Ananiashvilli and Fadeyechev's staging of Swan Lake for State Ballet of Georgia, London Coliseum, 28 Aug-8 Sept 2024

[AnneL]

14 hours ago, ctas said:

Did anyone get the names of the cast for the matinee? I forgot to get a picture of the display with it on. 

Not sure that display screen in the upper circle area was correct anyway. The names I had a glimpse of yesterday afternoon were the opening night cast, according to other sources! 

[AnneL]

58 minutes ago, Dawnstar said:

 

Most of which aren't very encouraging. I'm not sure I can be bothered to go on Sunday, especially as it's due to be the same lead cast as that of the first night so it's not as if I can hope that a different cast can improve matters.

I would say it’s worth seeing. The ending didn’t convince me but it was an enjoyable couple of hours if you like  pure, classical ballet. I saw the Thursday matinee cast. 

[Sebastian]

Alastair Macaulay‘s review of last night is just out online, expert as ever:

 

https://slippedisc.com/2024/08/alastair-macaulay-this-swan-lake-is-a-work-in-progress/

[Jan McNulty]

29 minutes ago, Sebastian said:

Alastair Macaulay‘s review of last night is just out online, expert as ever:

 

https://slippedisc.com/2024/08/alastair-macaulay-this-swan-lake-is-a-work-in-progress/

 

As, of course, is being included in the Links tomorrow!

[Pas de Quatre]

I can't help feeling it is a bit unfair having all the critics pile in reviewing the opening night. Hopefully the dancers and production will bed-in as the run continues. Having a new theatre and new city to contend with is difficult.  Many new productions in theatres, whether dance, plays or musicals have several days or even weeks of previews before the press are invited to the "opening night". 

[Emeralds]

Thursday evening 29/8/24 -  Misseldine/Krcmar cast (second half): 

 

Meant to post Part 2 on the train but (along with the delays and disruptions due to signallling failures) there were constant disruptions to the WiFi and mobile signal as well, so I had to abandon it! 

 

I'm one of those who doesn't enjoy very longgg character/national dances in Act 3 (especially when the lighting is dark) so I was quite pleased to see them launching straight into the Czardas, Neapolitan and Mazurka as soon as the Queen arrived and taking the dances at a brisk, jolly pace. There's no pas de quatre/pas de trois for Benno or other entertainers (Anthony Dowell's version and ENB's versions also omit this) so the bulk of the cuts to shorten the length of this Swan Lake occur here.

 

The six potential brides for Siegfried dance after these three character dances and after he is invited to choose a bride, this is the first sign of drama from this Siegfried- he is respectful to his mother but adamant that he's not choosing any of them.

 

The dancers (sadly all uncredited) were charming and delightful in the Czardas, Neapolitan Dance, the Mazurka and as the potential brides, but the real tour de force character dance performance came from the two Spanish dance couples appearing after Rothbart and Odile gatecrash the ball. Here, we got to see the dramatic, passionate dancing that the Georgian dance style (both from their famous traditional folk dancing and the  Georgian ballet stars like Ananiashvilli) is famous for. 

 

Misseldine was just as stunning as Odile in Act 3 as she had been as Odette in Act 2. What is really special about Misseldine in Swan Lake is that even for someone who only started dancing the role this year, she already has the ability to make her Odette and her Odile look like two completely different people altogether- not merely the same ballerina wearing a different costume and acting different emotions. Remarkable!

 

Many ballerinas, especially those new to the role, seem to excel as one character more than the other but it was difficult to pick out one in Misseldine's case; she was equally compelling as Odette and as Odile. While she evidently looked the part as Odette- long graceful limbs, elegant lines, soft Swan arms, soulful acting, etc, her Odile was also unforgettable, turning up the heat, fully confident in all the pyrotechnics (she was supremely in control of the fouettes, doubles mixed in with singles, with a precise, rock solid finish) and how easily she could dupe Siegfried and charm the Queen and her court. At one point, she imitated Odette's balance en attitude which had been Odette's expression of yearning to be free, but here her balance seemed to say "Ha! I bet you'll be completely duped when you see me do this.... oh yeah- bullseye!"

