Royal Ballet - which way now?

[annamicro]

 

 

I wish more modern choreographers would emulate Balanchine, and get some proper DANCING on the stage :-)

 

I wish more modern choreographers would emulate Balanchine and find a new and personal way to get some proper DANCING on the stage.

And, ESPECIALLY, as Balanchine did, they keep on walking on that way, changing their orizon, and don't sit, just after few steps, in a confortable position: some hypermodern dance makes seem to change more in the descriptions and the sets of their works than in the substance of steps and movements.

Edited October 15, 2013 by annamicro

[chrischris]

Aileen, I take your point that subtle technical issues are more obvious to the expert eye and will not necessarily be seen by the occasional ballet-goer.  However, I do think there is an "aura" about a great dancer who is fully on top of their technique and able to project to their audience.  The occasional ballet-goer may not understand why that dancer is "different" or "special" but they can feel it.  Nunez has "it".  Osipova in her own way has it.  Acosta has it in spades.  Of the other principals at Royal, McRae and Zanowsky for me come closest.  Such dancers are rare indeed and I think ENB currently has three, in Rojo, Cojocaru and Muntagirov. 

 

Below that level there is the competent principal and soloist, who can make the audience feel secure in their technical performance but without any particular projection or brilliance.  There are several principals at the RB who fall into this category. 

 

Unfortunately the RB also sends out soloists (of various ranks) who are less secure and it can be anxiety-inducing to watch them.  Although an inexpert audience may not appreciate when they are seeing excellent technique, they will notice obvious mishaps.  It is all very well to say (as some do - I'm not pointing at you in particular) that the Royal's style is all about characterisation and that they do not try to emulate the show-off technical fireworks of the Russian companies, but a sloppy technique (as opposed to the occasional slip when a dancer is really going for it) can undermine a lot of good acting.  At the level of top international companies a certain level of technique should be taken as a given.  And yes, of the companies I have seen in the past couple of years, I think there was more technical depth at POB or ABT or NYCB or the Bolshoi or Vienna or ABT.

 

And Fonteyn22: That's just not true.  The critics took Acosta's Don Q very seriously, although they didn't all like it.  I don't think Clement Crisp's review was based on its lack of edginess!!

 

I don't mean to be rude, but labelling people as 'expert' and 'inexpert' is, to me, a little bit patronising, and perpetuates the elitist image ballet still has. I genuinely do not think the majority of people going to the ballet, often for the first time and often for a special occasion as part of a day out in London, really care about the name of the dancer or their technique. I imagine, as others have pointed out, they want to see a principal, as principal usually means best, and while I agree certain dancers have a certain stage presence, that is all subjective, and I certainly don't think seeing soloists in lead roles causes anxiety. I saw Choe perform the queen of the Dryads in DonQlast week. Apparently, according to the 'experts' she made a few technical mistakes that Russian dancers never do, but to my 'inexpert' eyes she was lovely.

 

Also, regarding mishaps, I don't know whether it's just me, but I always find them quite endearing.

Edited October 15, 2013 by chrischris

[MAB]

Excellent example ChrisChris, Choe did dance beautifully as Dryad Queen, but the at the same time the critics were right as she didn't have the breadth of movement traditionally seen in the role.

 

Did I enjoy her performance?  Yes

 

Did I think her miscast? Again, yes.

 

The point I'm trying to make is that it doesn't have to be perfection to please the audience.

[Lindsay]

chrischris, I did not intend to be patronising and as I said in my last post, everyone has a right to form an opinion, just as you have formed yours.  But it is simply wrong to deny that people who have been watching ballet for years and made an effort to learn about it or are advanced students with professional training will see it differently to newcomers. 

 

And it is great that you enjoyed Choe's performance.  She is indeed a graceful dancer but (assuming you saw the same performance as I did) she didn't finish the fouette series at the end of her variation.  If you had seen that variation properly performed before then you might have felt shortchanged by that, since it broke the link between the climax of the musical phrase and the culmination of the fouette series.  And although I don't mind the odd mishap, when I pay to see a top company and the performance is full of them then I'm afraid that I don't find it endearing.  As MAB says, though it is still possible to enjoy a performance despite mishaps, this doesn't mean you cannot at the same time wish for a higher standard.  It is all part of the interest of ballet watching.

