Mary

Of course Jan-quite right -  I realise it is not a ballet. It wouldn't be right to make a direct comparison . But I thought the overall standard of dancing last night left something to be desired, regardless of style. And Bourne's choreography doesn't always satisfy me. That's the word- it was just unsatisying in parts- I was longing for some real dancing to that music - in any style you like! at times.

It is hard, as others have said not to think, while watching it, of the many Swan Lakes one has seen- and also, having a ballet principal in the  middle of it did rather point up the contrasts.

(I was trying to explain the similarities and differences  to a traditional ballet Swan Lake to my husband, who often goes with me but is not an expert- and by the time I had said something like 'Matthew Ball should be good in Matthew Bourne's ball scene' I realised I'd lost him....)

Matthew Ball's performance tonight was excellent. Otherwise I fear I am in a minority....I realise Bourne is not really for me.

It's a good many years since I saw the MB Swan Lake.  I can remember thinking the early scenes dragged a bit, and just wanting to watch the swans which I thought in that first run were really beautiful and poetic....This time  it was  much more so. The first 45 minutes seemed to go on and on with far too little dancing ( and the wonderful music thrown away) and a great many repetitive and rather feeble jokes-  I thought. My companions all said 'Too long'! as we came out of part 1- and felt the points were very laboured..'we get it'- no need for the hitting us over the head with the points....the royalty jokes and ballet pastiche seemed interminable and not really funny, and the storyline was impenetrable.

However, the swan scenes still seemed very poetic and beautiful- even if as others have said Ball's presence does rather show up other dancers ( and he  very noticeably had about 4 muscles for every 1 of the other dancers on stage!)

In the last scene the swan corps came into their own in their circling, hissing frenzy- a very powerful scene indeed.

Ball's black swan could not compete with my memory of Adam Cooper- noone could! and there was a slight shade of 'nice boy pretending to be bad' I thought. But nonetheless he was compelling to watch. And his good swan in the last scene was powerfully moving.

It was definitely worth the trip. But- for me,  there was just too much padding.

Also, although The Queen was excellent- and of course there were many good dancers  -  I didn't feel the overall quality of dancing was quite sharp and consistent enough.

It has made me really appreciate the amazingly high standard of dance throughout the company in RB, BRB, ENB though - oh and many other companies I have seen in the past years- all the more.

That sounds exciting, Mandy!  Hoping to see Mr Ball tonight..

55 minutes ago, Saodan said:

Interesting from Louise Levene in the Financial Times:

 

"There are those (my own benighted husband among them) who would rather chew tinfoil than endure all this, but wise balletgoers revere it for its enchanting Messager score, its pretty Jacques Dupont designs and the roles it offers the Royal Ballet’s Ashton stylists." My emphasis.

 

indeed- but 'wise ballet-goers' revere it firstly for the choreography, surely- odd to mention the music and the designs first, but, they are indeed very charming and the three elements work so delightfuly well together .

The Guardian Winship review- with some very good comments- is in the Links Sim.

Those parrots were definitely deceased....how unlike the fine bird-handling skills of our own  dear RB.

Some exquisite dancing took place in between a lot of bizarre and very over-the-top business but it was lavish, colourful, fun and highly entertaining. With these Bolshoi blockbusters,  it is no good going along expecting to take it all seriously, I find. I thoroughly enjoyed the whole thing but, partly in a spirit of high comedy.

Apart from the atrocious blacked-up children- how they can put that on and broadcast it around the world defeats me.

I don't think anonymity or the reverse has anything to do with it. Some of the forum posters clearly have a huge amount of expertise and knowledge: some journalists clearly have very little.

I don't mind dance critics having strong views and personal prejudices and expressing them at times- but, I think the critic of a national paper should make some effort to be fair and to look at works in context. That ought  to be the job- if one wants to just sound off about one's personal prejudices, posting anonymously on a forum seems the way to do it - writing a proper column in a major newspaper should be a different exercise.

i don't think much of her review of Two Pigeons.

For one thing, it is surely rather simple-minded to focus on 'plot' at the expense of choreography, when she must know full well that is never the main point of ballet.

Then to complain that the story line of a couple splitting up and then re uniting is dull- well maybe, but it is the bedrock of a vast amount of our ballet, literatire, film etc. It is the treatment that matters.

Then she obviously doesn't know that Ashton is partly dramatising his own experiences.

Then she dismisses the marvellous choreography in a few words. Then she..but why bother to go on.

Yes I meant Belyakov- and I agree he is young, handsome, tall and some dancer!

But I thought he had not Muntagirov's line as well as heart.