 

Krcmar had more dancing in the grand pas de deux than in the first half, and his experience as a guest artist in various galas with different partners (he has also partnered Polina Semionova and Maria Kochetkova) served him well in the ease and elegance of his dancing- the virtuosity was never forced nor done for the sake of showing off, but impeccably presented to show Siegfried's joy at being reunited with the woman he (mistakenly) thought was his true love.

 

Following Grigorovich, Kevin McKenzie and a few other stagers/choreographers' examples, Rothbart in this version is a dancing role rather than a character or acting role (such as in the RB, BRB and ENB versions) and at this performance was danced well by Filippo Montanari, who has also danced Siegfried. The drama, interactions and acting by all the key players were excellent- couldn't fault the commitment and engagement from the leads and the ensemble. Lots of happy audience members after Act 3.

 

With no interval between Act 3 and 4 but simply a pause of less than a minute before the orchestra resumed playing, it was an impressively quick scene change (and costume change for the corps de ballet ladies) for the lakeside scenes again.  Krcmar and Misseldine were moving as the deeply contrite Siegfried and the sorrowful but forgiving Odette, and they kept us enthralled in their unfolding story as well as by their dancing. 

 

At this point I won't give away the ending other than to say that Benno doesn't appear, there are no forced marriages and while I did guess how it would end, it is staged in quite a unique way, which the company carried off beautifully. So Ananiashvilli did fulfill her brief of making it worthwhile for the audience not to sneak out before the end.  It's a change/idea that I felt enhanced the staging (and certainly makes a great talking point with friends on your way home!) Intrigued? - go and see! 🙂

 

The ENO Orchestra accompanied the dancers beautifully and it was pure joy to hear Tchaikovsky's glorious score again. 

 

All in all, I think the company did well- this production is the good old fashioned kind - which is getting rarer these days amid the sea of "21st century reboots" and "Freudian reworkings" and so on. If you're old enough to remember the old style Laybird children's books or hardback anthologies of fairy tales before Kindle, Tiktok and Wikipedia took over, this is the kind of Swan Lake that is just like those story books: you can take children, elderly grandparents and first dates to see it and be perfectly confident that they will experience a treat without any controversial, triggering or avant garde bits that might upset newbies. 

 

However, despite the praise, I do have some minor quibbles - with the changes to the traditional choreography. The Act 1 pas de trois is completely changed (why??) and for our cast, while Hosoya succeeded admirably in making the new steps look pleasing, his partners Ana Ksovreli and Tomone Kagawa (who had danced Cygnets on the first night), despite their grace and musicality, struggled with a little of it, especially when it clashed with the tempo and phrasing of the music. Both had danced in the matinee as well as first night so it was hard to tell if this was a blip due to fatigue, or another reason, but the altered (not for the better) choreography didn't  help.

 

Changes to the traditional choreography for the Big Swans/Two Swans (Three Swans in this version) also didn't look so great (too many developpes), and the dancers, while presenting a high standard of dancing throughout, were visibly shown more to their advantage when they danced the familiar traditional steps (eg Cygnets, Spanish dance).

 

The Mazurka and Czardas have also undergone some alterations  - the main one being that the Mazurka has no lead male so the lead woman is dancing on her own! She danced it with great panache (what a pity that the lead character dancers were not credited) but it did look odd.

 

The character of Rothbart doesn't get a lot to do here like he normally would, even though he gets to jump and  turn impressively, and very little stage time to show us he is evil and menacing - which perhaps is a bonus if you don't wish to scare small children, but it's quite difficult for the dancer portraying Rothbart to convince us he has power over Odette and her Swan maidens' lives. Sometimes he felt more like a naughty teen pranking Odette or Siegfried than an evil sorcerer. 

 

Most of the audience around me seemed to be first timers or infrequent attendees who didn't seem too concerned about the  changes or any perceived production shortcomings, bursting out in rapturous applause after each act, after the fouettes (so loud that Siegfried's music would have been inaudible if they had tried to continue- Misseldine had to come forward for a curtsey before the applause settled down),  and at the end. The mothers who had brought children certainly picked a good production (relatively early finish too) to introduce their young ones to Swan Lake/ballet. It finished around 9.56pm. 

 

This won't be the production to impress the sophisticates and the ones jaded by numerous Swan Lakes over the last few years (or decades) but it is an attractive production for an enjoyable night out and a great one to bring newcomers, kids, etc. 