 

Edited to add: I think that some youtube viewing (despite the limitations of that medium) of variations before seeing live performance can make for an enhanced audience experience, since you can interpret the dancer's performance against some expectations.  I have refrained from drawing attention to this thus far but, related to the original subject of this discussion, there are also some fascinating direct comparisons to be made on youtube of Cojocaru performing Aurora's variations versus various other dancers who were seemingly preferred to her in casting.  A while ago the Guardian used to have a lively "salon" in the comments section where people discussed different interpretations via videos and I thought that was an incredibly interesting resource for the semi-ballet-literate viewer.

Edited October 15, 2013 by Lindsay

[chrischris]

chrischris, I did not intend to be patronising and as I said in my last post, everyone has a right to form an opinion, just as you have formed yours.  But it is simply wrong to deny that people who have been watching ballet for years and made an effort to learn about it or are advanced students with professional training will see it differently to newcomers. 

 

And it is great that you enjoyed Choe's performance.  She is indeed a graceful dancer but (assuming you saw the same performance as I did) she didn't finish the fouette series at the end of her variation.  If you had seen that variation properly performed before then you might have felt shortchanged by that, since it broke the link between the climax of the musical phrase and the culmination of the fouette series.  And although I don't mind the odd mishap, when I pay to see a top company and the performance is full of them then I'm afraid that I don't find it endearing.  As MAB says, though it is still possible to enjoy a performance despite mishaps, this doesn't mean you cannot at the same time wish for a higher standard.  It is all part of the interest of ballet watching.

 

I can understand that. I guess the conclusion i'm coming to is that the number of people who probably share your views and expectations is probably miniscule, and it is the wider audience who perhaps don't care about things like that that the RB is trying to attract in order to survive. Perhaps there has been a decline in technique and standards as the audiences of ballet have shrunk? I don't know.

[Angela]

Lindsay, I honestly admire your patience in this discussion!!!

[aileen]

So, was the Queen of the Dryads better danced by the Mikhailovsky earlier this year, or not?

 

I wonder whether the RB has long prioritised dramatic ability over other qualities, probably because its two principal choreographers created largely narrative work.

 

I'm happy to see some barefoot ballet but I wouldn't like it to dominate new work. After all, what distinguishes contemporary dance from ballet is the use of pointe. For that reason, I wasn't so keen on Cedar Lake Contemporary Ballet. I'd be interested to hear from Lindsay whether that's the kind of work which s/he would like to see the RB do more of. (Btw, I don't know whether you saw the Galili work which ENB commissioned and performed last year as part of Dance GB). I really liked Wheeldon's work for SFB. I thought that it felt modern but was still recognisably ballet.

[MAB]

Thought I would take a look on You Tube for an example of a perfect Russian Dryad Queen, but unfortunately only Skorik and Somova came up - a timely reminder that if you think the Royal has problems, spare a thought for the once great Kirov.

[Jan McNulty]

Ramble part 2.

 

I think the Director of the Royal Ballet has a very fine line to tread.  The RB's repertoire has a wonderful heritage and it would be a tragedy if that was lost - imagine never being able to see The Dream or Fille again!  However new works must be introduced for the ballet to grow.

 

I don't know the definition of what is "experimental dance".  In fact I don't know (literally) if I have ever seen experimental dance.  Maybe I have without realising!

 

I started off watching London Contemporary Dance Theatre and Rambert in the mid 1970s and there is very little of the rep that I can remember well (pieces I remember well include Troy Game, Masque of Separation, Ghost Dances, Sgt Early etc). It doesn't mean that everything else was not good - just that it was of its time.

 

When you think of classical ballet, how many works have been lost because they have not stood the test of time.  The ones that are still performed have stood the test of time and stand as a valid and vibrant piece of work that can still be seen and enjoyed.

 

If you use the analogy of art, how many original pieces have been disposed of because they are not top notch.  But does it make us too conservative if we enjoy looking at the Mona Lisa or MichaelAngelo's David.  They don't stop being masterpieces just because they could no longer be considered experimental.  I feel the same way about ballet.  I thought I was well and truly sick and tired of Sleeping Beauty but this time around with BRB I have been loving the performances and am looking forward to seeing 3 more in Sunderland next week.

 

I still haven't worked out how you get people in to see productions that are not the big 4 or 5 of classical ballet but I welcome the fact that I can see a mixed programme at Covent Garden next month for the top price of £40.  One of those pieces is a world premiere.

 

The tightrope that Artistic Directors can tread is getting narrower and narrower in these straitened times - they cannot afford to put on something that they know will lose money but how do you attract a new audience?

 

Ramble over!

