Royal Ballet - Swan Lake 2024

[Rob S]

 

 

 

 

 

 

 

 

Edited April 17 by Rob S

[zxDaveM]

Really was blown away by the performance of Yasmine Naghdi last night. Even by her own high standards, this was a wowser! The Odette solo/pdds in act 2, THAT balance in the pdd in Act 3, and the heartbreaking, breath stopping pdd in act 4 (I actually was holding my breath in case I broke the spell, only realising so, when they stopped - I mean, as if my breathing at the back of the stalls circle would have any impact on anyone but me!)

And I get to see it all again next Wednesday!

[I do hope they make a blu-ray of the cine-cast, I will buy one for sure, even at those sky-high prices they charge for ballet blu-rays these days]

[Sim]

And so….about last night.  This hardened old balletomane, who has been watching Swan Lake for many more decades than I care to remember, was turned to mush by the glorious performance of Yasmine Naghdi as the swan.  The beauty, the technical perfection, the intensity and intelligence of her interpretation meant that I was moved like almost never before.  A couple of the regulars told me in the interval that they had never been so moved in the Act 2 pdd, and I felt the same way.  This is because Yasmine took us all on a journey in those few minutes.  I could understand the clarity of her mime, her story, her emotions.  No words needed here;  her eyes, her luscious arms, every startled movement of her head…they took us from her initial fright and distrust on the journey to love and faith in her prince.  Nothing was rushed, and it gave us time to absorb the story.   It made her grief in Act 4 so much more poignant:  her initial gut feeling was to escape, but the gentle and patient efforts by Matthew Ball’s Siegfried paid off, and she melted into his arms, maybe against her better judgment, but here was a possible way out of her awful situation.

 

And then came Odile.  A minxy seductress, having loads of fun playing with this poor sap of a prince.  Her collusion with Von Rothbart was great to watch;  so much communication just using her eyes, a slight nod of the head to show that she has understood what she needs to do. A sexy smile, a batting of her eyes, a bit of teasing, and Siegfried was doomed. A rock solid balance (had Matthew not taken her down she could have stayed there and had a drink until she was good and ready to continue), and then a fabulous set of fouettes, en place and whipped out without even breaking into a sweat, dazzled Siegfried (and the audience) into final submission.  I had the feeling that this Odile was holding her laughter, then when the deception was revealed let it all out;  there was no doubting her glee at her wicked achievement. 

 

Act 4 was beautiful.  Not only was the forgiveness pdd deeply felt by Odette and Siegfried, but again it was so clear what was going on in her heart and head. Her grief and devastation at the deception brought a lump to my throat.   Her initial reluctance to allow Siegfried back in, again her conversion from mistrusting him to accepting his apology and letting him back into her heart was, well, heartbreaking.   When she ran towards the rock I felt like shouting ‘noooo, don’t do it!’, but that was as much because I didn’t want to stop seeing her dance as it was for her character’s sacrifice.  A simply glorious performance that I can’t really describe.  This is the best I can do.

 

I really enjoyed Matthew Ball’s dancing, but found him a bit more understated than usual last night.  Their partnership is so solid, and they understand each other so well, that risks can be and were taken (e.g. the falling backwards in both of the pdd were very deep and made someone in front of me inhale deeply).  He made it very clear to us in his emotional solo between Acts 1 and 2 that the world was weighing heavily on his shoulders and that he didn’t want the responsibilities being imposed upon him. 

 

There was some sloppiness from the supporting cast and I am sure this will be ironed out by the cinema broadcast. 

 

But the night belonged to Yasmine Naghdi, and she deserved her standing ovation.  What she doesn’t deserve is to have been overlooked yet again by the NDAs.  But who cares?  It is we, the audience, for whom these wonderful artists dance, and if we love and appreciate them, that is what matters.  In the case of Miss Naghdi, I do, and so do many others. I can only hope that she felt that love and appreciation last night.  After a performance like that, it is the least she deserved.  Brava Yasmine! 

[Shade]

My first viewing of Swan Lake in this run and very enjoyable it was too. Good performance from all I think. It’s a shame that with all the current fabulous male principals at RB there is so little for Siegfried to do - a waste in my opinion.

 

Yes agree that balance was terrific. 
 