 

I won't have time to catch other casts but I highly recommend this one - if you are free on Saturday night it's absolutely worth getting a ticket- any ticket! - to catch  Chloe Misseldine before she heads back to New York. Krcmar and Hosoya are also well worth seeing, although they will be dancing in other casts. 

[Emeralds]

7 hours ago, Dawnstar said:

 

Most of which aren't very encouraging. I'm not sure I can be bothered to go on Sunday, especially as it's due to be the same lead cast as that of the first night so it's not as if I can hope that a different cast can improve matters.

Dawnstar, you might guess that I might say this but I think it would be a pity if you miss this, because I think this traditional production is one you would like- especially if you can see Chloe Misseldine and Michal Krcmar on Saturday night (ask the box office or your ticket retailer for an exchange). Not a flexed foot or turned in knee in sight- it's a total contemporary-free zone!

 

That would also solve your timing mismatch issue on Sunday (and unfortunately the National Gallery and National Portrait Gallery would be closed early on Sunday so you can't while away your time there). 

 

I read the reviews of the main broadsheets and respected websites and couldn't help feeling they were judging it based on what they - as viewers of hundreds of Swan Lakes already- would like as opposed to what paying audiences would like. I also read the ones that praised the designs and dancing that sounded like they would give at least four stars but they posted three stars instead...rather odd that, and I can't help womdering if they were being more harsh because of the original high prices. (Likewise many critics gave La Strada two or three stars but I myself rated it as one of the best performances by a male lead and a female lead of the entire season- as did the people who sat in my section).

Edited August 30 by Emeralds

[OnePigeon]

I will keep it brief and say Misseldine was worth the price of admission alone (albeit I was very lucky to get the £24 offer) It wasn’t the best Swan Lake I’ve ever seen, but it had enough charm, the Corps work was solid and nobody embarrassed themselves.  Misseldine was captivating, beautiful and accomplished as both Odette and Odille and she took those fouettés at a spanking pace, kept on the beat brilliantly and thoroughly deserved the whoops and applause that erupted from the audience.  The audience around me were a bit annoying though, lots of people getting up and going out, kids constantly whispering and everyone chatting loudly over the overtures between the set changes, but that’s for another thread.

[Dawnstar]

1 hour ago, Emeralds said:

Dawnstar, you might guess that I might say this but I think it would be a pity if you miss this, because I think this traditional production is one you would like- especially if you can see Chloe Misseldine and Michal Krcmar on Saturday night (ask the box office or your ticket retailer for an exchange). Not a flexed foot or turned in knee in sight- it's a total contemporary-free zone!

 

That would also solve your timing mismatch issue on Sunday (and unfortunately the National Gallery and National Portrait Gallery would be closed early on Sunday so you can't while away your time there). 

 

Thanks for your comment but I've already been down to London Monday, Tuesday & tonight this week (writing this on the train home) so I can't possibly go down tomorrow as well! I see the ROH closes at 6pm on Sundays so I can't even go & sit in the foyer there. Bookshops close earlier on Sundays too. Plus it's forecast to be about 27 degrees which is too hot for me to hang around outside for hours.

Edited August 30 by Dawnstar

[Rob S]

Lovely performance this evening, I was particularly impressed by the Spanish dancers….bending back so far they could touch the floor with their fans!! 

[Sebastian]

2 hours ago, Emeralds said:

The dancers (sadly all uncredited) were charming and delightful in the Czardas, Neapolitan Dance, the Mazurka and as the potential brides, but the real tour de force character dance performance came from the two Spanish dance couples appearing after Rothbart and Odile gatecrash the ball. Here, we got to see the dramatic, passionate dancing that the Georgian dance style (both from their famous traditional folk dancing and the Georgian ballet stars like Ananiashvilli) is famous for. 

+1

 

One of the Spanish ladies in particular - radiating exotic appeal, erotic power and seductive technique - could even have given the wonderful Ms Misseldine some tips for her brilliant Odile. 

[FionaM]

I’ve only read one of the reviews and was so disappointed with it that I haven’t bothered with the rest.  
 

