RB: Serenade, Sweet Violets, DGV mixed bill, May 2014

[Melody]

I agree about facial expressions. I remember a couple of years when the San Francisco Ballet had a corps member who sported a huge grin the whole time, regardless of the ballet or the atmosphere being created, and it was really distracting. I remember hearing comments by other audience members during intervals and after performances along the lines of "did you see that girl grinning her head off?" Someone should have told her to tone it down.

Edited May 17, 2014 by Melody

[Anna C]

If you are referring to my original comment, facial expressions are not (usually) aspects of someone's physique which they cannot change. You can change them and they impact on characterisation, and criticism of this is valid. Physical characteristics are trickier, as others have mentioned, because it can get hurtful. but ballet is a visual art and sometimes someone's particular physicality doesn't suit a role.

No, I wasn't referring to your comment, chrischris. Although I would have phrased it differently, I agree that facial expressions can be altered and do impact on performance - and therefore an audience member's enjoyment of the piece.

 

I was referring to comments made (not only in this thread) about a dancer's physique, which they cannot change; in this thread I mean the "lollipop" comment but there have been other comments in different threads.

 

Hope that helps; we should perhaps get back onto the topic of Sweet Violets etc now. :-)

[alison]

I agree about facial expressions. I remember a couple of years when the San Francisco Ballet had a corps member who sported a huge grin the whole time, regardless of the ballet or the atmosphere being created, and it was really distracting. I remember hearing comments by other audience members during intervals and after performances along the lines of "did you see that girl grinning her head off?" Someone should have told her to tone it down.

 

I wonder whether she was Balanchine-trained?  I'm starting to develop a theory ...

[Jamesrhblack]

Saw this programme twice bit at the premiere and at today's matinee and hugely enjoyed.

 

I don't recall seeing Serenade before and was delighted to have the opportunity to revisit so quick has it definitely grows with watching, so rich in choreographic variety and expression. The Ensemnle was good on Wednesday and even better today (nothing improves dancing like more of the same) although injuries continue to strikes with Annette Buvoli replacing Nathalie Harrison and Tierney Hrap being announced as replacing Laura McCulloch at curtain up. Lovely principal ladies: for me, Sarah Lamb's cool purity (is she really that cool and pure or do we all make the assumption given her golden appearance) was even lovelier than Marianela Nunez with exquisite detail in her body placement. It was very obvious that her hair was coming down at the end of the third movement and not just because I knew what was coming. Lauren Cuthbertson was sharp, radiant, assured, Natalia Osipova breathtaking and it was good to see her in two company works in two visits even if she seemed to being try too hard just initially this afternoon. A lustrous assured Olivia Cowley had the edge for me over Melissa Hamilton as did Valeri Hristov over Matthew Golding. What a beautiful ballet.

 

Sweet Violets is fascinating. Yes, you need to do your homework and there are confusions (the Camden Town Murder with which it starts was 1907 and the last Ripper murder was 1888) so I think it important not to regard it as a linear narrative work. Given our national obsession with murder (witness the ongoing success of Agatha Christie's subjects and of the Jack the Ripper walks) it is surely an interesting meditation on our fascination with violence and our need to sanitise it by turning it into art. Agreed, some of the choreography is fairly misogynisyic which is inherent in the subject matter but Scarlett's refusal to sanitise that is surely laudable. We can't pretend things haven't or don't exist by ignoring them and the rapturous pas de deux for Annie and Eddy throws the first and last pas de deux into stark relief. The recreation of the Camden Town Murder by Marie with the possible suspect Robert Wood while Sickert paints and the ghost of Emily Dimmock screams silently as her agony is given to posterity thriugh art is chilling. Scarlett is also marvellous at manipulating the stage space and the skewed perspective of the Music Hall scene is theatrically very stimulating. He's so talented too: in the scene outside the Hall, Annie changes the balance of her meeting from the passer by's perspective from pick up to evening walk by the simple act of putting her arm through Sickert's. Committed performances from both casts. Standouts for me were Laura Morera and Leanne Cope (who has surely never been used to her full potential) as Annie, and it was great to see Alexander Campbell back on stage as the equivocal figure of Jack, who I take to be the dark side of the human consciousness. Superb musical performance too. Some worryingly young children in the audience, some of whom didn't return after the Scarlett. Do parents really not check the content of the programmes for which they are booking? It would seem not.

