Royal Ballet Mayerling 2013

[blackdove]

I hope so!

[Coated]

I haven't really got anything to add about the Pennefather/Hamilton matinee on Friday that hasn't been said before - it was amazing and deeply involving and I'm just plain flabbergasted at how much I loved it. I've just gone off and booked for their other performance on the 10th of June.

 

And because I'm very very lucky, I even managed to get a decent seat again without having to sell my soul.

[blackdove]

Whoops! Last comment was in reply to Marieve's earlier post re Melissa.

[alison]

Since I was sitting pretty close to the stage, I had the advantage of seeing every nuance of characterisation and, from the start, I thought it was simply superb. 

 

Stuck at the back of the stalls circle, though, I found myself wondering to what extent it would be transmitting to the back of the amphitheatre.  I do think being close-up is probably a big advantage in this ballet.

 

The pas-de-deux with Lizzie Harrod as Princess Stephanie was amazing – he was like a cat toying with a mouse, and she projected utter terror, being thrown around like a rag doll.  It is testament to both her courage and Rupert’s ever strong and reliable partnering that she, such a tiny dancer, was able to leap at his back from seemingly a mile behind him!  

 

I'd agree with that last bit, but at the same time other parts of the pdd seemed rather under-rehearsed to me.  And some of those lifts and throws could be spotted coming a long way off, I thought (something which annoys me like crazy when figure-skaters do it!).

[Sim]

ChrisChris don't get confused if you read Jenny Gilbert's review today. She says Rudolf was 25, but Bangorballetboy is correct...he was 30.

[billboyd]

Jenny Gilbert's 'review'....?  - More a preview than a review. 

[chrischris]

I'd agree with that last bit, but at the same time other parts of the pdd seemed rather under-rehearsed to me.  And some of those lifts and throws could be spotted coming a long way off, I thought (something which annoys me like crazy when figure-skaters do it!).

 

I don't know anything about technique, but is that not something that is unavoidable when you are doing complicated lifts? I assume they physically need a bit of set up/ your body to be in the right position?

[Jan McNulty]

I don't know anything technical about dance either but it seems to me that the best of dancers can hide the lift preparation most of the time within the choreography.

 

I remember being gobsmacked the first time I saw Joel Carreno do Don Quixote for example.  One minute Kitri was on the ground and the next minute she was above his head and I've still got no idea how she got there!

[alison]

I don't know anything about technique, but is that not something that is unavoidable when you are doing complicated lifts? I assume they physically need a bit of set up/ your body to be in the right position?

 

Not unavoidable, no, because it's not something I've noticed in other performances.  Some of these really were "telegraphed", and to my mind that reduces the believability factor somewhat, because as a watcher you suddenly become aware that this is all pre-choreographed rather than being seemingly spontaneous.  It's something I've spotted occasionally over the years: for example, I remember Sir Peter Wright coaching the Act II pdd of Giselle some years ago, when he criticised an unnamed Albrecht for adopting a very staged, unnaturalistic position to facilitate a lift - and I knew precisely who he meant, because I'd seen that dancer in the role and thought "Why on earth is he doing that?" because he as a dancer was anticipating something his character couldn't possibly have anticipated.  If you see what I mean  

[chrischris]

Not unavoidable, no, because it's not something I've noticed in other performances.  Some of these really were "telegraphed", and to my mind that reduces the believability factor somewhat, because as a watcher you suddenly become aware that this is all pre-choreographed rather than being seemingly spontaneous.  It's something I've spotted occasionally over the years: for example, I remember Sir Peter Wright coaching the Act II pdd of Giselle some years ago, when he criticised an unnamed Albrecht for adopting a very staged, unnaturalistic position to facilitate a lift - and I knew precisely who he meant, because I'd seen that dancer in the role and thought "Why on earth is he doing that?" because he as a dancer was anticipating something his character couldn't possibly have anticipated.  If you see what I mean

 

I get what you mean. I didn't notice this myself. I guess that would be down to nerves or lack of rehearsal?

[loveclassics]

ChrisChris don't get confused if you read Jenny Gilbert's review today. She says Rudolf was 25, but Bangorballetboy is correct...he was 30.

 

 

Rudolf was 30 and Vetsera was 17.

 

MacMillan took liberties with the actual history anyway.  Rudolf's grandmother appears in the ballet even though she was dead at the time, he loved his wife very much in the early years of their marriage (his loving letters to her still exist), taking morphine via injections was unknown (no needles) and much of Rudolf's dissipated livestyle is only documented in the scandal sheets of the time and unsupported by reliable contemporary sources.  He was depressed though but probably because he was frustrated by his lack of political influence and his father's intransigent and oppressive regime.

 

Still, that wouldn't make half such an interesting ballet, would it?

[alison]

taking morphine via injections was unknown (no needles)

 

I think that's a case of artistic licence, the correct form of administration at the time being somewhat difficult to fit into a ballet

[alison]

I thought we had this already in this thread, but can't spot it.  If anyone wants to know what the music is for the various sections, this is the place to look: http://www.ballet.co.uk/contexts/mayerling_music.htm

[Beryl H]

Thanks for the link to the music, I knew I had seen it somewhere before.

 

Have just read a rave review for Rupert Pennefather and his cast in today's Times, hope to see them on 10th June.

[capybara]

So nice to learn of the Times review for Rupert and his cast. Is anyone able to offer a hint of what it says, please? [i realise that we cannot have a link.] 

