sylvia

Jeannie, I'm more than a little biased to Bereznaya and Sikharulidze myself. I so badly want them to win this year because the create such beautiful clean images on the ice. That and the fact that I doubt they'll stay for another Olympics. I've heard the talk about S&P scrapping Orchid for Love Story. I hope that's not the case. I adore Love Story but Orchid has a much maturer feel and from artistic or presentational point of view I don't think it any less than Love Story. I'm also rather intrigued by some of the discussion I've seen on incorporating romance and passion into programs to score higher presentation marks. I haven't seen B&S's new LP myself but I've seen talk that it has a much more romantic feel than we're used to seeing in them. That and the comment Sikharulidze made -"now we have to kiss to win"! And I've seen it in Shen and Zhao as well (who's presentation marks are now much higher!) I hate to think that pairs are incorporating this into their programs to boost their presentation marks. S&P are more than that - they're lifts are the most exquisite I've ever seen. Gordeeva and Grinkov conveyed passion in their skating without being overt, their Moonlight Sonata being the best example. I had hoped B&S would do the same. [ January 11, 2002: Message edited by: sylvia ]

Yagudin is easily my favourite in the men's field. He has everything technically and is a beautiful interpreter of music. I think his last 3 short programs and 'Winter' most especially rank among the best ever. I think the necessity of the quad (well a quad AND a quad-triple) have hurt him though. I worry he won't have the stamina to finish a clean program. I've been more than the disappointed in the progress of Plushenko. He has wonderful presentation and isn't afraid to be lyrical. Back in 2000, I would have thought he was the most 'balletic' of the men's field. But he sure is making it hard to see with his skating these days! He hides his best qualities with over- gesturing. I think his Michael Jackson number is way too overdone. But I guess the contrast to Yagudin does make things more fun. Goebel has improved in leaps and bounds - he was into some serious shoulder-slumping when he first came on the scene. I used to shout that the boy needed a ballet class or a hundred! And good ol' Todd - he's has he best lines, positions and spins out of all of them. I just think something's gone a little awry in his choice of music - nearly always movie soundtracks! I think Michelle has the same kind of problem - trying to be original by picking unusual and unfamiliar pieces of music and it hasn't really worked. I wish the two would skate to something more proven and powerful because then they'd be near unstoppable. Maybe that'd be taking the easy way out. But I look at the pairs team Sale and Pelletier skating to one of the most loved and romantic and over-used pieces of all time (Rachmaninoff) and still looking so incredibly fresh and original. [ January 11, 2002: Message edited by: sylvia ]

Onegin images on the ROH website now up and really beautiful ones too! Much cleaner than the Don Q ones last month. I hope they add more images, including those of other casts. http://www.royalopera.org/ballet/index.cfm?ccs=186&cs=316

... and before I forget I hope you have a super time Anoushka! Will you be seeing any other casts?

I did see Tapper/Coppen/Nunez/Stepanek for the Saturday matinee but I'd used up all the best words in describing Alina and Johan! Jamie and Nathan were wonderful as well. Tapper is a real talent in the company, very passionate and very DIFFERENT from the others I'd seen before. And I'm so pleased that RB have snagged Coppen. I had never been a huge fan of his until now. Stepanek stepped in at the last minute for an injured Pennefather (both from the corps). He was so sweet in Act I, had no problems at all partnering Nunez. Apart from a couple wobbles he was lovely in his Act II solo. It's always great to see new faces. It makes me curious how many more dancers have learned the roles but are on standby in case of injury. Will we ever get to see them dance?

I have to admit I had my doubts when casting was first announced and Alina was to be Tatiana. Then when I read Alina's first reviews for Onegin I expected her to be wonderful. Now after watching her for myself I have to say she exceeded my very best expectations! Her transformation from innocence to passion was breath-taking. In the mirror scene every step, every lift flowed as part of one beautifully fluid movement. I read statements like this everywhere but I hadn't realized until now that it was something I'd never seen or appreciated. Adam Cooper is a hard act to follow but Kobborg more than matched him, using his enormous technical capacity to inject drama into his role. Before the duel while arguing with Lensky he pulls off these multiple pirouettes, amazingly fast and centred before stopping suddenly and slamming his fist down, and the speed at which he spins made his anger seem all the greater. I also didn't find him as ice-cold as the others. His interpretation I thought was more subtle, more nuanced and no less beautiful to watch. He's a brilliant partner for Alina. They looked so confident it was like they'd been dancing together all their lives. They had so much speed and held nothing back in the acrobatic lifts. There's been so much made about Alina being 'not mature enough' for Tatiana but I disagree very strongly. Of course she can't hide her youth but she had such poise from the start of Act III and her pdd with Gremin was so loving and kind she convinced me wholeheartedly of her maturity. In the final letter writing scene I got chills from the passion and desperation let loose. Their partnership is extraordinarily memorable and their performance is a must see. Johan Persson's Lensky was very accomplished, especially his heart-felt Act II solo. Gemma Bond, who's been plucked from the corps and I think has only been with the RB for a year, made a lovely Olga but her interpretation I felt wasn't particularly deep. Still I'm looking forward to seeing how she develops in the company.

