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Royal Ballet - Raven Girl/Symphony in C - 2013


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Mayerling, you make a very good point about ballets evolving over the years. Perhaps we expect too much from a brand new piece. That doesn't excuse the low lighting though. Almost everyone has mentioned it. If a few people from the company (not those who have been closely involved with the piece) sat in various places in the auditorium during one of the rehearsals it would become obvious and changes could be made, unless of course there was something about the design which made this impossible. Really, an experienced lighting designer should know from the outset how much light is needed to make the viewing experience a comfortable one and should be able to anticipate problems arising from the proposed design and staging.

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Totally agree with your comments Mayerling79, you have highlighted the positive aspects. I just wish they could come up with an artistically satisfying way of doing the projections totally behind the dancers.

 

On a related note I assume Mayerling (the ballet that is!) doesn't use gauze screens, and does anyone know if the Bolshoi Bayadere uses gauze screens?

Edited by Timmie
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It's been now two days since the premiere and it is striking me how images/scenes strongly remain in my mind like floating memories from a dream. The fairytale is growing on me (and in me!) POST-SHOW!! I think that the decors stripped to a bare minimum add to the impact, leaving more room for the cognitive mind to work its magic! A fairytale is born :)

 

Actually, IT IS as if the performance we saw on Friday WAS the VISUAL TRANSCRIPTION of a child's dream, after having been told the fairytale!


Hence the narrative ellipsis and the darkness - like in a dream! 

Hence also maybe the haze created by the screen and shadow-enhancing lightings.
Hence also the lack of names (the Doctor, the Boy, the Raven, the Raven Girl), the lack of faces, and the lack of deep psychological characterizations . People in dreams don't have any face or names....(and 
characters in fairytales either...)

 

Here is my two cents worth anyway...

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I'm considering posting some spare lightbulbs to the ROH before I go to see it, in case they meant to light it up but ran out of bulbs.

 

Don't think they'd be strong enough - it's those darned EU regulations! (she says, trying to see by the light of probably a 15-watt bulb at 1 am!)

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Seems to me that McGregor's usual choreographic language (to generalise: edgy, off-centred and very abstract) did not translate well to dance narrative. The mime, especially, which sank the first fifteen minutes for me, was often very dull, and there was far too little dancing considering the

70-odd minutes length (though it felt more like 170 mins to me). The PDD with the Raven Prince (where did he suddenly come from?) and the Raven Girl was effective simply because it was more like the McGregor choreography we know and love. But it was too little too late. It seems that narrative ballets are coming back into fashion, and it seems that McGregor will really have to rethink his style of choreography if he is embrace the challenge. As it stands, Raven Girl is, for me, a very disappointing representation of McGregor's huge talent - or maybe he should stick with abstraction, it didn't do Balanchine any harm! He only produced a handful of narrative works.

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An interesting interview with the Raven Girl author from the Chicago Tribune in today's links: http://articles.chicagotribune.com/2013-05-25/features/ct-prj-0526-raven-girl-audrey-niffenegger-20130525_1_printers-row-journal-royal-ballet-night-bookmobile/2  In it she says that she found the RB rehearsals more interesting than the performances because you could see (and be involved by) the process.  I know what she means.  I felt just the same way comparing this interesting interview with what I saw (well, what I could see) on stage on Friday night.  

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I've just had the usual post-visit survey from the ROH and instead of the usual questions on did you buy an ice cream etc., there were a lot of questions on individual aspects of the performance, hopefully they'll take notice of our comments.

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Well, the author's admission that she found the rehearsals more interesting than the end result is a bit worrying. Actually there are other ballets which seem to be more enjoyable to dance than to watch, although none springs to mind at present.

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Saw it tonight and, I have to say, I absolutely loved Raven Girl. I can understand why others don't, and I agree the dancers were wasted, but I loved the visuals, the story, the projections on the screen and thought the music was stunning. I was sitting at the back of the ampi and I could see everything clearly, so i'm not sure if they have made changes after the criticism about it being too dark. It reminded me of a Tim Burton film in a lot of ways. Really loved it.

