Mary

Thanks Duck, this is very interesting. Apollo looks truly stunning! You are right about the lack of 'real' interaction between Aschenbach and Tadzio .

Nice to have things to look forward to, thanks for the summary.

I  think I can manage 2 Sylvias so the question is: which 2 casts- quite a conundrum..but one solves itself- i.e. Muntagirov....

8 hours ago, Bruce Wall said:

 

I agree it would be great to have Campbell - but would not want to limit his dancing appearances.  I think it would be great to have a selection of articulate dancers host - so the worldwide audience might be able to get to know them better.  They could rotate - much as the Met does with its star hosts (e.g., Fleming, DiDonato, Domingo, etc.)  After that brilliant BA talk, I'd love to see A. Rose O'Sullivan take on a couple.  I'm sure she'd be brilliant too.  

Campbell limit his dance appearances- heaven forfend!

I totally agree and have said before, being known to bore on for some time on the subject, that  there are many RB dancers and  coaches and other staff who would be excellent in this role. 

Hear, hear.

Wow, WHAT an improvement in presentation!  It would be great if Alexander took over the live screenings.

22 minutes ago, Anna C said:

Jenny, thank you for your detailed post about the Soares/Cuthbertson cast.  It has whetted my appetite even more! 

Yes- obviously a role that suits Soares, -I am glad for him that he has had this chance. Wish I could see it myself.

3 hours ago, Tatiana said:

 

Hi! Replying a little late, sorry. I was excited to see Mayerling despite how much I disliked Anastasia, which is the only other Macmillan proper I've seen, but it did end up disappointing me. I think my problem with Mayerling, (and Anastasia, for that matter,) is that it felt very much like performance art theatre and not dance. Far too many characters, all dressed too similarly, lots of static scenes and heavy staging. Even knowing the historical context very well, I found it hard to follow, and it failed to really grab my attention until the last act.

I do think it was a beautiful spectacle though, especially the costumes, and of course the cast (when they actually got to dance...) were absolutely wonderful. It's just not something I'd go and see twice.

Thanks, that's interesting- I have heard other ballet lovers say this. Reading the thread, it strikes me that most of the comments are about drama, rather than dance, and one might almost think it was a play being discussed. That is a compliment to the dancers' acting skills, as I said before. But it is also indicative of why it is not my favourite ballet, i.e. because the drama rather than the dance seems to get the upper hand and I find some of the drama very unconvincing and at times repellent.

The beautiful costumes do deserve a round of applause ( apart from the bad bustle tussle) - I agree- the gorgeous velvets especially.

8 hours ago, loveclassics said:

My admittedly frivolous choice:

• Ashton's Dream to make us smile
• The Kingdom of the Shades for the pure beauty of classical ballet
• Jewels for the sheer fun of it.
• A Month in the Country for the hopeless romance

Another long evening but wouldn't it be wonderful?

 

I'd add Elite Syncopations or possibly The Concert to send everyone home on a high but the Musicians Union wouldn't wear it!

 

Linda

 

P.S. Does anyone else remember such marathon performances in the theatre as Nicholas Nickleby or Brook's Mahabharata?  The latter was 12 hours long and usually shown over 3 nights but was occasionally shown in one continuous performance.  I know I watched the 9 hour TV broadcast almost non-stop!

Not remotely frivolous...what's wrong with beauty, romance, and fun?-and The Dream is deeply moving as well as making me smile. Great choices!

Yes I remember N Nickleby- a marathon, I think nowadays I'd fall asleep

39 minutes ago, Sim said:

"Re-haired whores"?  The mind boggles... ?

Red haired! sorry- though re haired as well, since they wear the same wigs as the gang in Manon and R+J

13 minutes ago, David said:

 

Rudolf’s Great Grandson outlined six reasons for his suicide: “his troubled relationship with his mother who cared little for him, his bad relationship with the Emperor his father, his catastrophic marriage, his many love affairs, none of which led to fulfillment, his bad health and the frustration of his political objectives”. adding “he was a total failure as a human being, as a husband, as a son and as a father.” It seems to me that MacMillan reflects this perspective pretty well. If anything he offers a slightly more redeeming portrait - particularly as, for example Bonelli portrays him.

