.

[OnePigeon]

As a slight divergence, I can’t help but feel that Muntagirov is woefully underused in this country.  His dancing is sublime and he has a special and unique style and artistry that screams out for being showcased. If I was a choreographer I would be falling over myself to get a chance to create something on him, or if I was the AD of a company I might be pushing to ensure his talents are fully utilised and celebrated.

 

I wish I was able to see every pairing of Manon as each interpretation brings a new perspective and food for thought.  Macmillan has created such riches to mine for each performer and audience to member to explore.  As someone who has only just returned to watching live ballet after a long hiatus away, I am really hoping they do Romeo and Juliet next as I haven’t seen it since Rojo and Acosta made their indelible impression and I think there are some incredible pairings who could bring so much to the roles.

[Sim]

Just now, OnePigeon said:

I think there are some incredible pairings who could bring so much to the roles.

Oh yes.  From the previous couple of times these were my favourites:

 

Fumi/Will

Anna-Rose/Marcellino

Frankie/Cesar

Yasmine/Matthew

Yasmine/Alexander (sadly not to be repeated)

 

Of course now there are other potentially great pairings, but I don't want to divert this thread.  Maybe when it is confirmed that R&J will be shown next season we can do a casting wishlist!

[Linnzi5]

58 minutes ago, OnePigeon said:

As a slight divergence, I can’t help but feel that Muntagirov is woefully underused in this country.  His dancing is sublime and he has a special and unique style and artistry that screams out for being showcased. If I was a choreographer I would be falling over myself to get a chance to create something on him, or if I was the AD of a company I might be pushing to ensure his talents are fully utilised and celebrated.

Yes. It is interesting that new works are generally do not appear to be created on him. Though there may be ones I don’t know about.

58 minutes ago, OnePigeon said:

 

I wish I was able to see every pairing of Manon as each interpretation brings a new perspective and food for thought.  Macmillan has created such riches to mine for each performer and audience to member to explore.  As someone who has only just returned to watching live ballet after a long hiatus away, I am really hoping they do Romeo and Juliet next as I haven’t seen it since Rojo and Acosta made their indelible impression and I think there are some incredible pairings who could bring so much to the roles.

I love looking at the different pairings as each bring something unique to the table - even if I don’t like certain aspects of the characterisations, I still love watching them. I also love reading the different opinions voiced here - they always give me food for thought.

[postie]

I guess if Vadim wobbles in Act 1 on Tuesday, we'll know it's excellent acting implying hesitation or shyness ..

 

#wobblegate

[Balletfanp]

Home now and have had time to assemble my thoughts on the journey back. I’ll try to keep it brief, but best intentions and all that…. here goes.

 

I found last night’s performance a thing of beauty, gut wrenching, horrifying and incredibly moving. What a debut from Fumi. I knew she would be a brilliant Manon. She danced wonderfully, looked stunningly beautiful and portrayed Manon the way she saw her. Little things I noticed - after being seduced by GM at the behest of her brother, she seemed to linger rather longer over the part where she lays her cheek on the bed than other Manons I’ve seen (although admittedly I haven’t seen many) - which made it very clear that she genuinely loves DG, and doesn’t really want to go, but the pressure from her brother and the more secure position offered is forcing her into it. This was cemented by the sad, wistful glance over her shoulder as she leaves in her new finery with GM. And in Act 2, I loved her portrayal - it seemed that she was remote, distant, not really ‘there’, as though she had formed a shell to protect herself from the seedy life and situation she found herself in. The fragility of that shell became evident when she caught sight of DG and the first crack appeared. When DG began to importune her more, her rejection seemed almost desperate, as though she could feel herself weakening but was terrified of losing what she felt she had gained. And her occasional teasing glances towards him seemed to be trying to convince herself, more than him, that he had no power over her.

 

in Act 3 I found her devastatingly vulnerable. The rape scene in particular was a hard watch. I’ve seen it numerous times before and it is never pleasant, of course, but last night I found myself shocked and shaking at the end of it - I think because the wonderful Gary Avis was so brutal and vicious and Fumi looked so tiny and vulnerable and crushed (in all senses) by him. Also Fumi seemed to fight against him more desperately than some I have seen.

 

And as for Vadim - I must say I feel puzzled by those saying they didn’t quite feel him in Act 1 because I felt he was right there in the character from the word go. Much has been made of a couple of wobbles in his solo, but really these were minor and didn’t detract from his swooningly beautiful lines and above all, the emotion of the adoring looks he cast at his Manon. I found it unsurprising that this Manon would fall for DG immediately! The two following pas de deux were things of complete joy and beauty, with such a gorgeous and intimate chemistry between them.

 

Vadim’s Act 2 solo was one of the most beautiful and heartrending things I have ever seen on stage - his sublimely expressive body and physique, his emotion and acting made it completely heartbreaking and I was having some trouble holding myself together at that point. What Manon could resist? The shell completely cracked…. Throughout Act 2, Vadim conveyed the bewilderment that his lovely Manon could behave in that way, the pain and disgust and the growing desperation in bucketloads, until the climax of that sublimely moving solo.

