Royal Ballet: La Fille mal gardée, Spring 2015

[Indigo]

After some of the mixed bills we have had recently I begin to long for old fashioned triple bills that end with a light ballet like Jazz Calendar,Facade,Mamz'elle Angot,La Boutique Fantasque, The Prospect Before Us,Les Biches and so on.What we get at the moment often seems like the equivalent of a meal in which the same ingredients appear in every course.

 

 

Oh, me too, Floss.

It used to be standard that a triple bill would start with an established ballet which would be a piece of pure, classical dancing.  This would be follwed by something that was either a new work, or one that could perhaps be described as "experimental" (subtext: not everyone's cup of tea).  Then the final would be a cheerful crowd pleaser.

 

 

As a relative newcomer to ballet, I've only seen three mixed bills & found Floss & Fonty's posts interesting food for thought. Initially, I wondered whether this viewpoint would perhaps be more common amongst those posters who have considerable ballet going experience, as I get the impression that lighter/"cheerful crowd pleaser" ballets aren't performed quite so frequently as in the past, so might be more missed. It's also the case that if you have never seen these light ballets, you won't really know what you're missing! 

 

But then I thought about my own personal enjoyment of ballet. The three mixed bills (all RB) I saw were mostly what I think would be described as more serious/weighty contemporary or abstract works. Two bills included the ballets Month in the Country & Marguerite & Armand. I enjoyed the greater variety they provided in each evening, although I don't think either would be described as cheerful or light, exactly! 

 

 

Ballet goers and dancers seem to have more problems with the concept of comedy ballets than was once the case. I suspect that in large part this is because so few are performed and even fewer created...

 

...Today however audiences tend to take their ballet going very seriously.

I suspect that this shift in taste began as a reflection of the tastes of those in charge of ballet companies rather than audiences suddenly being converted to a monoculture of serious works.

 

 

I didn't know anything about Fille until I saw the ROH cinema trailer & based on that, initially dismissed Fille as being lightweight & pantomime orientated - especially those dancing chickens! Pantomine isn't my thing anyway, but perhaps my initial reaction was due in part to being used to being served up a diet of more serious ballet, as Floss speculates. 

 

So when I read the press critic reviews of Fille & the posts on this forum, I realised I'd completely misunderstood this ballet. I grabbed a last minute ticket for the 24th April with Morera/Muntagirov & was converted. I found Fille an absolute joy from start to finish, although I do share the same concerns about the depiction of Alain as others have mentioned in their posts.

 

What I found interesting after Fille, was realising just how much I appreciated seeing a ballet which has such an abundance of charm & sunshine. 

 

Welsh National Opera consider that: "The Barber of Seville should be available on the NHS. Upbeat and optimistic, Rossini's sunniest creation is the perfect pick-me-up". 

 

I'd argue the same case could be made for Ashton's Fille. 

 

For me personally, I now hope to have the opportunity to see both serious & more light-hearted/uplifting ballet works, whether as part of mixed bills or full length ballets. After all, such a range of choice is arguably available in other artforms, such as music, opera or art. 

 

(This is my first post - I do hope all the quotes have worked correctly!)

 

[Edited to add a smiley & test the function]

Edited May 5, 2015 by Indigo

[alison]

Welcome to the forum, Indigo.  Yep, it looks as though your quotes have worked all right.  I sometimes have problems with them if my browser is misbehaving.

[FLOSS]

MAB. Thank you for reminding me about Dansomanie. I went onto the site and discovered that most of the items posted about the current revival of Fille in Paris concern casting. The posters, not surprisingly,seem to be using the casting of this revival to try to work out what the future holds under Millepied's directorship.Some seem to be concerned that there are so few etoiles dancing in the current revival and that a couple of men who were coached as Alain by the role's originator are not featured. Others seem to think that the current casting is evidence that Millepied is concerned with developing his young dancers.