 

DGV is a great joy and a thrilling musical (although the timpani were out on both occasions towards the end, I'm sure this isn't intentional ) and choreographic experience: audience screamed their approval today. Wheeldon's ever inventive choreography seems to inspire the dancers to total intensity of response leaving us if not them breathless. The ensemble was terrific as were the principals, although at both performances I was unconvinced by Matthew Golding's choice of facial expression - I can't think how else to put it and have no wish to cause offence or the attention of a moderator. Of course, Zemaida Yanowsky, Eric Underwood, Natalia Osipova, Edward Watson, Marianle Nunez, Thiago Soares, Laura Morera and Valeri Hristov (great yet again, as he had also been as Polixenes) were outstanding in the first cast, but even more exciting this afternoon were Tierney Heap's theatrical glamour contrasting with Ryoichi Hirano's steady command, Beatrix Stix-Brunell's combination of freshness and ever greater assurance with Valentino Zucchetti's exuberant zest, and, above all, the sheer physical thrill of Akane Takada and Tristan Dyer, at one point sailing across the stage in a grand jeté matched in angle, physicality and musicality. She is already on her way to ballerina roles. I am not sure what his journey will be, but he was fantastic this afternoon.

Edited May 17, 2014 by alison
At poster's request, to correct spelling

[Jamesrhblack]

NOT as a linear narrative work. How can I edit my post please moderators to correct?

[Jamesrhblack]

Also, Scarlett not Scariest, performance not pet furnace; cause not faust

[alison]

I've corrected the typos as requested, James: I must admit to being totally bemused about the "pet furnace"

 

At the risk of repeating myself, posters have 30 minutes after hitting "Post" in which they can edit the posts themselves: after that, it's not possible.

[John Mallinson]

NOT as a linear narrative work. How can I edit my post please moderators to correct?

 

James, you can't. You left it too late. In a piece of that length the most sensible thing to do is to compose off-line in a word processor or text editor (with spelling checker) and only post it when you're sure the copy is correct and all dancers' names are spelled right.

[Katie]

I went to see todays matinee and sat next to the stage, and I mean next to the stage, as a result  I spent a lot of my time watching the activity in the offstage area.  Very interesting to observe people behind sets waiting to take their queue to reappear back on set, and dancers hiding behind sets in between their stage roles.

Anyway, I was mightly distracted during Serenade, (as mentioned above) but thought everyone looked lovely, had no idea who was dancing, as I have poor eyesight, and so sitting this close I actually didn't recognise anyone as I only ever see them from a distance usually.   Overall, I got nothing from Serenade, I actually think if I had sat further away I would have enjoyed it more.  It just seemed one of those ensemble ballets best viewed when you don't have keep missing whats going on, on the right of the stage.

Sweet Violets was very well executed but I can't say I 'enjoyed it'.  The dancing was brilliant and this ballet really gave the dancers a chance to act too.  Wow, very powerful performances.  Watching Annie E Crooks plight was so moving, and at times slightly uncomfortable due to the power of the performance. I wouldn't want to see this again, but am glad I had the chance to see the dancers carry out such dark roles.

DGV was the piece I most engaged with.  It was fun, and fast moving, and everyone executed their parts brilliantly.  I was sad when it ended, and could have happily have sat for a lot longer watching it.  I loved the swimsuit like costumes the ladies were wearing, the ballerinas looked amazing in them, the designs were very sophisticated and incredibley stylish.  

[Don Q Fan]

Today's matinee was overall good for me:-

Serenade - this was good and the corps kept it together well, only one spot did they look untidy - for Serenade to be good they need to be together and I think they pretty much nailed it today.  Typical Balanchine patterns and lines which I love to watch and all set to Tchaikovsky's wonderful music beautifully played by the orchestra under Pavel Sorokin.  Question - Mr Sorokin is usually with the Bolshoi is he freelancing maybe?  Sarah Lamb, Olivia Cowley and Natalia Osipova all took the leads well - but did Osipova go a bit fast at times?  I agree with the comment above perhaps she was initially trying too hard.  It was quite a small role for her too, but then she is just back from injury I suppose.  I always think Sarah Lamb well suited to Balanchine and I enjoyed her performance today.  To fully appreciate Balanchine I personally think you benefit from seeing his work from higher up so you can see all the patterns and shapes he has choreographed into the ballet.

Sweet Violets - hmm I guess it's like parma violet sweets or marmite you either like it or you don't.  Way too dark and sinister for me and so darkly lit I struggled to stay awake too (having been up at 6.15 to catch a train to get there for the silly o'clock 12noon start!!!).  Irrespective of the macabre story, the dancing was very good and why oh why is Laura Morera so underused she's a great dancer we need to see more of her, she was super today. There were some tricky lifts all well executed and I did find Alexander Campbell's Jack a very creepy character indeed.  Glad I've seen SV but I have no real desire to see it again.  Kudos to the musicians who played the music.  I agree that there were quite a few children in the audience whom I thought SV totally unsuitable for given their young ages.  It did say adult content on the website but maybe not obviously enough.