I really enjoyed the afternoon too- but, I did not feel emotionally involved at all in the performance, did you?

1 hour ago, jmhopton said:

What more can I see about Vadim? Every role you see him in seems to be his best until you see him next time

My thoughts precisely- didn't think he could better Winter Dreams but his beautiful performance in Two Pigeons was both completely different and equally exquisite. The way he holds his perfectly elegant line through each jump is something truly amazing and unique- he makes a beautiful shape in every position.

(just back from Bolshoi screening and I kept thinking about the contrast with Vadim.)

1 hour ago, Richard LH said:

Noted. And of course the forthcoming triple bill in May (Within the Golden Hour / New Sidi Larbi Cherkaoui / Flight Pattern) is rather less expensive, the top price being £55.

So that is to be welcomed at least.

However, I see that the top price for the special Fonteyn bill rises to £125! 

 

Clarification of the  full Summer Season casting, and  full details of Fonteyn bill, is sorely needed.....

Yes I would like to see clarification too, if only to try to decide some priorities and organise financial matters in good time- as it is getting so expensive; but also to extend the pleasure of anticipation!

Dawnstar, one shouldn't comment on rehearsals...but i think I can say that the two pigeons did take a full part in the morning rehearsal- and they tell me they felt it 'went well'.

A wonderful day seeing the rehearsal with one cast and the performance with another and so much to enjoy all round, the highlight this evening being Muntagirov's elegance, expressiveness and elevation, and the sweet chemistry with Lauren Cuthbertson in that exquisitely touching last pas de deux would melt a heart of stone..

Also a fiery performance from Laura Morera, and 2 beautifully trained and tempered pigeons- perfect.

I really liked Asphodel Meadows on re viewing too, with Nunez on especially steely form.

Nicely contrasting pieces- nothing to harrow the soul- made a refreshing and very welcome change......

bridiem, you sum it up precisely.....

I am very happy it's a classical dancer though and one with knowledge and experience of BRB's heritage.

Emma will be much missed.

She was my favourite Stephanie in Mayerling too- but I also very much appreciated her dancing in Two Pigeons, Jewels, -and many others. One of those dancers about whom you would think, when she was in a minor role, -'she's good- how lovely-who's that.... oh it's Maguire, ...of course' each time.

Very sorry to see her go.

For that money I could have about 22 GOOD tickets for performances...at which 'the cast' actually dance rather than nibble canapes.....

Not just homophobic, but the very stupidest kind of sexism, and a very childish rant:  rude, vulgar, disrespectful to everybody and complete tripe into the bargain.

If that's being a 'wolf man' and a tiger man or whatever nonsense , you can keep it Sergei.

44 minutes ago, JohnS said:

Astonishingly a couple two to my right insisted in giving a running commentary  ‘it’s the Arabian dance etc’ and the man even started whistling the ‘tunes’ he knew.  Extraordinary.  Had I been next to them I’d like to think I’d have asked them to desist.

I have experienced this couple when I treated myself to a Grand Tier seat for Swan Lake, and once at an Ashton triple bill...

Perhaps they are regulars? They definitely need taking aside, or 'taking outside'😑

Sounds like a wonderful performance otherwise. Laura Morera is such a joy. I agree we should cherish her while we still have her.

Disappointed not to be seeing McRae and Corrales. At least ROH have told me this time.......

The notification format does seem to have changed in that it just lists all affected performances rather than the one/s I am booked for.

This is OK if it speeds up the process of notifying people...

The thanks are due to Sabine and Lin for alerting us to this exceedingly promising dancer.  Beautiful isn't he : - I look forward to seeing him in something this year.

Like this do you mean?

Nice!

What fantastic photos DonQ-thanks!

That is shocking. Awful. An insult to the performers and the audience members who have paid up to about £80! to hear the music as well as watch the dance.

I think the ROH is only different because it does not allow in food and drink.

Once you do that- it sends a signal- 'relax! behave as if at home!' -  and that's it.

Yes Ruth..I was about to contemplate spending a fair bit on a ticket for ENB Swan Lake, train travel etc- but then, if I get stuck between 2 people eating out of buckets ( as has happened to me twice at the Coli) I don't think I could bear it again........

Sorry, I was only joking- apologies for my sarcasm.

Sometimes, I contemplate getting some tickets-currently ENB in London-  and then the whole reality of the cost, the trains, the hassle kicks in. If only there was some way of being 'virtually' present.

Lizbie you have just saved me a packet- from now on it's ballet on the radio for me!

No more transport problems, late nights, Open Up annoyances or irritation from other audience members either....