The Royal Ballet, Onegin, January 2015

[Sunrise]

In Stuttgart Tatiana has been danced successfully by Sue-jin Kang who is Korean by origin, and I imagine she isn't always paired with other Asian dancers. I don't think ethnicity is that much of a barrier to conveying sisterliness or family ties. I haven't seen enough of Takada or Choe's dramatic roles to make much comment on them specifically, but I doubt that sisterly warmth is too much of an acting stretch for them. 

Edited February 11, 2015 by Sunrise

[capybara]

I find Choe and Kaneko (RB) and Kase and Takahashi (ENB), for example, very expressive. Just as I find some dancers of 'western' appearance very bland. I just don't 'receive' anything from Takada, I'm afraid.

 

 

Edited to add that Aki Saito (Royal Ballet of Flanders) is a wonderful, dramatic Tatiana.

Edited February 11, 2015 by capybara

[FrankH]

Dear Nina G.

 

Thanks for your reply.

 

As I said, I do not criticise anyone if they do prefer people of particular appearance for particular roles. I would find it strange if, for instance, Henry VIII in Wolf Hall were played by a black or asian actor. Although I would hope that if they were brilliant actors they would win me over.

 

However I do look forward to the day when anyone of any appearance can take part in ballet, Noh, flamenco, or what-you-wil, without their "ethnic" appearance being an issue, I think that day is a very long way off - and I still believe that actors/dancers of oriental appearance have a barrier to overcome which those such as, say Benedict Cumberbatch, Sarah Lamb, etc.etc., do not have. That's just a fact of life.

Edited February 11, 2015 by FrankH

[Mummykool]

^{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.} 

 

^{Well I did see opening night and I think I said preciously, apart from Muntagirov (who was wonderful) the whole thing fell flat in comparison to Osipova cast performances. I have seen both of those too (greedy) and the second outstripped the first by a country mile. I  can only concur with all the superlatives already posted on this forum and wholeheartedly agree with Aileen}

^{As far as recordings do there was an absolutely wonderful clip of Cojacaru/Kobborg dancing the final PDD on you tube a few years back but sadly it got removed.}

[Nina G.]

I find Choe and Kaneko (RB) and Kase and Takahashi (ENB), for example, very expressive. Just as I find some dancers of 'western' appearance very bland. I just don't 'receive' anything from Takada, I'm afraid.

Fumi Kaneko is lovely and has great expression, I also like Shiori Kase and Takahashi a lot, and Miyako Yoshida was a star! 

 

[Jan McNulty]

I have to say that since my earliest days as a ballet watcher I have seen dancers of various ethnicities and appearances appearing together as family members and it is only when discussions such as these take place and I think about it that I realise I have seen multi-ethnic families on stage!

[zxDaveM]

 

Fumi Kaneko is lovely and has great expression, I also like Shiori Kase and Takahashi a lot, and Miyako Yoshida was a star! 

 

 

 

Miyako is the greatest! Sigh!

[aileen]

Can I just make it clear that my lack of enthusiasm about Takada's performance in this role and her partnership with Muntagirov is nothing to do with her ethnicity. There's a lot that I like about Takada's dancing but I don't find her very expressive dramatically and, from what I've seen so far, doesn't seem to make much of a connection with her partners. However, the RB management obviously doesn't agree because she's being given a lot of lead and principal roles this season.

[Ann Williams]

Aileen, I share you opinion about the lack of dramatic impact in Takada's dancing, but on the whole I find the exquisite lightness, delicacy and perfection of her dancing a very satisfying counterbalance.  Hopefully, anyway, increased stage exposure in principal roles will bring the confidence to let her inner actress 'tiger' roar soon!  (Is it rude to ask how old she is?).

[alison]

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.

 

You do indeed.  It didn't film very well, as I remember: the mirror scene in particular was very dark.

[Sunrise]

You do indeed.  It didn't film very well, as I remember: the mirror scene in particular was very dark.

 

I'd forgotten that. Mostly I remember the dancers appearing in costume at Trafalgar Sq for a live curtain call and Bonelli running across the square into a van, chased by excited young girls.

