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

[bangorballetboy]

Can anyone tell me who DGV was created on? I was wondering who created which roles but not sure how to find this out....

 

 

 

Yanowsky, Underwood, Benjamin, Watson, Bussell, Avis, Nuñez, Bonelli.

[tabitha]

I am really looking forward to seeing this after all these lovely reviews, thank you. On the subject of critiquing physical appearance, I was struck by an article in the paper today where the critics seem to have gone overboard on their comments about a poor opera singer.

 

 

http://www.dailymail.co.uk/news/article-2635677/Sorry-looks-like-shes-biscuit-barrel-critics-report-QUENTIN-LETTS-weighs-operas-great-fat-lady-furore.html

[DavidW]

Yanowsky, Underwood, Benjamin, Watson, Bussell, Avis, Nuñez, Bonelli.

Interesting - thank you! What a cast for Wheeldon to work with  

[chrischris]

Didn't realise Underwood had been around so long. Just checked his ROH page and I assumed he was younger than I guess he is.

[lyn]

Not a professional musician, but I know music and have heard the Nyman MGV recording (my itunes tells me.. 226 times apparently like JaneL I find it excellent energy/paper writing music). So for me, I was judging it against that..! I do appreciate they could have changed things for the ballet though, and that it is a ridiculously complex piece. But the 5th movement was different enough for me to go "hey, hold on now.." The guy behind me had actually played the piece before, so I should have asked him Well, I simply have to go again for another viewing/hearing

 

I never saw the original Sweet Violets.. what was changed from that to this version..?

[helpop]

I really enjoyed Serenade last night - a very beautiful, evocative piece.  Having seen a few Balanchine performances now, I've come to the opposite conclusion from previous commenters - I don't think I've seen any which haven't worked for me (ok - the Emeralds act of Jewels may not be his finest hour).  

 

Sweet Violets was rather a violent contrast, which I didn't feel worked very well as a programme arrangement, even with a long interval in between.  As a first viewing I didn't enjoy it very much - I frankly didn't have the foggiest clue what was going on most of the time, and there wasn't actually a lot of dance to compensate for having a murky narrative.  I spent the second interval on the ROH website on my phone to try and work out the plot!  I think if you're going to create a piece which is almost entirely narrative with little choreography, you need to make sure your story can be clearly understood.  That said, it did evoke the seedy Victoria atmosphere very well.

 

DGV was another change of pace, but worked better.  I liked both the choreography and the music, and it was superbly danced.

[zxDaveM]

 (ok - the Emeralds act of Jewels may not be his finest hour).  

 

I'd wholeheartedly disagree with that - Emeralds seeps into your soul, if you have the patience to absorb it.

[alison]

And if it's performed well enough

[mijosh]

Emeralds is a masterpiece which beautifully captures the perfumed elegance of Gabriel Faure's evocative music. For me the 'walking' pas de deux is one of the most serene and gracefully ravishing in all ballet,like a sigh made visible.

[Jan McNulty]

Emeralds is a masterpiece which beautifully captures the perfumed elegance of Gabriel Faure's evocative music. For me the 'walking' pas de deux is one of the most serene and gracefully ravishing in all ballet,like a sigh made visible.

 

I've only had the privilege of seeing Emeralds once but you have summed up my thougts beautifully and far more articulately than I could have.  Thank you

[Melody]

I must admit to liking Emeralds better than Rubies, although I think all three movements have a wonderful synthesis between the dance and the music.

[helpop]

I didn't take to it (Emeralds) too much when I first saw it, which was at a distance, from the upper amphitheatre.  When I saw the Bolshoi performance in the cinema, I appreciated it a lot better - it does have a certain charm and beauty which I think comes across better close up, although for me it remains the weakest of the three acts.  I'm not saying it's not good, just more of a grower  .

 

I'm also not convinced it encapsulates the French style, which is apparently what he was aiming for (not that I'm an expert by any means).  

[Katie]

I have just revisited this triple bill, from the balcony instead of next to the stage this time, so much better!  Wow I missed a lot.

 

Serenade was lovely, it was beautifully danced by ethereal looking ballerinas and their male counterparts, and the final act  was completed brilliantly by the soloists and principles.  

 

Sweet Violets on second viewing was no more satisfying to me than the first time.  However, again I sat  completely in awe of what great dancers the main performers were.  Even though I had read up on the back story I didn't follow the action very well, but I did feel the emotions the dancers were conveying.   So for me this is not something I would go back to see, but felt I had I seen an incredibly intricately choreographed dance, perfectly conveyed by consummate professionals, especially the part of Annie E Crook,  the role of this character was carried out so movingly.   My favourite scene is the one with the five dancing girls who are being accosted by their boss who is trying to get them into position, in a really dark piece this was a lighter moment it made me laugh.