I saw Onegin last week and I simply adored it. First night (Adam Cooper, Tamara Rojo, Alina Cojocaru, Ethan Stiefel) was a kind of a dream cast for me and I wasn't disappointed. I was lucky enough to see a rehearsal that afternoon as well and was completely bowled over by Robert Tewsley (guesting), Mara Galeazzi, Marianela Nunez and Johan Persson. I kept thinking to myself what a talented lot we have and it's spurred me on to get tickets for the other casts as well. I'm not entirely happy at the start Ross Stretton's made, but this I'll give him this - with Don Q and now Onegin, in showcasing all these talented young soloists (and a few from the corps as well) he's exposed me to dancers I'd have never bothered to see before. I can't even begin to say how much I've spent on tickets already and the season's barely begun! I was a little surprised by the mixture of reviews, which went from rather cool (Rojo's face described as mask-like - I thought she was very expressive!) to out and out gushing (Ismene Brown from the Daily Telegraph was extremely impressed). Another review I read put down the sets as dated (on loan or bought from another company I think?) but I disagree quite strongly. The sets are very simple, in most cases just a beautifully detailed backcloth and a few pieces of furniture. I think they caught the atmosphere perfectly and its simplicity allows the dancers to shine. The muted pastel-coloured costumes, especially those of the corps, were indescribably lovely. I was hoping someone here could help resolve a little confusion some of us are having - who is the older sister, Tatiana or Olga? Watching Tamara and Alina, by their mannerisms I'd tend to think that Olga was the older, more experienced with men sister. But from a physical appearances I thought Tamara danced the older one.

Ditto to that Anoushka - the first time I ever saw him was at the RB class as well. Have to admit I didn't recognise him at first - where was that smile? But he was wonderful in Don Q - he and Alina Cojocaru really brought what many regarded as a rather dire ballet to life. I can't wait until he returns in Feb for Bayadere.

I'm so pleased that Alina Cojocaru's name is up here. I was absolutely enchanted with her performances as Kitri and Armour in Don Q this last week. I'd also like to add a couple more names from the RB - Miyako Yoshida demonstrates a great respect for the stage. Her dancing is beautiful without being showy. The word arrogance just isn't in her vocabulary. I wonder if men could come under these descriptions as well. I can think of no more than a couple from this side of the Atlantic. [ November 18, 2001: Message edited by: sylvia ]

Paquita, the cast of the RB Coppelia DVD includes Swanhilda - Leanne Benjamin Franz - Carlos Acosta Dr Coppelius - Luke Heydon Choreography by Ninette de Valois I'm a little fuzzy on the other roles but I *think* Mara Galeazzi and Zenaida Yanowsky danced the Aurora and Prayer solos respectively. I remember Marianela Nunez, a very exciting first soloist as one of Swanhilda's friends but that's all. It was recorded on 19/2/00 and there was another run of performances this July so there are plenty of reviews around. I saw it live for the first time this summer and was so delighted I went back to see it twice more. I think it's an extraordinarily beautiful ballet, very funny with some lovely choreography and the extensive mime fits the music to a T. Act II IMHO is a work of genius with the dolls and Swanhilda's impersonation is particularly magical to watch. The costumes are fun and colourful (bright red boots for Franz and an even brighter pink for Coppelia/Swanhilda!). The scenery has a wonderful and slightly surreal 'toyhouse' quality to it. Admittedly there isn't a huge amount of dancing for resident himbo Franz to do but it's a lovely comedic role with lots of very hilarious mime. Acosta's pdd at the end is worth watching but the camera work detracts a bit from his great virtuosity. Swanhilda's dancing on the otherhand is terrific to watch with some very spunky choreography in Act I and even better stuff in Act II. Leanne Benjamin stepped in to replace Miyako Yoshida and does a commendably feisty job. I remember a review describing her Swanhilda as complex - sensitive enough to be hurt by Franz's wayward flirting, but hard enough to enjoy humiliating Dr Coppelius. Luke Heydon is one of my favourite character principals and his Coppelius is gently comedic. In spite of his mean spirit, his attempts to bring Coppelia to life and final realization that he did not is very touching. The corps with their character dances have some very engaging choreography of their own. I don't think the ballet came across particularly well on tv (of course ballets rarely do). It's not filmed too badly though a few of the camera angles are a little odd and cuts away on occasion from some details. The charm derives from the little things that catch the eye - the funny swishy 'bows' the men take, the way Swanhilda swings her foot up and down in time to pulling on Coppelia's dress... The camera catches some of these moments but misses others. The DVD also includes a biography of Osbert Lanacaster (designer), an introduction by Deborah Bull (former principal) and a behind-the-scenes look at Convent Garden. The behind-the-scenes is very similar to the one on the Opening Celebration gala on video. It's hard to decide if the DVD should be recommended. My thoughts are coloured by some very happy memories at ROH so I can't claim to be very objective. I bought the DVD after the performance so of course it was a bit of a let-down. But I'd encourage those who've never seen it (and may never see it onstage?) to have a look. It wouldn't be a bad idea to get some opinions from the http://www.ballet.co.uk posters as I'm sure a fair number have it on video. [ November 16, 2001: Message edited by: sylvia ]

