The Royal Ballet's Don Quixote, 2013

[Beryl H]

I'm going tomorrow and had been looking forward to the Marquez/Campbell partnership very much, but had also wished I was seeing Akane Takada, and now I am,  she has danced very strongly in the Kitri's Friend role, so its the best replacement I could have! 

[nevsky]

A minor point, but a lot of people may not know who "Paul, Michael, Kenta and Luca" are, or indeed the other dancers, given names only given.

 

I am sorry about this. I am a relative newcomer to writing on this site and took my cue from other people.

 

The dancers who were not credited on the cast sheet and whom I referred to by their given names only in post #121 above were:

 

(as Toreadors) Eric Underwood, Fernando Montano, Valentino Zuchetti and Dawid Trzensimiech

(as Urchins): Kenta Kura, Paul Kay, Michael Stojko and Luca Acri

[Jan McNulty]

Thanks for the clarification Nevsky.  As a rare attendant at RH these days, I wouldn't have been able to name anyone!

 

I tend to use the full name first and if I am mentioning again in the same posting then just use the first name.  I have always felt uncomfortable just referring to people by their surnames.

[John Mallinson]

Nevsky, thanks. Much clearer! I did know who you meant but seeing such strings of given names made me wonder about the usage. In the British press dancers are mentioned by their full names and then by their surnames, and the courteous Americans usually give them a handle (Mr Hallberg, Ms Bouder). But the question of why dancers are so often referred to informally by their given names is a subject for another thread…

[thewayforward]

Does anyone know if there will be dates added to these performances at all?

[alison]

There's no room in the schedule to add more performances.  But as I've indicated elsewhere, I firmly expect it'll be back next season.

[billboyd]

Akane Takada - What a trouper! 

[aileen]

Why was the flooring slippery last night and not at other performances? I hope that they sort the problem out before tonight's cinema broadcast. Yes, Akane recovered very well. It was very unfortunate to have fallen on her very first entrance, and again a few seconds later, in her debut performance.

Edited October 16, 2013 by aileen

[Jan McNulty]

I thought part of the floor looked slippery at the matinee we saw on 5th October - a couple of dancers slipped in the same place but no falls fortunately.

[aileen]

Given the challenges (early debut in a new partnership put together at two or three days' notice and two falls within the first minute) Akane gave a very creditable performance in the two Acts which I saw. She was pert rather than sexy. Alexander was good but could do with being a bit more bravura. Ryoichi and Laura were much more convincing in the roles of Espada and Mercedes. He had the swagger and the arrogance but could do with being more snake-hipped. Laura was foxy and feisty and her dancing had a bit of a dangerous edge. She seems a natural choice for Kitri to me. The torreadors were still unconvincing. They managed to be stiff and have poor posture at the same time. The tallest men in the company seem to have been cast as toreadors and I wonder whether smaller men would have been better.

 

What is the problem with the flooring? Could the moving sets be making the floor uneven or shiny? I hope that it's sorted out before tonight.

[nottsballetlover]

Just back home from live screening of Don Q at my local cinema in Nottingham, my first of this type. How wonderful, what a great production in terms of filming and sound.

 

I'm lucky to be able to say that for me, watching a ballet this way complements seeing performances live in the actual theatre - it was so great to be able to see close ups of every facial expression of the dancers on a big screen, particularly Nunez and Acosta (who were utterly superb this evening). But also this evening, I went with an elderly friend who really cannot travel to ROH for mobility reasons and she was overjoyed at the opportunity to be able to see the Royal Ballet in this way.

 

I can't express enough how amazing it is for companies like the Royal Ballet to harness technology and beam their performances to cinemas worldwide and immediately increase their audience massively and also increase accessibility for the many people who for different reasons are not able to physically attend performances at the ROH.

 

 

I was also pleased the entire audience all applauded at the end even though it felt a bit strange!! 

[hfbrew]

I agree that Laura Morera would be a good Kitri.

I am sure she played the role years ago and was sad that yet again she seems overlooked for a principal role despite having that ranking!

[Aruna S]

Our cinema had some technical problems so we missed about half an hour, and came in just as Sancho Panza was giving Don Quixote his metal bowl to use as a helmet. Most annoying.

Overall a splendid performance, Nunez and Acosta were brilliant of course but also Hirano and Morera, and the dryad queen. No cast lists for us so I don't know who she was. The gypsy scene dragged a little, IMO, and I found the violent red backdrop quite distracting. Not enough light at the end of that scene either, we could barely make out that Sancho Panza was being carried off by someone/something.

