Royal Ballet - Swan Lake 2024

[Sim]

21 hours ago, RobR said:

 

At the ROH, and I believe it’s the same at other UK companies, with a few exceptions, principals are not generally applauded when they arrive on stage. If I’m right, different countries have different‘conventions'.

 

 

I think it depends on the ballet.  In the UK, principals are almost always applauded when they arrive onstage in the classics (Giselle, Beauty, Swan Lake) because the entrances are made to encourage that.  Principals aren't applauded when they appear in, say, R&J, Mayerling, Manon, Onegin....this is because their arrival onstage is subtle, not with a flourish as in the classical ballets.  Of course, not everyone arriving onstage in the lead role is a principal, so in the UK the applause is not because of their rank, but because they are taking on the lead role.  

[art_enthusiast]

2 minutes ago, Sim said:

Principals aren't applauded when they appear in, say, R&J, Mayerling, Manon, Onegin....

 

For Manon I think there is applause when she enters? I remember applauding. But as people have mentioned, Des Grieux is so subtle that no one sees him appear on the stage! I didn't ever see him enter, and I went to about 5 performances this run

[Sim]

3 hours ago, art_enthusiast said:

 

For Manon I think there is applause when she enters? I remember applauding. But as people have mentioned, Des Grieux is so subtle that no one sees him appear on the stage! I didn't ever see him enter, and I went to about 5 performances this run

Yes, you are right.  I was indeed just thinking of the male lead in Manon, who you don't really notice until the stage clears and he bumps into Manon.  And Juliet sometimes gets applause, sometimes not...depends on the audience!

[hephaistion03]

14 hours ago, Lizbie1 said:

My favourite applause is when people are moved to applaud the sets when the curtain goes up, as it's so exceptional and because people (me included!) couldn't help themselves. I've only witnessed it with the current RB Swan Lake Act 3 and the RB's Raymonda Act 3 - and both are absolutely worth it.

 

I have witnessed applause for sets  when the curtain goes up for Elite Syncopations : > ) 

[MAB]

The Barry Kay set for Raymonda is always applauded, I wonder if we'll ever see it again.

[Sim]

I remember applause for Act 3 of Liam Scarlett's SL when the curtain rose on the opening night.

 

Ditto The Winter's Tale...I remember applause for that amazing tree in Act 2 on opening night.

[Pulcinella]

There is often applause when the curtain goes up at the beginning of Act 4 of BRB’s production of Swan Lake with the swans rising out of the dry ice.

[theorist]

Ditto Jewels, on one occasion I remember, for all three acts.

[theorist]

A quote from Gramilano's review of a performance of Jewels: "The English opera director Anthony Besch once told me that lifting the tabs on a predominantly red set was a guarantee of applause."

[Emeralds]

Didn't have time to post a report on the last Swan Lake performance (on 29 April - International Dance Day, how fitting!) earlier but just to say it was one of those magical firing on all cylinders performances. I got a (very fortuitous) Friday Rush ticket to catch Sarah Lamb and Reece Clarke as Odette-Odile and Siegfried, as I missed them the last (possibly only other) time they were paired together - in Dances at A Gathering. Actually it was my first time seeing Clarke as Siegfried too. 

 

Lamb and Clarke make a wonderful couple as the tragic Odette and Siegfried, and as Odile and Siegfried,  both have a chemistry that seems to spark off more confidence and more daring in the other. Clarke's soaring jumps, rock solid turns, a fast and exciting full set of fouettes from Lamb (I don't count fouettes nowadays but looked like there were 32 - with a double- and she was right on the beat!) and even a daring and cheeky balance in arabesque from Lamb/Odile! ("See, Siegfried, I can make time stand still and you are completely under my spell!"). It was also  breathtaking seeing 6 foot 4 inch tall Clarke lifting petite  and ethereal Lamb aloft in the Act 2 pas de deux and other two pas de deux - she really did look like she could be flying away. Theirs was a sensitive, sweet love in their beautifully lyrical Act 2 Adagio making one truly believe that were it not for overbearing royal mothers and malevolent minister magicians, they would really live happily ever after.

 

Alongside them, Valentino Zucchetti and Leticia Stock led one of the most charismatic performances of the Czardas ever (Zucchetti's speed and virtuosity were astonishing), Hannah Grennell was  compelling in the Spanish dance, while Madison Bailey and Luca Acri produced an effervescent, joyful Neapolitan Dance.  

 

The swans were gorgeous and on form (in sync but still graceful and musical), the Two Swans of Julia Roscoe and Nadia Mullova-Barley were lyrical and expressive, while the Cygnets of Tonkinson, Bradbury, Bailey and Yu were precise and neat, but still light on their feet, with youthful spirit. 