[Beryl H]

Well, a few quotes, "I want to single out Rupert Pennefather, a dancer who has made this role his own", "he slowly unravels the loneliness and pain that drive the Prince ", "creepy yes, but utterly irresistible in Pennefather's multifaceted and unusually romantic performance". The review also praises the thrilling pdd's with Elizabeth Harrod and Melissa Hamilton, this was at Friday's performance.

[capybara]

A big 'thank you' to everyone who has contacted me with or about the Times crit.

[alison]

BTW, I haven't got as far through as yesterday's edition yet, but I'm still looking for the first night and/or Gartside review from Debra Craine.  Does anyone remember which day it came out in hard copy?

[Beryl H]

BTW, I haven't got as far through as yesterday's edition yet, but I'm still looking for the first night and/or Gartside review from Debra Craine.  Does anyone remember which day it came out in hard copy?

I can't actually remember seeing one, maybe it was in a different edition to mine.

[Bluebird]

BTW, I haven't got as far through as yesterday's edition yet, but I'm still looking for the first night and/or Gartside review from Debra Craine.  Does anyone remember which day it came out in hard copy?

 

Doesn't look like there was a first night review.  The Pennefather/Hamilton review was online yesterday, but looks like it might be in today's paper (May 8).  

Edited May 8, 2013 by Bluebird

[alison]

Oh.  Well, she was certainly there on the first night - I assumed there'd be a review.

 

Thanks.  I'm nipping down to the library later anyway, so will have a look.

[Bluebird]

Oh.  Well, she was certainly there on the first night - I assumed there'd be a review.

 

Thanks.  I'm nipping down to the library later anyway, so will have a look.

There may well have been a review but a search on The Times website doesn't bring it up.

Edited May 8, 2013 by Bluebird

[JulieW]

I've never seen Mayerling before - and actually know little about it, but since reading all your comments I'm now so glad that I've got a ticket for the 10th June (thank you Carol!) - looks like there'll be a few of us there

 

Must go and read more about it......

[alison]

Our previous couple of threads, then, in case they're of any help:

 

http://www.ballet.co.uk/dcforum/happening/6219.html

 

http://www.ballet.co.uk/dcforum/happening/7434.html

[JennyTaylor]

The most amazing performance from Leanne Benjamin last night with Carlos. She was phenomenal.

[simonbfisher]

Indeed she was.

 

I am equivocal about Acosta's Rudolf, though : the scene with Yanowsky was heartbreaking, and all their subsequent interactions were remarkable, but in other scenes he just seemed too strong, somehow : Pennefather and (especially) Watson seem to show more clearly the physical as well as the psychological disintegration. Can't put my finger on it any more accurately than that.

 

 

Every time I see this ballet I am more intrigued by the character of Larisch - fascinating to see the steps, the motivations, the utter pathos and desperation. Last night Morera was amazing - I almost felt more involved with her "thread" than with anyone else's.

[alison]

I am equivocal about Acosta's Rudolf, though : the scene with Yanowsky was heartbreaking, and all their subsequent interactions were remarkable, but in other scenes he just seemed too strong, somehow : Pennefather and (especially) Watson seem to show more clearly the physical as well as the psychological disintegration. Can't put my finger on it any more accurately than that.

 

Interesting you should say that, Simon: I've found on a number of occasions before (Prodigal Son, Manon are two that come to mind immediately) where he's playing a vulnerable character his sheer physical ... presence, maybe ... tends to mitigate against that.

[simonbfisher]

On the other hand, there's Apollo, where he starts out weak/vulnerable and grows to strength. Perhaps a more magnificently drawn process than any other Apollo I've seen.

 

I guess we can't all be good at everything (!!) - even Acosta (should I now duck to avoid thunderbolts?)

[alison]

Getting back on track a bit, can I just say how marvellous it is to see Mayerling selling so well.  I'm sure the fantastic reviews must have helped, but compared with previous years in which it's been really difficult to shift tickets for this, it's very good to see.

[JennyTaylor]

I'm not a great fan of Carlos's Rudolf. I've never thought acting was his strong point and I find his interpretation too negative and one dimensional. He just looks cross, miserable and overall, not a nice person (which Rudolf wasn't of course), but I can't empathise, although I want to.  There is not enough individual dancing content to balance this, in terms of admiring it for it's own sake. So, do you ever feel for his Rudolf?  I don't - but with others I do - Thiago, Ed Watson, for example.

 

Last night I felt Leanne Benjamin transcended all of this, I was totally gripped and their 2 pdd were emotionally and artistically superb. But I found I was concentrating on Leanne rather than Carlos - which for me, when he is on the stage, is not the usual focus. I could not believe the scale of her performance. 

 

Everyone else was on top form too - so Zenaida, Laura, Brian Maloney and of course the debonair Gary Avis.  

[Timmie]

I’m going on the 12^th June which is the “Soares Hamilton Nuñez Choe Chapman” version, does anyone know who dances Mitzi Caspar and Bratfisch in this casting?

[Tony Newcombe]

Claire Calvert is due to dance Mitzi

[Margaret]

Saturday evening - what a wonderful performance.  We were quite overwhelmed at the end - great cheers and many flowers.  Lovely to see Mara Galeazzi before she retires, especially to see her again  dancing with Edward Watson.  She has given us so many special performances. Brian Maloney was also there as one of the Hungarian officers - again a wonderful dancer and so sorry he is going.

 

It is difficult to add to what has been said about Edward Watson's performance - quite magnificent - we are so lucky to have him.  Sarah Lamb and Mara Galeazzi were also superb in their roles and Ricardo Cervera as Bratfisch.  I was also struck by the quality of Ryoichi Hirano's dancing and with Francesca Hayward as Princess Stephanie.

 

A very memorable evening and a very enthusiastic audience.

 

Margaret