For me though I think Odile took the honours- very exciting Act 3. Perhaps I find Odette too passive - waiting for her true love to come. In contrast Odile goes out to get him, even though she is playing with him and doesn’t want him, just wants to prove that she can get him.
 

I find this current production Act 4 an anticlimax after Act 3.

[Shade]

Interesting reading your post Sim - I wasn’t moved at all in Act 2

[Sim]

7 minutes ago, Shade said:

Interesting reading your post Sim - I wasn’t moved at all in Act 2

Everyone I spoke to was, but of course that was just those I spoke to; it doesn't mean everybody, so... to each their own!

[Lindsay]

I'm somewhere between Sim and Shade (so to speak).  I think Naghdi is hugely improving as an actress.  Her technique has always been top notch (imho best in the company after Marianela) but I used to find her a little 'coldly competent'.  She has introduced much more musicality and nuance into her performances, and I think is now absolutely stellar in the minxy/flashing smile roles - as Odile of course and I first noticed this when she absolutely owned the stage as the lead in Elite Syncopations a few years ago.   She is now such a safe pair of hands in things like Sugar Plum or Kitri that you just know the steps are easy for her, so you can sit back and enjoy it with her as she plays with the music.

 

However, I still find it really difficult to see her as vulnerable, in the way that makes a really good Odette.  There is a sort of 'competence' about all of her performances that is always there (whether it is the rock solid technique, the facial expression or quite what else I can't quite work out).  I also felt this last time I saw Yasmine's vision scene in Sleeping Beauty - there is something about her expression that means I can't forget that she is "acting" in those kind of roles.  Marianela of course also has solid technique but somehow manages to make me feel her vulnerability.  Maybe it's something to do with the way she uses her head as Odette? If it were that easy to work out the 'magic formula', then everyone would be doing it!

 

None of which should detract from what was an amazing performance last night and I think (the leads at least) are well worthy of the cinema performance.   We are so lucky in London at the moment to be able to nitpick our preferences between really incredible dancers and none of this is in any way intended as a detraction of anybody! Yasmine would always be one of my top choices when choosing which casts to see.  

[Shade]

4 hours ago, Lindsay said:

 

 

None of which should detract from what was an amazing performance last night and I think (the leads at least) are well worthy of the cinema performance.   We are so lucky in London at the moment to be able to nitpick our preferences between really incredible dancers and none of this is in any way intended as a detraction of anybody! Yasmine would always be one of my top choices when choosing which casts to see.  

I think this is a fine cast for the cinema performance. It must have been difficult to choose though as there are so many fine casts! I would love to see one of each but can’t unfortunately.

[Rob S]

 

 

 

 

 

 

 

 

 

[Buru]

Just wanted to take a moment and say thank you for all your posts. I was asking who to see after Marianela and now have tickets for Yasmine’s Swan tomorrow. Really looking forward to it. If her calculated perfection is anywhere near Lopatkina or Zakharova (the two most perfect Odettes in my years of watching ballet), I am all for it! Cannot wait. 

[DelphiumBlue]

Thoroughly enjoyed the Wed evening cast. It was the 1st time I had seen this production live - rather than at a live streaming ( Lauren Cuthbertson & William Bracewell) - so was adjusting to the different view point - up in the amphitheatre with an excellent view of the safety light behind the rocks … oh and the splendid swan corps -de-ballet.  
I found Yasmin Naghdi’s Odile utterly  mesmerising -  that balance, those fouettés and the exquisite  nastiness under a  beautiful mask anll of which  helped me appreciate her Odette even more in Act 4. 
I have booked again for the June run ( Claire Calvert and Nicol Edmonds) so look forward to being able to see or notice  different interpretations then . 

[MJW]

https://www.roh.org.uk/tickets-and-events/43/swan-lake-by-liam-scarlett/cast-list/54728

 

Cast sheet for this afternoon’s performance. Frankly after the week I’ve had at work, I really need this!

Edited April 20 by MJW

[alison]

Just read the scenario for possibly the first time ever for this production(!)

 

"She decrees that he must choose a royal bride at a palace ball to be held in his honour the following evening. Weighed down by the responsibilities of both kingdom and imminent marriage, Siegfried is comforted by Benno. Von Rothbart orders Siegfried to go inside. Siegfried refuses and wanders away alone.

...