 

DGV was even better on second viewing than the first, and I appreciated it even more this time around.  I particularly enjoyed the up beat music and tempo of the dance, and I thought everyone acquitted themselves perfectly.

 I loved the multi layered action with regard to a pas de deux in the foreground and the on going movement of the other dancers in the background.  This really gave it a sense of purpose, and a feeling of momentum.  I was sad when it ended, I could have watched it all afternoon.  It was refreshing and light, and I left the auditorium with the music still playing in my head, as I unfortunately headed out into the rain.  I would definitely go to see this again, and I am so glad that DGV came last in the triple bill.

[BristolBillyBob]

Well, my week of ballet-going (do remind me to review Ballet Central when I get a moment, by the way) has been brought to a close by this fascinating triple bill.

 

This was only my second time at the ROH and it still has that frisson of excitement and occasion, walking into the gloriously ostentatious reds and golds of the auditorium.

 

Serenade almost came across like the Royal Ballet boasting. It was such a self-assured display of the depth of talent in the company it was almost un-British in its puffed-out-chest pride. The corps de ballet were as disciplined as any I've ever seen and worked as a cohesive and unified whole throughout the piece. In fact the corps could almost have been said to steal the show, were it not for Osipova in particular fighting back on behalf of the principals. It was my first time seeing her dance and I can completely see what all the fuss is about. To maintain a feather-light grace while delivering such focussed and measured attack and precision to each movement is something to behold. She appeared literally inch-perfect. I enjoyed Sarah Lamb's performance too, and was hugely taken with Olivia Cowley. I know there's been a lot of disapproval about commenting on dancers' physical appearance on here, so in that spirit I shan't mention that I thought Cowley was utterly gorgeous, neither will I at any point use the word 'swoon' in connection with her in any way. As for Serenade itself, I adored it. It felt like a love letter to ballet and a love letter to ballerinas, danced like a tribute back to Balanchine. Beautiful. 

 

Starting the second third of this bill pretty much with a ballerina, whose delicate grace and prettiness we'd been marvelling at just 30 minutes and one cup of tea earlier, being literally thrown against the set was certainly a startling contrast. Not having done my homework properly (something my parents will no doubt recall from my school days) I was fairly lost, plot-wise, during Sweet Violets. I suspect it'll be a bit like Northern Ballet's Gatsby, i.e. one I'll enjoy more retrospectively when I read more about it (I'd never read The Great Gatsby before). The choreography was very powerful in some places, but overall it didn't really grab me. The score I found a bit depressing, if I'm honest. Still, both the ballet buddies who came with me said it was the highlight of their evening, so Marmite Violets it is, then.

 

Danse Á Grande Vitesse. First thing I have to say is that I ADORED the music for this. If a dancer hadn't set foot on stage, I would have gone home happy just to have heard this piece played so beautifully by the RB Orchestra. As someone who isn't such a fan of classical or orchestral music outside of ballet but loves dance music and electronica, this felt like orchestral music for dance music fans. The choreography was wonderful, particularly right at the start where the power and potential energy is held so perfectly before the kineticism (yes, I'm aware I've just made that up) kicks in. In both music and choreography, this was a piece that continually surprised and delighted. The main dancers in this piece were, and I haven't checked my programme on this, all Soloists and they did themselves proud, with Tierney Heap catching my eye as being particularly strong. I couldn't help wishing I'd caught Zenaida Yanowsky in DGV, though. I can imagine she would have been sensational! Next time, next time…

 

All in all, a fascinating, compelling and utterly enjoyable triple bill. It was a fitting end to a great trio of ballets in quick succession for me (this, Ballet Central and ENB's Choregraphics) that were all, in their own ways, wonderfully special memories. Happy times.

Edited May 26, 2014 by BristolBillyBob

[Ian Macmillan]

Well, it seemed to me that the run finished on a high some two hours ago!  And for B3's benefit, I can assure him that Ms Yanowsky was indeed sensational in DGV - sleek, svelte with, at the same time, that certain air of nobility that invests almost everything she does, particularly during the opening minutes with Eric Underwood.  She is a joy to watch, I must say.  And that was true of everyone else, from Principals old and new to the newest member of the Corps, all revelling in the hymn to movement that this admittedly odd ballet is, from start to finish - never more so than in what I think I called the 'Riverdance moment' after seeing it first time out, when the additional percussion cut in.  (No hint of any tempo glitches there tonight, I'd say.)  Chris Wheeldon was in the house and I'd guess he was pretty pleased with what he saw.