DGV - loved it - wish it had been lit a bit brighter but the music was great and the dancing matched it.  I think it suited the young dancers taking the leads as they have a verve and joie de vivre which adds to the work.  High 5 to the drummers especially towards the end of the piece!!

Edited May 17, 2014 by Don Q Fan

[Jamesrhblack]

I've corrected the typos as requested, James: I must admit to being totally bemused about the "pet furnace"

 

At the risk of repeating myself, posters have 30 minutes after hitting "Post" in which they can edit the posts themselves: after that, it's not possible.

Thanks Alison and John (I've managed to mis spell ensemble early on too). I was writing at St Pancras awaiting my train home. I wanted to write while impressions were still strong and pressed post before I could double check as there is very limited signal between St P and Ashford and I've lost things in the past. Apologies for the length John - I'll try to be more concise in future.

[John Mallinson]

Apologies for the length John - I'll try to be more concise in future.

 

Length is fine!

[Wulff]

Reference the engagement of Pavel Sorokin as conductor for this triple bill, the thought has occurred to me that he might be conducting the company's performances in Moscow and these current performances may be to familiarise him with the company, and in particular the score for DGV which I don't suppose has ever been performed in Russia. Just my guess. 

[Don Q Fan]

Good point Wulff!

[Wulff]

There have been some criticisms of the orchestra's playing of the score for DGV, eg one part of the orchestra playing faster than the other part, trumpets skipping notes, and timpani being out of synch, and I wonder whether these are simply subjective judgements or objectively based on a knowledge of what is an extremely complex score, all 168 pages of which can be viewed on the web. Now I am in no way capable of reading a full orchestral score although I have some inkling of what is supposed to be happening and I note that among other things this work is scored for both a main and small orchestra within it. So I do ask myself whether the above criticisms have any validity at all in the context of a work of this nature. However, if they come from professional musicians then I must bow to their superior judgement.

[Jamesrhblack]

There have been some criticisms of the orchestra's playing of the score for DGV, eg one part of the orchestra playing faster than the other part, trumpets skipping notes, and timpani being out of synch, and I wonder whether these are simply subjective judgements or objectively based on a knowledge of what is an extremely complex score, all 168 pages of which can be viewed on the web. Now I am in no way capable of reading a full orchestral score although I have some inkling of what is supposed to be happening and I note that among other things this work is scored for both a main and small orchestra within it. So I do ask myself whether the above criticisms have any validity at all in the context of a work of this nature. However, if they come from professional musicians then I must bow to their superior judgement.

I sang professionally for thirteen years and now work as an Agent for Classical Musicians in Opera and Concert. From where I was sitting in the front row of the Balcony Stalls there was definitely a moment towards the end of DGV where the timpani seemed to be out. However, it happened at both shows so it may be intentional: I have a recording of the Nyman score somewhere so will endeavour to track down and listen.

 

Given that I was only a Junior Associate at the Royal Ballet and that was many years ago, I'd think I'm more qualified to write on matters musical than I am on dance ...

Edited May 18, 2014 by Jamesrhblack

[Fiz]

When Char was the same age as Miss Spanner, her ballet teacher told me not to take our youngest to see Mayerling as it was not suitable for her!

[Anna C]

Thanks Fiz :-)

 

Might give Sweet Violets a miss this time and see how she reacts to Mayerling on dvd first!

[Wulff]

I sang professionally for thirteen years and now work as an Agent for Classical Musicians in Opera and Concert. From where I was sitting in the front row of the Balcony Stalls there was definitely a moment towards the end of DGV where the timpani seemed to be out. However, it happened at both shows so it may be intentional: I have a recording of the Nyman score somewhere so will endeavour to track down and listen.

 

Given that I was only a Junior Associate at the Royal Ballet and that was many years ago, I'd think I'm more qualified to write on matters musical than I am on dance ...

[

You might be able to check this quickly by listening to Michael Nyman's own recording on youtube. I guess that the where you thought the error occurred was at the beginning of the "5th region" which is a separate item on youtube and so more quickly accessible than on a complete recording.

[MargaretN7]

Perhaps ROH missed a trick here? At the Saturday matinee they could have provided a special afternoon tea for young ones for whom Sweet Violets was not suitable, but who would enjoy Serenade and DGV (and the tea).