 

There are comments on other Dansomanie threads that suggest that there was a considerable amount of favouritism under the former director.But then fans tend to accuse management of favouritism when the powers that be fail to recognise the superior qualities and talents of those dancers that they follow with fervor.Casting according to suitability rather than seniority can cause all sorts of problems for management, as can casting for developmental purposes.We may get an insight into how committed O'Hare is to "growing his own" rather than buying in talent this afternoon when the casting for the first booking period is announced.

 

Anyway at least some of the posters on the Dansomanie site think that it is a good idea to cast young inexperienced dancers in Fille because the choreography is not too difficult and it will give Millepied the chance to see what the youngsters can do.I suppose the point is that the Nureyev productions of the classics tend to be stuffed with obvious technical challenges so that even the uninitiated can see that they are difficult.They are in many ways what Danilova described as "displays of dancing".If that is the sort of work that the ballet goer is used to watching then being presented with a ballet with a totally different aesthetic where the emphasis is on apparent effortless dance it is easy to believe that you are watching a simple piece suitable for training purposes.It will be interesting to read the comments of those who attend the performances in Paris.

 

FONTY

 

While my enthusiasm for old fashioned mixed bills continues I seem to recall reading somewhere that Richard Buckle once gave a definition of a triple bill as a programme which was guaranteed to contain one ballet that you would loathe. And he was writing about the old fashioned triple bill not the sort that we get now.

[FLOSS]

Indigo welcome. Make sure that you see The Two Pigeons.

[Indigo]

Thanks for the kind welcome, Alison & Floss. 

 

Really looking forward to the cinema screening of Fille this evening, too. 

 

Incidentally, while I was enjoying a recent performance of Fille at the ROH, Mr Indigo was strolling down a London pavement nearby when a small, white pony wearing a red bridle came walking towards him. Mr Indigo recovered from his surprise & politely enquired whether this was the famous ballet pony, Peregrine. (Although really, who else would it be?!) Apparently Peregrine was a real pro & happily posed for a few quick photos, before trotting off home to his stables. It made Mr Indigo's day. He was so delighted to have met Peregrine, that he's coming to the cinema with me tonight to see him perform. 

 

[Edit - tried to link to photo but having problems!]

Edited May 5, 2015 by Indigo

[Indigo]

...Make sure that you see The Two Pigeons.

 

Many thanks for the suggestion, Floss. I recall reading posts on another thread, which were very enthusiastic about the revival of Two Pigeons & saying what a lovely Ashton ballet it is. I've noted the cinema relay date in my diary & hope to see it at the ROH too! 

[Mary]

Already looking forward to the cinema broadcast tonight.

I’m very well prepared: for the last few days I’ve been reading the Ashton biography… yesterday evening I just had arrived at the point where the preparations were starting for “Fille” but sadly I fell asleep  .

But I have watched the video with Marquez / McRae several times during the long weekend and while searching youtube also found this clip with Nerina / Blair / Holden / Grant from 1962

 

https://www.youtube.com/watch?v=S8i5SERjxGY

 

which I find absolutely amazing.

 

 

Thanks Petunia -I have so much enjoyed watching this.

Stanley Holden is just exceptional- it is as others have said, he creates the Widow as a real character and not a joke.

 

Looking forward to the screening tonight even more, and will note carefully how it compares..and indeed I have also booked for the encore.

Modern technology does have its advantages to the ballet lover.

[thewinelake]

Raymond blanc is in da house tonight...

[capybara]

Raymond blanc is in da house tonight...

 

So?

Edited May 5, 2015 by capybara

[billboyd]

Just back from my local Odeon.

 

Wow! wow! wow!

 

Terrific!  Five stars! Superlative!

[Mary]

You must have got back very quickly Bill!

I agree it was marvellous, totally joyful and uplifting.

I was really won over by Osipova-her facial expressions and acting, lovely. Her solos, fantastic. McRae charming and full of vim and pep as ever.  Paul Kay's Alain confirmed as my favourite ever interpretation, Gary Avis making something of the role of notary ( channelling John Inman perhaps a tad). The corps together, fleet of foot and pliant of scythe.

 

 

Wonderful.

 

 

The pony seemed, shall we say, pleased to see Darcey Bussell.

