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English National Ballet - Le Corsaire, 2013/14


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Praise indeed for this production, Meunier! So Joan Zamora danced the role of Ali. That's an incredible start to his career. Isn't that the role which Nureyev famously danced?

 

Btw, the man which I saw at the ROH last night was much more handsome than Brad Pitt!

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Praise indeed for this production, Meunier! So Joan Zamora danced the role of Ali. That's an incredible start to his career. Isn't that the role which Nureyev famously danced?

 

Btw, the man which I saw at the ROH last night was much more handsome than Brad Pitt!

 

Nureyev and (even more famously) Baryishnikov both .... as well as V. Vasiliev (and not just Ivan - no relation but much admired by the former - who in that pas de trois with Osipova and Cornjeo at ABT was a mind-blowing delight.  You can see two of them in a pirated video from a 2012 Met performance here:  http://www.youtube.com/watch?v=1B4amLHdrTw)!!  One misses there, of course, Osipova's constant triples and Rojo's quadruples(!!) - and, yes, you read that right - in the coda's fouettes!!! ... !

 

I called ENB's Corsaire 'a Brad Pitt of a production', Aileen, only because the poor man is/was cursed with being thought 'pretty' .... much as some of the British dance press (whose time I fear is soon coming as a vocation - as opposed to a concerted avocation) have accused Mr. Golding of simply being the same.  Happily both men have now overcome the damning effect of mere 'prettiness' having illustrated sufficient dramatic/balletic steel to underpin all else in their respective regard.  That same grit behind the grandeur is rife throughout ENB's Corsaire.  It is a joyous measure ultimately separating the wheat from the chaff.  May there be ever more power to its resplendent arm.  

 

Oh, and thank you, LinMM.  That is most kind of you to say. 

Edited by Meunier
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I second everything Meunier says about the performance.  Just one quibble - my cast list says Ali was danced Vadim Muntagirov, and it certainly looked like him!

 

It WASN'T, I assure you.  If you looked on the digital noticeboard on the ground level yesterday afternoon, Pad de Quatre, there was a cast change flashing through.  There should, of course, have been an announcement given the obviously late determination of the replacement ... but as we know there wasn't.  

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Ali was definitely played by Joan Zamora, not Vadim Muntagirov. They are not only of different height, build and appearance but Vadim's dance quality is at a world class level which (albeit that he did well) Joan has not yet attained..

 

I wish that ENB would make announcements about cast changes. It not only avoids the kind of confusion demonstrated above but is respectful to artistes at all levels. After all, Joan is but a few months out of ballet school whereas Vadim is an internationally feted Lead Principal much sought after as a guest by companies all over the world.

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Regarding the photographs used in the programmes, unless they have been updated since I last bought a programme some of them are very old and some of the dancers, the younger ones in particular, look very different 'in the flesh' to their images (I suspect that some may be audition/school photographs).

 

On the plus side, it's nice to see that the website now has photographs and short bios for all the dancers, athough there are quite a few errors and the information for some dancers is a bit sketchy.

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On the plus side, it's nice to see that the website now has photographs and short bios for all the dancers, athough there are quite a few errors and the information for some dancers is a bit sketchy.

 

Ah, yes, (I agree) .... but at least it exists .... as opposed to that other place down the road where their promises for the same must now be a decade old.  I know, I know .... 'SOON' ... they promise.  What was it Churchill was fond of quoting:  'Deeds speak louder than words'.   I have faith it was true then.  Certainly it is true now. 

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I second everything Meunier says about the performance.  Just one quibble - my cast list says Ali was danced Vadim Muntagirov, and it certainly looked like him!

 

I believe on the Wednesday night Vadim performed Ali with Tamara, whereas on Saturday matinee it was Joan.

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Alison, thank you for noticing the offer in Oxford - it meant I could justify another viewing - and got to see Daria's debut last night!

 

She was splendid, if somehow very English (I KNOW she isn't) and somehow very gentle amongst the swarthy swashbucklers. And there certainly is a connection between her and Muntagirov. They were wonderful together, even more than apart!

 

Two standouts for me were Crystal Costa, an odalisque last night but Gulnare in Southampton last week, and above all Junior Souza, effortlessly athletic with a great line and great stillness too. 

 

Oh, and another one - Michael Coleman shameless scene-stealing as the Pasha. It only seems like yesterday that he was my favourite Bluebird!

 

And I know there's a thread for audience behaviour, but it was a pleasure to be in such a nice and keen crowd last night, as opposed to Southampton, where we had beer-drinking women behind us, sweet eaters over the way, and a pair of bare feet dangling over the back of the empty seat next to me. Not nice....

