The Royal Danish Ballet Soloists and Principals - Bournonville Celebration, London, January 2015

[Coated]

This was my first view of the Danes, and I enjoyed every elegant minute of it. Even the jokey Jockey short was short enough to not outlast its welcome. I'd love to see a full version of Napoli, but guess it'll have to be a dvd for now.

 

I was particularly impressed with Sorella Englund's incredible stage presence (I could probably watch her for hours just miming) and what felt like genuine cheerfulness and excellent rapport between the dancers. If anyone needs a guest artist in London anytime soon, I wouldn't cry if they invited Andreas Kaas over....

 

Seeing that the RB occasionally pops to Copenhagen, perhaps someone could persuade the danes to come en masse for a short little stint.

[aileen]

If Alban Lendorf isn't available (or even if he is) I'd like Tamara to invite Gregory Dean over.

[nickwellings]

Saturday was my first encounter with the Bournonville style. I found it a delightful afternoon start to finish. I can only but echo the praise for all. I am glad special mention has been given to Ms Cuni. Astonishingly light feet and landings, I was slightly stupefied by her easy grace! As a newcomer to ballet in general it was an eye opening event. Very glad I decided to go.

Edited January 12, 2015 by nickwellings

[Coated]

If Alban Lendorf isn't available (or even if he is) I'd like Tamara to invite Gregory Dean over.

Yup, him too.

 

I realise the bit of RDB we saw were mainly principles and I guess some soloist, but I was really impressed how good they looked and even started feeling a bit jealous....

[Bruce Wall]

I first saw the Danes in London at the Coliseum in the early 70's in two programmes, one of La Sylphide and the other included Whims of Cupid and the Ballet Master, for some reason FLOSS fails to mention this  season.

 

Apart from the RDB we never see POB either, could it be that the proximity of Paris and Copenhagen somehow means we are expected to see their companies regularly under our own steam negating the need to go to the expense of regular tours?

 

I think there is a very real reason why Paris and New York are perceived as the WESTERN centres for WORLD BALLET ... and why they, say, have many more visits by all major ballet companies [modern ensembles are often easier to tour] than a city like London or Los Angeles, say.  The fact - as I have thought about it - really boils down to (1) facilities and (2) an existing established audience for diversity in balletic rep.  That said the physical facilities really are the key. 

 

LONDON of course has the glorious Royal Opera House (2,256 Capacity) and the slightly larger Coliseum (2,558) as well as the very clinical lines of the new Sadler's Wells - ripe with its history - at 1,568.  There is, of course, the Barbican (1,160 capacity) - which was so splendidly used by ENB last year - but it does not really appear to be ideal for ballet with a live orchestra.  There is, of course, the Peacock which seats 999.  TOTAL:  8,541 SEATING CAPACITY (including the really quite inappropriate venue), 7,381 SEATING CAPACITY IN ESTABLISHED MAJOR BALLET VENUES.

 

NEW YORK has - appropriate to major ballet companies - the Met - with its 4,000 places - and the Koch/State Theater (Balanchine's House at 2,586 seats) - which are directly across the plaza from each other; City Center (only slightly larger in terms of capacity from the ROH at 2,700 - and the facility where Balanchine staged many of his now most famous repertory ballets) and BAM with both an opera house (2,104 seats) and an 800 seat theatre - both of which are of course now just down the road from the Mark Morris Dance Center.  They also have a smaller dance facility - The Joyce - which is both lovely and clean lined and seats 472.  The latter serves the same function in New York as  Sadler's Wells does in London ... but it does seem to have more balletic content than SW certainly has over the last few seasons.  This is where the RDB extracts programme will be this week.  TOTAL: 12,662 SEATING CAPACITY IN ESTABLISHED MAJOR BALLET VENUES.

 

While London and New York City are basically about the same size in terms of population, the facility head counts  - in terms of serving ballet - and not, say, the like of the much admired AMP productions - are really quite, quite different.  Also it shows why it will be such a major consideration to London when the ROH is closed for re-modeling during the next three summers as has been advised.  (That said I'm sure many will be delighted to know that I have heard tell that the ROH are sponsoring?/supporting one of the much loved Carlos Acosta specialist Cuban programmes this summer ... but that will be it.  I'm sure that will be a keen delight to many readers here ... but - if that programme is as it was last summer - and as broadcast on the BBC this Christmas - it will not be a ballet based programme at all and thus totally inappropriate for this count.)

 

PARIS has the Palais Garnier (which is rather small in capacity - 1,972 - but has a goodly sized stage for ballet), The Bastille Opera House which is larger (2,723), the Chatalet which at 2,500 seats is about the same size and the lovely Théâtre des Champs-Élysées with 1,900 seats - all established BALLET VENUES - and, of course, other smaller venues akin to Sadlers Wells.  TOTAL SEATING CAPACITY IN ESTABLISHED BALLET VENUES: 9,095 SEATING CAPACITY.

 

For the above very real reasons I think IF the Sadler's Wells team were intent on making London a stop attractive/possible for major international ballet companies the theatre they would (and are planning to) build in Stratford would stretch at least to 1.500 seats rather than the promised 500 seat capacity.  The latter I'm sure will best suit the smaller framed works they have long preferred and are most comfortable in serving.

 

Both New York and Paris for years offered free educational programmes and these - over decades - have built a considerable dedicated and knowledgeable audience able to help support a wide diversity of dance (i.e., not just the popular home brands - as wonderful as they are.)   Access to such programmes everywhere in the West now seems to be restricted to those who are able to afford it.  This is very different from the past.  I only pray that the provision can survive.  It is due to such concerns that the Met has struggled so much recently.  

Edited January 12, 2015 by Bruce Wall

[Bruce]

For the above very real reasons I think IF the Sadler's Wells team were intent on making London a stop attractive/possible for major international ballet companies the theatre they would (and are planning to) build in Stratford would stretch at least to 1.500 seats rather than the promised 500 seat capacity.  The latter I'm sure will best suit the smaller framed works they have long preferred and are most comfortable in serving.

 

 

I don't think Sadler's Wells are interested in ballet as such but DANCE, in the round and in all its rich diversity, and particularly newer dance and pushing the art forward. The 500 seat theatre is targeted at medium scale contemporary companies for which 200 seats is way to small and 1500-1700 way too large. Its a done deal. It may take some pressure off of the main Sadler's Wells stage but I don't see them bringing over the Danes to do an all Bournonville programme somehow. Probably the best you would expect would be a Danish visit that showcased new and old works. Worth remembering that the last time Paris Opera Ballet performed in London it was at Sadler's Wells. And what choice morsel from their huge cannon did they put on - Le Parc. I'm not saying it was bad, but many hoped for soemthing more representative of a great company. But Sadler's get behind the new far easier than behind the old. Great link with ENB - and it's going to deliver a new Akram Khan Giselle...

[Bruce Wall]

I don't think Sadler's Wells are interested in ballet as such but DANCE, in the round and in all its rich diversity, and particularly newer dance and pushing the art forward. The 500 seat theatre is targeted at medium scale contemporary companies for which 200 seats is way to small and 1500-1700 way too large. Its a done deal. It may take some pressure off of the main Sadler's Wells stage but I don't see them bringing over the Danes to do an all Bournonville programme somehow. Probably the best you would expect would be a Danish visit that showcased new and old works. Worth remembering that the last time Paris Opera Ballet performed in London it was at Sadler's Wells. And what choice morsel from their huge cannon did they put on - Le Parc. I'm not saying it was bad, but many hoped for soemthing more representative of a great company. But Sadler's get behind the new far easier than behind the old. Great link with ENB - and it's going to deliver a new Akram Khan Giselle...

 

Yes, Sadler's Wells - the theatre that was home - some might almost argue birthplace - to British Ballet - is now a dedicated contemporary venue ... and I so look forward to ENB's contemporary ballet take on the Giselle via Akram Kahn.  (I do, however, hope this doesn't result in ENB totally dumping some of the lovely - more traditional - productions of that piece they possess.)  Here's hoping that the Kahn will be every bit as thrilling as Dust.  New York, of course, is - in many eyes - the international root of contemporary dance as so much of its literacy was historically created there.  (I above was, of course, ONLY addressing ballet.)  They too continue to produce much product in the contemporary regard and hopefully the extra SW theatre might help in allowing both locales to better share their wares with each other.  As to 'the new' in ballet, I suppose in dominance we will - as you so generously point out, Bruce - still have to travel to the designated major Western centres should our interests/resources prevail.  (It is my fervent hope that pay per view might become a possibility for these significant outlets - including RDB - in time.  That in and of itself would proffer a form of electronic touring/education that might be possible/achievable in modern times.  Given the brilliant state that NYCB has found itself in of late (after a somewhat slow burn period) it can only continue to flourish I think - especially with the brilliant Justin Peck in tow (whose only work to be seen in London - his only stab at a contemporary work - was given five stars by Mr. Crisp on his first viewing) and I, for one, think that there is every possibility that the POB under Millipied may well lead to some really thrilling (and very necessary) balletic advances there too.  Here's hoping at any rate.  It is a wonderful time to live in this world of ours from all dance aspects. 

Edited January 12, 2015 by Bruce Wall

[jmhopton]

POB did officially open The Lowry just over 10 years ago with a week of La Bayadere which seemed virtually sold out (I went every night!) If major companies want to come why not the Lowry where the Bolshoi and Kirov have also been or even the Birmingham Hippodrome which also has a very loyal ballet fan base and where I saw my first Kirov Corsaire in 1990. Not everything has to be London based.

[Bruce Wall]

POB did officially open The Lowry just over 10 years ago with a week of La Bayadere which seemed virtually sold out (I went every night!) If major companies want to come why not the Lowry where the Bolshoi and Kirov have also been or even the Birmingham Hippodrome which also has a very loyal ballet fan base and where I saw my first Kirov Corsaire in 1990. Not everything has to be London based.

 

I agree with you, jmhopton.  Totally.  There is no reason why more international - and if I might - and dare I say it - more significant national ballet - should not be shared within those excellent facilities you have identified.  When was the Royal last at either?  That said, in my notation #38 above I was ONLY trying to explain the reasons behind why London itself is NOT considered - in the larger scale of things - a WESTERN centre for WORLD BALLET .... as the issue does seem to crop up from time to time.  That is all. 

 

Again, there is NO reason why such significant ballet companies such as POB, the Mariinsky or the Bolshoi ... or, indeed, the Royal Ballet  .... should not have designated stops at the lovely Lowry or the long noted Birmingham Hippodrome ... or the Edinburgh Festival Theatre for that matter.  I wonder when was our wonderful ENB last at any of these venues?  Does anyone know????  Alison, you are always so wonderfully accurate in your remembrance of these matters.  Perhaps you could help.  Bless you.

Edited January 12, 2015 by Bruce Wall

[aileen]

I believe that the Mariinsky went to Edinburgh (possibly with Cinderella) a couple of years ago. I may be wrong about this but an overseas company definitely went to Edinburgh quite recently. Regarding ENB going to the venues which Bruce mentions, I think that the touring companies try to avoid treading on the other companies' toes and I believe that the ACE funding specifies where they are to go.

[Bruce Wall]

I believe that the Mariinsky went to Edinburgh (possibly with Cinderella) a couple of years ago. I may be wrong about this but an overseas company definitely went to Edinburgh quite recently. Regarding ENB going to the venues which Bruce mentions, I think that the touring companies try to avoid treading on the other companies' toes and I believe that the ACE funding specifies where they are to go.

 

Yes, that Cinderella was at the Edinburgh Playhouse not the really beautiful Edinburgh Festival Theatre .... I was just wondering if any our major national dance companies ... the Royal or ENB had been there?  It would be shame if they hadn't. 

 

And on the second score ... Northern and Birmingham now come to London ... and certainly Northern have overlapped venues with ENB .... although it appears that ENB may be cutting down on national venues now to some degree to represent the nation more internationally ...

Edited January 13, 2015 by Bruce Wall

[aileen]

Yes, BRB in fact come to London twice a year, and NB and Scottish Ballet come most years but I suppose that the rationale is that London is the capital (and largest) city. I don't think that these companies would take kindly to ENB going to Birmingham, Leeds or Glasgow.

[Jan McNulty]

NB go to Edinburgh annually and BRB are there in February. ENB do Liverpool and Manchester (probably the Lowry too would be overkill) and NB go to Manchester.

[Bruce Wall]

Yes, BRB in fact come to London twice a year, and NB and Scottish Ballet come most years but I suppose that the rationale is that London is the capital (and largest) city. I don't think that these companies would take kindly to ENB going to Birmingham, Leeds or Glasgow.

 

Yes, but just to play the devil's advocate here for a moment, do not the Russian touring outfits (be it Siberia or Moscow City) often play in those venues .... and do not even other SW associate members - I'm thinking of the like of AMP with their Swan Lake, Car Man, Cinderella, Nutcracker, etc., and Random Dance - both now with public subsidy - also play / overlap with more local (i.e., more locally regionally) dance (i.e., contemporary) companies in those cities?  I believe they do ... whilst acknowledging that I'm sure the immediate nature of their product does not overlap.

 

And just for the sake of clarity - the reason why I focused above with an interest on Sadler's Wells in terms of presentation of major BALLET companies in London - [and, yes, I did restrict myself to LONDON ONLY as I was striving to talk about LONDON in comparison, say, with New York or Paris as a potential WESTERN World BALLET city] - is because Sadler's Wells was the last subsidized entity to support - [well, - again for precision's sake  and not knowing the SW specifics in such - were certainly the ones who physically helped to house them be it at either their own primary or indeed secondary (in terms, say, of the last two RDB showcase rentals) venue - or, indeed, in association with the Coliseum's more commodious space] -  such companies as Stuttgart, NYCB, ABT, SFB, POB - during their most recent London visits (with the acknowledgement that the presentation of the two primary Russian Companies - i.e., the Bolshoi and Mariinsky/Kirov has historically been the entire commercial domain of the Hochhausers who are ... well, certainly have been ... themselves a very fine private presenting outfit; one who have presented those specific same plenteously.)  As Bruce kindly suggests above Sadler's priority has clearly shifted in this regard and they are understandably - especially given a restriction in national resources - clearly now much more focused on showing/celebrating a more national product of dance - well, given an emphasis on 'newer/contemporary' fare first - and those individuals in this country who are most committed towards it.  Quite right too.  The nation's resources (be they in space or monies) are, of course, primary and limited and should be reserved for the companies that do most to serve/support this nation itself.  For those interested in getting an international picture/overview - be it of the BALLETIC world itself or anything else - there are airplanes.  It's only that the umbrella - for whatever reason - and in terms of MAJOR WESTERN BALLET presentation I suggest it has to do primarily with the available facilities to house such - Paris and New York are different in terms of the overall stretch of their canvas. That is/has been their municipal choice/priority.  That it is all.  It is - a bit like international horse racing.  It's a privileged sport; no question.  That kind of international education has sadly never come cheaply.  Times are different certainly for London - in so many ways - from when I was growing up ... and, who knows, - given that things are cyclical - they may well come round to being as they were then.  Who knows?  I don't.  That's the exciting bit.  (Somehow I doubt - given the state of my own matters sadly - that I will be around to see it - but I would, I promise, oh, so love to be able to do so ..... if I could only find an outfit - ANYWHERE IN THIS PRACTICAL WORLD - AND I'M NOT FUSSY - PROMISE - which has proven that freezing actually works!!!  Heaven knows it has certainly been talked about for a long time too.) .... or should that bracket be a ..... (That's me attempting ... meekly I realise ... to be modern   .... THERE ... i did it again.    .   

Edited January 13, 2015 by Bruce Wall

[Jan McNulty]

At risk of getting this thread back on topic, I would just like to say how thrilled I was with the 2 performances I saw (Friday night and Saturday matinee).

 

I wasn't sure how I would react to La Sylphide without any form of set but actually the quality of the dancing meant that I didn't notice the absence of a set!  

 

I thought the evening was well balanced and well thought out and that all the dancers performed well.  I liked the opportunity to see the new Sylphide on Saturday afternoon and would like to see the whole production now on the basis of what I saw.

 

I am so glad I got to see Diana Cuni one last time.

 

I love the joy that Act 3 of Napoli brings me.

 

It was wonderful!

[Bruce]

...As Bruce kindly suggests above Sadler's priority has clearly shifted in this regard and they are understandably - especially given a restriction in national resources - clearly now much more focused on showing/celebrating a more national product of dance - well, given an emphasis on 'newer/contemporary' fare first - and those individuals in this country who are most committed towards it.  Quite right too.  The nation's resources (be they in space or monies) are, of course, primary and limited and should be reserved for the companies that do most to serve/support this nation itself.     .   

 

I don't think I suggested that at all - specifically that Sadler's Wells are concentrating on national companies (ballet or otherwise). Their aspiration is to be a *world leader* in putting on dance and to be a major mover and shaker in propelling the wider art forward - all those associates they have. They regularly bring over companies they consider interesting and will work in the spaces they have available - just look at their main stage programme for goodness sake. The new 500 seat theatre is about allowing more non-UK companies to tour here - Spalding was clear that many European companies were hard for them to put on because the main house was too big for the scale of company and audience.

 

Sadler's were part of a "Spring Dance at the Coliseum" consortium (with Gubbay and Askonas Holt) that looked to put larger companies on at the Coliseum each year. My recollection was that it didn't last so many years because it didn't always sell well and people complained of the seat prices. It's a great shame it did not work out.

[Amelia]

Again, there is NO reason why such significant ballet companies such as POB, the Mariinsky or the Bolshoi ... or, indeed, the Royal Ballet  .... should not have designated stops at the lovely Lowry or the long noted Birmingham Hippodrome ... or the Edinburgh Festival Theatre for that matter. 

 

Mariinsky, in fact, performed at Lowry in 2007: http://www.thelowry.com/news/2008/02/08/kirov-ballet

 

and both Bolshoi and Mariinsky were at Birmingham Hippodrome more that once.

I travelled to see them there.

Edited January 13, 2015 by Amelia

[alison]

At risk of getting this thread back on topic,

 

Steady on, Janet!

[Jane S]

The RDB group opened at the Joyce Theater in NY last night: Ida Praetorius joins the tour, dancing - among other things - Flower Festival with Kaas (Birkkjaer partners Diana Cuni). Marcin Kupinski dances James a couple of times, otherwise casting is much the same as in London.

 

Amy Watson's injury on the opening night in London (she danced in the Folktale pas de sept but somewhere between then and her solo in Napoli she was injured - Femke Slot danced that solo as well as her own, unless my eyes deceived me) meant she had to miss the NY engagement - Caroline Baldwin replaces her.

 

Looking forward to the reviews!

[Ian Macmillan]

Marina Harss was impressed:

 

http://marinaharss.com/2015/01/14/dancing-with-the-danes/

[Bruce]

As was Lauren Gallagher!

http://dancetabs.com/2015/01/royal-danish-ballets-soloists-and-principals-bournonville-celebration-new-york/

 

Both the reception in London and New York really underlines what draws us in to dance - seeing something unique or done uniquely well.

[Ian Macmillan]

Ditto Robert Greskovic for the WSJ:

 

http://www.wsj.com/articles/where-men-take-the-lead-1421278408

 

Curiously, no sign of anything this morning in the NY Times.

