audience reaction to ballet, opera, chamber music, etc.
Posted 23 February 2000 - 12:38 PM
The appropriate response to opera seems to fall into two categories—Wagner and non-Wagner. For a Wagnerian opera, one is expected to not applaud until the end of an act— except for “Parsifal”, in which applause may be held until the entire opera is over (and the audience awakens). For all others, especially nineteenth century Italian works, the expectation is that there will be occasional interruptions of applause after well-known arias. It is remarkable and part of opera lore when a big aria does not stop the show.
In chamber music recitals or symphonic concerts, of course, applause is expected only at the conclusion of a work—it is considered ill-mannered to applause between movements, no matter how beautifully the movement has been played and how profoundly affected one may be by it. It is even more exaggerated at song recitals, where it almost breath-holding quality of the silence between the songs of a series seems to be part of the experience of attending the concert, and one which I find increasingly annoying.
I remember being surprised at the first ballet I attended when the dancers would finish a variation and then come to the footlights to bow and accept applause. In opera when the work in interrupted by applause (sometimes quite raucous and prolonged) the singers almost always simply stand and stay in character until it subsides. The conductor is the one who decides when to continue. In ballet it seems less intrusive—something happens which will cause applause, a recognition of it and then on with the show.
Are these pauses to accept accolades put into the work based on how a producer or choreographer thinks the audience will respond? Are they also typical in the rest of the world (Russia, France, England for example)? Are they recent additions or are they part of the tradition of ballet?
Posted 23 February 2000 - 11:02 PM
I do think applause is different country by country. (In Copenhagen, when it's really good, the audience stomps on the wooden floor, but only at the end. It's great; get all the energy out through the legs) But they don't applaud much. It's also different in different times. I have a very fond memory of Nureyev receiving a standing ovation after his solo in the third act of Sleeping Beauty once. Now, he demanded it. He stood in fifth position, raised his arms, and made it absolutely clear that nothing was going to happen until everyone in the Met stood and acknowledged his (not insignificant) accomplishment. It worked.
Posted 24 February 2000 - 11:09 AM
[This message has been edited by Giannina Mooney (edited February 24, 2000).]
Posted 24 February 2000 - 12:46 PM
Posted 24 February 2000 - 04:19 PM
Posted 24 February 2000 - 06:14 PM
Posted 24 February 2000 - 06:18 PM
Posted 25 February 2000 - 09:55 PM
It had started not in Russia but in France, when after every variation public was free to express yourself by applause, if she likes it or by rotten tomatos, which came from Italian Opera, as you know. Public could demand to repeat variation or even to throw out a bad dancer. Ballerinas commanded conductor what to do, when to start and when to finish variation and this tradition still alive in some companies!
By the way, I think about bows as very complicated art form. How long I have to bow, how low I have to bent, specifically to whom I have to make gestures, what's my relation with partners and so on and so on ...
Another things, if you go from the stage to early, when the wave of applause is still up, public is going to miss the begining of the next piece and you can ruin other person performance. I had standing ovation in my life and it's very important to feel auditorium and manipulate them.
The best public in Italy. They have American openness, French taste, German loudness, Japanese togetherness . Russian public is very cold or let's say perky.
Posted 26 February 2000 - 11:26 PM
" During a performance of Swan Lake on 25 November 1907, he (Vaslav Nijinsky) became so flastered that he stopped dancing his variation of the pas de trois in the first act and began taking his bows while the orchestra was still plaing. For this he was "verbally rebuked" by the dirctor of the (Imperial) theater."
This info. came from the Archives USSR, and was used by Peter Ostwald in his book "Nijinsky, a leap in to madness".
Posted 05 March 2000 - 09:56 AM
Posted 05 March 2000 - 12:04 PM
Of course, the opposite problem also occurs. In Liebeslieder Waltzes, despite the fact that the program clearly states that the ballet is in two parts and that the curtain will be lowered between them, many members of the audiences applaud insistently after the first part, expecting the dancers to come out to bow. The last time I saw it, a woman in the fourth ring continued to clap loudly after everyone else had given up, so that I had to whisper to her, "Ma'am, they're not coming out. This is just a pause." She raised her eyebrows but stopped clapping.
Posted 06 March 2000 - 02:46 AM
Some nights are different than others at NYCB. There was a performance of Episodes this past season with a really experienced crowd -- they got everything and really appreciated what, in my opinion, was an excellent performance. Then there are the audiences who will only clap for Whelan or Woetzel as if to say, "Oh, I know them so they must be good."
But the ABT audience is out of control, whistling and clapping every element sometimes, especially those slow turns of Carreno's. I was at a mixed bill when his fans were going wild, then some SAB kids decided that it was fun just to scream at any pause. It was too weird, like being at the circus. However, I read a couple of dancers that felt that American audiences were too reserved and preferred those in the UK.
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