 

Symphony in C was fun. Shame not to see the advertised cast, but you can't complain about Nunez and Soares. Lamb was stunning. Everyone danced well. Enjoyed it but it made me realise I really need to see narrative ballets to get fully involved. When it's just dancing and no story my mind starts to wander.

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I liked Ravengirl despite the overly long cycling / letter sorting sequence at the start, but they really need to sort out the lighting / net curtain effect. I sat closeby enough to be able to see most things, but I wouldn't even want to contemplate seeing this from the back of the stalls or the amphitheatre. The one thing that strangely annoyed me was the lettering taking forever and a day to resolve. It wasn't that interesting or informative, so please, just get on with it.

 

The overall imagery was strong (and I can see why it's not everyone's cup of tea), and with a fair bit of editing this could work really well. Cutting the first 10 minutes and replacing them with sad postman dancing might help, as would cutting down on some of the gimmicks. It did feel a bit like ballet-does-multimedia. Happened in theatre, so it was probably only a question of time until it hit other art forms. Though thankfully the theatre seems to have recovered from the worst excesses, so there's hope.

 

Seeing it again next week and looking forward to it.

 

Symphony in C just made smile from ear to ear, it was picture perfect tonight. I think I might be turning into a Soares/Nunez groupie, they were just delicious.

 

Don't think they'd be strong enough - it's those darned EU regulations! (she says, trying to see by the light of probably a 15-watt bulb at 1 am!)

I have a few old 100w bulbs floating around to get around the 15w energy savers when I actually need to see something instead of feeling it. Not that I'm trying to put thoughts into any choreographer's head, I'm not ready for invisible ballet. Edited by Coated
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i also went to the performance last night and, after all the comments in this forum, and the reaction of a friend who went on the first night, I was surprised not to dislike Raven Girl all that much!  I do agree that the opening is a bore and far too long.  I was sitting in Row G of the amphi and had no difficulty with seeing most of the action - just the corps de ballet work was a problem, but from what I COULD see, that was probably an advantage too. 

 

Symphony in C was a joy - and although I would have been interested to see Igone de Jongh, (what happend - was it her or Rupert Pennefather who couldn't make it?), I could hardly complain at getting Soares and Nunez instead!

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I sometimes find that my expectation is so low for any number of reasons that I end up enjoying whatever it is I am seeing!

 

Speaking of dark lighting - sometimes things are actually seen better from further away.  I remember asking someone who had been sat fairly back up stairs at a BRB performance that I think is way too dark.  She said she had no problems seeing what was happening on the stage!  I seemed to have more problems and I was on the front row of the stalls!

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Impressions after a second viewing.

I wondered during the pas de deux between the postman and the adult raven if they had paid attention to the comments about the lighting as it seemed pretty bright then, the scene with the ravens was quite dark though, but didn't seem to be very interesting, quite a few measures where they were pretty much just walking back and forth.
I was sitting in the amphitheatre then (row B), and apart from that scene with the ravens, it didn't seem much harder to see than from the stalls, but it was pretty dark, I suppose I just don't mind it that much.

Overall I liked it a lot more this time, some parts still don't really work, but once you reset your expectations to a rather slow moving piece of visual theatre (as Wayne McGregor defines the work rather than a narrative ballet in the programme (just the visual theatre part)), it makes for a much better evening. Comprehension and enjoyment are still too much dependant on previous knowledge of the story, and it still seems that the dancing and the music are relating to the book rather than to each other.

As some posters wrote, what you expect from the work probably has a lot to do with how much you end up enjoying it (and I did expect an awful lot before the first night).

But again, Symphony in C proved a lot more enjoyable and the highlight of the evening.

