Bluebird Posted April 13, 2012 Share Posted April 13, 2012 (edited) By the way, does anyone know what the actual running time of the programme is, please? It was supposed to finish at 10.25 on the first night, but ran 10 minutes late (good job there *was* no orchestra?). Has it actually finished on schedule yet? The simple answer is, no. As they don't have to worry about paying an orchestra overtime, they have been stretching out the second interval in particular. Last night I would say that we waited a good 5 or 10 minutes after the 'Carbon Life about to start' announcement. I didn't look at my watch but I would say that it finished after 10.40pm last night. Edited for accuracy Edited April 13, 2012 by Bluebird Link to comment Share on other sites More sharing options...
alison Posted April 13, 2012 Author Share Posted April 13, 2012 Oh great - I could end up missing both my alternatives for getting home, then (I barely caught the train last time). Oh well, forewarned is forearmed, or whatever the saying is. Thanks. Link to comment Share on other sites More sharing options...
Lindsay Posted April 13, 2012 Share Posted April 13, 2012 In thinking and reading a bit further about Carbon Life I came across Clement Crisp's review which includes the quite astoundingly snobbish phrase: "The public that enjoys the urgent racket of rock and rap is not going to sit happily through the generalities of Covent Garden’s repertory." If only he could have warned me earlier that listening to anything other than Tchaikovsky was going to destroy my attention span and ability to appreciate the sacred classics! The man truly drips with content for the hoi polloi who lack his "refined" sensibilities. It is quite possible to have eclectic tastes and go nightclubbing, to gigs, to art films, to classical concerts and to the ballet (thought I concede that Nutcracker is probably pushing it a bit far for the average Mark Ronson fan......) 2 Link to comment Share on other sites More sharing options...
mijosh Posted April 13, 2012 Share Posted April 13, 2012 I assume you mean contempt,Lindsay. Link to comment Share on other sites More sharing options...
Lindsay Posted April 13, 2012 Share Posted April 13, 2012 Haha yes I did - thank you Link to comment Share on other sites More sharing options...
DavidW Posted April 13, 2012 Share Posted April 13, 2012 In thinking and reading a bit further about Carbon Life I came across Clement Crisp's review which includes the quite astoundingly snobbish phrase: "The public that enjoys the urgent racket of rock and rap is not going to sit happily through the generalities of Covent Garden’s repertory." If only he could have warned me earlier that listening to anything other than Tchaikovsky was going to destroy my attention span and ability to appreciate the sacred classics! The man truly drips with content for the hoi polloi who lack his "refined" sensibilities. It is quite possible to have eclectic tastes and go nightclubbing, to gigs, to art films, to classical concerts and to the ballet (thought I concede that Nutcracker is probably pushing it a bit far for the average Mark Ronson fan......) I'd certainly disagree with Mr Crisp! I'm in my mid-20's, am a fan of Mark Ronson (and Rufus Wainwright, which made me slightly disappointed to see his orchestrations go to waste) but also love watching the big classical ballets. Why can't I enjoy a good night out clubbing and see a ballet the next day? And, for what it's worth, I personally found Carbon Life to be the weakest piece in the Triple Bill - I found my heart was pounding more by the exquisite choreography of Polyphonia and intense drama of Sweet Violets, than the 'in your face' Carbon Life (which is not to say I didn't enjoy it). I'm looking forward to watching all three again tomorrow - I feel both of the new pieces will benefit from a second viewing. 1 Link to comment Share on other sites More sharing options...
Jan McNulty Posted April 13, 2012 Share Posted April 13, 2012 David - from personal experience - it is better to see a ballet performance and then go clubbing the following night! It prevents any possibility of seeing double on stage (been there, done that)! 2 Link to comment Share on other sites More sharing options...
aileen Posted April 13, 2012 Share Posted April 13, 2012 I really enjoyed this programme last night: three very contrasting pieces of modern choreography. I didn't enjoy Polyphonia quite as much as everyone else did. I was a little disappointed by Yasmine N. I thought that her solo was a bit beyond her. I had mixed feelings about Sweet Violets. The concept was good but the piece felt rushed and there were too many scene changes. I don't know how well it would work as a 3 act ballet. There would need to be much more character development, and some lighter/more upbeat scenes otherwise it would just be too depressing to sit through 2+ hours of sordid sexual encounters and murders. Carbon Life was very exciting. The opening number was particularly striking. There was variety in the dancing: large groups, duets (and solos?). As others have said, the piece needs to be enjoyed as the sum of the music, the dancing and the lighting. I liked the music, particularly the first and last songs, and I didn't miss Boy George whose voice I don't particularly like. Link to comment Share on other sites More sharing options...
Bluebird Posted April 13, 2012 Share Posted April 13, 2012 (edited) I was a little disappointed by Yasmine N. I thought that her solo was a bit beyond her. I think Yasmine was suffering from nerves last night. It was, after all, the first time she had danced such a prominent role in the Main House. Hopefully, by the time of her next performance, she'll have relaxed enough to perform as well as she did at the Friends' General Rehearsal. On that occasion I found her performance, quite simply, breathtaking. Edited to correct grammar! Edited April 13, 2012 by Bluebird Link to comment Share on other sites More sharing options...
bangorballetboy Posted April 13, 2012 Share Posted April 13, 2012 I really enjoyed this programme last night: three very contrasting pieces of modern choreography. I didn't enjoy Polyphonia quite as much as everyone else did. I was a little disappointed by Yasmine N. I thought that her solo was a bit beyond her. I had mixed feelings about Sweet Violets. The concept was good but the piece felt rushed and there were too many scene changes. I don't know how well it would work as a 3 act ballet. There would need to be much more character development, and some lighter/more upbeat scenes otherwise it would just be too depressing to sit through 2+ hours of sordid sexual encounters and murders. Carbon Life was very exciting. The opening number was particularly striking. There was variety in the dancing: large groups, duets (and solos?). As others have said, the piece needs to be enjoyed as the sum of the music, the dancing and the lighting. I liked the music, particularly the first and last songs, and I didn't miss Boy George whose voice I don't particularly like. I think Yasmine was suffering from nerves last night. It was, after all, the first time she has danced such a prominent role in the Main House. Hopefully, by the time of her next performance, she'll have relaxed enough to perform as well as she did at the Friends' General Rehearsal. On that occasion I found her performance, quite simply, breathtaking. I agree with Bluebird. All 4 couples were better at the FGR and it was, unfortunately, most noticeable in Yasmine & James. As Bluebird says, probably just nerves and I'm sure they'll be back to form tomorrow. Link to comment Share on other sites More sharing options...
aileen Posted April 13, 2012 Share Posted April 13, 2012 The only thing that I didn't like last night was the extremely long second interval. It was supposed to be 30 minutes (already long) but it must have been nearer to 40. Was there a reason for this? I was on the point of giving up and going home. It made for a long evening. I may be mistaken about this, but there did seem to be a few empty seats at the start of Carbon Life. Link to comment Share on other sites More sharing options...
Nina G. Posted April 13, 2012 Share Posted April 13, 2012 I was at Stage Door last night and briefly spoke with her. She said she hadn't danced it since the General a week ago. A week in between must be a long time for them (perhaps not for an experienced Principal or Soloist). She will dance it tomorrow and also on 23rd and it will be interesting to see if again she makes the role her own just as she did at the General. I agree with Bluebird that she was breathtaking at the General. That's why I was so impressed knowing she is "only" an Artist. Her nerves must have taken over. Link to comment Share on other sites More sharing options...
aileen Posted April 13, 2012 Share Posted April 13, 2012 I'm not having a go at Yasmine. I appreciate that she is a very young artist who has been singled out because of her talent (and she's a Brit- hooray!) I only mentioned her because several other people had recently spoken of her in glowing terms. Link to comment Share on other sites More sharing options...
Nina G. Posted April 13, 2012 Share Posted April 13, 2012 Sure Aileen, didn't think so at all. She is indeed young. She sparked my first interest after I watched her fabulous performance in "Concerto" at the BRB Gala (she was still a student). I hadn't seen her dance much until I saw her "Peaseblossom" a few months ago and I loved her dancing in true Ashton style. This was followed by her "Polyphonia" Solo and pdd at the General and again she impressed me greatly. I do hope all goes well for her performance tomorrow, same for James, and that she'll be fully back to her usual self Link to comment Share on other sites More sharing options...
zxDaveM Posted April 13, 2012 Share Posted April 13, 2012 The only thing that I didn't like last night was the extremely long second interval. It was supposed to be 30 minutes (already long) but it must have been nearer to 40. Was there a reason for this? I was on the point of giving up and going home. It made for a long evening. I may be mistaken about this, but there did seem to be a few empty seats at the start of Carbon Life. takes a long time to get rock stars out of their dressing room (and away from the rider!!). As for the empty seats, that'll be the fuddy-duddies fleeing Link to comment Share on other sites More sharing options...
zxDaveM Posted April 13, 2012 Share Posted April 13, 2012 I'm not having a go at Yasmine. I appreciate that she is a very young artist who has been singled out because of her talent (and she's a Brit- hooray!) I only mentioned her because several other people had recently spoken of her in glowing terms. Persevere - that young woman is going to be a star, I have no doubt AT ALL Link to comment Share on other sites More sharing options...