 

Anyway maybe it just doesn't film well at all? The last time I saw Onegin I was in the front of the stalls and I was very excited, but it seemed very flawed from that perspective - too much angst and too close up. I was so put off Onegin's first self-absorbed solo, it was hard to enjoy the rest of the ballet, even though it was beautifully danced. I remember thinking I would book seats much further back next time. 

Edited February 11, 2015 by Sunrise

[capybara]

I thought that the final pas de deux from Federico Bonelli and Laura Morera was sensational this afternoon. All the many students in the audience on their £10 tickets (lucky things!) had a real treat.

 

Bonelli, who originally forged something of a reputation as Lensky before he came to the RB, was a simply amazing Onegin - excellent characterisation with many nuances that I hadn't seen from others in the role and beautifully shaped 'classy' dancing. Morera was especially strong in Act 2 and as the more mature Tatiana of Act 3.

 

Donald Thom did really well on his debut as Lensky and was particularly good dramatically and when dancing alone. He gave us a powerful, angstful and well-controlled Act 2 soliloquy. Of course, he couldn't have had much rehearsal time with his Olga (the delightful Yasmine Naghdi replacing the injured Yuhui Choe) and that showed a little in the Act 1 pas de deux.

 

But - wow - all these amazing casts just go to show the strength in depth at the RB.

[Mary]

I was lucky to have a birthday treat Onegin matinee today- not only that,  but got Morera's Tatiana , a Naghdi surprise Olga replacing poor Choe- and GARY AVIS  as Gremin, one of my favourite ballet characters!*

As capbara says the final pas de deux was sensational- very intense but also danced with technical excellence.

I agree Donald Thom was quite good but not the best Lensky I have seen-the first act partnering was shaky but, he was dancing with an unexpected partner to be fair. But the duel scene was much stronger.

All praise to the wonderful Morera- and Bonelli made a very handsome and more attractive, less sinister Onegin than others I have seen-which made a nice change.

What a treat!

 

*must be the epaulettes

[cavycapers]

I prefer two gins to onegin!

[JulieW]

I watched last night with a friend thanks to two standing tickets being offered on the ticket section. With the added bonus of being invited to sit in the royal box (a lovely chap came and asked us in the first interval). What wonderful seats!

 

I've only seen Onegin once before and want overly impressed at the time (I didn't like the guest principal in the main role so that rather spoiled the atmosphere for me).

 

There were some wonderful performances last night. Nehemiah Kish made a great moody, slightly aloof Onegin. I hope he apologised to the young lady in Act 3 who he hit round the face as he passed her ;-)

 

Itziar Mendizabal danced and acted Tatiana beautifully but I just felt she wasn't "child-like" enough at times early on.

 

My favourite of the evening was Nicol Edmonds as Lensky - wonderful physique, mesmerising dancing and great acting.

 

And Beatriz Stix-Brunell was a very cheeky Olga. I was really cross with her flirting in Act 2 and causing all the trouble!!

 

(Gosh, my phone's having trouble with these names!)

 

My young friend's favourite part was the final odd and I also felt it was amazingly powerful and tortured (I presume that's the effect they're after lol)

 

 

And a final mention for Anna-Rose who has stood out technically from a very young age but if I'm completely honest, wasn't my favourite to watch (I used to feel she overdid things sometimes just because she could) - but she really matured and "grown into herself") and stands out amongst the ladies - her jetes put some of the others to shame.

[Fonty]

I thought that the final pas de deux from Federico Bonelli and Laura Morera was sensational this afternoon. All the many students in the audience on their £10 tickets (lucky things!) had a real treat.

 

Bonelli, who originally forged something of a reputation as Lensky before he came to the RB, was a simply amazing Onegin - excellent characterisation with many nuances that I hadn't seen from others in the role and beautifully shaped 'classy' dancing. Morera was especially strong in Act 2 and as the more mature Tatiana of Act 3.

 

Donald Thom did really well on his debut as Lensky and was particularly good dramatically and when dancing alone. He gave us a powerful, angstful and well-controlled Act 2 soliloquy. Of course, he couldn't have had much rehearsal time with his Olga (the delightful Yasmine Naghdi replacing the injured Yuhui Choe) and that showed a little in the Act 1 pas de deux.