Not to mention her study of pure evil in 101 Dalmations! Seriously I agree with what you said about Glenn Close 100%. I am in such awe of Dowell's Carabosse in the recent RB version. Admittedly his is the only one I've seen but he made such a tremendous impact on me and virtually stole the show from Aurora.

I have to admit a weakness for a bit of sparkle, and I loved it in Monotones II. But to nominate my choices for perfect ballets, I'd definitley go for 'The Dream' and 'A Month in the Country'. I can't think of 2 ballets that have moved me so. They thoroughly delighted me on first and subsequent viewings. And I know it's not a popular choice, but MacMillan's Romeo and Juliet ranks up high as well for me. I know the choreography isn't thought to be as great as other versions and here I admit my ignorance in such matters. But I think MacMillan used the music perfectly, and it's just one great piece of dancing after another. It's a ballet that I never tire of.

Giannina, I was wondering when your posts on the mixed bill would crop up - I remember you saying you were coming to London way back in June! I'm so happy you enjoyed it too. When I think back to it, I just smile and smile. My only regret? That I didn't see all 5 performances.

Thanks to a very fast email. For anyone who's interested, the msuic is Variation on "La ci-darem la Mano" (variations from duo of Don Giovanni" by Mozart) Fantasia on polish Aria Andante Spaniato and Grande Polonaise Brillante in E Flat

I was wondering if anyone knew the names of the Chopin pieces to 'A Month in the Country'. I've asked around here and there, but I've only received a few responses. I don't anticipate finding them on any one cd, so I'm hoping to piece one together for myself. Thanks for any help!

I've never thought of The Dream in this way before, and I wantd to say how much I love the idea: I've seen The Dream 4 times now, three of which were on the RB Mixed Programme last week. I wish I'd gone for all 5 as it, along with A Month in the Country is one of my favourite ballets. Unfortunately felursus, I missed the moon in every single performance! I was too enraptured with what was going on! I've said this before, but what I love about this production is how much is going on all over the stage. I never know where to look - at the quarrelling lovers? Puck hanging from a branch and egging on for a fight? Or the the fairies peeking curiously between the trees. Alina Cojocaru was my first Titania and biased as I am, my favourite. She was sparky, but mostly very sweet and tender. The last one I saw, Sarah Wildor, I thought wasn't as soft and at first I didn't like her quite as much. But then someone pointed out that Wildor's Titania was more edgy and more interesting. That got me wondering. The dancing I could see has so much detail and depth, but I hadn't thought the story did as well. I don't know enough about the play or the ballet, but I'd love to learn more. Does anyone have any thoughts? Will The Dream ever be a subject on 'Ballets in detail', or is it not known well enough outside the UK?