Ian Macmillan Posted April 13, 2012 Share Posted April 13, 2012 A thought concerning "Sweet Violets" and its much-maligned plot structure. Scottish ballet has just premiered a new version of "A Streetcar Named Desire," another highly-charged story, to 4 and 5-star reviews. All have said how well the storyline is carried, and that has just been reflected in the reactions of Martha Kearney's guests on the BBC2 Review Show to the ballet. As far as I know, Liam Scarlett developed the story and structure on his own. By contrast, the SB ballet has a choreographer working with a theatrical director who, according to the choreo, has the final say on things. Similarly, Cathy Marston, with a good reputation in narrative work, has involved a Dramaturg in the development of almost all her major ballets. The "Sweet Violets" water is well under the bridge now but, as he considers the full-length work we are promised next season, I wonder if Mr Scarlett will consider taking some outside advice in pursuit of dramatic clarity? Link to comment Share on other sites More sharing options...
aileen Posted April 14, 2012 Share Posted April 14, 2012 I'm going to see Streetcar when it comes to London. Many people have seen the film and so that helps with the story. Link to comment Share on other sites More sharing options...
aileen Posted April 15, 2012 Share Posted April 15, 2012 How was the triple bill last night? Did anybody see it? Link to comment Share on other sites More sharing options...
Beryl H Posted April 15, 2012 Share Posted April 15, 2012 I had to miss Carbon Life as it looked like a late finish again, plus transport problems, please don't tell me it finished 10.30 sharp! Polyphonia didn't have quite the same impact as on Tuesday although I thought Yasmine Naghdi and James Hay danced beautifully in their pdd, I rather missed Leanne Benjamin and Nehemiah Kish as the other couple, Dawid Trzensimiech and Samantha Raine looked good. I sympathise with people who are perplexed with the plot in Sweet Violets but I think it's more of a fantasy in the mind of Walter Sickert ballet than a narrative one, it moves suddenly from 1907 to 1888 without warning! I agree with the critics who say that the role of Sickert is too detached and could have more dancing, Bennet Gartside was especially good in the scene with Leanne Cope (who was pitiful and heartbreaking as Annie) and at the end with Laura Morera and Alexander Campbell, it makes a very powerful ending, still think the designs are magnificent and contribute much to the atmosphere, also the music was well chosen. Link to comment Share on other sites More sharing options...
Bluebird Posted April 15, 2012 Share Posted April 15, 2012 (edited) I had to miss Carbon Life as it looked like a late finish again, plus transport problems, please don't tell me it finished 10.30 sharp! It finished a little earlier than of late but, nonetheless, finished after 10.30 - maybe around 10.37? I thought Yasmine Naghdi and James Hay danced beautifully in their pdd, I agree and I'm pleased to say that they seemed much less nervous than they had been on Thursday. Edited April 15, 2012 by Bluebird Link to comment Share on other sites More sharing options...
aileen Posted April 15, 2012 Share Posted April 15, 2012 I'm glad that Yasmine danced well last night. We all want the young dancers to succeed when they are given larger roles/solos etc. Regarding Sweet Violets, I actually found the music a bit overpowering even though there were, I think, only three instruments playing and I was sitting in the Amphitheatre. Regarding the interval before Carbon Life, someone needs to get these rock stars moving a bit earlier! After all, they're free until 9.30pm! Link to comment Share on other sites More sharing options...
aileen Posted April 15, 2012 Share Posted April 15, 2012 Out of curiosity (and nothing is implied here) does anyone know how many rehearsals the musicians had with the dancers? And was a piano used for earlier rehearsals? I'm showing my ignorance here, but how many, if any, of the "songs" were commissioned for Carbon Life? Link to comment Share on other sites More sharing options...
Lindsay Posted April 16, 2012 Share Posted April 16, 2012 Ian that's a very interesting point about th benefits of having a director/dramaturg working alongside the choreographer to control the overall narrative and look of the piece. Do you know whether this has have ever been done at the RB? I don't recall ever reading about Ashton or Macmillan taking such an approach but I'm sure there are people here with a much more detailed knowledge of the history. Link to comment Share on other sites More sharing options...
annamicro Posted April 16, 2012 Share Posted April 16, 2012 Ian that's a very interesting point about th benefits of having a director/dramaturg working alongside the choreographer to control the overall narrative and look of the piece. Do you know whether this has have ever been done at the RB? I don't recall ever reading about Ashton or Macmillan taking such an approach but I'm sure there are people here with a much more detailed knowledge of the history. wasn't that done for Alice?.... 1 Link to comment Share on other sites More sharing options...