I enjoyed all 3 performances … if only because we’ve not had any ballet for months in London.  The people alongside me were irregular ballet attendees (1-2 times a year at most) and they all enjoyed it too.  The production has traditional set and costumes, with beautiful wide tutus.  I too loved the gold boots in the nationals.  Clearly this company (and country) doesn’t have the resources to have lavish costumes and detailing, but I thought they did well with simpler unfussy designs, and a staging without extras cluttering the stage and detracting from the dancing.  Hooray!

 

The Georgian conductor is a very special performer.  It’s worth watching him from time to time as he gets absorbed in encouraging the players.  I can’t compliment the ENO orchestra as there were too many mistakes in all 3 performances.   This music is so iconic that many in the audience will know it well.  I hope they improve fast. They are letting the guests down. 
 

I do agree with @Emeralds that much of the changed choreography wasn’t up to much, and the dancers struggled to make it look musical (because it isn’t).  The choreo for the Act 1 pas de trois seems different everywhere, so I wasn’t expecting RB choreo.  I do miss this female solo ‘faille assemble diagonal’ in the coda .  (7.40 in this link)

 

(Edited by Mods to remove a video not published by the rights holder)

 

I thought the 3 big swans did really well with the fast tempo and complicated choreo to stay in synch with each other.  
 

For the main roles there were good things to notice in all of them.  All the ballerinas had beautiful feet and petite pointe shoes  (RB please do something about the ‘boots’ of your ballerinas).  All emphasised their ability to balance in arabesque and attitude.  Chloe had overly exaggerated preparations for hers. The inbetween steps shouldn’t have the same dynamic as the main poses.  I too noticed the gorgeously rounded port de bras of the Georgian ballerinas, particularly in fifth position.  And higher up this thread  I remarked on Nino Samadashvili’s mesmerising light swan arms.  I loved them.  

 

Samadashvili and Fernandez had assured interpretations … Nino’s Odette was more womanly and Laura Fernandez used her doe-like eyes to great effect.  All 3 ballerinas were clearly relishing the enticing nature of Odile.  Chloe’s fouettés were may more virtuoso (doubles) but the others managed a full set of singles, even if they travelled and were not fully straight above their turning pointe. 
 

Krcmar & Misseldine had the best connection of the pairings.  The others will improve as the run progresses.  For all these pairings this was their first time dancing together and also their first show after the summer holidays.  Oleg Ligai looked particularly unsure of what to do with himself when it wasnt a solo or pas de deux.  Also his partnering looked less accomplished and reliable.  The torch lift looked worrying and it is on the most important musical change.  I think it was a big responsibility for him to have the opening night in London which was also his debut as a principal and with this company.  Krzmar is obviously way more experienced, as was Daler Zaparov, Siegfried at Thursday’s matinee.  They both knew what they were doing with the role.  Ligai has the purest and most beautiful technique of the three.  He’s a quick learner.  I expect much more as the run progresses. 
 

I admired the solo female lead of the Mazurka … two different ballerinas.  I think the tall blonde one might be Tata Jashi 

Edited August 31 by BalletcoForum Moderators
Edited to remove video not published by the rights holder

[FionaM]

One thing the Coliseum should do … announce at the start that there will be a short pause for scenery change between Acts 1 & 2 and again between Acts 3 & 4.  They should remind the audience that the performance restarts when the orchestra begins to play and to not talk during the gorgeous music of Tchaikovsky !!!

 

One thing the Georgian company could do to improve things … shorten/ cut the bowing sequences after each dance.

[Rob S]

6 hours ago, FionaM said:

 

 

One thing the Georgian company could do to improve things … shorten/ cut the bowing sequences after each dance.

And Odette bowing after her fouettés!

[FionaM]

2 hours ago, Rob S said:

And Odette bowing after her fouettés!

 
that’s normal in Russian and former Soviet countries, amongst others.  I doubt you can get that changed.  
 

Go with the flow.  They are an extraordinary effort.  

Edited August 31 by FionaM

[FionaM]

Apologies to moderators for linking to a non rights holder video.  Here is one that I believe is ok.  
 

The diagonal is at 7.50 in this link.  This soloist has really good beats 👏

 

 

[Jan McNulty]

Thanks Fiona.  Gosh I've never even heard of that company!

 

[Two Pigeons]

18 hours ago, Jan McNulty said:

 

As, of course, is being included in the Links tomorrow!

