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RB season 2010/2011Ballo della Regina, Wheeldon's Alice


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#16 Mashinka

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Posted 21 April 2010 - 07:51 AM

Bolle is a funny one isn't he, a worldwide classical principal with guesting in the major classical companies continually and yet he finds three pirouettes a challenge. But then at the RB he has our homegrown principals Watson and Pennefather who are pretty much in the same boat, technique-wise.


People are always telling me how wonderful he is, but I don't see it either. Amazing how far some dancers get on looks these days.

#17 annamicro

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Posted 21 April 2010 - 08:19 AM

Bolle is a funny one isn't he, a worldwide classical principal with guesting in the major classical companies continually and yet he finds three pirouettes a challenge. But then at the RB he has our homegrown principals Watson and Pennefather who are pretty much in the same boat, technique-wise.


I don't agree. When Bolle is in a good shape his basic technique is clean. His acting is basic and clean too: you can see every "step" the face is supposed to make. Very basic and very clean.
He also shares with his preferred partner Bussell the unique ability to change dramatic moments in comical ones: their Manon was unmissable.
In Italy he has a huge fan club and a number of sponsors, but I've never meet (nor in London nor in Milan) a regular ballet.goer nor a professional in ballet world who admits to like him, but this is a different point.
According to his press office he had an huge success in New York and they adore him. Could it be something like the huge success of La Scala Sleeping beauty in London, a triumph, according to Italian news?
I don't know, but I'm happy that ABT is keeping him busy and probably away from the Royal Ballet, even if he remains Etoile of La Scala Ballet.

#18 Simon G

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Posted 21 April 2010 - 08:52 AM

Bolle is a funny one isn't he, a worldwide classical principal with guesting in the major classical companies continually and yet he finds three pirouettes a challenge. But then at the RB he has our homegrown principals Watson and Pennefather who are pretty much in the same boat, technique-wise.


I don't agree. When Bolle is in a good shape his basic technique is clean. His acting is basic and clean too: you can see every "step" the face is supposed to make. Very basic and very clean.
He also shares with his preferred partner Bussell the unique ability to change dramatic moments in comical ones: their Manon was unmissable.
In Italy he has a huge fan club and a number of sponsors, but I've never meet (nor in London nor in Milan) a regular ballet.goer nor a professional in ballet world who admits to like him, but this is a different point.
According to his press office he had an huge success in New York and they adore him. Could it be something like the huge success of La Scala Sleeping beauty in London, a triumph, according to Italian news?
I don't know, but I'm happy that ABT is keeping him busy and probably away from the Royal Ballet, even if he remains Etoile of La Scala Ballet.



Anna,

We're seriously going to have to agree to disagree on Bolle, ditto Bussell, especially on their dramatic abilities.

I can see why Bolle has a career, he's tall, matinee Idol good looks, strong like a weightlifter so a tall ballerina will be ably supported - but boy oh boy, watching him dance is for me, the equivalent of having teeth pulled. His plasticity is non existant, and it shouldn't be given how flexible he is - there's no enchainement or cantilena, merely a collection of poses and when he jumps he has that tall-guy problem of flailing legs and heavy landings.

Bussell is another one whose reputation vastly dwarfed her actual talent and technique. And I don't think that was entirely her fault, from the get go she was touted as the British Sylvie Guillem - and for too long we had a mess of legs and extensions, her use of turnout until very late in her career was poor and the basic armoury of technique that one expects in a ballerina of that level of experience and position was just never there.

I know Bolle is very popular in Italy, being a homeboy, but at ABT & RB all he is is a dope, albeit a handsome one for tall girls. His Solor in Bayadere was particularly painful as it ruthlessly exposed his very basic technique, actually his Arminta was a real teeth-grinder too, he made what has to be a burly shepherd effete and simpering - just wrong.

#19 richard53dog

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Posted 21 April 2010 - 09:10 AM

Bolle is a funny one isn't he, a worldwide classical principal with guesting in the major classical companies continually and yet he finds three pirouettes a challenge. But then at the RB he has our homegrown principals Watson and Pennefather who are pretty much in the same boat, technique-wise.