Bluebird Posted April 16, 2012 Share Posted April 16, 2012 (edited) Didn't Gillian Freeman write the scenarios for MacMillan's Mayerling and Isadora? Edited to add that I just did a search for MacMillan's scenario writers and came up with the name of Colin Thubron for Prince of the Pagodas Edited again. Ashton also appears to have used a scenario writer. Here's an example from Wikipedia: The Wedding Bouquet (1936; scenario Gertrude Stein, choreography Frederick Ashton; costumes and scenery by Berners himself; 27 April 1937, London, Sadler's Wells Theatre) Of course this is an unusual example as it's the rare case of a ballet with spoken words. There are probably more to find. Maybe somebody else can take over............ Edited April 16, 2012 by Bluebird Link to comment Share on other sites More sharing options...
Fiona Posted April 16, 2012 Share Posted April 16, 2012 wasn't that done for Alice?.... I believe that Alice lists Nicholas Wright as Scenario. In the documentary Being Alice, it shows Christopher Wheeldon in a meeting at the beginning of the process with Joby Talbot (Music), Bob Crowley (Designs), and Nicholas Wright (Scenario). Link to comment Share on other sites More sharing options...
Lynette H Posted April 16, 2012 Share Posted April 16, 2012 The designs for Sweet Violets have been very successful in capturing the atmosphere of Sickert's paintings. Have a look at this one of a music hall http://www.tate.org.uk/art/artworks/sickert-the-new-bedford-n06174 There was an exhibition at the Courtauld Gallery in 2007/8 on Sickert and the Camden Town Nudes. I wonder if Scarlett saw this at the time ? There's some details on the following linl: the picture of the nude and the man sitting on the bed is directly referenced in Sweet Violets http://www.courtauld.ac.uk/gallery/exhibitions/2007/sickert/index.shtml A further search turned up a Sickert picture named Sweet Violets (though I understand that the title is related to a song not a picture) http://www.artandarchitecture.org.uk/images/gallery/25c8c8ed.html Link to comment Share on other sites More sharing options...
DavidW Posted April 16, 2012 Share Posted April 16, 2012 Just a short comment about Saturday night's Triple Bill. I think all three pieces benefited greatly from a second viewing. I loved Polyphonia almost in it's entirety (except for the, IMHO, cluttered opening movement) and preferred the Lamb/Stepanek partnership (my main issue with Benjamin/Kish was not their dancing but their jarring height difference). Another standout performance by Dawid Trzensimiech and Yasmine commanded the stage well during her solo. Sweet Violets blew me away - I don't know if it was the cast (all giving stellar performances) or the fact I already 'knew' the 'story' but it resonated even more than on first viewing. In particular, Bennet Gartside was superb as Sickert (particularly haunting when he sat rocking in the final scene like a man who had lost control), Leanne Cope gave a very deep and powerful performance as Annie, Alexander Campbell was suitably sinister as Jack and Marianela Nuñez was (obviously) fantastic. Once again I was struck by how perfectly Scarlett had choreographed with the music, not just on top of it - you would almost think the Rachmaninoff had been written especially for the ballet! When I first saw Carbon Life (opening night) I was a bit nonplussed. I didn't really 'get' it, although I enjoyed it. Saturday night I loved it! Sure, there are bits I would change (for example the pointless lowering and raising of the 'portcullis' during the Lamb/McRae PdD) but I thought it was just good fun. I'm not a huge fan of McGregor's choreography (and CL didn't change that) but I thought the scene with the 18 dances on stage in two flanks was genius. The sharp classical movements set to the uptempo beat of the music (Don't know the name but it had the line "Is anyone out there?") worked perfectly, like an army of synchronised dancers. Don't know why but I thought that section rocked! Oh, and McRae's solo in the penultimate song?! I may have swore under my breath because it was so good! Overall a great night with Sweet Violets (again) coming top for me. I can't see Carbon Life getting revived (I don't think it would have anywhere close to the same impact without Ronson et al) but hope Sweet Violets does in a couple of years - and I would be even happier if it got extended to full length when that happens! Link to comment Share on other sites More sharing options...
Quintus Posted June 14, 2013 Share Posted June 14, 2013 just an addendum to this thread - I found this bill served as a great introduction to ballet for young people with no previous exposure. I took my son and his girlfriend, who were around 17 and into the wilder fringes of fashion, art and hip hop, with the dismissive certainty about what's cool and what's not that only a teenager can have... They would frankly not have agreed to come and see a 'tutu ballet', but were absolutely enthralled by Carbon Life in particular - my son afterwards said it was the best thing he'd ever seen. They've since been to see Swan Lake and enjoyed it (despite a dire production, but that's another story), so I think this really opened up their views on dance. A 'gateway' bill 4 Link to comment Share on other sites More sharing options...
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