[thewinelake]

So?

I'm glad you asked, as even such a gateaux-meister as M. Blanc would have found much sugary sweet delights to admire in this performance.

I'm not a ballet nut like most of you guys, but this was sheer pleasure and fun!

That funny little autistic (?) guy in love with his umbrella was quite a novel concept to me and kept the emphasis on slight tragi-comedy (aided by the curtain+carriage mishap!). His takeoff at the end of Act I was a real surprise (is it OK to say that, now the run is over?).

Macrae was pure sculptured posterior, and I was well impressed with his macho variation in the picnic scene.

One wonderful moment was Osipova's ribbon-assisted slow pirouette  - just beautiful. Also utterly charming was the scene when she thinks she's all alone in the house (wish I had binoculars to see her facial expressions more clearly). I do wonder if others might be more naturally suited to that kind of role, though?

 

One odd thing happened, which was that (as I mentioned earlier) we had a spare ticket. Unfortunately, there wasn't any demand, so I was unable to sell it. Then before the start of Act II, an eagle-eyed american guy who'd paid for the slips, comes along and asks if the seat is taken... I didn't know quite what to say ("yours for a tenner?!") but said he was welcome to it. A little embarrassing, as he then proceeded to spend the entire 2nd Act leaning forward (and he was pretty tall). I felt sorry for the people on the row behind. Maybe best put in the etiquette thread?!

Edited May 5, 2015 by thewinelake

[Fiz]

Oh, that was wonderful! Osipova was delightful and Steven MacRae was a much better partner for her than Matthew Golding, in my humble opinion. I could have watched it all over again.

[Sunrise]

I have to agree about Paul Kay was great. His Alain was gently and beautifully done, really enjoyed his performance.

 

I thought Darcey Bussell did a very nice job as well, much, much improved, and let the ballet speak for itself. I think it helps that she hasn't danced in this ballet, so she was able to approach it as a fan rather than someone who already knew the answers to the questions she was asking. The conversation with Lesley Collier was great too.

[capybara]

I'm glad you asked, as even such a gateaux-meister as M. Blanc would have found much sugary sweet delights to admire in this performance.

I'm not a ballet nut like most of you guys, but this was sheer pleasure and fun!

 

 Nice one thewinelake!

 

So sorry that you didn't manage to sell your ticket, though. People clearly didn't know what they would be missing.

[thewinelake]

Do they release DVDs of these filmed performances?

[Balletfanp]

Well, I was a bit of an "Osi-sceptic" - I think largely because of all the hype, and the fact that I wasn't totally sold on her in Swan Lake, but just back from the cinema and I have to say I'm converted. In roles like this anyway. I thought she was absolutely wonderful. What footwork! And what lovely characterisation!

 

I'm afraid I can never really warm to McRae though, and missed Vadim's more sensitive portrayal of Colas (and dare I say it, better dancing?? McRae was undoubtably very good, but lacks finesse to my mind). I guess it's a matter of taste, and I have no wish to offend McRae fans!

 

But all in all, wonderful!

[billboyd]

Welcome to Natalia's fan club!

 

Sorry, you are unable to join Steven's...yet.

[Balletfanp]

Maybe he'll grow on me - I'm open to being convinced.

 

And tonight Peregrine the Pony lived up to his "naughty" appellation by walking the cart into the drop cloth and dragging it along - then keeping going in rather too much of a hurry....and going....thought he wasn't going to stop at all!

[jmhopton]

I too thought the cinema performance was wonderful. Natalia's footwork was amazing; so quicksilver and joyous and Steven and Paul Kay gave their usual wonderful performances. However, I do love Vadim's interpretation also. Not necessarily better than Steven's just different. I hope he gets the chance of a cinema relay the next time it's danced. I especially enjoyed his performance with Roberta and didn't particularly notice the height difference.

I just have one or 2 mild complaints; the lighting seemed really quite dark most of the time, not just in the opening scene and for the thunderstorm. It spoiled it slightly. I don't rememberit being so dark when it was filmed last time with Steven and Roberta. I don't see why lighting people are so obsessed about gloomy lighting, especially when most of the time it's supposed to be a sunny spring day!

