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Onegin (as a ballet) summer 2002

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#46 cargill


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Posted 23 July 2002 - 07:49 AM

I just want to say that I think that is a very fair and accurate description of the flaws of Onegin--I haven't seen the Royal Ballet do it (ABT did it this season), and it seems clear that it was made for a company that had four decent dancers and a fairly lackluster corps, and suited the Stuttgart very well--I saw much of the original cast. But I don't think it is a useful ballet to develop a company with, whatever its merits, which in my opinion are fairly flimsy. The corps just does generic dances, not even the folk inspired ones which might give the piece some flavor, or awful old geezer characterizations. There are no soloist roles to develop dancers--even Swan Lake has the pas de trois. To me it is like MacMillan without the mysogeny. I heard a story--I don't know if it is true--that when Balanchine saw all the lifts in the letter scene he said something to the effect that he assumed the Tatiana couldn't dance. Danilova once commented about someone "While she was busy balancing, I was busy dancing." I suppose a choreographer could look at Onegin and say "while he was busy lifting I was busy making steps." That said, of course great dancers have an impact, but I don't find it a great ballet.

#47 Alexandra


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Posted 23 July 2002 - 09:34 PM

I changed the title of this thread, as we had two "Onegin - summer season"s.

And here's a link to another, brief, earlier discussion of Onegin as a ballet (it's on the Ballets forum).


#48 katharine kanter

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Posted 24 July 2002 - 06:13 AM

what you have said has the ring of truth. One wishes that Artistic Directors, and theatre management in general, were but so honest, and so outspoken.

#49 Alexandra


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Posted 24 July 2002 - 09:58 AM

Clement Crisp, July 18, 2002, on Onegin:

Too much Mills & Boon, not enough Pushkin

The Royal Ballet returned last week from an Australian tour, and began a season - safe summery pops for the tourist trade - on Monday night with Cranko's Onegin. It is a work that needs from its principals a marvellous balance between incandescent performance and extreme subtlety of means. The choreography's emotional knife-edge must cut into the dancer's feelings, and into ours. With anything less sharp, the piece becomes more kitsch than art, Mills & Boon rather than Pushkin. So, alas, it proved on Monday.

Cranko manages the setting for the tragedy in conventional style, with romping young and doddering oldies at Mme Larina's party (provincial, of course, but over-played on this occasion - the elderly are not necessarily refugees from a BBC "comedy" programme). The score sounded punch-drunk, hammered by the hands of Charles Barker and the Royal Ballet Sinfonia. The central quartet looked ill-assorted and, for its three Royal Ballet regulars, jetlagged.

Adam Cooper, a guest artist, plays Onegin on an ascending curve of emotional power. I think his first scene insufficiently distinguished, lacking good manners, with dancing as stiff as his character, and cursed with the most dispiriting jacket. (Onegin looks like an undertaker's mute). Cooper comes into his own, reveals what a stunning dance-actor he is, in the final duet, raging like a stormy sea over Tatyana, communicating every shift of feeling from passion and hope to despair and utter desolation. Nothing else in the evening was so true to Cranko's ballet as we first saw it, and as it should still be seen.

#50 Stuttgart



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Posted 13 August 2002 - 10:11 AM


I just wanted to say that I saw Onegin in Stuttgart this seison and I loved Katja WŁnsche as Olga so much!!! Tatjana was Sue-Jin Kang und Onegin was Roland Vogel and Lenski was Misha Kaniskin.
Sue-Jin was really amazing, she was such a woman! She went so deep, I don't know how to explain it.
It was Katja's premiere but she did the best Olga I have ever seen! Her parntner Misha was for me not so good, than I like Friedemann Vogel much better and of course Robert Tewsley.
Roland Vogel was a great partner and he went very deep to. They all really touched me!! That was so nice to feel.


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