[Anna C]

Great idea, Margaret! They're starting Afternoon Teas soon anyway, I think - could have been a good practice run!

[Lynette H]

There is a long and detailed essay on Sickert and the Camden Town murders available at the Tate web site including some of Sickert's pictures

 

http://www.tate.org.uk/art/research-publications/camden-town-group/lisa-tickner-walter-sickert-the-camden-town-murder-and-tabloid-crime-r1104355

 

"Sickert had spent the summer of 1907 working on a series of interiors in his rooms at 6 Mornington Crescent. Every alternate day he worked from the model, as yet untroubled and alone on her iron bedstead, the dusty sunlight filtering past the dressing-table mirror in contre-jour effect behind. Probably he was in France by the time of the murder in September, but he was an avid reader of newspapers and sought out the English papers abroad. It must have struck him that he had been painting a nude model in a Camden Town bedsitter little more than a mile from Emily Dimmock’s lodgings; that her public house haunts and trips to music halls were all in his neighbourhood; that the man arrested for her murder was a commercial artist; and that this man’s girlfriend Ruby Young, a prostitute, described herself euphemistically as ‘an artist’s model’. Sickert himself seems to have been responsible for the oral tradition according to which Wood, acquitted of her murder, had posed for his paintings, producing as it were an indexical link between murder and canvases"

[Jamesrhblack]

 

 

You might be able to check this quickly by listening to Michael Nyman's own recording on youtube. I guess that the where you thought the error occurred was at the beginning of the "5th region" which is a separate item on youtube and so more quickly accessible than on a complete recording.

 

I did find time to listen to the recording. The section in question is a particularly tricky bit in an already complex score. I've not had chance to look at the music but it sounds as if there are quavers going against triplets. Nearly six days on from the first performance my immediate memory is obviously less acute, and now diluted by having listened to the recoding, but my memorial impression remains that the effect in the theatre was momentarily and noticeable not  together (and understandably so). Of course. this may well have been an aural trick from where I was sitting with the timpani above the pit underneath the corner of the Stage End of the left Stalls Circle.

[Wulff]

You can find the complete orchestral score on www.musicclassical.com/composer/work/1149/8623

 

The timpani enter on page 136 first as a single line to be played by 3 players on high pitched drums of different pitches. Then on page 149 the 3rd player moves to a low field drum introducing a lower line of timpani playing a different rhythm to the upper line. The upper line also appears to change rhythm from time to time. All very complex and it may be this that produced the out of synch effect. Also, as you say, your position with regard to the timpani might possibly have given rise to an aural trick.

Edited May 20, 2014 by Wulff

[capybara]

I appear to be in a minority as I love Sweet Violets with its dramatic intensity, amazing pas de deux, and wonderful, apt Rachmaninov music.

 

At last night's performance the portrayals of Laura Morera and Steven MaCrae in particular were superb.

 

In general, I don't have a problem with the storyline - except that I do not understand why, having committed Annie Crook to an asylum because of her affair with Edward, who was direct in line to the throne, the Prime Minister then brings her backstage at the theatre.

[zxDaveM]

.

 

In general, I don't have a problem with the storyline - except that I do not understand why, having committed Annie Crook to an asylum because of her affair with Edward, who was direct in line to the throne, the Prime Minister then brings her backstage at the theatre.

 

So we, the audience, can recognise who it is on the bed in the asylum.... (only slightly tongue in cheek, is that answer). You'd seriously think the PM would have more pressing needs for his time wouldn't you - like, ooo, I don't know - running the country or something

[alison]

Well, I guess that if the Prime Minister in Mayerling can spend his time shoving his nose into a prince's private life, then I guess British ones can do the same.

 

I think my two previous viewings of Sweet Violets were both from lower down the house: certainly from the amphi I felt very remote from the action.  I also became very much aware of just how much of the action takes place in areas of the stage which are obscured to quite a lot of the audience: something I would hope the "house" choreographers would know better than to do

[JaneL]

It's interesting to read the comments about the playing of DGV/MGV from someone who knows a lot more about music than I do. I listen to MGV very frequently (the 5th region, especially is my cheer-up/need-energy music!) and I noticed that it sounded very different live to how it sounds on the recording. But I just assumed that was intentional. I love DGV, anyway. It's definitely my favourite Wheeldon. I'd only seen it once before (3 or 4 years ago, last time RB did it) and have listened to the music a lot since then (I've had phases of listening to it daily) so I was very excited about seeing the ballet again and was a bit worried that I'd hyped it up too much in my mind. But it didn't disappoint - the choreography is so interesting and suits the music so well, and it was danced wonderfully last night.