[Bruce Wall]

It was grand to see an audience - certainly in the stalls - at the Peacock which was larger than I might have otherwise expected/feared given past experiences with similar ensembles in London.  I sincerely pray that the wonderful Mr. Birkkjaer and his dedicated and highly gifted team managed to break even from that stint.  Perhaps the key in such presentations is to do exactly what they did; to concentrate on pure ballet/dance itself and excise as many other additional costs as possible and focus purely on a dedicated ensemble in order to make these kinds of programmes affordable/viable in London.  Perhaps the fact that the presentation itself was restricted to three performances in but two weekend days was also key to answering what the traffic will now (happily) bear.  I see that RSB's Streetcar has a similar short burst - I think three days - at SW.  This programme with dancers from the RDB was a true delight and I'm so pleased that I was privileged to be able to attend two of the three performances.  It was as much an honour as it was a joy. 

[Jane S]

A poster on another board reports that in a pre-season talk the Danish critic Erik Aschengreen revealed that preparations have begun for a Bournonville Festival in 2018. Nikolaj Hubbe has evidently changed his mind, as 3 or 4 years ago he was dead set against having another festival!

[Bruce]

A poster on another board reports that in a pre-season talk the Danish critic Erik Aschengreen revealed that preparations have begun for a Bournonville Festival in 2018. Nikolaj Hubbe has evidently changed his mind, as 3 or 4 years ago he was dead set against having another festival!

 

What fantastic news is that - hurrah x 10!

[Bruce Wall]

On that same 'other board' it has been revealed in Manhattan by Aschengreen that "the Royal Swedish Ballet will dance a reconstruction of Bournonville's complete final ballet, From Siberia to Moscow, next year".   (This is the same ballet which features the British 'Jockey Dance' such as was shown in Mr. Birkkjaer's brilliant programme of just over a week ago at the Peacock.) 

 

That reconstruction sounds potentially exciting to me ... and anyone who hasn't been ... the Opera House in Stockholm alone is well worth a visit ... being an all too true slice of 'Ballo in Maschara'  ... and it, itself, is just across from the Royal National Theatre which often has truly thrilling theatrical fare as well.  You can also get very reasonably priced tickets to both.

Edited January 16, 2015 by Bruce Wall

[Jane S]

The State Ballet of Georgia did a production of From Siberia to Moscow, staged by Frank Andersen,  a few years ago - there are some bits on YouTube, lurking under the title of 'Napoli':

 

 

[Bruce Wall]

Thanks so for that, Jane. .

 

Here's another treat:  Deborah Jowitt's glowing review of the RDB dancers in NYC ... http://www.artsjournal.com/dancebeat/2015/01/from-denmark-with-love/

Edited January 16, 2015 by Bruce Wall

[balletbob69]

They were Wonderful! I love the danish style so much!

Also a  bit off topic. I was lucky enough to meet Luke Schaufuss in the audience. Really nice lad!
I believe he was with danish before he joined brb??? Interesting....

Edited January 20, 2015 by balletbob69

[Jan McNulty]

They were Wonderful! I love the danish style so much!

 

Also a  bit off topic. I was lucky enough to meet Luke Schaufuss in the audience. Really nice lad!

I believe he was with danish before he joined brb??? Interesting....

 

 

Welcome to the Forum Balletbob69.  I hope you will continue to contribute!  The Danes were absolutely tremendous weren't they!

 

Luke trained at the RDB school so would know the dancers who came over as part of the group.  He also danced with his father's Company.  Whatever, I'm very glad he joined BRB!

[toursenlair]

The Danes posted a very fun picture of themselves collapsed on the stage after the final curtain in NY.  I posted it to my blog:

http://toursenlair.blogspot.ca/2015/01/after-final-curtain.html

[nickwellings]

Lovely picture! Just as you say, by watching them one would never think they tire at all! Such effort -looking effortless - to bring us joy. Wishing them all a well deserved rest!

[balletbob69]

Welcome to the Forum Balletbob69.  I hope you will continue to contribute!  The Danes were absolutely tremendous weren't they!

 

Luke trained at the RDB school so would know the dancers who came over as part of the group.  He also danced with his father's Company.  Whatever, I'm very glad he joined BRB!

Hello Janet.

Much thanks for the warm welcome