 

PS - I'm off to Bradford shortly to see Cedar Lake.  Will no doubt report back on the appropriate thread!

Edited October 15, 2013 by Janet McNulty
edited to add PS

[stucha]

I fully agree with Angela.

One of the best discussions ever on this site. More please.

[Lindsay]

Thank you Angela and Stuchi. I must confess that, while in no way underestimating the very hard work moderators do on this board, I do miss some of the intense discussions on the old ballet co board several years back, which were very important to me (mainly as a reader and occasional contributor) in developing my own ideas about ballet. I think many of us owe Bruce a debt of gratitude for that.

 

It is perfectly possible to be critical without being disloyal to a favourite company or to fellow posters and I wonder whether the seeming need for consensus on this board in recent times is closely related to what I would consider a rather dull cautious creative policy at the RB, which remains the company most discussed. I don't throw opinions out there simply to upset people but because I am interested in debating them in order to test the weak spots in my thinking. It would be nice if that kind of debate could happen here more often.

[zxDaveM]

I think sometimes, its not the 'what' that's said, its the 'way' its said that's winds people up. When you read more technically expert writers essentially dissing your favourite dancer(s), you wonder if you're watching the ballet in the 'right way'. Having never had any training, or watched along with expert eyes and a running commentary, I can only go on what looks 'right' to my eyes. I tend to look for a sorta harmony in the steps - as if the music is telling the dancer that they need to do this, to this bit of the score. A sense of drama as well as musicality then. Sometimes, when I read about X or Y being technically brilliant, I've often found their performance dull and lifeless. Some corps de ballets are drilled into perfection but tedium, others, whilst maybe a bit of tightening up to be in step would be a bonus, always remain engaged with what's happening on stage, rather than looking like they are wondering what's for tea after the show. I tend to prefer the latter. Perhaps I should find some 'perfect variations' online somewhere (think this was mentioned earlier - but I wouldn't know whether it was or wasn't technically perfect or not, so might end up with the wrong idea!).

As for the lack of creativity these days (at the RB) - until we find the next MacMillan, Ashton or Balanchine, isn't this always going to be a problem? Personally, I've liked a lot of the McGregor, Wheeldon and Scarlett works I've seen, but being a relative newbie to the art form, its ALL new to me!

[bangorballetboy]

Sometimes, when I read about X or Y being technically brilliant, I've often found their performance dull and lifeless.

 

Hear hear

[Anna C]

I think sometimes, its not the 'what' that's said, its the 'way' its said that's winds people up. When you read more technically expert writers essentially dissing your favourite dancer(s), you wonder if you're watching the ballet in the 'right way'. Having never had any training, or watched along with expert eyes and a running commentary, I can only go on what looks 'right' to my eyes. I tend to look for a sorta harmony in the steps - as if the music is telling the dancer that they need to do this, to this bit of the score. A sense of drama as well as musicality then. Sometimes, when I read about X or Y being technically brilliant, I've often found their performance dull and lifeless. Some corps de ballets are drilled into perfection but tedium, others, whilst maybe a bit of tightening up to be in step would be a bonus, always remain engaged with what's happening on stage, rather than looking like they are wondering what's for tea after the show. I tend to prefer the latter. Perhaps I should find some 'perfect variations' online somewhere (think this was mentioned earlier - but I wouldn't know whether it was or wasn't technically perfect or not, so might end up with the wrong idea!).As for the lack of creativity these days (at the RB) - until we find the next MacMillan, Ashton or Balanchine, isn't this always going to be a problem? Personally, I've liked a lot of the McGregor, Wheeldon and Scarlett works I've seen, but being a relative newbie to the art form, its ALL new to me!

I think you hit the nail on the head Dave - especially with the point that it's not so much WHAT is said, but how.

 

We all have a huge debt of gratitude to Bruce but Balletco became too big for one person to run alone - heck, it takes enough time with a whole Committee, so I have nothing but awed admiration at Bruce steering the ship single-handedly for all that time. However, our choice now is a Balletcoforum run and moderated by a Committee, or no Balletcoforum at all. And if that means tolerating more intervention by the Mods and being respectful to other posters, then surely that's better than no forum?

 

Every single poster here has a right to their opinion, but should the way that opinion is expressed offend, belittle or patronise others - albeit unintentionally - then we run the risk of contravening the Acceptable Use Policy *to which we all agreed when joining the forum*.

 

Vigorous debate - no problem! Debate away! Just bear in mind that Mods will step in as and when necessary. It's not a consensus we expect - just mutual respect.