As dawn breaks, the power of Von Rothbart draws Odette away from Siegfried and she changes back into a swan.

 

Having rushed back from the lake, Siegfried is met by Benno who instructs him to prepare for the ball.

... The Queen realizes that Siegfried is missing and commands Benno to distract the court." 

 

I shall now probably spend the next few performances wondering what on earth Siegfried has been doing all day ...  

[Jane S]

The print copy of today's Times has an advert for the cinema showing of Swan Lake on page 3 - very simple but quite eye catching - you notice it as soon as you turn the page: about half a column - SWAN LAKE and a photo of Naghdi, enough to intrigue someone into reading the smaller print. Don't think they've done this before?

[Rob S]

Great pre show cast list this afternoon, princesses Isabel Lubach, Mica Bradbury, Sae Maeda and Chisato Katsura ended up being Lara Turk, Maddison Pritchard, Bomin Kim and Chisato Katsura 😆 presumably too many changes to announce just before curtain up 

[Sim]

5 hours ago, MJW said:

https://www.roh.org.uk/tickets-and-events/43/swan-lake-by-liam-scarlett/cast-list/54728

 

Cast sheet for this afternoon’s performance. Frankly after the week I’ve had at work, I really need this!

I hope it helped!  It sure worked for me, Wednesday and today!  

[Dawnstar]

Teo Dubreuil as Benno tonight. I think his debut? It'll make a change from seeing him doubling Von Rothbart anyway! (I'd hoped I might get to see one of the new Von Rothbarts tonight, but no.)

[Mary]

4 hours ago, alison said:

Just read the scenario for possibly the first time ever for this production(!)

 

"She decrees that he must choose a royal bride at a palace ball to be held in his honour the following evening. Weighed down by the responsibilities of both kingdom and imminent marriage, Siegfried is comforted by Benno. Von Rothbart orders Siegfried to go inside. Siegfried refuses and wanders away alone.

...

As dawn breaks, the power of Von Rothbart draws Odette away from Siegfried and she changes back into a swan.

 

Having rushed back from the lake, Siegfried is met by Benno who instructs him to prepare for the ball.

... The Queen realizes that Siegfried is missing and commands Benno to distract the court." 

 

I shall now probably spend the next few performances wondering what on earth Siegfried has been doing all day ...  

I don't recall some of this wording: surely Benno should not be 'instructing' Siegfried..surely vice versa?

 

 

[Rob S]

 

 

 

 

 

 

 

 

[MJW]

2 hours ago, Sim said:

I hope it helped!  It sure worked for me, Wednesday and today!  

 

That was best performance of Swan Lake I've seen. It's a work that usually leaves me rather cold emotionally - looks and sounds marvelous but no more than that. 

 

I think the combination of an emotionally draining week at work and sitting so close to the stage (Row H in the Stalls) resulted in real connection for me. Everything gelled; terrific performances from everyone, beautiful music and a storyline that (really for the first time for me) made complete sense throughout. I'm afraid it left me in a bit of a state at the end, but perhaps that isn't such a bad thing.

 

From my IG from this afternoon -

 

https://www.instagram.com/reel/C5_crjlIwVT/

   

[Sim]

25 minutes ago, MJW said:

 

That was best performance of Swan Lake I've seen. It's a work that usually leaves me rather cold emotionally - looks and sounds marvelous but no more than that. 

 

I think the combination of an emotionally draining week at work and sitting so close to the stage (Row H in the Stalls) resulted in real connection for me. Everything gelled; terrific performances from everyone, beautiful music and a storyline that (really for the first time for me) made complete sense throughout. I'm afraid it left me in a bit of a state at the end, but perhaps that isn't such a bad thing.

 

From my IG from this afternoon -

 

https://www.instagram.com/reel/C5_crjlIwVT/

   

I am so glad it that effect on you too!  

[Rachelm]

1 hour ago, MJW said:

 

That was best performance of Swan Lake I've seen. It's a work that usually leaves me rather cold emotionally - looks and sounds marvelous but no more than that. 

 

I think the combination of an emotionally draining week at work and sitting so close to the stage (Row H in the Stalls) resulted in real connection for me. Everything gelled; terrific performances from everyone, beautiful music and a storyline that (really for the first time for me) made complete sense throughout. I'm afraid it left me in a bit of a state at the end, but perhaps that isn't such a bad thing.