 

Someone said above (sorry, can’t remember who!) that Vadim portrayed the humiliation of the card game so well, and he did - he looked as though he absolutely hated himself for going along with it, but was willing to do anything to win Manon back.

 

Act 3 was simply amazing and finished me off completely. I have already mentioned the rape scene, but Vadim’s solos, his tussle with the gaoler and desperate rush offstage…. 💔😭. The swamp pas de deux was just off the scale. Fumi looked so tiny and completely broken. The throws and catches were astounding and they certainly didn’t play safe on the run-across-the-stage-and-fall move - I had a momentary access of panic as from where I was sitting it looked as if Vadim was too far away to catch her…. but it was visceral, desperate and just felt so real. And I have never cried at the end before but Vadim just wrenched the heart from my body. Amazing. Above all, in his performances Vadim displays a sincerity and involvement that is uniquely his. What an artist he has grown into.

 

I’m sure the Fumi and William partnership will continue, but I for one am excited to see more of Fumi and Vadim as well - they have tons of chemistry and I am now imagining them with anticipation in the pas de deux at the end of the Winter’s Tale, which always moves me anyway, but with them ….!

 

As far as the rest of the cast goes - I actually thought that Joseph Sissens made a very promising debut. For sure, there is more character development to work on, but that’s in the nature of a debut. He danced wonderfully and I thought he played a drunk very well - funny and realistic, but not over the top.

 

I was slightly disappointed with Leticia Dias. I really like her, and there were some really nice touches in her characterisation, but I thought her solos were too tentative and lacked attack. But again, it was her debut and I’m sure she will grow into the role as more time passes.

Like others, I found some of the other pieces messy - the three gentlemen in particular. I’ve already mentioned Gary Avis’s brilliant and loathsome gaoler, but I wish he could have doubled up and played GM too - his portrayal is so much better than Christopher Saunders. To be honest, most of the time last night I almost forgot GM was there, because his performance just made no impact on me whatsoever. A shame.

 

Tom Whitehead as the old client seemed to be having a lot of fun with the part and really made me laugh!

 

A final word in praise of Vadim’s impeccable partnering. You really need to be able to trust your partner in this ballet and a brand new Manon really couldn’t be in better hands.

 

For potential stage door visitors - there were a lot of people there last night and they employed the desk for signing/selfies and were just letting a few at a time in. And Fumi and Vadim were an absolute delight🙂. And didn’t even look tired although they must have been. Superhumans!

[MildConcern]

What a beautiful review @Balletfanp - and you reminded me that I had the same reaction regarding what you aptly name the “run-across-the-stage-and-fall-move”!
 

I meant to bring it up because the fine margin they were leaving had me shocked (in a good way) - it really was a knife’s edge and shows an impressive amount of trust in each other.

[Mora]

27 minutes ago, Balletfanp said:

I’m sure the Fumi and William partnership will continue, but I for one am excited to see more of Fumi and Vadim as well - they have tons of chemistry and I am now imagining them with anticipation in the pas de deux at the end of the Winter’s Tale, which always moves me anyway, but with them ….!

(...)

For potential stage door visitors - there were a lot of people there last night and they employed the desk for signing/selfies and were just letting a few at a time in. And Fumi and Vadim were an absolute delight🙂. And didn’t even look tired although they must have been. Superhumans!

I agree!

In fact, I saw Vadim as Florizel in The Winter's Tale and I was hooked by his tender and boyish interpretation. Ultimately, since I've seen him in tons of the very classics  I enjoy finding his nuances in more narrative ballets. That's why I think he is so complete as a dancer.

On the other hand, due to the fact that I would have to travel to London from far away to get to see a proper Mac Millan ballet -namely Mayerling or R&J- I crave to have the chance to see Fumi and William dancing, at least, one of these ballets. For me, they are like concave and convex figures of the same piece.  

And yes, the are utterly kinds. They seem to be perfect!

[Rob S]

8 hours ago, Sim said:

 

 

 

My big disappointment of the evening was Christopher Saunders as M. GM.  He made no impression on me of any kind.  This character needs to be very nasty in order for us to understand why Manon and Lescaut risk everything to escape from him.  When it is Gary Avis, he makes it so clear that he believes he owns Manon, that he decides if anyone else can touch her, and when, and for how long.  There is also that menacing aura about him, so that when he does what he does at the end of Act 2 it doesn’t surprise us.  Instead, here we had an almost avuncular GM, smiling all the time and often looking more like a proud father than a nasty individual who has just bought a gorgeous young girl.  Very bland and I’m afraid that aspect of the ballet just didn’t work for me.

 

 

Gary makes his mark within seconds of stepping out of his carriage, no other GM can compete really, and he's the best gaoler too. After Saunders' GM is injured in the sword fight and 'goes after' Lescaut...I was left wondering how he'd do as the gaoler....I came up with Mr Barrowclough from Porridge