Complete with his really nasty crack at Sir Peter Wright.  No opportunity missed, however unjustified.

Edited August 31 by Two Pigeons
Changed from plural to singular.

[Jan McNulty]

3 minutes ago, Two Pigeons said:

Complete with his really nasty crack at Sir Peter Wright.  No opportunity missed, however unjustified.

 

And sniping at various other productions too!!

 

My favourite traditional Swan Lake is, of course, that by SPW which I regard as my gold standard against which all others are compared.

[Sim]

7 minutes ago, Two Pigeons said:

Complete with his really nasty crack at Sir Peter Wright.  No opportunity missed, however unjustified.

And the usual dig at the Royal Ballet, for which he never misses an opportunity.  Actually, he seems to hate almost every Swan Lake extant at the moment.  Perhaps he should choreograph a version so the world can see how it should be done.

[Scheherezade]

I saw Swan Lake on Thursday evening; and Chloe Misseldine … Wow! I am a convert! Fully fleshed, fully formed, totally assured, she was utterly compelling both as Odette and Odile. Her Odette was wary but not without backbone, against a minxy Odile, unequivocally in control, who signalled her delight in the cat and mouse game with Siegfried with every little “Odettism” casually slotted in along the way. It wasn’t over the top, it wasn’t a case of ticking off the boxes, it was convincing, intoxicating and it made this seasoned Swan Lake aficionado  feel that she was seeing something a little extraordinary and totally unique.  
 

I enjoyed the overall production far more than I had expected, given the early silence from the forum and the somewhat lukewarm online reviews for the opening night cast. The dancing was technically accomplished, with some of it - eg the Spanish dance, as has been mentioned - very good. It was performed with a warmth that radiated out to the audience, and if there was the odd Trocks-like moment in the first act, it didn’t overly detract from the sense that the company was not only up to the task in hand but actively enjoying the performance, and that drew in the audience in my part of the house to share in that sense of enjoyment. 
 

What I didn’t feel was any real chemistry between the two leads, and whilst this is to be expected with two dancers who are not used to dancing together, it did strike me that this may also have had something to do with the jovial, angst-free persona of Krcmar’s Siegfried: if he wasn’t all that conflicted to begin with, what were the chances of that dramatic, instantaneous connection that led to the tragedy of his betrayal of Odette?

Coming from more or less the same place, I am also in the camp that wasn’t at all convinced by the ending. It felt hurried, it wasn’t supported by what had gone before, and whilst it wasn’t entirely at odds with the score, I do feel that Swan Lake demands, at the very least, some sort of loss or sacrifice from Siegfried or the whole thing runs the risk of becoming  somewhat too vanilla.

 

That said, I did enjoy the evening, will happily attend future performances by this company - can they bring Bayadere next time, please - and totally blown away by Chloe Misseldine. A plea again for more guesting in the UK from Chloe. What a star! 

 

Edited August 31 by Scheherezade

[San Perregrino]

This afternoon’s matinee garnered a standing ovation from a very mixed and diverse appreciative audience. Everyone on stage was visibly moved.

There was a confidence and assuredness from all onstage. Laura Fernandez was compelling and a very different Odette/Odile to Chloé Misseldine and Nino Samadashvili.
Daler Zaparov is the best Siegfried of the three I have watched. There was connection and chemistry today that, for me, has been missing from the other pairings. Not, from the Odette/Odiles but rather I  found the Siegfried’s to be wooden with repressed emotions.

 

It’s such a shame that the reviews were for opening night, when with hindsight, that performance was more akin to a dress rehearsal with it’s nerviness and hesitancy. This is the very reason I made no comment at the time.

 

I know of two critics who have returned to see other pairings and who liked what they saw by returning. 

 

That said, Efe Burak’s Benno stood out on opening night and he has yet to be rivalled.

 

 

Edited August 31 by San Perregrino

[San Perregrino]

21 hours ago, FionaM said:

I too loved the gold boots in the nationals.

It crossed my mind that the gold and blue boots, and indeed the gold and blue costumes might be a subtle tribute to Ukraine. 

Edited August 31 by San Perregrino

[Geoff]

On 30/08/2024 at 08:01, Geoff said:

As critics have written, 22 year-old Chloe has maturity beyond her years. A swan queen to her fingertips - and what fingertips, hands, arms, eyes, back, there was so much to take in in a truly gorgeous, expert, detailed, thrilling, moving performance. I immediately booked again for her other show (Saturday evening, as confirmed). 
 