I don't agree. When Bolle is in a good shape his basic technique is clean. His acting is basic and clean too: you can see every "step" the face is supposed to make. Very basic and very clean.
He also shares with his preferred partner Bussell the unique ability to change dramatic moments in comical ones: their Manon was unmissable.
In Italy he has a huge fan club and a number of sponsors, but I've never meet (nor in London nor in Milan) a regular ballet.goer nor a professional in ballet world who admits to like him, but this is a different point.
According to his press office he had an huge success in New York and they adore him. Could it be something like the huge success of La Scala Sleeping beauty in London, a triumph, according to Italian news?
I don't know, but I'm happy that ABT is keeping him busy and probably away from the Royal Ballet, even if he remains Etoile of La Scala Ballet.



Anna,

We're seriously going to have to agree to disagree on Bolle, ditto Bussell, especially on their dramatic abilities.

I can see why Bolle has a career, he's tall, matinee Idol good looks, strong like a weightlifter so a tall ballerina will be ably supported - but boy oh boy, watching him dance is for me, the equivalent of having teeth pulled. His plasticity is non existant, and it shouldn't be given how flexible he is - there's no enchainement or cantilena, merely a collection of poses and when he jumps he has that tall-guy problem of flailing legs and heavy landings.


I know Bolle is very popular in Italy, being a homeboy, but at ABT & RB all he is is a dope, albeit a handsome one for tall girls. His Solor in Bayadere was particularly painful as it ruthlessly exposed his very basic technique, actually his Arminta was a real teeth-grinder too, he made what has to be a burly shepherd effete and simpering - just wrong.



I have to admit I'm not much of a Bolle fan either. I saw him with ABT a couple of seasons ago, it was the last performances here in NY of Ferri.
She loved dancing with him because he's so strong and his back is so wide, she commented that laying on his back is like laying in bed. But I don't see much beyond the good looks, height and weight lifting. He seemed pretty dull to me as Romeo even at Ferri's last Juliette with ABT

#20 Leigh Witchel

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Posted 21 April 2010 - 09:16 AM

We're dragging this way off topic, but I've seen Bolle be both the dancer annamicro describes, and the one Simon does as well. Recently, his performances at ABT have been stronger than the ones I saw several years ago at the Royal. I'd agree with anna that I found him clean.

I'd agree with everyone that he is very easy on the eyes.

#21 annamicro

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Posted 21 April 2010 - 11:41 AM

We're seriously going to have to agree to disagree on Bolle, ditto Bussell, especially on their dramatic abilities.


If with "we" you intend you and me, I don't see where we disagree, a part the cleanliness of his basic technique (excluded troubled double assemble en tournant and cabriole with bended knees - probably not basic enough). To me to be clean doesn't mean to be interesting or worth to watch: we are talking of a ballet dancer, not of a lavatory.

As I wrote, he has a huge fan club in Italy, but it includes the kind of people that consider a great success to hear clapping during the entrechat series in Giselle or during the final manege of L'Arlesienne (when I saw it in Parma, people was clapping as in DQ coda, but in that moment Frederi is devastated and going to kill himself jumping through an open window, a very silly behavior by the audience, but honestly, having not seen the ballet before, it would have been hard to understand what was going on with Bolle as the main character).

I agree that he can be "the equivalent of having teeth pulled", but during a very strong and deep general anesthesia.

Maybe the ability to change dramatic moments in comic has been intended as a compliment, but I don't understand how: I remember Leacault death in a Bussell-Bolle Manon as a truly hilarious moment and absolutely unforgettable. But that doesn't mean that I consider the 8 pounds I spent for that show a good investment.

I've always had the impression that Ferri was using him as a pole for pole dancing, looking through him more than at him.

Leigh, I'm afraid that Simon and I described (or have in mind) exactly the same dancer. I just think that he, when in good physical form, can do a good triple pirouette (or three single pirouettes in suivi, at your choice): wow!

#22 Leigh Witchel

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Posted 21 April 2010 - 11:53 AM

Yes, I think it's all semantics. When I saw him in '03 in London doing Bayadere, he was clean and handsome, but having a rough time with both Daria Pavlenko and Zenaida Yanowsky. In fairness, I don't know how much rehearsal he had.

At the '04 Ashton Festival partnering Bussell in the Awakening pas de deux, he was much, much better. At ABT he's looked good. Not a pyrotechnician, always clean, always good partnering.

But let's try and drag the topic back to the upcoming season.

Is there anything you're planning to attend (or avoid?)

#23 annamicro

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Posted 21 April 2010 - 12:19 PM

When I saw him in '03 in London doing Bayadere, he was clean and handsome, but having a rough time with both Daria Pavlenko and Zenaida Yanowsky. In fairness, I don't know how much rehearsal he had.


You have missed him in '07, partnering Cojocaru. He was not clean nor handsome (returning from an injury), clearly below his "basic". Anyway he saved Cojocaru's show, having the company huge problems with male dancers in that moment and nobody else available to dance with her.

But let's try and drag the topic back to the upcoming season.

Is there anything you're planning to attend (or avoid?)


Returning to the topic, I've already fixed my dates for Onegin (what a shame that Rojo is not dancing Tatjana, she said in an interview she refused to dance it the last time, who knows if she refused again or was not offered at all this time?) and T&V mixed bill.
I love Giselle, Swan Lake and Manon so I think I will not be able to skip them and I'm looking forward Scenes de ballet/Voluntaries mixed bill (hoping to have shows during the week-end)
I'm dubious on Wheeldon new ballet and Rhapsody/Rite of Spring mixed bill.
I'm avoiding for sure Sylvia and Beatrix Potter mixed bill and probably Cinderella.
I have to find strong reasons to see Ballo della Regina, being not interested at all in the rest of the evening.

#24 Alymer

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Posted 22 April 2010 - 04:57 AM

Simon G wrote: How do you think Cojocaru will hold up in Theme? The ballerina part is wickedly difficult, though not as fast or fleet as Ballo,


When she did Theme with Kobborg she danced nicely, but it was all too small in scale for my taste. And I think the role needs grandeur rather than sweetness. But what I found really strange in those performances was to see Alexandra Ansanelli confined to a demi-soloist role.

#25 Simon G

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Posted 22 April 2010 - 05:06 AM

When she did Theme with Kobborg she danced nicely, but it was all too small in scale for my taste. And I think the role needs grandeur rather than sweetness. But what I found really strange in those performances was to see Alexandra Ansanelli confined to a demi-soloist role.



Alymer,

Sweetness, exactly! I have to admit that's a problem I've always had with Cojocaru and taking her as a "great" ballerina as she's publicised to be.

I saw her very first Giselle, and she is a great Giselle, the one where she was made principal afterwards. But you're right, she falls back on sweetness far too often - in roles where this is perfect she can be perfect, but very often there's little sense of grandeur when the role calls for it.

She can be brilliant, but she's certainly not the whole package for me. And yes there was some odd casting with Ansanelli throughout her time at the Royal.

#26 CarmelaSMira

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Posted 25 April 2010 - 04:03 AM

I'm sure Nunez will do the Ashley role in Ballo. I would guess the 2nd cast would be Rojo or Sarah Lamb, can't imagine that they would put Cojocaru through the attempt after this season's Sphinx story... Actually, Morera (so underestimated!) has rock solid technique as well so that's another possibility.

Back to McGregor, it scares me watching what he does to his ballerinas who then go back to dance Sleeping Beauty the next day! I'm not surprised RB had so many girls off injured this last 2 seasons, because the mix of repertoire is a bit too much! Nunez for example, has been on stage so much this season - and so many different roles: Aurora, Lilac Fairy, Larisch, Limen, Sphinx, Infra, Sugar Plum Fairy, Concerto, Elite Syncopations, Lise, now Cinderella debut, Juliet... next week Wheeldon and New Scarlett... I think the only programme she didn't appear in was Patineurs/Beatrix Potter. Wow!

#27 ami1436

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Posted 07 May 2010 - 05:59 PM

I'd agree with Nunez for Ballo, but also for Morera -- she's got lightening sharp pointe work.


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