 

Serenade, I loved. For an abstract ballet, there's something very moving about it. I really like seeing touches of the influence of other ballets - and seeing glances forward to Balanchine's later work (e.g. Apollo). Again, danced beautifully, especially by Marianela Nunez.

 

I like Sweet Violets. It's certainly not perfect - I still think there are too many blackouts while scenes are changed, and there are definitely places where the plot could be much clearer. Bringing Annie to the theatre, as capybara says, is confusing (is this meant to be Walter Sickert mingling places/events in his mind?) and I think that unless you've read the background beforehand, it's entirely unclear why the prime minister separates Eddy and Annie. But I love the music and the choreography. The scene where Annie is in the asylum was completely heart-wrenching and fantastically performed by Laura Morera. She really is, in my opinion, one of the very best actors in ballet at the moment. And a wonderful, versatile dancer too - as shown by her equally great performance in DGV only half an hour later.

 

On the whole I think Sweet Violets is an ambitiously conceived ballet and doesn't quite reach its full potential - but I like it anyway

 

What a fantastic triple bill. I've been a bit of an absentee balletcoer recently but it's great to have a place to waffle on enthusiastically like this, and I must try to post more often!

[alison]

Good to see you back, Jane!

[JaneL]

Thanks Alison Life is stupidly busy but I'm still watching ballet, if not finding the time to post about it!

[Josephine]

I think audience sees the music hall scene through Sickert's eyes, in both original & revised versions. I agree with JaneL's 'mingling' comment - Annie & PM do not literally come to the music hall. We're seeing the muddle in Sickert's mind. I think this effect was far more subtly achieved in the first version, when Sickert conjured Jack as a sinister figure weaving in & out of the group of dancers.

[Jamesrhblack]

I appear to be in a minority as I love Sweet Violets with its dramatic intensity, amazing pas de deux, and wonderful, apt Rachmaninov music.At last night's performance the portrayals of Laura Morera and Steven MaCrae in particular were superb.In general, I don't have a problem with the storyline - except that I do not understand why, having committed Annie Crook to an asylum because of her affair with Edward, who was direct in line to the throne, the Prime Minister then brings her backstage at the theatre.

Although flawed, I also think Sweet Violets a most interesting work and its examination of how we try to sanitise and accommodate violence through art thought provoking. I don't think Annie is brought backstage as such though even if Lirtle Dot interacts with her. It read to me more as a filmic dissolve and LD's interaction no necessarily realistic but an indication that within the social context at that time another woman, dependant on a man for support (through engagement as a dancer) wouldn't support Annie's position. I hope I'm not ove complicating things ....

[DavidW]

Seeing this triple bill on Saturday confirmed my feeling when the season was announced, last April, that it would be my highlight of the season (although I guess there's still The Dream Bill to come). I could wax lyrical about the three pieces but will strive to be brief:

 

Serenade (the first ballet I saw in NYC when I had just started taking ballet classes 3.5 years ago) was as sublime as I remembered, leaving me with a feeling of absolute contentment. It's a piece that has a certain fragility to it that requires the audience members to trust it and let it consume them when watching. Splendid performances (mostly debuts I think?) in all the principal roles and a gorgeous corps de ballet;

 

I enjoyed Sweet Violets even more than last run (when I enjoyed it immensely!) not least due to noticing lots of little details like Wood+Marie attending the musichall performance (where there was also some naughty goings on in the wings!). Brilliant performances all round. As with their PdD in Hansel&Gretel, the physicality of Gartside and Morera's partnering in the final scene was stunning - they seem to work so well together. 

 

DGV was new to me and I loved every moment. Nice to see some of Wheeldon's earlier work, and the company were on fire. Particularly noteworthy was Tierney Heap's debut which was fantastically commanding - I couldn't keep my eyes off her - partnered by Hirano (who was superb in both this and Sweet Violets). Can anyone tell me who DGV was created on? I was wondering who created which roles but not sure how to find this out....

 

In summary, I think this was one of the best triple bills I've seen from the Royal Ballet in the last couple of years. I found it thrilling, moving and beautiful in equal measures. Needless to say, I'm very excited to see both casts on Monday!

 

As a final note, I went on Saturday with two friends who go to see a bit of opera but haven't seen too much ballet. They loved it so much that I got a message afterwards saying they had bought tickets for last night's performance to see it again. Following last night one of them declared that Sweet Violets is his favourite ballet he's seen, and the other friend has convinced 6 of her work friends to buy tickets for it! Definitely got their seal of approval