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I can't get over how many parts the dancers have to learn; the matinee cast is often different from the evening one. Vadim is dancing Conrad with three different Medoras and is also dancing Ali. Tamara is dancing with Matthew and Fernando and the latter is also dancing Ali, I believe. And so on. I'm glad to hear that Daria's debut went well. I'd like to see her *and* Alina *and* Ksenia dancing with Vadim.

 

Regarding drinking in theatre auditoriums, I'm afraid that it has become widespread. The ROH seems to be one of the few theatres where it is not permitted (thank goodness). I'm not sure what the Coliseum's policy is. I think that, whilst not actually permitting it, the theatre may turn a blind eye. What is the situation at 'normal' theatres eg The Old Vic, Haymarket etc?

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Alison, thank you for noticing the offer in Oxford - it meant I could justify another viewing - and got to see Daria's debut last night!

 

She was splendid, if somehow very English (I KNOW she isn't) and somehow very gentle amongst the swarthy swashbucklers. And there certainly is a connection between her and Muntagirov. They were wonderful together, even more than apart!

 

Two standouts for me were Crystal Costa, an odalisque last night but Gulnare in Southampton last week, and above all Junior Souza, effortlessly athletic with a great line and great stillness too. 

 

Oh, and another one - Michael Coleman shameless scene-stealing as the Pasha. It only seems like yesterday that he was my favourite Bluebird!

 

And I know there's a thread for audience behaviour, but it was a pleasure to be in such a nice and keen crowd last night, as opposed to Southampton, where we had beer-drinking women behind us, sweet eaters over the way, and a pair of bare feet dangling over the back of the empty seat next to me. Not nice....

 

I've just checked the programme, and as I thought , I saw Michael Coleman at my first ever ballet, dancing the pas de trois in Swan Lake at Covent Garden in 1965!  I'll think of that when I see him as the Pasha in January.

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. I'm glad to hear that Daria's debut went well. I'd like to see her *and* Alina *and* Ksenia dancing with Vadim.

 

 

 

Lovely as the performances starring Alina and Vadim and Ksenia and Vadim were (especially Ksenia's second one in that partnership) it is the Daria/Vadim combination which brings a special something extra to the stage.

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Alison, thank you for noticing the offer in Oxford - it meant I could justify another viewing - and got to see Daria's debut last night!

 

She was splendid, if somehow very English (I KNOW she isn't) and somehow very gentle amongst the swarthy swashbucklers. And there certainly is a connection between her and Muntagirov. They were wonderful together, even more than apart!

 

 

 

Alison, thank you for noticing the offer in Oxford - it meant I could justify another viewing - and got to see Daria's debut last night!

 

She was splendid, if somehow very English (I KNOW she isn't) and somehow very gentle amongst the swarthy swashbucklers. And there certainly is a connection between her and Muntagirov. They were wonderful together, even more than apart!

 

Two standouts for me were Crystal Costa, an odalisque last night but Gulnare in Southampton last week, and above all Junior Souza, effortlessly athletic with a great line and great stillness too. 

 

Oh, and another one - Michael Coleman shameless scene-stealing as the Pasha. It only seems like yesterday that he was my favourite Bluebird!

 

And I know there's a thread for audience behaviour, but it was a pleasure to be in such a nice and keen crowd last night, as opposed to Southampton, where we had beer-drinking women behind us, sweet eaters over the way, and a pair of bare feet dangling over the back of the empty seat next to me. Not nice....

 

 

Lovely as the performances starring Alina and Vadim and Ksenia and Vadim were (especially Ksenia's second one in that partnership) it is the Daria/Vadim combination which brings a special something extra to the stage.

 

 

 

I also loved the Daria/Vadim performance in Oxford.  A good time was had by all.

Edited by AnneMarriott
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Aileen, regarding drinks in the Coliseum -  some months ago I overheard some of the F o H staff lamenting the fact that Westminster Council had just granted permission for alcoholic drinks to be taken into the auditorium, and there was indeed a Planning Permission type advisory notice on display for a while. It was, though, a while back, and I must say I have not noticed anything different. Yet.

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Why on earth anyone would want to drink anything while watching live theatre is a complete mystery to me.  I want to concentrate on what is happening on the stage, and then save my drink for the interval while discussing the action. 

 

I assume the theatres have started allowing it in order to get more people to order drinks at the bar in the first place?

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Finally caught this at Oxford earlier this week, and can quite see why it's gone down so well: great fun, lovely designs and some great dancing.  My only quibble would be that it is all a bit of a rush: it felt a bit like "LeCorsaire.zip", too compressed.  A little more room for the story to breathe in among the dancing would have been nice: as it was, when I read the synopsis the next day I was very surprised to see all the things which were supposed to have happened and had totally passed me by in the rush!  And I was surprised at how much I enjoyed it, since I've never appreciated the Holmes production much in the past.

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I saw yesterday's matinee in Oxford.  This ENB Corsaire is every bit as eye-catching as others have said and just a bit of fun, and   I found it full of revelations.  I've only known the ballet through the Nureyev/Fonteyn pdd trotted out for competitions and the like, so the first revelation was in Act 1 as it dawned on me that the Ali character wasn't the hero but an incidental servant.  I then took him for Medora's chap, but the scenario said he's Conrad's.  Then when the great pdd turned up in Act 2, it was as a pas de trois - who knew?  Did Nureyev conflate the two male roles into a bigger part for himself?  Some of you out there will know, I'm sure.  And then, out of nowhere, all were lost at sea at the end - no doubt Byron's fault?  But hold, a check with the scenario told me that two were just stuck on a rock.  And there was something with folk in capes and caskets?  And then there was Pasha, Michael Coleman, having a good time ogling his gorgeous purchases in a dream, entirely unrelated to anything else.

 

So if that was the story, what about what mattered - the dance?  The choreography struck me as a bit old-fashioned but, given its provenance, that's probably inevitable.  It was, however, well put across by the company, whose younger members were heavily featured in this matinee cast.  Our Medora was Erina Takahashi, but my eye was more taken by Crystal Costa's Gulnare and certainly by Yonah Acosta's Conrad.  And recalling the 'First Postion' documentary of a couple of years back, it was good to see Joan Sebastian Zamora from Colombia live on stage as Ali, and demonstrating clear potential for a bright future.

 

But all in all, it was a good show - and my younger grand-daughter, in the early stages of getting on pointe, thoroughly enjoyed it, as did her Mum and her sisters.  I know that my preferred aesthetic has moved on, but I'd go again.  Could it be expanded for the Albert Hall?

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Ian, I think the "gala" pdd is conflated in the same way as the Don Q one is: I found it really disconcerting the first time I saw it back in the mid-90s, and found all these annoying bridesmaids getting in the way of the action :)

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Ian - what a fabulous idea if it could be expanded to the Albert Hall.....

 

But if they took it to the Albert Hall they would (of necessity) have to lose (at least a substantial portion of) the truly exotic and magnificently detailed scenic designs.  I think this production celebrates the pros arch and that is, by light if not right (and I believe the latter is prudent), where it should (SO GLORIOUSLY) REMAIN.  It is entirely magical ... and the full design element - including the enhancing lighting design are so much an extravagant whole.  That is a key factor.  How would you do the ship wreak without the scrims at the RAH?  No, better save that for those war horses that are better known to UK audiences .....  They are best able I think to withstand the particular rigor that the opening out to such an arena demands.  .......  They could, of course, take The Nutcracker .....     

 

I do think Sky Arts should film this (e.g., Le Corsaire) pronto however .... They are in need of product .... and there is little better of ballet by an indigenous company than this so effervescently represents.  

 

Went again yesterday evening .... (My fourth viewing).  The romantic pas de deux between Vadim and Daria was pure rapture ... a masterclass in partnering .... Also a word for Fernando Rufala as Birbanto .... PURE HEAVEN through character .... He deserved the shouts of Bravo after his last act variation.  Would love to see him as Conrad which I know he has done already in this inaugural run.    The orchestra were on fire in the New Theatre's contained pit so open in sound to the rolls of the Oxford audiences' delight.  They were conducted on this occasion by Tom Seligman ... who I notice will be conducting the upcoming triple bill for that other company down the (London) road.  Great to see the sharing of such talented resources.  'Onwards' I say ... That (at least in my book) can only be towards an 'upwards' motion.  To wit: potentially uplifting.  Bless Tamara for bestowing this wonderful gift for the benefit of us all.

Edited by Meunier
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Last night, ENB's Le Corsaire (the 18th performance, I believe!) was looking as fresh and as spirited as on opening night. OK - the story doesn't bear close scrutiny and the piece is somewhat 'old style', but it is dressed, set and lit so vibrantly, danced with such commitment and energy and boosted by joyous, hummable music that it cannot fail to delight audiences and have them leaving the theatre believing that they have seen a fantastic show.

 

And, of course, they have. The leads yesterday evening were, quite simply, fabulous. As Meunier has already said, the Act 2 pas de deux for Medora and Conrad, as danced by Daria Klimentova and Vadim Muntagirov, was pure rapture. And all those cast in the other key roles lived up to that amazing standard: Ksenia Ovsyanick as Gulnare (very special - and on her debut in the role, I think); Ken Suruhashi as Lankendem (growing all the more forceful with every show); Junor Souza as Ali (oh those jumps!); and Fernando Bufala as Birbanto (on fire).