 

But - wow - all these amazing casts just go to show the strength in depth at the RB.

 

I got given a ticket for yesterday's matinee at the last minute, as a friend of mine couldn't go.  I haven't seen any of the other casts, so cannot make any comparisons, but all I can say is that this performance was absolutely fabulous.  I thought Bonelli and Morera were sensational together, and I felt it was a real privilege to see such wonderful dancing.

 

In fact, the whole company seemed in top form, and everyone fully deserved the shouts and cheers at the end.  My hands were quite sore from all the clapping!

[alison]

I watched last night with a friend thanks to two standing tickets being offered on the ticket section. With the added bonus of being invited to sit in the royal box (a lovely chap came and asked us in the first interval). What wonderful seats!

 

You lucky thing!  You must have had a really good view for the last part.  How nice of him to ask, too.

 

I was initially very confused at your mention of the cast: totally forgot it was the *matinee* I'd been to!

 

Speaking of which, the only thing that marred it for me was that Laura Morera and Gary Avis danced their Act 3 pdd with such a *mutual* degree of ... besottedness is perhaps a bit strong, but ... that I found it a bit difficult to believe the second scene: I felt Tatiana would have been more likely to go "Onegin?  Oh yes, didn't I fancy myself in love with him once?" and not be at all perturbed about his reappearance in her life!

[JulieW]

Was a treat I must say, after thinking I'd be standing for the evening - we saw two acts from there and it was lovely to be so close to the action for a change!

[Mary]

You lucky thing!  You must have had a really good view for the last part.  How nice of him to ask, too.

 

I was initially very confused at your mention of the cast: totally forgot it was the *matinee* I'd been to!

 

Speaking of which, the only thing that marred it for me was that Laura Morera and Gary Avis danced their Act 3 pdd with such a *mutual* degree of ... besottedness is perhaps a bit strong, but ... that I found it a bit difficult to believe the second scene: I felt Tatiana would have been more likely to go "Onegin?  Oh yes, didn't I fancy myself in love with him once?" and not be at all perturbed about his reappearance in her life!

I know just what you mean, Alison.

 

But, for me, this is one of the strengths of the ballet-the human complexity. It  acknowledges and presents these different types of love, this great conflict of feeling. Life is not simple and people may, indeed, be happily married yet be made to remember overwhelmingly passionate feelings for someone else which causes inner conflict and trauma.   I think the choreography explores the difference in these feelings, and dramatises their resolution-which in itself can be read in different ways - very effectively.  It gives scope for different interpretations by performers, just as do Macmillans ballets, which must be one reason for its popularity..

[Vanartus]

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.

[Vanartus]

Quote: "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!"

 

 

I'm sorry but the above is exactly the type of casual racism that goes unacknowledged by the speaker. Not good.

 

(Edited by Moderator to make it clear that the top paragraph is a quote.)

[John Mallinson]

This is a discussion of Onegin. Please keep it there.

[Josephine]

Agree that it's best when forum discussions stay on topic, but profoundly hope that the phrase 'casual racism' never again appears in one.

[Fonty]

Speaking of which, the only thing that marred it for me was that Laura Morera and Gary Avis danced their Act 3 pdd with such a *mutual* degree of ... besottedness is perhaps a bit strong, but ... that I found it a bit difficult to believe the second scene: I felt Tatiana would have been more likely to go "Onegin?  Oh yes, didn't I fancy myself in love with him once?" and not be at all perturbed about his reappearance in her life!

 

In the past, I have seen the Act 3 pdd danced with mature elegance, but with such cool detachment on the part of Tatiana that it seemed clear that she married her husband for the status and security he could provide, with no real emotion on her part.  So when Onegin suddenly appears again, I've often wondered how she managed to show him the door.  

 

In the case of Bonelli's Onegin, he was so good looking, and oozed such sex appeal, it made him almost irresistible. If Morera hadn't previously displayed such genuine affection for her husband, I would have found it hard to believe she could reject him!