The camera angles seemed occasionally awkward; concentrating on the wrong thing though I can't remember specific examples. However, you could see Steven (or at least his blanket) hidden behind the wheat sheaves. Also Peregrine didn't do his pawing the ground which he's done wonderfully in the 4 performances I've seen at the ROH. Was there something going on with the sceneryjust before he should have done his pawing that may have put him off? Did he veer slightly into the backcloth?

Anyway, a great performance by all and I'm looking forward to the encore performance on Sunday.

[alison]

I was just reading the Ivor Guest Fille book, and looking at some of the old pictures.  Those wheatsheaves seem to have been taller and less moulded back in 1960, which probably made it easier for Colas to hide behind them.  But I'm not sure whether sufficient care has been taken in this run to disguise it: I think I've seen about half-a-dozen performances this time round, and in 3 of those I was in the lower reaches of the amphi and could easily spot the concealed dancer.

[cavycapers]

Osipova seems to have the smallest platforms on her pointe shoes! It did enhance the quicksilver footwork and her amazing jumps. Made them all the more remarkable.

 

The first Lise I saw was Cojacaru, who was glorious too, but couldn't have been said to have pretty feet.

 

The ribbon assisted pirouette: how on earth does that work? Are the ribbons exerting enough force to pull her round? Amazing.

[Douglas Allen]

An interesting point, cavycapers, about Cojacaru's footwork. Would you care to elaborate?

 

I've always thought that she had just about the best footwork  of any Royal Ballet dancer of the last twenty or thirty years. Even when she was appearing in corps roles Cojacaru 's footwork was noticeable for speed, precision, placement and articulation. Thinking about it, the last dancer in the company with feet as delightful (though she didn't have great speed) was Ferri and before that, Sibley.

 

No dancer is without fault and you can criticise Cojacaru on a number of grounds, but not, I suggest, on footwork.

[Bruce]

Saw Fille as a cinema transmission last night - we go to South Hill Park in Bracknell - comfy seats and lots of room. Cheap booze too.

 

Really admired Osipova and McRae last night – wonderful clarity of steps, so fast, so bold and couldn't ask for better. But they didn't quite deliver real people to me as others have. A good telling by the leads but not one that tugged my heart. Paul Kay did a v fine job I thought - a real and vivid character. Rather odd that the commentary steered clear of calling him a simpleton and I think referred to him as 'eligible'. I think not! A bit of a cock-up in the parade before the front cloth - it looked like Mosley saved the day by exiting the trap and helping to manhandle it on stage.

 

Loved the terrific interview with Lesley Collier and also the send-off to Jeanetta Laurence.

[thewinelake]

I've got to say that I agree - I didn't fall in love with Lise, although I was extremely impressed and captivated by her dancecraft (is that even a word?). There are occasions where I am more taken in an emotional way by ballerinas (bizarrely I find that the dancers from the Far East seem to do it for me - Nao Sakuma and Yuhui Choe) although I do wonder if it's impossible to get the two together - perhaps a bit of "girl next door" reality doesn't go with technical wizardry?

[Mary]

Paul Kay did a v fine job I thought - a real and vivid character. Rather odd that the commentary steered clear of calling him a simpleton and I think referred to him as 'eligible'. I think not!

 

I believe "eligible" is a well-known euphemism for "very rich" Bruce....

[Sunrise]

I can appreciate why some people find McRae's showiness getting in the way of his character, but I can't fault the dancing, which was just amazing. And I think it took me a while to warm up to Osipova as well - I don't find her as bonny as other Lises and there were little things about her characterisation and mime that didn't sit that well with me. But I adored some of her own touches...like when she was trying to hide Colas - his first refusal to hide under the table was met with a furious look on her face and a "Get in there!" gesture from Osipova that was brilliantly funny. And I agree, her footwork was just lovely. Thought the kissing was rather lusty up-close though! I liked Osipova's interview too - it was great to hear that she considers this ballet to be the finest of all, and that she feels so in tune with Lise's character that she could just play herself. 