 

Gary Avis as Rothbart brought his excellent portrayal of Rothbart's malevolence as always. The final piece of brilliance? - Teo Dubreuil making his debut ad Benno this season (this was his second performance I believe). Taller than some other Bennos I've seen in this production (so as not to look like Siegfried's baby brother next to the very tall Reece Clarke) he doesn't try to squeeze into the compact virtuoso type mould, but dances the Act 1 pas de trois and Act 3 divertissement with long limbed elegance, allowing the jumps to soar, savouring each turn. What a beautiful performance- I can see him dancing Siegfried in the not too distant future. 

 

Those who have tickets to the sold out performance tomorrow afternoon (or can pick up a return!) are in for a treat! 

Edited May 3 by Emeralds

[Rob S]

 

 

 

 

 

 

 

 

 

 

 

 

 

[LinMM]

Am not sure but think I can see a couple of RBS graduating students as swans in the pics 

[Rob S]

22 minutes ago, LinMM said:

Am not sure but think I can see a couple of RBS graduating students as swans in the pics 

I think there’s only one in the pictures, Rebecca Stewart next to Julia Roscoe 

[LinMM]

Yes she’s the one I recognise …who went to Paris recently with some other RBS students but thought the other two girls might be as well!! 

[Rob S]

21 minutes ago, LinMM said:

Yes she’s the one I recognise …who went to Paris recently with some other RBS students but thought the other two girls might be as well!! 

Katie Robertson was dancing but not pictured above but is in this one

 

 

[LinMM]

I think she’s the one at the back on extreme right hand side! 

[Lizbie1]

Well?

[MildConcern]

That was the most complete performance of Odette and Odile I think I’ve ever seen live. Utterly remarkable from Fumi Kaneko. World weary, sincere and beautiful in the white acts - she really found every last microsecond of the music to extend those endless arms. I really felt like Odette’s death wasn’t a preordained walk to the gallows, but a true act of desperation and sacrifice. Her Odile was a comprehensive vixen - hedonistic and seductive. Those fouettés - whipped off in an initial series of doubles with arms in changing attitudes - words fail me. 
 

The strength of the performances by the three leads - Kaneko, Muntagirov and Braendsrod - really hit me in Act IV, which is never usually the highlight for me. The struggle between the three for power and freedom really came across this evening with a strong sense of real jeopardy. Braendsrod was vital to this - he is a very active Rothbart with a commanding presence you really felt he could overwhelm and incapacitate. I was hugely impressed with him throughout. In Act 1, he didn’t sneer at Siegfried with condescension the way many Rothbarts do. Instead, his gaze was that of a challenger - impassive and political.

 

Muntagirov - we all know how good he is in this role and plenty has been written about it already. One thing I will say though is that he looked incredibly ‘free’ tonight - the joy was emanating off him in the black swan pdd and he really seemed to luxuriate in Odile’s every touch. This partnership really, really works in the big classics.

Edited May 4 by MildConcern

[Scheherezade]

Tonight was one of those “I was there” evenings. Fumi and Vadim - sheer heaven. Heartbreaking. Thrilling. Unbelievable.

It will take some time to come down from what I have just seen. Until then I really can’t write any more. 

[Sim]

Sensational night.  

[Baker45]

2 hours ago, LinMM said:

I think she’s the one at the back on extreme right hand side! 

Yes this is right, I think there are a few RBS students regularly in the casts at the moment

[Rob S]

 

 

 

 

 

 

 

Edited May 4 by Rob S

[Balletfanp]

Tonight was amazing - Vadim and Fumi just WOW. I will write more when I’m less tired and can process it better.

 

One amusing anecdote from the stage door though. When Kevin O’Hare came out all set to rush off, a very young (about 6 or 7 years old) Japanese boy planted himself firmly in his path. He stated “I want to ask you a question!” Kevin said “Oh? Go on then.” Then the little boy asked “Why are you not putting on any classical ballets next season?” Ouch! Obviously an adult had put him up to it knowing that it would be much harder to snub a child!! I couldn’t help but giggle. Kevin’s response was, “Well, we did Sleeping Beauty last season and we’ve just done Swan Lake, but we are doing classical ballets next season.” The child then specified Tchaikovsky ballets! Kevin said we are having a break next season, but rest assured there were more in the pipeline….

 

Given the conversations on here, I couldn’t help but laugh!