I like the white costumes of the final pdd, Kitri's friends could have had a change of clothes though, poor things! 

 

Strangely, while the Bolshoi screenings have always attracted a very small audience, never more than 10, tonight I counted at least 45 people, many of whom were British expats. This made me wonder whether love for ballet can be limited to one's "home team", I find that rather odd TBH.

One area in which I think the ROH could definitely improve is what to do during the intervals. Taking a leaf out of the Bolshoi's book they could (and should) have interviews, backstage shots, promotion of the season, anything other than a boring view of the auditorium. They have a captive audience and should make the most of it. Oh, how I miss the charming Katerina Novikova!

Edited October 16, 2013 by afds

[simonbfisher]

So far we have clocked up the General Rehearsal, the Gala opening, Campbell and Takada on 15th and the cinema tonight. Leaving aside the sheer terror of seeing poor Takada's two falls (I could have wept! - but as BillBoyd says: What a trouper!),I think the production is settling down nicely. Does that sound feeble and anodyne - hmm - yes . . .

 

To justify though :

 

- the corps are more settled in their roles, and it has been fun watching tiny but important developments of the characterisation on the outskirts of the stage. It is such a shame that we don't have a complete cast list - and inexcusable not to credit the urchins and the full complement of toreadors. What on earth is getting in the way of that happening? (Sorry - on the edge of a rant there).

 

- the peripatetic houses turn out to be very effective, after my initial misgivings - they do give new perspectives and changes of background. And let's face it, they are fun!  The windmill - well the first time it was actually quite scary in a fever-dream sort of way, but the fourth time I was anticipating it and that somewhat took the edge off the rest of what was going on. Interesting : should a special effect (and it IS special) be able to work the same magic each time? No, of course not, so what replaces the magic and keeps it special - the disintegrating temple in La B is always an edge of seat moment, ditto Alain's disappearance aloft. Why not the windmill, then?

 

- the choreography : I'm not experienced enough to spot what is NEW-new and what is refurbished, but it seems that for Basilio especially there is enough flexibility to allow twinkle-toes Macrae, more serious Campbell AND the (seemingly) reckless Acosta to develop within the same(isn) steps into quite different characters. Is that a mark of really great, or at any rate of potentially long-lasting choreographing?

 

- finally, it really is fun. I have been made to smile and to feel uplifted each time. It is a great ballet for newcomers, maybe? And even for children? Fun deserves to last as much as anything, and I'm sure this production will.

 

 

Sorry, this really is finally - can anyone tell me why the Gypsy couple reappear for the Fandango?? 

Edited October 16, 2013 by simonbfisher

[alison]

Our cinema had some technical problems so we missed about half an hour, and came in just as Sancho Panza was giving Don Quixote his metal bowl to use as a helmet. Most annoying.

 

That takes place pretty early on, so you can't have missed much.

 

One area in which I think the ROH could definitely improve is what to do during the intervals. Taking a leaf out of the Bolshoi's book they could (and should) have interviews, backstage shots, promotion of the season, anything other than a boring view of the auditorium. They have a captive audience and should make the most of it.

 

They usually do: did they not this time?  Or is it because you're in Italy and nobody would pay for surtitling, so they just show the boring view instead?

[zxDaveM]

 

Sorry, this really is finally - can anyone tell me why the Gypsy couple reappear for the Fandango?? 

 

convenience of casting?

[GTL]

afds, the 16 October Dryad Queen was Melissa Hamilton.

You've mentioned Nunez, Acosta, Morera and Hirano, all of whom got a great reception at the front-of-curtain calls in the Royal Opera House. Others on the cast list were:

Don Quixote - Christopher Saunders; Sancho Plaza - Philip Mosley; Lorenzo the innkeeper - Gary Avis; Gamache the nobleman - Bennet Gartside; Kitri's friends - Yuhui Choe and Beatriz Stix Brunell; Amour - Elizabeth Harrods; Dulcinea - Christina Arestis; Tavern girl - Kristen McNally; Gypsy couple and Fandango couple - Itziar Mendizabal and Thomas Whitehead.

Stix Brunell, Arestis and McNally were all last-minute replacements in these roles, listed on the cast-change notices which supplement the cast sheets.

[GTL]

Elizabeth Harrod not Harrods. Can't control my auto-correct, though I did manage to stop it calling Stix Brunell "Brunelleschi", even though she's neither an architect nor six centuries dead.

[Aruna S]

Alison, I'm glad we don't seem to have missed much. I'm sorry to have missed the overture, DQ is one I particularly like.

There must have been some sort of presentation, I assume, since just before the start of acts 2 and 3 there was a brief synopsis of what was to come, with shots of rehearsals and snippets of interviews with Carlos Acosta, Christopher Saunders and Martin (?) Yeats speaking about the music. All those bits were subtitled so I don't think that was the problem, the Bolshoi's interval material is never subtitled in Italian anyway. 

 

Thank you for the casting details Grand Tier Left. So that was Melissa Hamilton. Quite lovely, I must say, look forward to seeing more of her.

[Beryl H]

Last night's was easily the best overall performance I've seen so far, was a bit nervous after Tuesday's but no technical hitches at all, what a difference a day makes,  can see why this is the first cast, Thomas Whitehead and Itziar Mendizabal brought much more to the gypsies and fandango, and hurrah for Melissa Hamilton's Dryad Queen, I was getting worried about the dancing of this role. Laura Morera  was exciting  as Mercedes,( and yes she was  a great Kitri years ago) and Ryoichi Hirano brought Espada to life.

 

Actually the whole ballet just looked better, the first act faster and more exuberant, even the toreadors, and the music suddenly sprang to life too, of course Carlos Acosta and Marienela Nunez were perfect in the roles, their warmth and joy came over very well on the screen,  and I think they inspired everyone else, I'm so pleased it went well, hope it appears on Blu-Ray soon

 

The only technical thing that looked odd was the rather dull vision scene, when it was so colourful on stage, I could hardly see those big pink flowers.

[patsomerset]

I was delighted by the cinema live relay.  It was the only performance I have seen and the only one I will see, so I am pleased that others rate this the best performance so far and that it was for the live transmission which goes worldwide.  I was a bit nervous after the reports of mishaps on Tuesday but after a while forgot all about that as Carlos Acosta and Marianela Nunez seemed so confident and assured in their performances and seemed to pass this on to the rest of the cast.  Even at the end they still looked as though they were having the best time ever, and so were we.  I imagine they were taking curtain calls long after the transmission came to an end

 

My only worries were that the music was much too loud but the staff at the Odeon turned it down in the first interval, and that in some parts the stage looked too crowded and there was too much going on.  The close ups were great.  We were able to see the facial expressions and the lovely costumes in detail. 

 

Bravo to Acosta in that he seems to have created a Don Q suited to the RB style

 

We had no technical hitches by the way which added to the pleasure

[Zoe]

Seeing this tomorrow night (can't wait for Mcrae!), and I was just wondering if anybody knows what time the performance generally finishes at?

[Shirley]

Hi Zoe

 

10.25 is the time given on the cast sheet.

[Margaret]

Saw this at the cinema last night - what good evening it was.  Wonderful performances from both Carlos Acosta and Marianela Nunez, both very expressive.  It is great to see the closeups - you can see so much more detail  than from our usual seats in the amphitheatre.  All the cast seemed to be enjoying the ballet and especially Marianela, what a lovely smile she has

 

I was particularly impressed by Ryoichi Hirano - wonderfully cast as Espada and with Laura Morera and also Yuhui Choe and Beatrix Stix-Brunnell.

 

Margaret

[Shade]

Saw this yesterday in the cinema and enjoyed it very much. I am pleased that I will not have to wait for a Russian company to visit before I can see Don Q again - thank you RB.

 

I thought that Kitri's entrance was rather muted and I was concerned that Carlos Acosta was going to drop Marianela Nunez in that first overhead lift (thank goodness he didn't).

 

Melissa Hamilton in the dryad scene was lovely ( though in my opinion Yulia Makhalina (Kirov) is a most majestic, graceful and beautiful queen).

 

I preferred the Bolshoi choreography for the wedding pdd and have to say that I was disappointed about the loss of the "bridesmaid" variation.

 

The cinema was almost full and the audience enjoyed the performance. Well done to all involved in the production.

[patsomerset]

Saw this yesterday in the cinema and enjoyed it very much. I am pleased that I will not have to wait for a Russian company to visit before I can see Don Q again - thank you RB.

 

I thought that Kitri's entrance was rather muted and I was concerned that Carlos Acosta was going to drop Marianela Nunez in that first overhead lift (thank goodness he didn't).

 

Melissa Hamilton in the dryad scene was lovely ( though in my opinion Yulia Makhalina (Kirov) is a most majestic, graceful and beautiful queen).

 

I preferred the Bolshoi choreography for the wedding pdd and have to say that I was disappointed about the loss of the "bridesmaid" variation.

 

The cinema was almost full and the audience enjoyed the performance. Well done to all involved in the production.

 

Even though have already said how much I enjoyed it I agree with several things you have said particularly about Kitri's entrance and I missed the bridemaid's variation too

[nottsballetlover]

Bravo to Acosta in that he seems to have created a Don Q suited to the RB style

 

 

 

 

Absolutely agree with you. While I  love dramatic ballets that have me exiting the theatre in tears, this was a joy - felt so happy and really felt the dancers all enjoyed it.

[JennyTaylor]

Last night was my first viewing of Marianela and Carlos and it was SO well worth waiting for. What a joy Marianela is - can there be a ballerina who radiates so much happiness on stage and her chemistry with Carlos was electric

 

The whole cast performance was definitely a notch up from anything I have seen so far and particular mention for Ryoichi Hirano and Laura Morera - absolutely superb.

 

I also much preferred the Christopher Saunders DonQ and Gary Avis Father casting rather than the other way round. 

 

Glorious evening.

 

Did someone mention a "flop" somewhere earlier in the thread?  Um no, quite the opposite.

[jmhopton]

Having now seen it at the cinema I actually enjoyed it more than when I saw it live at the Opera House. I don't know whether it was because the cast had 'bedded down' more in the production or the camera meant you could get closer to the action and see details of costumes and acting not so obvious in the amphitheatre. Everything seemed better, sharper, livlier, and the princpals were a joy.Having seen some of the not very positive reviews of Carlos' dancing I was amazed at his bravura and technique. Several of the leaps he did in the 3rd act pas de deux I don't remember ever seeing and his dancing and enjoyment in the dance was incredible. Amazing for a 40 year old!!! I wonder if in earlier performances he was still more concerned with the ballet as a whole and put his effort into trying to perfect other people's performances and only with the onset of the recording did he actually concentrate on his own performance. Marianella was sensational. As Carlos said in his introduction she was born to play Kitri and only Osipova or possibly Alexandrova that I've seen recently could come close in technique. She certainly won the Kitri with the best smile award; I don't think she stopped smiling all evening and her enjoyment in the dance was as infectious as her technique was amazing as all the worlwide tweets confirmed. the supporting cast really raised their game too to the same incredible level. it was a performance the Bolshoi would have been proud of and to me there is no higher praise.

My only slight quibble has been raised by someone else and isn't directly to do with the performance but the interval. Surely better use could have been made of 2 intervals than the cursory few minutes saying what was to happen next. More of a doc. about the production; classes, rehersals, interviews would have been good and more info. about forthcoming broadcasts to encourage your audience to come again. there was a couple of minutes about the Nutcracker but more could have been done. You have a captive ballet audience. make the most of it!  Joan

[alison]

Actually, talking about intervals ...

 

One of my bugbears has been that they seem to concentrate the interesting bits during the first interval, when I'm usually nipping out for some refreshment (if you leave it til the second interval, you find the refreshment-serving staff have gone home because it's so late).  So you tend to get stuck during the second interval with not so many interesting things to watch, and nothing alternative to do.

[Shade]

...As Carlos said in his introduction she was born to play Kitri and only Osipova or possibly Alexandrova that I've seen recently could come close in technique. ...Joan

I posted on the other thread about how much I enjoyed this performance. However, for me personally Natalia Osipova is Kitri. Marianela Nunez was indeed joyful but I did not think that she had the same "fire" as Osipova ( does anyone?).

 

I am sure this production has been a great success for the RB and I hope to attend a live performance next time, as this is one of my favourite ballets.

[eliamato]

I posted on the other thread about how much I enjoyed this performance. However, for me personally Natalia Osipova is Kitri. Marianela Nunez was indeed joyful but I did not think that she had the same "fire" as Osipova ( does anyone?).

 

I am sure this production has been a great success for the RB and I hope to attend a live performance next time, as this is one of my favourite ballets.

 

 

I don't understand why the people say Osipova is Kitri.

I find that Osipova is exaggerated and her way of interpreting Kitri is for me vulgar!!

 

Not to mention the movements technically inaccurate and without elegance.

 

Yes, when Osipova dances Kitri is always on fire...but we have to consider other aspects also, including what i wrote above. 

 

Marianela has proven to interpret Kitri perfectly.

Her movements are always accurate. Her head, her arms and legs are surreal for perfection and precision! She does not miss a detail.

She knows when to smile, when to seduce, when be naughty or sweet.

Everything is perfect.

And above all, I'm glad her dance and her art, admired around the world Wednesday evening, will be an inspiration for many people and young boys and girls.

Edited October 18, 2013 by eliamato

[alison]

I've moved many of the messages regarding feedback from the live cinema relay into this thread so that they're all in one place.