What a fantastic evening. I feel so lucky to have seen the best dancers in the world (my opinion) in an array of divertissments sandwiched between 2 of my favourite ballets. The Dream It was wonderful to see it's 200th performance fielded by such a strong cast. Sarah Wildor was a fiery Titania and Carlos Acosta's Oberon was arrogant and majestic, the final pdd taking my breath away. I also thought Justin Meissner and Jonathan Howells did fantastic work as Puck and Bottom. My only minor criticism? That there was so many interesting things going on all over the stage - the fairies darting between the trees, Puck hanging off a branch and egging on for a fight, the quarelling lovers - I had a hard time deciding who to watch! Monotones II I hadn't a clue what to expect of Ashton's Monotones II, but Alistair Marriot, Zenaida Yanowsky and Maurice Vodegel-Matzen won me over fast. The bare black backdrop and white unitards and Yanowsky's long legs would have exposed every single flaw in the dancing - but there were none. It was very quiet and very moving. The Sleeping Beauty Awakenings pdd Cojocaru and Putrov made a loving match in Sleeping Beauty Awakenings pdd. Putrov was promoted from corps to soloist after the mixed bill on Thursday, I've read, and I thought it was very much deserved after seeing him both as Beliav in A Month in the Country on Friday, and as the Prince on Saturday. Cojocaru continues to astound me - she's one of the most expressive dancers I've ever seen, and especially for one who isn't yet 20. Manon Act I Scene 2 pdd I hadn't been a great fan of either Benjamin or Manon until now. But she and Kobborg were dreamy and passionate and I saw the pdd in a completely different light. Kobborg, whom I saw in The Dream the day before just confirmed for me what an extraordinary dancer he is. Don Q Act III pdd After the fireworks of Rojo and Acosta on Friday, I didn't think either Yoshida or Urlezaga would surprise me, but I was wrong, wrong, wrong. I thought they were very exciting - Inaki's one handed lifts, double tour en l'airs interspersed with pirouettes (probably a dozen in a row) and Miyako's spot-on fouettes. A Month in the Country I had to remind myself to breathe when watching A Month in the Country. I'd only seen it for the first time on Friday and it ranks as a close second to favourite ballets. I can't think of a more perfect cast than Guillem, Cope, Cojocaru and Meissner. Cope missed several performances due to illness, so I was very pleased to see him back. Everything about it I found beautiful, poetic - the kite, the sets, the costumes and above all the dancing and music. Does anyone know if a CD with all the Chopin piano pieces exists? I'm both bubbling and desolate as it is the last of RB until October. And as it was the Queen Mother's 101st birthday, we had a royal turnout as well. I was a bit dumbstruck when Princess Margaret was wheeled past me, and it was a pleasure to see the Queen and Queen Mother as I'd never seen royalty before. And Anthony Dowell's retirement speech was both sweet and touching. There are many more reviews on http://www.ballet.co.uk

Stiefel will be with RB for several periods next season between November 2001 and April 2002, actual dates to be confirmed. I got this direct from ROH. It doesn't sound like a solid block of 6 months as was orginally rumoured. Anyway, here are the productions from Nov to April that he could be appearing in. Nov/Dec/Jan Onegin Dec/Jan Nutcracker Jan/Feb Triple bill: Memories Beyond Bach The Leaves are Fading Marguerite and Armand Feb/March La Bayadere March Triple bill: Enduring Images Remanso The Vertiginous Thrill of Exactitude Por Vos Muero March/April Giselle April Triple bill: Cross Cultures In the middle, somewhat elevated Por Vos Muero Carmen April Romeo and Juliet [ 07-29-2001: Message edited by: sylvia ]

So what have dancers used to replace the 32 fouettes? I've wanted to know the answer to this for the longest time.

I know that RB only just did La Fille and The Dream, but I'll say it anyway - I'm more than jealous that ABT may be bringing it to US audiences - there's hardly any Ashton in the new RB season at all. I don't know when you last saw RB do The Dream cargill, and unfortunately I have little to compare with, but when I saw them last month ago in the last matinee with a much less experienced cast, they looked marvellous. I thought they handled the humour beautifully, and were in fantastic shape.

I don't think any of the regular posters on ANY of the boards seem to have seen it - they're probably across town watching the Kirov. Or maybe they had their fill of the round. There's another Oliveira-Coppen and Oaks-Edur peformance on Saturday - maybe there'll be more reviews then. [ 06-21-2001: Message edited by: sylvia ]

When the singing started in "You Spotted Snakes" in The Dream. I'd never heard the music before, so it came as a complete surprise. Had chills down my spine - it was so beautiful. Likewise, but for more sustained moments in Song of the Earth. The soprano and tenor just lifted me up.