 

But, every cast has been absolutely top notch too and, such is the calibre of ENB's dancers, it has been possible over the past three weeks to see 7 Medoras; 5 Conrads; 5 Gulnares; 4 Lankendems and 5 Birbantos - each one bringing unique qualities to their roles. Indeed, the depth of talent is further illustrated by the 13 different ballerinas cast as Odalisques with Ksenia, Shiori Kase, Alison McWhinney, Jung Ah Choi, Senri Kou and Crystal Costa shining particularly brightly among them. A 'thank you' also to Michael Coleman and his alternating Pasha's Assistants (Anton Lukovkin and Juan Rodriguez) for some nice comedy touches and a special mention for the 'merchants'  who ply their trade non-stop around the stage in Act 1.

 

When Tamara announced Le Corsaire for the 2013/14 season, I didn't dream that I would come to be so enthusiastic about it. But it certainly has that elusive 'feel good factor' and is a scintillating showpiece for the Company. I can't wait to see more performances.

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I have seen quite a few performances of LeCorsaire in the last few weeks. Capybara has expressed his/her thoughts so eloquently that I am not sure I could match them. The thing that sticks in my mind is that the dancers are really inhabiting their roles and not just dancing their steps. I have seen them develop as characters as the performances click by and, on a crowded stage, as it is in Act 1, reacting to one another, whether it be as merchant, pirate or assistant to Lankedem, in a naturally responsive manner, nothing choreographed here. Other contributors have highlighted individual dancers. I have been impressed with them all. This is a slick production with a lot of fast moving action but above all it has very good classical dancing which is the real basis of its success.

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Haven't there been six Conrads, capybara? Matthew, Vadim, Zdenek, Arionel, Fernando and Yonah. Would you mind letting us know who all the Alis, Gulnares, Lankendems and Birbantos are?

 

I'm sure that the dancers are glad to have a couple of weeks at home - rehearsing, obviously - before their tours to Bristol and Liverpool.

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Whoops, sorry: you're correct Aileen. I won't say which Conrad I forgot! I also omitted to provide a count for Ali.

 

Now you're testing me........!!!!!

 

Medora: Alina Cojocaru; Tamara Rojo; Daria Klimentova; Erina Takahashi; Fernanda Oliviera; Ksenia Ovsyanick; Laurretta Summerscales

 

Conrad: Vadim Muntagirov (with 3 different Medoras!); Zdenek Konvalina (with 2 different Medoras); Yonah Acosta; Matthew Golding; Arionel Vargas; Fernando Bufala

 

Gulnare: Erina Takahashi; Laurretta Summerscales; Shiori Kase; Crystal Costa; Ksenia Ovsyanick

 

Lankendem: Dimitry Gruzdyev; Arionel Vargas; Ken Saruhashi; Junor Souza

 

Birbanto: James Forbat; Yonah Acosta; Fabian Reimair; Max Westwell; Fernando Bufala

 

Ali: Junor Souza; Fernando Bufala; Zdenek Konvalina; Vadim Muntagirov (reported as doing one show in Southampton); Joan Zamora; Yonah Acosta

 

3 Odalisques: Alison McWhinney; Ksenia Ovsyanick; Shiori Kase; Laurretta Summerscales; Crystal Costa; Senri Kou; Jung Ah Choi; Anjuli Hudson; Marize Fumero; Jia Zhang; Adela Ramirez; Nancy Osbaldeston; Jenna Lee

 

Phew! I think that's it but everyone reading this should please feel free to add anyone else who has danced these roles. I can only go on those I have had the great pleasure of seeing or hearing about from others.

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I saw it at Oxford on Friday and had a thoroughly good night out. The cast seemed to be having fun too. Max Westwell was swashing that buckle for all it was worth as Birbanto, wonderful to see. The wow factor went to Yonah Acosta as Ali. He just seemed to hang in the air - we were looking for that magic carpet!  Both performances combined in an unfortunate way to make Conrad (Zdenek) seem a particularly drippy hero. Also, although lovely in the line and legs,  Fernanda Oliveira was also a bit bland. Sorry to say this but I really really did want her to close her mouth and it became a bit distracting! The odalisques were great - I can't take my eyes off Nancy Osbaldeston. It was a fabulous, joyful, colourful piece of work. Wonderful to read about it and feel that something new has been created. There is a lot of joie de vivre in the company. 

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