[Sim]

I see from her Instagram story that Fumi dedicated her performance last night to Linda Gainsbury, saying that she hoped she and Michael had been watching from “the beautiful sky.”  How lovely. 😢❤️

[LinMM]

I’m not sure but think your “Well?” Lizbie 1 might be aimed at my post re the students. 
There is nothing special about mentioning the students other than it’s nice to see students from the last two years or so (from visits to RBS etc) suddenly on stage with the main Company especially dancing as a swan in Swan Lake…..a rather nice culmination of all their ballet studies. 
I don’t know whether it’s an indication of future Company membership or just several get the chance to do this. 
 

Looking forward to seeing Fumi and Vadim on Thursday! 
 

[Lizbie1]

6 minutes ago, LinMM said:

I’m not sure but think your “Well?” Lizbie 1 might be aimed at my post re the students. 

 

No it was about last night's performance - wish I could have been there!

 

Sorry for the confusion!

[MildConcern]

26 minutes ago, Sim said:

I see from his Instagram story that Vadim dedicated his performance last night to Linda Gainsbury, saying that he hoped she and Michael had been watching from “the beautiful sky.”  How lovely. 😢❤️

I think that was Fumi's instagram story! But I'm sure Vadim shares the same sentiment. 

[Sim]

2 minutes ago, MildConcern said:

I think that was Fumi's instagram story! But I'm sure Vadim shares the same sentiment. 

Yes, apologies, I have amended my post.  Vadim definitely shares the sentiment.  

[Sim]

Regarding last night, I can only agree with the superlatives posted by others above.  I have already lauded Fumi further upthread after her previous performances, and what I said then remains true.  Her partnership with Vadim last night was a thing of beauty.  Thanks to an incredibly generous gift, for only the second time in more than four decades of going to the ROH, I was sat in Row A of the Stalls.  My goodness, what a different perspective one gets there.  It felt strange being so close, especially in the Acts II and IV pdd.  They were so intimate that I felt like I was intruding on a private moment both times.  Being so close, I caught every facial expression, every nuance of body language, every subtle change of gesture and of eye contact.  @MildConcern encapsulated Lukas and Vadim's performances so perfectly that I won't add to it any further, other than to say rarely I have seen a Siegfried dance with such boundless joy and then such deep sorrow within the space of a few minutes.  The hurt on his face when he finds Odette by the lake in Act IV broke my heart, ditto when he wakes up from VR's blow and realises that Odette is no more.  Sitting just a few feet away from Lukas BB sent shivers down my spine (for all kinds of reasons!).  What presence he has:  just standing there watching, observing everything going on, you could almost see the cogs whirring in his evil brain and I found it hard to take my eyes off him.  As has been said, his interaction with Vadim and Fumi was incredibly exciting and the contrast between his cold heart and Vadim's sweet young prince made the tragedy more believable and oh so affecting.  I would also say that the technical fireworks from Fumi and Vadim in Act III seemed to flow so naturally and made so much sense in the context of the story;  here was a young prince who danced with delight as he (thought) he had found someone with whom to do the dreaded marriage deed, whom he loved with the same joy and openness of heart that he brought to his dancing.  Conversely, here was a beautiful but cold-hearted young girl luxuriating in her allure, knowing that she didn't have to do much to trap Siegfried, but did it anyway just because she could.  

 

Sitting right on top of the orchestra was also fascinating....I loved Martin Georgiev's conducting, and I loved how he applauded the dancers throughout the night.  I also saw a couple of little facial communications with the dancers to show that the music was about to start.  The music sounds so different being so close to it:  every single note was clear, and I could hear each section individually as well as the whole.  

 

This was a very special night, and I can't wait until Thursday when, like Cinderella after midnight, I return to my lowly standing place!    (just a joke, before anyone jumps down my throat....I am very, very grateful for my standing places and love them dearly)

 

 

 

[Lesley]

I was also lucky enough to have a row A seat just to the left of the conductor.

I echo everything said above. It was a truly immersive experience and the conductor never once referred to the score and was paying so much atttdntion to the dancers. He also conducted the matinee. I was glad he had his own curtain call.

 

Also noted that Vadim and Fumi had dedicated the performance to Linda in the cast programme.

 

A truly wonderful memorable evening to be seen again from afar on Thursday.

[Sim]

38 minutes ago, Lesley said:

Also noted that Vadim and Fumi had dedicated the performance to Linda in the cast programme.

 

Ah, you were only a few seats away from me!!

 

I don't suppose you took a photo of the cast list by any chance...?

[Balletfanp]

@Sim, @oncnp posted a link to it further up the thread at my request.

[Sim]

4 minutes ago, Balletfanp said:

@Sim, @oncnp posted a link to it further up the thread at my request.

I can't see it....sorry!