On a side note, does anyone know how much in advance the cast sheets are printed?
I don't recall the official announcement that Alina Cojocaru wouldn't be dancing, and yet they knew early enough to have her replaced on the cast sheets, only to have to insert an errata slip in the end. It almost looks like they were hiding her injury in order to sell more tickets (which would be understandable but a little dishonest).

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I saw this for a second time last night as well, and from a central stalls seat this time. The gauze wasn't quite so obtrusive as it had been from SC side seat, and I think, like A Frog above, that the lighting had been improved a little. Perhaps the corps were cranking the generator in the basement : more productive than mere barre work.

I really wanted to like/understand/"get into" it more, but sadly I didn't. Is it all a dream starting from the Postman's head sinking to the table-top? If so, it would excuse, perhaps, the non-sequitors. Does the Boy turn into the Raven Prince? What on earth are the Nineteenth Century Couple about? Where does the Postman go - and why?

The slightly Infra-ish figures in the town and the raven chorus are underused - or is it overused? My feeling is that those two episodes are worthy of some "proper" dancing, or that they shouldn't be there at all. 

But Gartside's earnest Doctor and Hirano's splendidly lithe Prince were just as good as Soares and Underwood last week - real highlights.

 

And Symphony in C was wonderful. I'm sorry, of course, about the injuries and consequent disappointments on both sides of the curtain, but the opportunity to see Mr and Mrs Soares again was just great. Her arms are   l i q u i d !

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Raven Girl....it's almost a struggle to have an opinion about something with so little in it (in terms of dance anyway). McGregor, adept as he is at dodging bullets, said that it's "visual theatre" rather than "narrative ballet". Hmm. His movement vocabulary just doesn't have the breadth of expression to tell a story; sure, it pushes the boundaries of the human body, but it just isn't communicative. 

 

Symphony in C, which warranted a second viewing from me, was divine. The stand-out for me Was Zenaida Yanowsky - she's dancing like a dream in this. Neither cast of the 4th ballerina (Morera and Mendizabal) have done it for me yet.

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i also went to the performance last night and, after all the comments in this forum, and the reaction of a friend who went on the first night, I was surprised not to dislike Raven Girl all that much!  I do agree that the opening is a bore and far too long.  I was sitting in Row G of the amphi and had no difficulty with seeing most of the action - just the corps de ballet work was a problem, but from what I COULD see, that was probably an advantage too. 

 

Symphony in C was a joy - and although I would have been interested to see Igone de Jongh, (what happend - was it her or Rupert Pennefather who couldn't make it?), I could hardly complain at getting Soares and Nunez instead!

 

I believe Igone de Jongh was injured in rehearsal. Pennefather and Cojocaru are both still listed for the matinee on the 8th June. Not sure if that is being overly optimistic on the part of Coocaru, but it would be good to see her or de Jongh, and to see Pennefather have a chance to dance it.

 

I agree with Janet. Looking through the mesh curtain from up in the ampi, I did wonder if we could see better than people down below, as it felt like we were almost looking over it, as opposed to through it (or through it at an agle), if that makes sense.

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I saw this bill from the amphitheatre today. I thought that the concept and design of Raven Girl was incredible. I feel that it's a fairy tale for the 21st century. It was strange and moving and very atmospheric. I didn't have much of a problem with the lighting/visibility. There was only one bit, about 15 minutes in when three people were dancing, which was very difficult to see. The score was great. I feel that WG struggled a bit to find his voice in a narrative ballet using a fairly classical sounding score. As for the criticism that there was too little dancing, well lots of narrative ballets have this fault and there does need to be some scene setting, plot development etc. I feel that with tweaking the ballet could be great. I found the "operation scene" gripping. Thiago Soares handled Sarah Lamb as if she were a rag doll. There was a beautiful section when Sarah was first trying out her wings which shimmered and trembled in the light. The final pdd, accompanied by lovely music, was incredibly moving. The projections were very inventive and the scrim only occasionally (for me) affected the visibility.

 

Symphony in C was lovely. Yuhui was absolutely gorgeous, so vivacious and natural as well as technically accomplished. I'm a big fan of Marienela but I found her a bit mannered and Queen Bee-ish today.

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I went to the performance last night.  I had a mixed reaction to Raven Girl. I liked some of the dancing and the visual depictions but was constantly irritated by the dark lighting and the action which lacked dancing content. I felt it was a waste of Edward Watson -  so much more could have been created for him and was thankful I had read various reviews and synopses before hand, otherwise it would have been difficult to follow. Still not sure what happens to the Boy - and again, felt that role could have been given a lot more dancing content.

 

I felt Melissa Hamilton gave it her all and deserves great praise whatever I thought of anything else. The part of the Doctor seems particularly thankless.

 

I was really pleased when the lights came up for final curtain and I could actually see the dancers faces and identify them, but I've seen it once, and once is enough. 

 

Please could someone tell me what is the point of creating a ballet that everyone struggles to see (I was in Row K stalls).

 

In contrast Symphony in C was unalloyed joy for me. Technically difficult and briliiant, foaming over with principals and soloists,  Sarah Lamb, Marianela and Thiago (unexpected bonus). Yuhui Choe and Steven McRae - it doesn't get much better.  Add the increasing crescendo of the music and this is pure bliss.

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I saw Raven Girl on opening night, and I agree largely with the comments that have already been made regarding lighting, gimmicky projections, lack of dance content, and the sad underuse of some of the dancers.

 

I didn’t too much mind the ‘narrative’ (or lack thereof), and that there were a few ends that were not tied off properly (e.g. the boy disappearing into the cliff) – I quite like letting the atmosphere of the dancing help me ponder over what happened. It was well performed and there were certainly some interesting bits of choreography that I really enjoyed.

 

However, I thought one of the main problems was the lack of variation in pace/pitch both musically and choreographically throughout the piece. The only time when things really got exciting was the (rather brief) operating theatre scene (in which I thought Soares and Lamb were absolutely fantastic) and then of course there was the beautiful tranquillity of the final pdd. But I feel like the self-contained peace of that final scene would have been so much more effective if there had been more dramatic energy, more despair, more freneticism (as in the operating theatre) in the preceding scenes, to allow a sense of resolution for the Raven Girl. As it was, I was mostly just rather bored and unmoved by that point.

 

So to me it just felt rather flat and one-dimensional, which was only enhanced by the general disconnect between the dance and the music. Something that was made all the more obvious when the joyful harmony of dance and music that is Symphony in C came bounding onto the stage after the interval!

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Casting changes have been announced on ROH.org.uk - and Sat 8 Matinee we now have Marianela and Thiago replacing Alina and Rupert.  Judging from the comments above I'll be in for a treat!  Hirano also replaces Bonnelli on 3rd I think.

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Following on from a previous comment, I received an audience survey today and it was notably changed. from the usual format. So, very specific questions about each ballet and particularly Raven Girl. I was impressed with this as they are clearly trying to source more feedback - and I gave it.  Full marks for adapting to the very obvious feedback from the initial performances.

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Offer in today's Metro:  Raven Girl/ Symphony in C

Tickets for Saturday 8 June 1:30pm

 

£33 in orchestra stalls (usually £63)

£100 Donald Gordon Grand Tier Boxes (four seats usually £252)

 

Use promo code: metrorg

Boxes booked by phoning and quoting "metro box offer"

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I'm seeing the ballet tomorrow evening.....haven't a clue who's dancing but am looking forward to both. I do have a good seat tomorrow row A in stalls circle so am hoping the problems some people seem to have had with the lighting of Raven Girl won't be too bad from there.