 

From my IG from this afternoon -

 

https://www.instagram.com/reel/C5_crjlIwVT/

   

Awww! I enjoyed it a lot too. I think sitting close to the stage really amplifies the drama- you see all the expressions, the detail in the costumes, and the music is more intense, which I always find more emotional! Front row of the stalls is my favourite 👌

, though I was higher up today.
 

This was my first live viewing of Scarlett’s production. I thought Yasmine Naghdi and Matthew Ball did as well as I expected (gorgeous!) and I especially loved their act 2 pas de deux, and the act 3 fireworks. Matthew Ball had a small slip at the end of the act 3 solo but it was minor, and he was great everywhere else. I always love his expressiveness.

 

Joonhyuk Jun as Benno surprised me! I thought he was fabulous! The landings on most of his (very impressive) jumps were silent to my ears! Siegfried’s sisters were both beautiful- Annette Buvoli and Leticia Dias. 
 

Overall though the whole company performance felt a little flat to me. Maybe it’s because the dancers are mid season and all exhausted from working so incredibly hard?? Maybe this production just isn’t quite as successful as others I’ve seen? Or maybe I’ve just seen Swan Lake too many times? The latter is most likely the case!

Edited April 20 by Rachelm

[Rob S]

 

 

 

 

 

 

 

 

 

[Buru]

 

In my humble opinion, Swan Lake this afternoon was a meritorious performance but would not rank it as particularly exceptional. I mostly enjoyed Yasmin, although still prefer Marianela’s Odile. Their Odettes are equally good but missing the sheer perfection of swan-like lines. Yasmine’s dialogue with Siegfried in the white acts was something that was particularly interesting to watch- there was a true duet. Yasmine’s solo left me puzzled however about the message she was trying to convey. I would also like her Odette to have a deeper arch in her back and more precise posing, but admit it may be a matter of taste. 

 

Unfortunately, after a very strong first act with a fantastic Jo Jun as Benno and decent (albeit with visible challenges in jumps) Siegfried’s sisters, followed by a touching first meet and adagio of the prince and Odette, the final part of the second act fell apart for me. The cygnets danced in sync but felt heavy, the two swans were a disaster, Odette’s solo not convincing. And I’m not sure I saw Matthew rising two fingers as a sign of love vow in this act. I may have missed it but my companion didn’t see it either. 

 

In the third act, the pas de deux was simply sublime. There was not a single chance for Siegfried to resist this Odile (interestingly, in other productions I saw, foreign brides have their own dancing parts which makes the choice harder). Odile and Rothbart orchestrated the performance flawlessly, playing off each other. The Queen's plight in the finale was particularly poignant. While undeniably the main cause of Siegfried's troubles, she hardly deserved such a de-crowning.

 

The story finale is always interesting to see done differently in different productions, but I would echo some of the previous discussions that it is a bit underwhelming here compared to the first three acts. 

 

All in all, another enjoyable afternoon in ROH and I found for myself another ballerina to follow, which is always exciting. Will try to see her in other productions in due course. 

[Geoff]

15 hours ago, alison said:

Just read the scenario for possibly the first time ever for this production(!)

Speaking personally, and after seeing this gorgeous-looking production a large number of times, I am of course very sorry for what happened in real life but could care less about what Liam Scarlett thought about Swan Lake. The sooner a better crafted version of the show overtakes his “ideas” the better.
 

The signs are good: Morera’s work this run has resulted in a less fussy and stronger show. Let’s hope this work continues to develop. 

[Sim]

@Buru surely if Siegfried swears eternal love in Act 2 that would already break VR’s spell and that would be the end of the ballet!  

[zxDaveM]

7 hours ago, Buru said:

In the third act, the pas de deux was simply sublime. There was not a single chance for Siegfried to resist this Odile (interestingly, in other productions I saw, foreign brides have their own dancing parts which makes the choice harder).

 

The Princesses do have a part where they dance to and with the Prince for him to 'assess' his options. Short pieces invidually, and other parts together

[Sim]

I would love to hear some thoughts about Sarah and Reece’s performance last night please…and Teo Dubreuil’s debut as Benno.  Thanks!

