Ashton's version of "La Valse"how does it compare to Balanchine and others?
Posted 12 July 2008 - 06:16 PM
Ashton's takes place in a vast, brilliantly lighted ballroom draped in white satin. Four red-clad footmen stand at the back holding candelabra. They never move. There are 3 lead couples and what seem to be about 20 or more additdional couples. All the women wear long multilayered, gauze tutus in shades of rose, grey, yellow, etc. The men wear tails from a period that seems to be the 1830s. At times, the movement parallels the music (volume, tempo, etc.) in an almost literal, step-for-note fashion. The patterns and lines are surprisingly formal and geometric, even when the dancers seem to be losing their battle to remain lyrical.
Is this ballet still performed by the Royal? Has anyone seen it on stage and in full? What do you think? And -- if you've seen both versions -- whose do you prefer, Ashton's or Balanchine's?
Posted 12 July 2008 - 06:57 PM
Posted 12 July 2008 - 07:24 PM
Posted 13 July 2008 - 05:15 PM
kfw, I agree with you about the Balanchine. You've been able to see both a recent live performance and the older film. Is the Royal still dancing this much as they did when the film?
I would love to hear more thoughts about the Ashton version, especially from those who ahve also seen the Balanchine.
La Valse -- as distinct from Valses nobles et sentimentales -- is a piece which makes an impact by means of sudden, dramatic contrasts. It presents us with a conventional, formal, quite beautiful elements evoking an elegant ball, and then sets about destroying them, exploding suddenly and unpredictably into wildness, loudness, distortion, excess.
I've now been able to see three quite different choreographers addressing this music: Balanchine (which I first saw in the early 60s); Pascal Rioult's modern dance version, which I saw in several performances this season and last; and now this brief glimpse of Ashton.
I was very taken by the Pascal Rioult's modern dance version, Wien, which uses only "La Valse." Of the three, Rioult responds most directly to the unpredictability of the piece, the disintegrative elements in the waltz. Although his dancers perform, at times, their own version of courtly dances, they also explode into violence, collapse to the floor, select and reject their partners impulsively, even callously.
Ashton's version sticks quick tightly to the conventions of a well-bred ballroom. When the music calls for outbursts or wildness, his dancers do not collapse, attack or fall apart. They create drama by leaping higher or in unexpected directions, twisting a bit more, exagerrating their port de bras, mvoing faster and reaching outward more dramatically. At the end, all the dancers re-form into parallel lines facing the audience, as though trying desperately to reasssert order and convention. The women swing their arms and agitate their skirts. It's powerful and disturbing precisely because they seem to be unable to go further, as though wishing desparately for a return to order and restraint.
Or am I completely missing the point?????
Posted 14 July 2008 - 08:38 AM
Posted 14 July 2008 - 09:07 AM
I couldn't disagree more. Since Balanchine so seldom gave us "characters and a plot," as you say, when he did he had powerful reasons for doing so. I've also seen the Ashton only on video, but for me it was rather too delicate and refined --not much sense of danger or desperation at all. Balanchine's brilliant use of the Valses Nobles et Sentimentales as a prelude to the actual La Valse creates a whole world of decadent, heartless flirtation out of which the ballet's sinister happenings naturally follow. I wouldn't call La Valse one of Balanchine's greatest works, but it perfectly draws out and dramatizes the woozy, dangerous eroticism in Ravel's music.