 

Recent viewings of Serenade have left me a little flat, thinking that the magic I felt on first ever seeing it had vanished - but not so tonight.  All concerned pulled together to give an impressive performance, another - though different - hymn to movement.  And that final, enigmatic movement - what is it about? - was grave, mysterious, touching.  Are those the feelings we're supposed to have about Mr B's plotless masterpiece?  Whatever the case, my first impression has been restored and revitalised.

 

Finally, seeing Sweet Violets again, two years on, left me no clearer than I recall from last time about its narrative line, despite the programme note.  Too many characters and incidents?  It's a pity, because the incidents are all dealt with rather well, taken individually.

 

But overall, an excellent Triple Bill - the glorious Ms Yanowsky, two thoroughly enjoyable pieces, and one to think about.  I'll happily settle for that.

[balletla]

In fact the corps could almost have been said to steal the show, were it not for Osipova in particular fighting back on behalf of the principals. It was my first time seeing her dance and I can completely see what all the fuss is about. To maintain a feather-light grace while delivering such focussed and measured attack and precision to each movement is something to behold. She appeared literally inch perfect

It must just be me that doesn't get what all the fuss is about. I get the impressive leaps, flexibility and the energy, but there is no nuance or subtlety in her performance for me. Also some irritating tics, such as crossing her arms across her body to aid turning. Would far rather see Marianela any day!

[BristolBillyBob]

And for B3's benefit, I can assure him that Ms Yanowsky was indeed sensational in DGV

 

That's good to hear. Although as I didn't get to see her myself, part of me would've also been happy if you'd told me she came on with her dress tucked into her underwear and a bit of loo roll attached to her pointe shoe, tripped over the scenery and let out a particularly loud burp during the pas de deux.

[Ian Macmillan]

B3:  I feel sure that her innate sense of noblesse oblige would prevent anything of the first sort ever happening - but, as you may know, she did a fair bit along the lines of the latter as the Red Queen in Alice!

[MAB]

I think I must be alone in not really enjoying this triple bill at all, I just feel the three works together  didn't quite gel.  Serenade is a work i've been watching for too long perhaps as I can go back fifty years to when Nerina and Beriosova danced it and of course hair stayed pinned up in those days.  Today I find it pretty dreary, although I thought the Bolshoi found some fresh life in it a couple of years back.

 

Sweet Violets, despite some fine individual performances remains confusing, with its cast of disparate characters..  The beautiful Rachmaninov trio does seem to match the dramatic action, but as far as Scarlett's narrative works go, I much prefer his better thought out Hansel and Gretel.

 

The Wheeldon was the highlight of the evening for me with some fantastic dancing all round but it was too little too late for as far as I'm concerned.

[chrischris]

I agree MAB, they are such an odd bunch to put together. I sort of think Sweet Violets might be a good ballet to put after a performance of Giselle, which always seems like quite a short evening to me, or maybe it could be fleshed out and turned in to a full length. it just seemed jarring being in between Serenade and DGV.

[Coated]

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

My appreciation of Sweet Violets would rise by 80% if they could just add some surtitles to sign-post that part of the storyline. Though I found about about 45 other perfectly implausible explanations for the prime minister slapping a Lady to the ground and later popping up in a brothel with her, I think it would help to know what the choreographers intentions were.

 

I'll always appreciate it as an early Liam Scarlett with excellent music, some wonderful pdds and great atmosphere. I hope he can find a way of tidying up the story a bit since I would love to see it without wondering why Little Dot is writing down things and forcefully undressing a painter's assistant friend who had an accident at the hairdressers.

[chrischris]

Adding anything before (and never, EVER after) Giselle would just dilute both in my opinion, it would just be a distraction from what I really wanted to see. And I'm sure the corps wouldn't be keen on doing Symphony in C or Shades before then doing Giselle's Wilis. The injury toll has been bad enough as it is!

I really don't understand why you'd want to bloat out the evening, from distilled perfection (OK, bias alert, Giselle is probably my fave ballet). Perhaps you should write to that Peter Wright chap and ask him to 'fill it out a bit' for you, so you'll get more bang for your buck.

 

Ha ha you really are very judgmental aren't you?

[balletla]

Just to say, I thought this thread was for reviews of the Triple bill. It seems to have morphed into whether Giselle should be shown with another ballet or not. Maybe these posts should be hived off into a separate topic?

[Jan McNulty]

I've started another thread to discuss Giselle plus one or not.

 

http://www.balletcoforum.com/index.php?/topic/6971-giselle-plus-one-or-not-that-is-the-question/

[alison]

Thanks, Janet!