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My thoughts after a second viewing this afternoon are as follows. I still loved the concept and the design. I thought that the score was terrific; it was varied and atmospheric and the music for the last pdd was incredibly moving. As for the lighting, it was still too dark in places, and I saw the 19th Century couple for the first time today! Some of the jerky movements for the corps were (IMO) clearly a reference to the hopping of birds which can look rather clumsy when they are moving along the ground. The limited dancing (both in quantity and range) bothered me more today. However, I think that the choreography could be re-worked to make the piece more substantial in dance terms. The dis-jointed narrative didn't worry me unduly as that is the nature of fairytales - you have to accept them on their own terms.

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BTW, would anyone like to explain what the 19th-century couple are doing in there?

 

I agree with aileen, I do think there is something more substantial to be made of this piece than it is currently.

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I saw this, with a group of friends, from the front of the amphitheatre last night and enjoyed Raven Girl much more than I had expected, after reading all the comments. There was quite a mixed response from our group of 5 which mirrored the comments I had read.   It did seem to lack coherence at times (eg not sure why the Raven Girl did not have her wings at the end?) but, as someone suggested, it is a fairy tale.  The final pas de deux between Lamb and Underwood was really lovely.  The effects were interesting and the view good, though a bit dark at times.  As someone has mentioned, it could do with a bit of tweaking.  I was glad I had seen it and enjoyed most of the performance, but not sure I would want to see it a second time.

 

Symphony in C was a great joy and wonderful cast, especially Nunez and Soares in the second movement and Morera and Cervera in the last.  Enjoyed seeing Hirano again, a very acomplished dancer and another chance to see Brian Maloney before his retirement.  It is a lovely ballet to finish off my season and looking forward to the next. 

 

Margaret

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I saw the matinee and after reading the comments here fully lowered my expectations of Raven Girl.  However I found it to be "OK", which for McGregor is something short of a miracle coming from me.  I was discussing it with my ballet friend after and we both agreed that it was a total waste of Federico Bonelli,  I don't see why a principal dancer was required to ride a bike and sort a few letters, anyone could have done that.  Melissa Hamilton did her best with the role as did Alexander Campbell.  The moves were very stretching as expected but I paid to see ballet not gymnastics.  I didn't like the blank faces and why did the costume/set designers think black on black works - you cannot see the legs or footwork.  As my neighbours and I were saying why can't the lighting people in particular credit the audience with a degree of intelligence and ASSUME that we know it's meant to be dark and light the stage properly so we CAN see what's going on.  What 19th century couple?  Missed that!!  Final pdd was lovely and the music beautiful.  My friend said that would make a good exerpt for a gala - I agree.  The little girl next me loved it - she had read the book! Contrast that to Symphony in C and she was twitching as there was no story so something everyone or not as the case may be.

Symphony in C was like eating a top quality Champagne Truffle after Raven Girl.  Absolutely glorious - well lit and lovely costumes and super dancing from everyone.  Roberta Marquez really seemed to be enjoying herself and Alexander Campbell was her perfect partner - their timing was really spot on - can't wait to see them together in Don Q!!!  All the principal roles were beautifully danced the corps work was good, good timing great stuff.  What an absolute joy to behold, pure unadulterated Balanchine. Loved every bit of it -bravo!

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I saw both performances yesterday and liked Raven Girl very much, although the design is mostly black and grey I was able to just about see everything, I think the lighting must have been increased since the first performances, it didn't trouble me as much as I had assumed it would, seeing it from central mid and rear amphi made it more like watching a film.  Thought there was some fascinating choreography, with cuts and even more lighting it could make a good centrepiece in a triple bill, the designs and videos were very imaginative  and deserve to be seen.  Both casts were extremely good, probably the first had the edge, Sarah Lamb was magnificent, she had also danced beautifully with Valeri Hristov in Symphony in C at the matinee. Ryoich Hirano had a good day too as the Raven Prince in the afternoon then with Zenaida Yanovsky in the evening, they dance so well together.  Loads of great dancing,  a little gem that sticks in my mind is Yasmine Naghdi and Sander Blommaert as the 19th century couple in Raven Girl, haven't a clue what is was about but they looked exquisite!

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