Edited February 13, 2015 by Fonty

[capybara]

 

In the case of Bonelli's Onegin, he was so good looking, and oozed such sex appeal, it made him almost irresistible. If Morera hadn't previously displayed such genuine affection for her husband, I would have found it hard to believe she could reject him!

 

Exactly. As if Bonelli's dancing and portrayal of Onegin wasn't enough (which it was), he also looked drop dead gorgeous.

 

Fonty's comment reminds me of the problem which sometimes occurs in R & J when the dancer cast as Paris is especially handsome!

[Angela]

I don't think that Tatiana really loves her husband - she likes him, of course, but she was married to him by her mother (remember act 2), she did not choose him. I like a hint of sadness in Tatiana's smile during the pdd, so you still remember the withdrawn, shy girl she was - would the Tatyana of act one really mature to the sparkling center of society? 

I remember a very revealing gesture that Adam Cooper made, who not only danced Onegin but also Gremin in the first run at the RB - on taking his leave from her in the final scene, he kind of pushed her a little bit away when she wanted to hold him back at the door - not unfriendly at all, but like saying "compose yourself, my dear" - and in that moment you knew that she was not happy in her marriage, that Gremin did not fully understand her emotions. But still she sends Onegin away, because she is married and it is too late. She is not Anna Karenina!

[alison]

It makes more sense that way, doesn't it?  I've also been surprised by how fervently she's kissed him in this run: certainly there's an element of desperation in there, but it still seems a little out of character for the times.

[MAB]

I've a feeling that fervent kisses went on behind closed doors back then as much as now.

 

We don't now why Gremin is going out but most likely he has to be where he's going, men of his class wouldn't have worked as such, but he could well be in government or the military.  Surely Tatiana doesn't want him to go because after receiving his letter she doesn't want to be alone with Onegin because at that point she isn't aware herself how she will react.

 

She has to make a judgement call, yes, but  the nature of her pas de deux with Gremin which although it doesn't indicate wild passion is still lyrical and tender, would be evidence that she is at the very least happy with both her life and her husband.

[Jane S]

I think it's interesting that the printed synopsis originally described Gremin as 'elderly and kind' and now he's just 'kind'. I remember him being played much older and much more 'correct' and I've always assumed that Tatiana was grateful to him and fond of him but was at best reasonably contented in her marriage.

[rowan]

Itziar Mendizabal danced and acted Tatiana beautifully but I just felt she wasn't "child-like" enough at times early on.

 

 

I saw the same performance and I thought Iziar Mendizabal had just the right amount of adolescent awkwardness in the early scenes. But I thought Beatriz Stix-Brunel's Ogla was too childlike. Even if she is meant to be a slightly silly and flirtatious girl, I found it hard to believe she was engaged to be married.

 

For me, one of the highlights was the vastly improved corps, which had been distinctly lacklustre in the Don Q I saw.They seemed like a completely revitalised company, and all for the better!

[capybara]

For me, one of the highlights was the vastly improved corps, which had been distinctly lacklustre in the Don Q I saw.They seemed like a completely revitalised company, and all for the better!

 

Really? Including the persistently  'out of sync' group of 8 girls in Act 1?

[Mary]

Agree the 8 girls in act 1 were weak in both performances I saw and indeed there was a certain amount of thumping and galumphing. Very unusual.

[Fonty]

I don't think that Tatiana really loves her husband - she likes him, of course, but she was married to him by her mother (remember act 2), she did not choose him. I like a hint of sadness in Tatiana's smile during the pdd, so you still remember the withdrawn, shy girl she was - would the Tatyana of act one really mature to the sparkling center of society? 

 

 

Well, I don't know about sparkling centre, but she would certainly have to mature into the role that was expected of her by her marriage.  Her husband's postion would make it obligatory for her to be an accomplished hostess, wouldn't it?

 

Of course, I have not read the original, so I have no idea what Tatiana is supposed to be like, I can only go by the performances I  have seen.  And one of things I love about seeing various casts is  the different interpretations of the roles.  If Gremin is played as a rather reserved man not given to displays of emotion, then I would expect Tatiana to act differently as well.