The Royal Ballet, Onegin, January 2015

[capybara]

I'm not sure I agree with the comments about the lack of chemistry between Muntagirov and Takada. ....... . For me, the issue might be that she can't, at this stage, match the power of his acting. He is really beginning to develop what promises to be an incredible talent for acting (as well as his wonderful dancing), where from what I have seen of him, he really seems to live the part he is playing.

 

 

Both Matthew Ball and Vadim Muntagirov come across in their ROH interviews (link above) as really feeling the role of Lensky - and it has shown so affectingly in their performances. To quote Vadim, "......be a real artiste, not just a ballet dancer".

 

To my eyes. whereas Yasmine Naghdi's dancing also had great feeling for who she was, for her Lensky, and about what was happening, Akane Takada's did not. And yet, last year, she was nominated for a Critics' Circle Award for her Olga..

[Jan McNulty]

At the RB, more than at the other UK companies, dancers are expected to dance with several partners and Muntagirov will have to adapt to this as that is the way that the RB operates. 

 

I don't think that is the case at all Aileen, certainly not with BRB or NB.  Yes there are partnerships we come to recognise such as Nao and Chi  (BRB) or Martha and Toby (NB) but all 4 of those dancers also dance with a range of other people.  For example I always loved Nao dancing with Robert Parker and Chi with Ambra.  Martha has also danced regularly with Kenny and Javier at NB as well as Chris H-L in the past.

[aileen]

That's interesting, Janet. Whenever I have looked at the casting for BRB and NB the partnerships always seem to have been the same but I admit that I am not very familiar with these companies.

[Jam Dancer]

I've not posted in the forums in quite some time although I've been following the various discussions and living vicariously through the various reviews... still 4 months to go before I complete my assignment and move back to the UK but on my visit home this weekend I was able to see yesterday's (7th) matinee performance of Onegin which I enjoyed very much.

 

Matthew Ball and Yasmine Naghdi were a delight to watch...lovely interpretation of the roles. I haven't seen a lot Matthew Golding and it seems that he divides opinion but I thought his performance yesterday very strong and emotional. Tatiana was impeccably danced by Osipova though I found her interpretation a bit too morose in the first act and i am not sure that's how I read the character.. In any case it was great to be able to attend a performance.

 

Btw I was in the balcony (A59) and I don't recall hearing a scream in the final scene.

[Amelia]

Didn't Cranko originally have Tatiana visit her children in their nursery in the last scene? I only vaguely remember reading about it, but I think he took it out - maybe before the first night - as it seemed too sentimental, or something.

 

Good that Cranko didn’t take freedom with this and showed good taste. Tatiana’s children were never mentioned by Pushkin.

 

Jamdancer wrote:

         Tatiana was impeccably danced by Osipova though I found her interpretation a bit too morose in the first act and i am not sure that's how I read the character.

 

But she was like that:

 

     Shy as a savage, silent, tearful,

     wild as a forest deer, and fearful,

     Tatyana had a changeling look

     in her own home. She never took

     to kissing or caressing father

     or mother; and in all the play

     of children, though as young as they,

     she never joined, or skipped, but rather

     in silence all day she'd remain

     ensconced beside the window-pane.

Edited for layout.

Edited February 8, 2015 by Amelia

[aileen]

Osipova has said that she has read the source material (in Russian, I assume) over and over again. That description of Tatiana, assuming that the translation is accurate, portrays her as rather peculiar: not just naive but socially withdrawn and emotionally aloof.

 

I think that all this talk of "the scream" is alarming Angela. I didn't hear it but I assume that she screamed or audibly mouthed "aah" or something like that.

Edited February 8, 2015 by aileen

[Coated]

I took the scream to be the anguished despair of someone who had to consciously give up the passionate love of their youth. While Onegin was in exile, Tatiana was able to pick up her life with only a memory of a youthful folly and crushed passion. Having to face him again, and even worse, having him literally at her feet just rips open old wounds and she is as vulnerable to Onegin as she was as a young girl. Being so close to the fulfilment of a passion, yet having to reject it for the 'right' reasons is like pouring salt into re-opened wounds.

 

Or in short, the scream really worked for me - there was no chance of thinking Tatiana skips off happily into the sunset with her prince.

 

And because I'm outrageously lucky, I have one more Osipova ticket for the 16th and, boy, am I looking forward to that.

[Amelia]

That description of Tatiana, assuming that the translation is accurate, portrays her as rather peculiar: not just naive but socially withdrawn and emotionally aloof.

Although no match to Pushkin's incomparable lines, nevertheless, the translation is quite accurate. The word 'tearful' is freely used here for the sake of rhyming with 'fearful' but in the original it was 'sad' (pechal'na).

[alison]

That description of Tatiana, assuming that the translation is accurate, portrays her as rather peculiar: not just naive but socially withdrawn and emotionally aloof.

We had, what, maybe 10 different "translations" of that one stanza, taking various amounts of liberty with the original text, so I guess yer pays yer money and takes yer pick

[Fiz]

Me too, Sim.

[Angela]

http://www.stuttgarter-ballett.de/onegin/ueber-onegin/

 

For those of you who understand (spoken) German: Reid Anderson talks to Marcia Haydée about the making of "Onegin" - with some pictures from the original cast. She also speaks about how the work was originally intended for London and the ROH, about the first Onegin Ray Barra, who was injured short after the premiere, about Donald McLeary who guested from London in Stuttgart (and how she did not find chemistry with him, though she admired him very much), about Heinz Clauss who did the new version in 1967. They also speak about Tatyana's children who were in the version from 1965, but not in the new version from 1967.

[Beryl H]

I've just read that in the programme, also a scene at the beginning with Onegin at his uncle's death bed has been omitted, perhaps that's why the ballet is fairly short in length.

[Timmie]

I think most things have been said about the Osipova/Golding matinee, but for me the best Osipova bits were the mirror pas de deux, which was very natural and unforced but extremely powerful, and the final act Red Dress pas de deux which was just gorgeous and completely alleviated the pain in my left knee from my restricted legroom seat!

 

I didn't hear the final act scream but earlier on when Onegin rips up Tatiana’s  letter, Natalia did let out two sighs or sobs which I could hear from the front row of the Amphitheatre. She was really in the zone!

 

Yasmine Naghdi was great as Olga, she came across as much more of a girly flirt than the minxy tease of Beatriz Stix-Brunell.

 

And thanks to Dance is Life for the off stage insights adding an extra dimension to  my enjoyment of the grand jete diagonals. The time between Yasmine (leading the line) disappearing bottom left and reappearing top left was very brief indeed – they must really shift from the bottom to top wing!

[Don Q Fan]

I do so hope you will recount for those of us in the provinces ..oh to live in/near London.

[Timmie]

I do so hope you will recount for those of us in the provinces ..oh to live in/near London.

Don Q Fan, if your post was referring to my, in hindsight, rather enigmatic last paragraph then I was simply alluding to Dance*is*Life’s post #38 in this thread. Sorry.

[Don Q Fan]

Oh sorry Timmie, no I was replying to Bruce W's post about attending the Ballet Assoc evening with Natalia Osipova! My fault for not quoting the relevant parts. Apologies for the confusion.

[Don Q Fan]

Thanks so for the Heads Up on this, SPD444. That's one I'M NOT GOING TO MISS.

[jmhopton]

LIke Don Q Fan I too would love to see Natalia at the Ballet Association's evening but like her living 200 miles away does rather restrict ballet activities.it would be great if someone could ask her if she's performing anything else in this country (With Ivan?) apart from her ROH schedule, and also how she went about her characterisation of Tatiana and, indeed, Manon. Given she stated in an interview she likes to have had at least some personal experience of the roles she performs on stage it would be interesting to hear about her Manon interpretation, especially.

 

I thought her Tatiana last Saturday was sublime. Several people at the stage door said they thought it was better than her debut performance. I think she is a dancer who will constantly be re-assessing her interpretations of a role and bringing new things to it. it is a shame that in a role like this the principals only get to perform the role 2 or 3 times and then may not get the chance for another 2 or 3 years; perhaps the ROH will revive either Manon or Onegin in the next season. there have been so many wonderful debuts this season it will be great to see them again and see how they can build and elaborate (I hardly like to say improve) on what are already incredible performances.

 

Like many others I deplore the lack of a recording to capture such wonderful performances before they are lost forever. the Cranko estate may think they are preserving his legacy by not allowing recordings but it seems to me all they are doing is depriving those people who for whatever reason can't get to London, of seeing this wonderful ballet. it is a form of discrimination.

 

To get back to the matinee performance. Everyone put their heart into it and were so impressive. the audience was very appreciative; the 'jetes' across the stage was applauded as was the 3rd act set. I love the little touches Natalia gave to her interpretation that people have already mentioned; the turning away of the mirror in the last act to indicate that Onegin was no longer the 'true love' she thought he was in the first act. The way she wrapped herself round Matthew Goldings head and neck in the mirror pas de deux was really breathtaking. I've never seen such abandon or such risks. Matthew Golding too was far more impressive than I thought he was going to be. He didn't have such a brooding presence as Thiago but was still impressive in acting and partnering. The last scene was heartbreaking in it's intensity. I felt exhausted after it never mind the dancers. When I spoke to Natalia briefly after the performance at the stage door I said her performance was better than any of the actors who would be turning up the next day to collect their Baftas.

 

Incidentally, just a couple of thoughts about the costumes. Has Onegin (and possibly Lensky) always had soft leather frock coats in the first act? I've seen Onegin many times and have never noticed them shining before.

Also, what sort of dress is Tatiana wearing in the last scene? She has obviously taken off her ballgown so is she in her underskirt? Nightdress? Dress worn in between taking off ballgown and putting on nightdress or what?

[Nina G.]

I hope the Cranko Estate will live to regret not filming the superb Osipova/Golding/Naghdi/Ball cast.  

 

I have seen many Onegin performances but this one has surpassed them all. All four dancers in this cast perform and look so well together (whereas in the other casts there's always at least one dancer who doesn't make the cut for me).  

[alison]

Also, what sort of dress is Tatiana wearing in the last scene? She has obviously taken off her ballgown so is she in her underskirt? Nightdress? Dress worn in between taking off ballgown and putting on nightdress or what?

I think it's just a day dress, to indicate that time has passed. After all, Gremin wouldn't go straight from a ball to departing for wherever, would he?

[aileen]

So, are there no recordings at all, not even of a Stuttgart cast?

[Angela]

There's a German TV recording from 1976 with Marcia Haydée, Heinz Clauss, Joyce Cuoco and Egon Madsen. There's a Canadian TV recording from 1986 with Sabine Alleman, Frank Augustyn, Cynthia Lucas and Jeremy Ransom. And once I saw a video on Ebay with Natalia Makarova and Reid Anderson, but I'm not sure if it wasn't a ghost... You can find huge excerpts - the pdds - from this recording on the "Ballerina" TV series made in 1984 by Derek Bailey for the BBC.

Edited February 11, 2015 by Angela

[Sunrise]

I think I remember the Cojocaru/Kobborg cast being live broadcast to Trafalgar Square and probably elsewhere around the country, so unless the Cranko estate thought this was a failed experiment I can't see why they won't allow live cinema screenings now. It would be amazing exposure for the ballet to go out not just around the UK but to countries that wouldn't be able to see it otherwise.

[mijosh]

In the highly unlikely event of a recording being made of "Onegin" I would certainly hope that it would be of the Soares/Nunez/Muntagirov/Takada cast which was vastly superior in every way to the over-hyped Osipova performances,although I did hugely admire the Lensky and Olga of Matthew Ball and Yasmine Naghidi. Otherwise,no contest.

[Nina G.]

I agree with you Mijosh, Marianella Nunez was indeed a superb Tatiana (I am a great fan of hers) and Muntagirov was a great Lensky but his partnership with Takada didn't work as well as the Naghdi/Ball partnership.

Of all the current "Olga"s it is Naghdi who portrays and dances her character the best and together with Ball they are the best matched Olga/Lensky duo in this run.  

 

Maybe a DVD of Nunez/Soares/Naghdi/Ball?    

[aileen]

Well, I disagree with you there, mijosh, based on the two performances which I saw. Admittedly, I did not see opening night when your preferred cast was, apparently, much better than when I saw it on their second outing; the first act was incredibly flat (as evidenced by the rather muted applause at the end of it) and even Muntagirov did not shine in that act (I can barely even remember the pdd with Olga - apart from thinking that it was disappointing). His solo in Act 2 was stellar though; Ball's was very good but didn't have that last ounze of control and finesse. I didn't find Nunez convincing as the young Tatiana and felt that she looked too mature for the role. The weakest link though was Takada. I thought that she was an odd choice for the role of Olga (and, yes, I know that she has danced it before). I'm not Osipova's biggest fan (I have hated her in a couple of things that I've see her in) but this is one of her best roles, imo. The character and choreography made sense in a way that they didn't with Nunez. I haven't mentioned Golding. I'm not a particular admirer of his but I thought that he was very good in this. However, it's only fair to say that this is one of Soares best roles too.

 

Just my opinion of course, and it seems highly unlikely that any RB cast will be recorded in the foreseeable future. 

[Nina G.]

http://www.theartsdesk.com/dance/onegin-royal-ballet

 

Miss Takada's performance as "Olga" wasn't well received years ago (neither was McRae as Lensky). They keep casting Miss Choe as Olga too and (with utmost respect) a Japanese sister to Nunez (Takada) and Morera (Choe) just looks too odd to me. They are technically great but they do not possess the necessary acting skills. I don't feel it when I watch them. 

 

I agree Aileen, that night (2nd outing) Nunez was not at her best. I  remember I liked Nunez's Tatiana in 2012. 

Edited February 11, 2015 by Nina G.

[Nina G.]

 

Edited February 11, 2015 by Nina G.

[bangorballetboy]

Naghdi replaces Choe as Olga for the matinée today (11th).

[bangorballetboy]

I think the chances of the Cranko estate agreeing to a recording with Osipova are nil.

[MAB]

Naghdi replaces Choe as Olga for the matinée today (11th).

Thanks for that BBB, I've a ticket for Onegin someone gave me, I hadn't realised it was a matinee.  Phew...... I'd better get a move on.

[FrankH]

http://www.theartsdesk.com/dance/onegin-royal-ballet

 

Miss Takada's performance as "Olga" wasn't well received years ago (neither was McRae as Lensky). They keep casting Miss Choe as Olga too and (with utmost respect) a Japanese sister to Nunez (Takada) and Morera (Choe) just looks too odd to me. They are technically great but they do not possess the necessary acting skills. I don't feel it when I watch them. 

 

I agree Aileen, that night (2nd outing) Nunez was not at her best. I  remember I liked Nunez's Tatiana in 2012. 

 

With utmost respect, this is the sort of comment I, as a person of oriental appearance (Chinese "ethnicity") have come to expect. By the way, I came to this country in 1948 as a child of 2, have lived here ever since, and am pretty totally English as far as my cultural identity is concerned. But of course, I still look Chinese.

 

I realise that oriental appearance will be a put-off for some people. It makes us look "inscrutable" to western eyes. Eventually one day, maybe, with greater familiarity, that barrier will no longer be there. Until that happens, even if an actor/dancer of oriental appearance does well, it will not be accepted by people who prefer artists who look "white". I am not criticising these people for this - just as I don't criticise people who dislike particular foods (I hate cauliflower), it's a personal taste. However I have to point out that a similar phenomenon does not exist in reverse (i.e.oriental dislike of "western" appearance).

 

I haven't seen Takada or Choe in Onegin, so maybe you are right in this. But I did see Choe in Cassandra, and she seemed quite OK as an actor to me.

 

Maybe I am being oversensitive, after all these years living in the UK, and seeing the rise of UKIP. So I apologise if I am injecting a rather sour note into what is in my experience, one of the friendliest and most civilised forums I have found on the internet. But you did bring "ethnic" appearance into it. And experience tells me that even if Takada and Choe were as good actors as Nunez, Osipova, Lamb etc.etc., there are those who won't be able to accept it. Maybe one day an actor of oriental appearance will win a Bafta, Golden Globe, Oscar etc. - but I expect it will be a long, long time before that happens.

Edited February 11, 2015 by FrankH

[Nina G.]

Dear Frank, please allow me to say that in my view you are being oversensitive. I love any ethnicity without any prejudice !  but nowadays, as soon as a referral is being made towards any ethnicity, people get oh so easily offended for no reason at all. Please!  

Chinese is Chinese, Japanese is Japanese and Russian is Russian, etc. and we all have different characteristics that make us unique; how else are we to define different cultures and people? 

 

I love Noh theatre and if a Russian or an Italian would perform in it, I'd say they do not possess the required expressions of those Japanese actors. Would I also cause an offence towards the Russian or Italian participant?  So please do not feel so easily offended because I expressed my view.

 

...and at no point Frank did I even suggest "oriental dislike", "put-off", "inscrutable"... nor that I prefer "white" artists: those are your words and your misinterpretation of my view.

Edited February 11, 2015 by Nina G.