Yes- ' a total failure as a human being' is not the best choice, in my view, as your main character...

i wish I was seeing Bonelli though.

Mayerling, R&J and Manon of course all have a scene of jolly re-haired whores dancing. It is almost interchangeable...

I find it rather a lapse in imagination and agree with Lindsay that a scene which helped to develop the characterisation and motivation of the ballet would be better.  I accept Rudolf needs a rest!

If there was a bit more context and explanation in the ballet , or possibly even some rays of light in the darkness of Rudolf's horrible career, (more with Bratfisch perhaps??) it might edge it towards tragedy for me, whereas -for me- it is to some extent depressing and sordid. So the jolly whores scene  just seems a tasteless interlude between episodes of violence.

The scene with Empress Elizabeth is very involving -when so well danced as it has been this run it can be brilliant- but, taking it all in all, are we meant to feel that because his mother was a bit chilly towards him, it is ample explanation for Rudolf's turning into a drug-addled bully and rapist, for whom we can feel sympathy?

If so it doesn't work for me. (Certainly as danced by Yanowsky and Avis, these imperial lovers seemed to me the most attractive characters on the stage-their pas de deux a very moving portrayal of a pair who are not just lovers, but friends- but I am sure that had to do with the dancers concerned.)

Or, is the intention to make the audience feel shock and horror towards a tale of relentless nastiness? if so, that to me is a much lesser artistic experience- and the comparisons with 'Hamlet' fall very wide of the mark.

None of which prevents my admiration for the brilliance of the dancing , and the sumptuousness of the production.

7 hours ago, Tatiana said:

All right, I think I have to finally admit it. I'm just not a Macmillan person. Gorgeous costumes though, and any performance with Nunez and Lamb in is a good performance in my book.

Hello Tatiana

I'd be interested to hear more, if you felt like it, about why you say that.. I do know what you mean ( I think)...I am not wholly convinced by Mayerling either.

There has been overwhelmingly positive reaction on the thread and most reviews but perhaps less positive feelings are not being posted up? Maybe.

A trivial example of sexism,  but, sexism just the same, and I really think ROH ought to change this.

Though not sure Rudolf really goes with flowers. A cactus perhaps...

This thread does make  a most interesting read.

I notice that not much has been said about Lauren Cuthbertson: wondered if anyone  had any more thoughts about her performance?

Interesting discussion ( and I look forward to seeing McRae myself before commenting )  But I do not see it as any kind of disrespect or disapprobation of a dancer to say he is not that suited to Mayerling...several of my favourites might fall into that category.

2 hours ago, cavycapers said:

I guess we're maybe all coming at this from a different perspective, according to our income....

It's only once a year: it's a special treat.

If it were like that all the time, it would be well beyond me....

Hmm that's a long evening !

The Dream; Symphonic Variations; Symphony in C (also a long evening but)

The Dream- Cojocaru/Kobborg

S in C -  Muntagirov/Nunez

raise me?

10 hours ago, Don Q Fan said:

I'm so sad that I wont see William Bracewell with BRB as King Louis In the The King Dances ever again.   Good move for him but I was really hoping to see that ballet again.  Have it recorded but not the same as live.

....agree- the moment he emerged at the end clad all in shimmering gold is one of my treasured ballet images.

Coated- thank you for the detailed review- the variations are interesting. I am sure Watson DID climb on the bed at the end of Act 1 the night I saw him- most definitely- did you mean one of the other dancers?

Yes, it's steepish, indeed it is - but- 140? Really nice amphi seats are  80- with a completely full view, and less good ones at only 48- but again a full clear view of the stage.

I don't think that's TOO outrageous for the full Mariinsky company and orchestra, when I think of the rather poor stuff I have sometimes seen at other venues with a cast of 6, electronic music and all manner of distractions...it's all relative...

1 hour ago, Jane S said:

 

And can he juggle?

all this and he can juggle and I hear makes a very nice cup of tea.....