 

Our theatre was maybe 70% full, and a much older audience than other screenings I've seen. There are three encore screenings on Sunday, quite empty so far.

Edited May 6, 2015 by Sunrise

[Bruce]

I believe "eligible" is a well-known euphemism for "very rich" Bruce....

Appreciate it can be that but a dcitionary definition is more rounded:

 

Eligible: fit or proper to be chosen; worthy of choice; desirable:

Eg: to marry an eligible bachelor.

 

and that accords more with how I feel eligible is normally used.

Edited May 6, 2015 by Bruce

[Jacqueline]

Osipova seems to have the smallest platforms on her pointe shoes! It did enhance the quicksilver footwork and her amazing jumps. Made them all the more remarkable.

 

The first Lise I saw was Cojacaru, who was glorious too, but couldn't have been said to have pretty feet.

 

The ribbon assisted pirouette: how on earth does that work? Are the ribbons exerting enough force to pull her round? Amazing.

 

An interesting point, cavycapers, about Cojacaru's footwork. Would you care to elaborate?

 

I've always thought that she had just about the best footwork  of any Royal Ballet dancer of the last twenty or thirty years. Even when she was appearing in corps roles Cojacaru 's footwork was noticeable for speed, precision, placement and articulation. Thinking about it, the last dancer in the company with feet as delightful (though she didn't have great speed) was Ferri and before that, Sibley.

 

No dancer is without fault and you can criticise Cojacaru on a number of grounds, but not, I suggest, on footwork.

I may be wrong but I took Cavycaper's remarks re:Cojocaru's feet literally, rather than as criticism of her artistry. Alina Cojocaru is one of my all time favourite dancers but her feet are not her best physical feature. I don't know if it is because of her shoes or the shape of her feet but the result particularly en pointe distorts the line. Hence she could not be described as having pretty feet. I haven't seen her dance for sometime so do not know if this is still the case.

Anyway, just my opinion.

[Sunrise]

Do they release DVDs of these filmed performances?

 

I was wondering about whether we would expect another DVD of Fille too - were Osipova's other performances also filmed or was it just this one? 

[zxDaveM]

I just have one or 2 mild complaints; the lighting seemed really quite dark most of the time, not just in the opening scene and for the thunderstorm. It spoiled it slightly. I don't rememberit being so dark when it was filmed last time with Steven and Roberta. I don't see why lighting people are so obsessed about gloomy lighting, especially when most of the time it's supposed to be a sunny spring day!

The camera angles seemed occasionally awkward; concentrating on the wrong thing though I can't remember specific examples.

The lighting is quite deceptive when actually in the theatre - the leads are often strongly spotlit, which a camera (still or movie) will pick up that your eye wouldn't - as it rapidly adapts the the lighting contrast. Also, they seem to have increased the redness in the back drop for the sunrise, which never seems to go away!

 

As for the season - spring (as in may pole), or August as in harvesting the wheat? Who knows! Who cares!! :-)

[ferrylights]

I really enjoyed last nights performance! I managed to see Natalia and Steven in the friends rehearsal, and how far they have come from that. I thought their acting was on point, and the dancing was breathtaking. I kind of missed what happened with the backdrop and Peregrine's cart due to where I was sitting, but that was the only hiccup I really noticed. A brilliant evening where I was really caught up with the story. Performances like that make me remember all over again why I fell in love with going to the ballet. 

[FLOSS]

Cojocaru's footwork is brilliant but her feet are not beautiful.They have protruding lumps which do not register too much when they are in motion but are very noticeable when she stands still.I certainly don't like looking at them in repose whereas Lynn Seymour had beautiful feet which in simple movements and repose could make you gasp at the beauty of the human body.The beauty of Seymour's feet is one of the reasons why Month in the Country contains moments in which the positioning of Natalia Petrovna encourages the audience to look at the dancer's feet and admire them. I suspect that when Ashton was choreographing for Seymour in this ballet he was, at one level at least,choreographing for Seymour as Pavlova.