Posted 14 July 2008 - 09:13 AM
Almost, but the colour is more quiet, as in all the ladies' dresses. There aren't any bright reds, greens or even blues, but rather all these peach and canary (is that a colour?) and pastel colours. When there is something in the red family, it is always cerise, like banquettes at some French restaurants. And when all the couples are dancing together, it is such a strong masculine-feminine contrast, with much pulchritude on both sides, that even when they're just doing the simpler waltzes, it has a very subtle sexiness about it. The filming is strange-looking by now, because you have to really look hard to make out individual dancers. It's the only filmed ballet I've seen in which I would sometimes need to read 'with artists of the Royal Ballet' to really accept that these were real, live dancers; it's like film somehow transformed it into a literal dream, but there's the thrill at waking up and knowing that, of course, they are real dancers and there is some charm in the fact that they aren't listed and so those of us who don't know old RB casts don't know who any of them are. Another thing I experienced on watching it repeatedly is that, even though they are fine dancers, when some of them are technically imperfect, it doesn't matter, only adds to the atmosphere of ease and pleasure--like that wonderful unexpected sense of 'being at home' I've always experienced when in London (and never any other place I've been to that I wasn't living in.) So, for me, perhaps more only somewhat 'MGM musical', but more London--St. James Park, Claridge's, the Connaught, i.e., elements of kitsch but never brash.
Posted 14 July 2008 - 09:58 AM
Posted 14 July 2008 - 10:08 AM
At the end of the Balanchine, you can clearly see him setting up for the closing passage. 3 pairs of women appear from the wings downstage left. They wait. Most of us will, of course, know what they are waiting for -- one of the most famous exit passages in all ballet. But -- if you pretend to yourself that you DON'T know -- there's real suspence. Anything could happen (which is NOT the case in your typical story ballet). The exit of the ballerina, carried aloft by three men who you hardly noticed were there, is powerful precisely because it doesn't need an explication.
As for the Ashton: I do love his take on the music. But the restraint in the face of disintegration which the dancers exhibit at the end reminds me of one of those 19th-century novels of manners in which the Awful Truth about a character is revealed, with dreadful social consequences, when he does something like eating with the wrong fork. Ravel, I think, writing in response to the catastrophe of World War One, would have wanted more.
Posted 13 August 2009 - 08:12 AM
When I lived in London, The Ashton version I've seen many times at Covent Garden and it is delightful to watch, full of movement and color, and so musical. But Balanchine added the drama which was rare for him. Of course "Serenade" has a touch of it when the unknown dancer falls down, and "Prodigal Son" naturally is full of drama. But these are Balanchine's earlier works. In latter years his work became far less interesting, to me at least.
Posted 13 August 2009 - 12:48 PM
Posted 14 August 2009 - 06:24 AM
Hey, good point, and I've done that with the Ashton a whole lof ot times, as an experiment when I was really studying the ballet and working the piece at the piano. It's just like looking at a scene out of Proust, maybe the second volume, at Balbec, those big hotels by the sea in the old days, but combined with some more Parisian and English flavours too, because you wouldn't see dinner jackets at the ocean. A ballroom somewhere, yeah, maybe in London, close to St. James Park maybe, near all the gentleman's clubs? A friend and i were talking about that area recently.
Posted 14 August 2009 - 06:38 AM
as i searched for the credits of Ashton's VALSES NOBLES i am reminded that Ashton used the music twice, once as indicated above and below:
Valses nobles et sentimentales - Chor: Frederick Ashton (complete revision of his earlier Valentine's eve); mus: Maurice Ravel (Valses nobles et sentimentales); scen & cos: Sophie Fedorovitch. First perf: London, Sadler's Wells Theatre, Jan 10, 1947, Sadler's Wells Theatre Ballet.
and previously as indicated in the VALSES N. credits as:
Valentine's eve - Chor: Frederick Ashton; mus: Maurice Ravel (Valses nobles et sentimentales); scen & cos: Sophie Fedorovitch. First perf: London, Duke of York's Theatre, Feb 4, 1935, Ballet Rambert
Posted 14 August 2009 - 08:16 AM
Edited by Alexandra, 14 August 2009 - 08:31 AM.
changed the last sentence to be more clear (I hope)
Posted 14 August 2009 - 08:47 AM
As a teenager, I -- like you -- was fortunate to be able to get seats quite often in the first row of the balcony, and was grateful for the low (and subsidized) ticket price.
0 user(s) are reading this topic
members, guests, anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases: