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July - Aug 2014 at the Royal Opera House


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#151 Birdsall

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Posted 17 August 2014 - 04:22 PM

Yes, the score is dark. So that is probably what he was aiming to depict. I just think the cruelty that is part of the fairy tale can still be depicted without trying so hard to "be cool" which is what I think Ratmansky tends to do with costumes and sets. I lived through the 80s and New Wave and punk rock and green hair and mohawks and all that, so his costuming and hairstyles just seem so dated to me from a fashion standpoint although they never did creep into ballet probably until recently, so the look is probably "new" to ballet. And I notice that the 80s looks are back b/c they are "retro." But if he is looking to shock us old people and jolt us awake from classical tutus I have news for him. We all lived that time period and partied and lived it up, so it is not shocking or avant garde to us anymore! LOL 

 

Cinderella's sets are so ugly (but maybe it is to depict the coldness and cruelty of Cinderella's situation....who knows?) and I hated the conga line also. I mean, you have one of the world's most incredible corps de ballet and you have them dance a conga line. That would be fine if it was for a minute and the rest of the corps dancing was exciting or breath-taking in some way. But it is not. It would be interesting to find out what he changes in the Australian version. 



#152 Amy

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Posted 17 August 2014 - 05:05 PM

  It would be interesting to find out what he changes in the Australian version. 

Well I've seen trailers to the Australian version and their version actually has better looking sets and costumes, but probably still quite tacky. Ratmansky just further proves that modernist approaches like his are NOT appropriate for fairy tale ballets!



#153 meunier fan

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Posted 17 August 2014 - 10:45 PM

 It would be interesting to find out what he changes in the Australian version. 

 

Here are a few looks at the development of the Australian Ratmansky re-fashioning of his Cinderella, marking a return to the home of his first full-length ballet effort.  



#154 Helene

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Posted 17 August 2014 - 11:09 PM

I just think the cruelty that is part of the fairy tale can still be depicted without trying so hard to "be cool" which is what I think Ratmansky tends to do with costumes and sets. I lived through the 80s and New Wave and punk rock and green hair and mohawks and all that, so his costuming and hairstyles just seem so dated to me from a fashion standpoint although they never did creep into ballet probably until recently, so the look is probably "new" to ballet. And I notice that the 80s looks are back b/c they are "retro." But if he is looking to shock us old people and jolt us awake from classical tutus I have news for him. We all lived that time period and partied and lived it up, so it is not shocking or avant garde to us anymore! LOL 

He made it for the Mariinsky Ballet in 2002. The '80's were experienced quite differently in the West than in the Soviet Union.  I suspect that this was the first time through for Russian audiences.  The Mariinsky was and still is trying to expand its rep to more modern productions.  If they wanted a traditional production, I'm sure they could have mounted one.

 

If Mariinsky management concluded it was a bad experiment, they had no reason subsequently to tour it, to take it as the only offering on some tours, or to revive it in Russia.



#155 Birdsall

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Posted 18 August 2014 - 02:07 AM

 

 It would be interesting to find out what he changes in the Australian version. 

 

Here are a few looks at the development of the Australian Ratmansky re-fashioning of his Cinderella, marking a return to the home of his first full-length ballet effort.  

 

 

Thanks for posting that. Already the costumes look better in his revamped version, and from the looks of it he also must have realized the corps choreography needed something more. It looks like that is revamped also. 



#156 Birdsall

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Posted 18 August 2014 - 02:20 AM

 

He made it for the Mariinsky Ballet in 2002. The '80's were experienced quite differently in the West than in the Soviet Union.  I suspect that this was the first time through for Russian audiences.  The Mariinsky was and still is trying to expand its rep to more modern productions.  If they wanted a traditional production, I'm sure they could have mounted one.

 

If Mariinsky management concluded it was a bad experiment, they had no reason subsequently to tour it, to take it as the only offering on some tours, or to revive it in Russia.

 

 

 

Yes, I am sure they did not have the New Wave 1980s experience that the West had. That makes sense, but I do think just looking at some of his other scenery choices for ballets that he really wants to seem like the "cool" ballet guy, although maybe that was in his early stages. Judging from the re-vamped Cinderella excerpts posted above, he might be less obsessed with being "cool" now and more interested in substance. I actually find some of his choreography very nice. I like his Little Humpbacked Horse even though I don't care for the sets and costumes on that one either. I tend to think his comic choreography or action choreography or "happy" choreography to be much better than his "love" duets. There is something sort of boring about his love or serious emotions in his choreography, but that is my personal opinion. I want badly to like his love duets in Cinderella and also Anna Karenina, but I lose interest. Of course, who am I? He has many fans, so he doesn't have to listen to me! LOL 

 

I think dancers love having new, modern ballets to dance, even if some members of the audience are skeptical, and since he is creating new story ballets for the repertoire I shouldn't complain too much! But the Australian version of his Cinderella just from the short glimpses does look a lot better! 



#157 Mathilde K

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Posted 18 August 2014 - 03:57 AM

 

If Mariinsky management concluded it was a bad experiment, they had no reason subsequently to tour it, to take it as the only offering on some tours, or to revive it in Russia.

 

 

"Mariinsky management" in this case may be Gergiev himself (in the Mariinsky's ballet troupe jargon it always means "Fateev"). It seems that the decision to keep «Cinderella» in the repertoire and tour with it is entirely his own. Ratmansky on at least one occasion indicated that this early effort of his is dated and he wouldn't mind if it was retired. Even among Russian ballet critics «Cinderella»'s choreography is considered weak.



#158 pherank

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Posted 18 August 2014 - 02:12 PM

Sorry to jump in the middle of the discussion, but did Kondaurova dance Midsummer Night’s Dream on this tour, or was there a substitution?



#159 meunier fan

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Posted 18 August 2014 - 02:32 PM

Sadly Kondaurova did not appear at all during the recent London tour of the Mariinsky. 



#160 amiaow

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Posted 18 August 2014 - 02:34 PM

I saw on the Mariinsky Ballet Facebook page that Kondaurova was on holidays for the rest of the season.



#161 pherank

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Posted 18 August 2014 - 02:36 PM

Sadly Kondaurova did not appear at all during the recent London tour of the Mariinsky. 

 

That's what I was wondering - definitely a shame as there aren't many chances to see these dancers outside of Russia. "Big Red" does a better job with Balanchine than many of her cohorts, imo.




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