[Lindsay]

But the whole point Dave is that there IS no 'right way' to watch ballet.  Everyone focuses on what is important to them, and it sounds as though musicality is the thing which you notice the most, so I would guess you are drawn to musical dancers rather than those who have particularly high extensions or jumps or are amazing turners.  And that is a perfectly valid opinion (although of course the two can often go together).

 

I suspect most of us here have had no training - I certainly haven't and in fact have no exposure to "expert commentary" or examples other than what I've found for free online on message boards, newspaper reviews and comments pages and youtube.  That is open to everyone with a broadband connection.  Anyone is capable of hearing a body of opinion (by professional critics or otherwise) about a particular dancer and then going to investigate, whether through youtube or live performance, to see whether they agree with what is being said.  The more you watch, the more you can see subtle differences in performance and begin to understand and explain your own preferences.  It is simply a case of having the courage of your own convictions and not worrying about being "wrong".

 

I would be very interested to hear which dancers you and bangorballetboy thought had technical brilliance but lacked life in their performance?  I am trying to remember which dancers have been lauded in London as technically excellent in recent years and am thinking of the likes of Cojocaru, Rojo, Nunez, Muntagirov, Polunin, McRae, Osipova etc. and I personally don't think of any of them as "dull and lifeless".  Maybe you are thinking of dancers with visiting companies? As I said before, I am genuinely interested in hearing and discussing other people's opinions and think we can do so on a detailed level, rather than simply making sweeping statements, without being in the least disrespectful to the dancers in question or to each other.

[mijosh]

One of the greatest dancers of the last century (or any century come to that),who could never be regarded as a "brilliant techician",was Lynn Seymour. But,my goodness me,what a glorious and thrilling artist. I would gladly swap most of today's ballerinas to see her dance again.

[Lindsay]

Unfortunately I was (just!) a bit too young to see her live Mijosh, but did she make a recording of Giselle with Nureyev?  If so, I think the very battered video tape of that was my first introduction to ballet and I remember it for the incredible warmth and liveliness she projected in the first act and how sad she made the mad scene.

[aileen]

Quite a lot of people on this forum are close to some dancers. There's nothing wrong with that but, not surprisingly, they find it hard to be objective about their performances and are very sensitive to criticism by other posters. I don't comment as freely on certain dancers knowing that they have ardent fans. I believe that no dancer excels in every role and I've been disappointed by some performances by my favourite dancers. I've only been watching ballet seriously for the last couple of years but I've now seen quite a lot as I go to see all the companies, not just the RB and my 'home company' which is ENB. Whilst I have enjoyed most of the performances which I have seen to varying degrees there are very few performances which I have found exceptional, sometimes because of an individual dancer or partnership and sometimes because of the work itself.

[aileen]

Lindsay, I note your reference to the word 'warmth'. I was just thinking last night that this so often seems to be missing in many performances, and I don't think that it is the same as 'passion' or that a dancer can only be warm in light-hearted or fluffy ballets. I will give a specific example. In ENB's Raymonda this summer both Tamara and Elena were equally good technically. Tamara was regal but had a glittering coolness and starriness about her. Elena was regal as well but her performance had a warmth about it which drew the audience to her and I thought that it was one of the best and most attractive performances which I had seen by any dancer. I find quite a lot of ballerinas a bit 'brittle' ie they execute the steps rather jerkily and without much musicality.

[Lindsay]

Yes Aileen, people often say that about Tamara - though of course it works well for her when it comes to the Black Swan pas de deux and she can be very affecting in more naturalistic 20th century ballets, like R&J.  I'm afraid that I am not the right person to discuss Raymonda.  I saw both the Royal and ENB versions last season (because there were other ballets on the bills I wanted to see) and found the setting, costumes and choreography so inherently ridiculous in both cases and the music so comically "ordered by the yard" that it was hard for me to think of it as anything more than a technical display.  But I accept that is, to a large degree, my personal preference (or anti-preference in this case) blinding me to the nuances of characterisation.  I will be very interested to see Elena dance in other productions as she does seem to be a favourite with lots of people.

[aileen]

I'm not having a go at Tamara (I know that she's got lots of fans on this forum!). I was just wanting to illustrate my point about warmth in performance. I'm not opposed to modern choreography - much of it I enjoy - but hyper-extensions and contortion of the body and, particularly, some of the 'extreme partnering' can feel a bit cold and mechanical, howevever impressive the dancing is.

[LinMM]

Me too. Ive never seen Elena dance and because of what some have said on here would really like to see her now.

 

Because few dancers "have it all" so to speak to the extent that they can almost define a role.......today perhaps...just...say Lopatkina in Swan Lake? But that's just for that role......and even she herself (apparently) refuses to dance certain roles because she herself does not feel right for them. A touch of the Guillem there but then I respect this in a dancer to a degree at least......as in some ways I think it takes a bit of courage to admit one doesn't suit a role.

 

So because of the nuances of roles and any dancers particular strengths/weaknesses its always going to be quite subjective on who you want to see.....even given your mood sometimes!! Both for the ballet you want to see and the dancers doing it!

 

How could I decide between Mr Acosta for example and Mr Baryshnikov(going for the American polite way of surnames......rather like it)

In the role of Colas in Fille? I love the way Carlos interprets this role cheeky in a sort of gentlemanly way. Mikhail on the other hand illuminated some of the dance steps in this role when he did with the royal......I had never seen it danced with such vigour and panash almost every step clarified and pushed to its limit. He was brilliant. But if both were dancing here in London next week in this role for example I would want to see them BOTH and for very DIFFERENT reasons. Not to say that Carlos isn't a great technician too of course.

Again although Fille (sorry Lindsay) is a favourite of mine I am often in the mood for a bit more meat and/or drama so might go for a Macmillan or even something much more experimental.......not yet performed in UK as far as I know....but think its called Move.

Sorry I must look this up and the choreographer and for Lindsay there are some good clips of this work on Youtube I'll get back with the full name etc......perhaps this is more of what you would like to see the Royal doing. It's certainly done at ABT and Maryyinski.

It's wonderful when the likes of Natalia Osipova and Mr Vasiliev come up with the truly sparkling(hardly seems the right word) performances and edge of the seat stuff when doing Don Q last March but not sure if I want to sit on the edge of my sit(and literally was) at every Ballet performance. So I suppose I am saying its different dancers and ballets for different occasions but they do all have to be very good in their own way.

Finally I'd never judge a dancer on one performance and especially not in a new production or work. Even they are entitled to the odd bout of nerves or feeling should be home in bed(as theyre sickening for the flu etc) rather than out there on the stage!!!

[Lindsay]

Aileen, don't worry I didn't think you were having a go at all.  And it's not just modern choreography I like - although I agree you with that "warmth", in the sense of the audience feeling that a dancer is projecting a character out to them, is perhaps easier to achieve in a narrative ballet with a clear character arc rather than a work which tends to be abstract.  And LinMM you don't have to apologise for liking Fille - I think Ashton's choreography is inspired and witty! 

 

It's not simply a case of tutu=bad/tiny flesh coloured pants=good or even 19th century=bad/21st century=good for me.  It's a combination of the choreography, music, dancing, production, setting and costumes and, more importantly, a sense of the creative thinking which brings all those things together which forms the basis of a ballet's appeal or otherwise.

[aileen]

Lindsay, out of curiosity, which performances by any ballet company have you really enjoyed in, say the last year? Did you go and see SFB at Sadler's Wells last September?

[MAB]

Anyone not liking Raymonda genuinely puzzles me, however putting that aside, Glurdjidze produces in me a feeling of awe, without wishing to insult the lady, she is to me a 'throwback ballerina', a dancer whose style retains a degree of purity unaffected by modern fashion.  She typifies those dancers of the past for whom technique was a means to an end.  Vaganova trained but rejected by the Kirov because she didn't match their cold, vacuous prototype, Britain has proved to be her spiritual home with her qualities of line and musicality that were the cornerstone of the 'English Style' making her a perfect fit for any UK company (part of me still wishes that the RB had done a straight swap with her and Cojocaru, particularly as she seems out of favour with the new director).  Anyone here that hasn't seen her, and sadly there are no current opportunities to see her, should make the effort as she is very, very special. 

[Lindsay]

No, I was away and missed SFB on their last visit.  In terms of ballet, as opposed to contemporary, the three standout pieces for me in the past year or two have been Petite Mort at ENB (I think I've already banged on about how much I like Kylian....), Royal Ballet of Flanders doing Artifact at Sadler's Wells and Edward Watson's first night in the last run of Mayerling at the Opera House.  Of course I don't see nearly as much as professional critics so there's probably loads of stuff I've missed which I would have loved.  

[Jan McNulty]

I'd managed to spend most of Ms Glurdjidze's career not being able to see her performances.  I did make a special effort to see her as Aurora last year.  What can I say..... I agree with everything MAB says about her - with bells on!  Do go and see her if you get the chance.

[LinMM]

The modern work I was thinking of and would love to see here is F.L.O.W. by Moses Pendleton (danced by Diana Vishneva on Youtube) it's in several parts and I love the music too.

[aileen]

I'll be very interested to see Stuttgart Ballet's mixed bills at Sadler's Wells next month. They seem to commission and perform a lot of new work.

[LinMM]

http://www.ballet.co.uk/magazines/yr_08/apr08/et_rev_diana_vishneva_0208.htm

 

And here is a somewhat scathing review of Diana's recent choices of work to perform including F.L.O.W (all from a Beauty in Motion series)

Some if they read this would never want to see the Royal take on this work!! Just shows how you can never please all of the people all of the time(even some of the time in some critics cases!)

[Aruna S]

On the issue of technical brilliance but lacking in that essential spark, I (somewhat hesitatingly since I'm not an expert at all, nor have I had the luxury of seeing as many dancers as many of you have) would offer the name of Svetlana Zakharova. I have seen Zakharova live in Swan Lake and La Bayadere, as well as often on dvd and at the cinema, and while she is a wonderful dancer she seems very cold and detached to me. Another dancer I thought of in this context, but with the caveat that I have only seen her live once, is Poilna Semionova. She danced beautifully in Sylvia but without the, for want of a better word, warmth which I sensed when I saw Marianela Nunez in the same role a few months later. I have since seen some recordings of Semionova and think I may have just caught her on an off-day. Or, as another far wiser forum member told me, should see her live again before I form an opinion.

[alison]

I fully agree with Angela.

One of the best discussions ever on this site. More please.

 

Thank you Angela and Stuchi. I must confess that, while in no way underestimating the very hard work moderators do on this board, I do miss some of the intense discussions on the old ballet co board several years back, which were very important to me (mainly as a reader and occasional contributor) in developing my own ideas about ballet.

[...]

It is perfectly possible to be critical without being disloyal to a favourite company or to fellow posters and I wonder whether the seeming need for consensus on this board in recent times is closely related to what I would consider a rather dull cautious creative policy at the RB, which remains the company most discussed.

 

As one of the Moderators on this board, I would point out that all the forum's content is user-generated.  So if you'd like more intense discussion along these lines (and I most certainly would, too), please feel free to start generating some of it

 

I'm not sure what you mean about the "seeming need for consensus" on the board, though: after all, if everyone agreed about everything, what would there be to discuss?

[alison]

The first one I have mentioned before, and was the 2nd act of Mr Wordly Wise by Twyla Tharp.  An absolutely beautiful piece of work, IMO, which has never been repeated as far as I can remember? 

 

The second one is a bit more vague.  It was a piece choreographed for the ENB, and the dancers wore constumes that resembled black leather tutus! I just cannot remember who the choreographer was, but I don't think ENB have done it again, which is a pity. 

 

Was it X.N.Tricities (or however they spell the work) by Bigonzetti?  With a large domed mirror at the back?  (Actually, I think the tutus were dark brown)

 

And I really liked Act II of MWW too, just not the rest of it.

 

I imagine, as others have pointed out, they want to see a principal, as principal usually means best, and while I agree certain dancers have a certain stage presence, that is all subjective, and I certainly don't think seeing soloists in lead roles causes anxiety.

 

Indeed.  My first ever La Fille Mal Gardée with the RB was with a first soloist dancing Lise (I suspect that was why I was able to get a standby).  As the years have gone by and I've learned more about the RB, Ashton and so on, I've grown to suspect that she might well have been better in the role than some of her starrier colleagues.

 

The point I'm trying to make is that it doesn't have to be perfection to please the audience.

 

Thankfully, no.  And perfection can be so boring - ask anyone but the average Borg

 

I would be very interested to hear which dancers you and bangorballetboy thought had technical brilliance but lacked life in their performance?  

 

Well, since I totally agree with them , I'd cite, off the top of my head, several performances of "Manon" involving dancers from abroad.  They may well have danced their roles technically better than their equivalents at the RB, but seemingly had no understanding of the ballet, the choreography and how to use the latter to express the drama, so missed the point entirely.  And that went all the way down from principals to corps de ballet.  Oh, and as I've mentioned before, I find Lopatkina's Odette/Odile very difficult to engage with.