Yes he juggled- did drop the hat, but made that a part of the characterisation very convincingly.

Hear, hear.

Alexander Campbell's expressive dancing made Bratfisch anew for me- his solos were like a beacon of sanity, the emotional heart of the ballet, and I agree that he cannot be too  highly praised for his performance.

It is such a joy getting to know the range of this marvellous dancer.

25 minutes ago, bridiem said:

 

I find every moment absorbing, whether or not it's dancing. The walking, the looking, the various interactions, the inexorable building of tension in the music, all create a hugely powerful theatrical whole.

Agree-in terms of ACTING it was superb and the RB dancers were absolutely stunning-every single one was convincing dramatically, as your review so eloquently describes bridiem- I agree totally.  (Sarah Lamb not mentioned yet- her acting was brilliant too!)

.

But  in terms of dancing, of a choreographic rather than dramatic whole, I do find the piece less satisfying. It is about the style of the piece. This style has become the very popluar and succcesful model for British dramatic ballet so there is v little point my taking issue with it! But it is my personal view.

Look forward to reading others' impressions.

5 minutes ago, Don Q Fan said:

Likewise here. First time I saw it I was really blown away. Not anymore now this was 3rd time I've seen a Watson  cast. I think I see it now for what it is.... Quite a lot of violent throwing around rather than ballet, a jumpy indistinct narrative, and I find the choreography messy and repetitive. I'm not a fan of the tarts at all and I feel sorry for the corps as there not much for them at all apart from those tarts and they feel like they are just add ons for the sake because MacMillan *had* to include them they're superfluous really which is a shame. Don't get me wrong I admire the dancers for their performances but overall this was not a patch after the treat we've just had in Jewels. I'll be interested to see a different cast on 13th, but at this moment in time it's not a prospect filling me with anticipation. There were some major costume malfunctions which ruined the pdd in Act1 between Rudolph and Louise. How this wasn't ironed out in rehearsal is a mystery, that dress was just too long and too many catchy bits. I hope the scissors are out as I write! 

I was very happy to see Zenaida Yanowsky live for my last time. I shall mourn her retirement especially in Month in the Country.   Alexander Campbell was superb as Bratfisch...I recall he danced this equally brilliantly with Alina Cojacaru and Johann Kobborg at Russian Icons last year too. It was lovely to see Johannes Stepanek too as I have seen him for a while. Francesca Hayward was excellent I liked that I could really see her emotions as the unwanted wife. Watson gave his all. 

Have to agree that-after seeing so much 'Beauty' and so many 'Jewels' this choreography left me unsatisfied, and I also entirely agree about the tarts scenes and that there isn't enouhg dancing ( apart from spectacular pas de deuxs.)

In the sense of intensity of focus, committed performance that draw the audience in and make them forget eveyrthing except what is having on stage- even their coughs and their phones- so that time hangs suspended.....I think it was surely as good as before and as good as any Mayerling I have seen.

My own personal feelings about the ballet itself- its themes and tone- are separate, but, of course hard for me to disentangle.

.

Indeed. Campbell was just perfect as Bratfisch- and very on form tonight. He emanated a sort of puzzled energy- brilliant.

I really enjoyed a lot of details in this very finely acted performance by a stellar cast, such as the beautiful pas de deux between Yanowsky- regally elegant but conveying fallibility- and Gary Avis-the cheery man-of-the-world: never before have I felt the emotion in that moment so much; they and Bratfisch trying hopelessly to entertain the mad lovers seemed to embody happy moments of normality trying in vain to communicate with the doomed and corrupt main characters, who were unable to hear them as they continued on their hellish path !

Of course Watson was superb and gave it everything. It was almost painful to watch his torment. He made clever use of moments of stillness that really heightened the effect.  Osipova seemed to me very at home in the role and her reckless energy was palpable.

And still more- an excellent debut from Hayward, wringing much emotion from every moment.

I confess it is a ballet I like less as I get older,,,but the performances really were amazing. It was so intense, and the atmosphere in the house electric.