[Rob S]

Sarah had to finish her fouettés with some pique turns (?) towards our front left after she had recovered from a slight off balance moment earlier. 
 

I felt Reece made a lovely partner for her.

 

Ella Newton Severgnini’s Neapolitan dress shed a couple of ribbons and Luca Acri raised a chuckle from the audience as he picked them up, held them up in the air and chased after Ella as they headed to the wings 😌

 

Teo was competent but was blown away by Joonhyuk Jun’s earlier performance 

[Buru]

1 hour ago, Sim said:

@Buru surely if Siegfried swears eternal love in Act 2 that would already break VR’s spell and that would be the end of the ballet!  

Sim, so this is intentional? In other productions Siegfried swears in Act II and breaks his oath in Act III; and it’s this betrayal that leads to Odette’s death (or near death as in some productions Rothbart is killed and she is ultimately saved). If there is no raised hand in Act II, then what’s all the fuss is about? He didn’t promise anything, and Odette can wait for the next guy to try her luck. 
 

The way I have always interpreted it, is that one oath is not enough, he should actually marry her (echoes La Bayadere story sort of). 

[Sim]

1 minute ago, Buru said:

Sim, so this is intentional? In other productions Siegfried swears in Act II and breaks his oath in Act III; and it’s this betrayal that leads to Odette’s death (or near death as in some productions Rothbart is killed and she is ultimately saved). If there is no raised hand in Act II, then what’s all the fuss is about? He didn’t promise anything, and Odette can wait for the next guy to try her luck. 
 

The way I have always interpreted it, is that one oath is not enough, he should actually marry her (echoes La Bayadere story sort of). 

I think in this version that he states his love for her, but doesn't make the vow, and she thinks that's enough.  He then betrays her by swearing eternal love to Odile.  This is intentional;  none of the Siegfrieds in this version swear eternal love to Odette in Act 2.  To me this makes sense;  Odette has just told him that when someone comes and swears eternal love for her, she will be a swan no more and the spell will be broken.  So if Siegfried swears this in Act 2, wouldn't that automatically break the spell?  

[Scheherezade]

I saw Sarah and Reece last night and would also be interested in the views of anyone else who was there. 
 

I found Sarah’s Odette eloquent and touching in both Act 2 and Act 4 and she zapped onto the stage at the start of Act 3 with a delicious, look-at-me air of entitlement that heightened my expectation of what was to come.
 

I didn’t feel that the rest of Act 3 crystallised into the stunningly wicked Odile I had anticipated - and was it just me or did anyone else feel that the music was way too slow for the initial speed of Sarah’s fouettés? It certainly felt to me that this may have contributed to the slight off-balance that led to her falling out of the fouettés as from where I was sitting it looked as though she was attempting to slow to the pace in the orchestra pit, but she covered without pausing for breath and certainly no one sitting near me seemed to notice that anything was amiss.

 

i thought that Teo Dubreuil grew in confidence as the performance went on and was impressed by Ella Newton Severgnini in the Neapolitan dance. Was this also a debut? And there were two bits of falling fabric last night: the ribbon in the Neapolitan dance and then again in the Czardas which, fortunately, didn’t cause anyone to slip as they stepped over and around it. What little imp was wreaking havoc from the netherworld?

 

Reece was very much the ultimate prince. It is some time since I have seen him in one of the big three Tchaikovsky classics and since then he has developed a dramatic command to align with his undoubted technical skill. I must see more of him. 
 

And he and Sarah were terrific together: oodles of chemistry and what felt like that level of comfort with each other that usually only manifests itself in long-standing, established partnerships. I would love to see them dancing together again. 

[Scheherezade]

52 minutes ago, Sim said:

Odette has just told him that when someone comes and swears eternal love for her, she will be a swan no more and the spell will be broken.  So if Siegfried swears this in Act 2, wouldn't that automatically break the spell?  

Yes, this totally makes sense. 

 

58 minutes ago, Buru said:

If there is no raised hand in Act II, then what’s all the fuss is about? He didn’t promise anything, and Odette can wait for the next guy to try her luck. 

Thus is something that, I’ll admit, I have wondered too, but took the view that Odette, having given her heart freely and totally, would be unable to love again and, of course, is too pure at heart to try to ensnare the next chancer merely as a device to break Von Rothbart’s spell.