Posted 05 November 2003 - 06:03 AM
On 1st Nov Alina Cojocaru, Johan Kobborg and Laura Morera danced the leads. Johan was great! (as always...) He was sooo in character the whole time, and made you really believe that he loved Nikiya. Nikiya is one of my favourite Alina roles- I love the way she uses her arms and upper body- and her betrothal scene dance was gorgeous.
Have to give a mention to the corps - more together in the shades than I've ever seen them in anything.
What did everyone else think?
Posted 05 November 2003 - 06:11 AM
Green green green.
Posted 05 November 2003 - 06:24 AM
Seriously, the top of my "must see" list right now is Acosta and Rojo and Cojocaru.
Greena than Giannnina.
Posted 05 November 2003 - 08:25 AM
Incidentally, what is the correct way to pronounce the ballet. Is it "bey-a-dare" or "bye-a-dare" or something else?!
Posted 05 November 2003 - 08:34 AM
Beckster, a friend who saw Nunez's performance liked it VERY much; I hope you'll enjoy it. I'll await your review with interest.
I've always heard Bayadere pronounced BYE a dare.
Posted 05 November 2003 - 08:43 AM
Do people agree with Brown's assessment of Rojo's partner?
Two reviews of the Royal Ballet:
- La BayadŤre with Marienela Nuñez, Thiago Suares, and Lauren Cuthbertson.
Marianela Nuñez began this season's run of Bayadères dancing a transfixingly cold-hearted Gamzatti. On Monday she made her debut as doomed heroine Nikiya, negotiating a transforming U-turn into virtue. Nuñez is a strong, plush dancer and she rightly didn't risk playing Nikiya as a sanctified waif. Instead she used her powerfully arched back and plumb-centred technique to orchestrate her own passionate music inside the role.
- Romeo and Juliet with Tamara Rojo and David Makhateli. Also, two Bayadères, one with Daria Pavlenko, Roberto Bolle, and Zenaida Yanowsky, and the other with Nuñez, Suares, and Cuthbertson.
Ballerinas are a company's crown jewels, and they need looking after. If you have the Hope diamond, you don't stick it on a Matalan jacket. Tamara Rojo, opening yet another run of the Royal Ballet's favourite ticket-seller, Romeo and Juliet, has been partnered with a low-grade new signing and a cast that on opening night looked thrown together rather than lovingly planned.
Posted 06 November 2003 - 07:14 AM
Anyway, getting back to Makhateli, I personally thought he was ok, quite average, but not really good enough to hold his own up against Rojo. My dance history teacher was there and told me that she didn't think too much of him. She suggested a Rojo/Acosta R&J. Now there's a thought...
Posted 06 November 2003 - 04:34 PM
This was my first Bayadere, and I was a bit annoyed by the overly complicated plot-I kept having to look in my programme, because I found some of the mime a bit meaningless?
I also wasn't that inspired by Daria, she seemed a bit expressionless to me compared to Zenaida, who was fantastically venemous!
I have read some rave reviews about The Kingdom of the Shades but I must have had a bad night for it because the corps looked pretty wobbly (not that I could even begin to attempt it myself!)
Overall though I really enjoyed it, and Ivan Putrov was the Bronze Idol was the icing on the cake-he was brilliant! Has anyone seen his Solor? I hear that's great too.
Also is there anyone who's seen Romeo and Juliet and wants to share? I'm not going for ages but I do get to see Alina Cojocaru and Johan Kobborg
Posted 06 November 2003 - 10:32 PM
Thanks for posting -- we love it when people jump right in. If you're not used to ballets like Bayadere I can see how they'd be confusing -- one does have to read the program notes to figure out what's going on. When you've seen one or two -- or three -- it begins to make more sense, although some people never like them.
I'm not in London, so can't comment on the performances -- just like to read aobut them But I did want to welcome you.
Posted 14 November 2003 - 03:56 AM
I really really enjoyed this ballet. Iíve never seen it before, and parts of it were quite breathtaking. I was sitting right at the back of the amphitheatre as usual (cheapskate). I wish I had made notes at the time, as Iím going to find it hard to remember everything I thought!
So, off we go to some weird Indian land where salwar kameez and tutus are worn in equal number. Iíve seen Tamara Rojo before several times, and I do like her. She was very good in this, not just her dancing but also the acting. Her horror when the Brahmin professed his love was perfectly judged. Then everyone went off and Carlos Acosta started dancing. I was sitting in the theatre thinking that I have a bit of a prejudice to him, he seems rather arrogant. But his dancing was just amazing so Iím going to have to let him off. After all, Nureyev wasnít exactly the nicest person around. He started with some really huge jumps. I donít know what they were (possibly double cabrioles?) but he just seemed to hang in the air and do the slowest and most emphatic beats I have ever seen. It was quite amazing.
Scene 2, and I just LOVED Gamzatti. I much prefer her character to Nikiya. I have never seen Nunez dance a major role before Ė in fact Iíve never noticed her as a dancer, and because of her name I was expecting her to look more like Rojo. She was very pale and very haughty, and I liked her character and her dancing a lot. Again Rojo made me take notice of her acting Ė her revulsion at the ayah was very real. Scene 3, they all celebrate that Solor has dumped Nikiya for Gamzatti. Some rather horrible fuchsia gingham tutus here, and some lovely dancing by all three leads. I think it was in this scene that Nunez did a multiple pirouette that made the audience gasp. I donít know how many it was because I never count, but it was at least four. I liked the contrast between the two female leads, with Rojo doing a lot of adage work and Nunez doing a lot of fancy jumps. At one point Rojo got her scarf wrapped over her face, but fair play to her she carried on and did a pirouette and it came off. If that had been me I would probably have taken out a couple of temple dancers and ended up in the orchestra pit Ė which explains why she is a professional dancer and Iím not. That and the fact that Iím rubbish.
The Kingdom of the shades. Now I had heard good things about this and I was really looking forward to it, and I thought generally it was very good. The corps were very together, but one of the soloists had some very annoying mannerisms which put me off a bit. Again Acosta and Rojo danced beautifully and sent shivers down my spine. Acosta doing quintuple pirouettes and doing more of those huge jumps. Rojo with some lovely sustained balances. I liked the way the corps were at the sides doing steps which reflected the main action. And then it all finishes with a bit of an anticlimax, dancing-wise. Some fairly standard corps de ballet dancing and pdds, thunder and lightening, and Rojo and Acosta reunited in eternity by a long scarf. It had all the hallmarks of a great ballet - weak story, great dancing, everyone dies Ö I loved it.
Posted 14 November 2003 - 04:23 AM
Well, just remember that "calico" is a corruption of "Calcutta".
Some rather horrible fuchsia gingham tutus here
Posted 14 November 2003 - 06:37 AM
Posted 15 November 2003 - 09:09 AM
Posted 06 December 2003 - 08:34 AM
First nights at the Royal are notoriously tricky. Too often in the past, the Royalís first nights have looked under rehearsed in parts, with nerves all too apparent. And yet there is a pull about first nights, particularly this, the opening night of the season. Itís good to see the company again after a long break, and there is a sense of expectancy. This night seemed particularly significant: last seasonís opener, a very nervy, tense unfocussed version of Nureyevís Don Q which decidedly lacked oomph told a lot about the state of the company under the newly arrived artistic director Ross Stretton. Things could only improve compared to that.
There are other reviews of this and other RB programs in the Magazine:
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