A word on the company. I was very taken with their overall style, somewhat softer and more charming than Kevin O’Hare’s athletic Royal Ballet. For example one of the sisters (?), Ana Ksovreli, in her first act solo, reminded me of the young Viviana Durante. Perhaps an element of my pleasure last night was remembering early days at Covent Garden, when the RB was more classically focussed and Madam, no longer Director but still holding court in the Crush Room, shared her judgements with those who caught her eye.  Maybe someone could post a history of the Georgian company so we can learn how they got to be so good. 

 

11 hours ago, Sim said:

And the usual dig at the Royal Ballet, for which he never misses an opportunity.  Actually, he seems to hate almost every Swan Lake extant at the moment.

Just out from my second Misseldine performance. Might I add a couple of grace notes to my previous comments, made when rushing (my excuse for miscalling the glorious Crush Bar of the old ROH the “Crush Room”, which is of course the name of the charmless hotel foyer that has taken its place).

 

Chloe was if anything even better tonight, with more attack and focussed eroticism as Odile. She is really special, one of those dancers one will be able to recognise from simple sketches, so distinctive are her arms and overall lines. I mentioned her hands (in fact the whole company has fine hands) but tonight I spotted that a possible temptation to pose was constantly overcome by her quicksilver reactions, always on the move. I also mentioned her eyes: having now watched her from three different levels of the auditorium over two evenings (I was invited to sit with a friend for acts 3 and 4) I can report that her eyes nonetheless connected with me directly irrespective of where I was sitting. Shades of the training Fonteyn had to look at every corner of the audience. 
 

She seems deeply musical, sensing the music as only the best dancers do, so that one has the feeling of dancing to the music rather than just while the music is playing. Tonight I felt we were shown the moment in Act 2 when Odette decides about Siegfried; certainly we saw (again) how happy this makes her (clearer than I have ever seen, except on Thursday evening); and also exactly when she commits fully to him. Truly memorable. 
 

Finally, a word of support for Alastair Macaulay, who gets criticised frequently on the Forum yet knows far more than many of us (certainly more than me). Anyone who saw his magisterial Oxford lecture on meaning in Swan Lake two years ago will know that this is someone who loves Swan Lake so much, he is probably always frustrated when real life performances fall short of the ideal he has in his head. At least that is what I took from what he wrote this week. Also, those of us who love classical ballet should be thankful Macaulay persists in not letting Kevin O’Hare get away with weakening the RB’s traditional strengths while promoting second-rate “modernity”, seemingly as the way of the future. Good critics hold everyone to the highest standards. 
 

Edited August 31 by Geoff

[li tai po]

I was very pleased to read San Perregrino's review of Daler Zaparov, who trained at the Vaganova Academy in St. Petersburg.

 

He was a principal in Altynai Asylmuratova's company in Kazakhstan during lockdown and I saw him on several streams.

 

I am looking forward to seeing him live next week.

[Sim]

8 hours ago, Geoff said:

 

Finally, a word of support for Alastair Macaulay, who gets criticised frequently on the Forum yet knows far more than many of us (certainly more than me). Anyone who saw his magisterial Oxford lecture on meaning in Swan Lake two years ago will know that this is someone who loves Swan Lake so much, he is probably always frustrated when real life performances fall short of the ideal he has in his head. At least that is what I took from what he wrote this week. Also, those of us who love classical ballet should be thankful Macaulay persists in not letting Kevin O’Hare get away with weakening the RB’s traditional strengths while promoting second-rate “modernity”, seemingly as the way of the future. Good critics hold everyone to the highest standards. 
 

I have no doubt that I am an ignoramus compared to Mr Macaulay. 

 

It is a good thing that such a knowledgeable critic is holding Mr O'Hare to account regarding what he is doing to the Royal Ballet.  However, it is the constant sniping, no matter what the context, that I don't like.  Perhaps he should write a letter to the management and tell them in a direct and succinct way what his fears are for the future of the company (maybe he has).  I am disappointed beyond belief in the upcoming season (except for the money saving aspect), and hope that it's (yet another) blip and that things will get better for 25/26.   With regard to your comment about AM's feelings for Swan Lake, that is exactly my point...he clearly has an ideal in his head, and I would love to see it.  I wish a ballet company somewhere in the world would hire him to produce a new version.

[MAB]

9 hours ago, Geoff said:

those of us who love classical ballet should be thankful Macaulay persists in not letting Kevin O’Hare get away with weakening the RB’s traditional strengths while promoting second-rate “modernity”, seemingly as the way of the future.

 

I am usually not one of his fans, but totally concur with the above.  I have only seen this SL once but found I had a restricted view so not really in a position to comment, but from what I did see I'd say his review was fair.

[Emeralds]

On 31/08/2024 at 07:53, Rob S said:

And Odette bowing after her fouettés!

Guessing @Rob S meant Odile  😉

 

I don't like this practice either as it breaks the flow of the coda and makes it sound like a rehearsal....although it does have its advantages if a ballerina has finished spectacularly and I was so busy watching her that I missed her partner's first pirouettes! 

 

The best compromise might be to finish with a quick curtsey/bow (more like a little bob) and only to do a slow, deep curtsey/reverence or bow if the applause sounds thunderous and you hear loud cheers. Nothing more awkward than still doing a slow curtsey or bow while the applause has finished, which looks like the dancer thinks more highly of herself/himself than the audience did! (That said, at the performance I attended, the bows after the fouettes were necessary because it was impossible to continue with Siegfried's pirouettes with the thunderous applause and cheering making the music totally inaudible). 

Edited September 1 by Emeralds

[Blossom]

On 30/08/2024 at 20:28, Emeralds said:

 

 

This won't be the production to impress the sophisticates and the ones jaded by numerous Swan Lakes over the last few years (or decades) but it is an attractive production for an enjoyable night out and a great one to bring newcomers, kids, etc. 

 

This was a very reassuring review and comment! I am taking a group of older ladies (I am 40-something, they are in their 60s) to today's matinee. 

[Two Pigeons]

3 hours ago, Sim said:

I have no doubt that I am an ignoramus compared to Mr Macaulay. 

 

It is a good thing that such a knowledgeable critic is holding Mr O'Hare to account regarding what he is doing to the Royal Ballet.  However, it is the constant sniping, no matter what the context, that I don't like.  Perhaps he should write a letter to the management and tell them in a direct and succinct way what his fears are for the future of the company (maybe he has).  I am disappointed beyond belief in the upcoming season (except for the money saving aspect), and hope that it's (yet another) blip and that things will get better for 25/26.   With regard to your comment about AM's feelings for Swan Lake, that is exactly my point...he clearly has an ideal in his head, and I would love to see it.  I wish a ballet company somewhere in the world would hire him to produce a new version.

I knew Macaulay in the early 80s, before he became an 'expert'.  He was a past master at gathering other people's opinions and passing them off as his own.  That, together with some pretty serious toadying, served him well in those years.  

 

Given my serious admiration of Sir Peter Wright I find Macaulay's consistently going out of his way to denigrate his achievements very galling.  My opinion of neither of them has altered over the decades.

[FionaM]

Finnish Michel Krčmář, 
 

A couple of corrections for Alastair Macaulay review:

 

1) His first name is Michal (not Michel or Michael)

 

2) Michal is Czech, as his surname indicates, but one should always check (pun intended!) these days.  

 

A principal of Finnish National Ballet.  
https://oopperabaletti.fi/en/cv/michal-krcmar/

[maryrosesatonapin]

I went last night and enjoyed Chloe Misseldene very much, although she travelled a lot during her fouettés. I wondered why Michel Krcmar (excuse lack of diacritics) had been chosen as Siegrfried and found myself wishing it could have been the Georgian star, Potshkhishvili. The overall production was, I thought, rather wonderful and I am so glad we went.

[FionaM]

@maryrosesatonapin most likely Potskhishvili couldn’t be available due to rehearsals for Dutch National Ballet next season, which starts 11 September.  (That’s assuming Georgian State Ballet were interested in inviting him.  He’s not your usual danseur noble.) 
 

I noticed that Olga Smirnova had missed out on announced dates with Hamburg Ballet when DNB programme clashed.  It seems there may not be much flexibility there.  

Edited September 1 by FionaM