I thought I'd go down and check out Fernanda Oliveira's debut in R+J. Turns out it was a school matinee which put a whole different spin on things. I had a great seat in the first tier box in the centre, but I'm unconvinced that it was really worth it. Oliveira and Nathan Coppen certainly look the part, with their youth and beauty. Oliveira, from Brazil, has been in ENB for less than a year. Though still in the corps she's already danced Odette and the Sugar Plum Fairy, and resembles a young Tamara Rojo. I thought she did a fine job and the performance showed she could handle the technical challenges of a leading role. There were a few awkward moments where I felt her acting a bit overwrought (Juliet's discovery of Romeo's death) and other areas where I felt nothing at all (the family scenes). But there were moments - when she's on her own after being told to marry Paris, and also later in the potion scene - she had so much tension in her body - I thought she would break herself in half. She would be completely still but I could still see the muscles in her arms moving. Or when she moves towards the bed to retieve the potion, she paused looking back longingly at the window. I suspect she'll continue to grow and add her own flourishes to the role. I guess the same can be said for Coppen, a soloist with ENB. His Romeo was sweet and boyish, though he seemed a bit lifeless at Mercutio's death. Still he seemed very confident and was a lot of fun to watch. I didn't find him very passionate but he really brought life into his pdd with Oliveira. It was very surreal to see Shi-Ning Liu as Mercutio after his fantastic Tybalt a few days ago. He made a very lively and exciting Mercutio, upstaging Romeo in the market scenes and outside the Capulet House, in my mind. I thought he lacked the humour that Yat Sen Chang brought to the role, and much prefer him as Tybalt. Daniel Jones just didn't have that carzed streak of insanity that Liu had. I still have doubts about the way Mercutio's death is played. It doesn't look realistic at all, and the audience knew it. The kids in front of me were wondering why he kept going on, and on, and on. I had a much better view than before, so I could enjoy the patterns in the corps. I think this production is much better at showing off it's corps than it's stars. I kept marvelling at how seamless Dean's choreography is - the market scenes are so much fun to watch. The ballroom scene wasn't any less intense, and it's wonderful watching the Capulet guests marching in from 6 different entrances. And it's a nice touch how the lighting alters with changes in mood. The three pdd - the ballroom, the balcony and the bedroom are really lovely and Oliveira and Coppen were beautiful to watch, though one of the lifts seemed a bit rough. I'll be looking forward to hearing other reviews because it was very hard to judge this one objectively with all the sceaming kids. Ok, it wasn't all that bad, but I wouldn't really recommend going to a R+J school matinee if you're hoping to be moved. I guess the "circus" atmosphere of the round must have something to do with it. These kids - they would clap and cheer at every pause or break in the music. I think some of the dancers had a hard time hearing the music over the clapping and were straining to look at the conductor. It was fun to hear so much enthusiasm - I don't recall ever hearing this level of noise or excitement at a regular performance. But Mercutio's stabbing - cheers, Tybalt's stabbing - more cheers. Note, they hadn't even died yet. I don't think they quite got the tragedy of the whole story. Which was fine, though I was a bit perturbed when Juliet stabbing herself got the loudest cheers of all. Plus they kept woo-hooing and whistling throughout the pdd, which are more obviously erotic than MacMillan's version and has Romeo stretching Juliet on the ground. Of course they loved that. And especially during the kissing - there's a lot of kissing. It was actually quite funny and I had a giggle myself, though I was absolutely dreading the bedroom scene - it starts with Romeo's return to Juliet and they roll around in bed for a bit. I thank God that Derek Dean didn't carry through with his plan to have R+J undress and dance around in their underwear. Of course it did get annoying at the end. I always get teary when Romeo rushes in into the tomb, his cape flying behind him. There's a moment when Romeo is dragging around Juliet's body, where he lies on his back supporting her with his arms, and gives her a little shake. It looked fake - I don't remember Edur doing that - and brought about loud laughter from the audience, breaking the mood. I won't be surprised if Coppen excludes that next time round. Similarly when Coppen lies down with Oliveira on top, pulling her arms around him, trying to "love her back to life" - I love that so I was plenty mad when the whistling started. By the time it was Oliveira's turn, I got the feeling she was a bit fed up and wanted it all to be over with. Her own death scene seemed a bit awkward and rushed. I'd be curious to know what the dancers thought of the atmosphere. It must have been especially hard for Oliveira this being her debut and all. I wonder at the wisdom of ENB of letting her make her debut in a school matinee - perhaps they should have given it to more experienced principals, though I can't see them letting Oaks and Edur have a go. In any case, a credit to all the dancers just for making it through. I marvel at the fact that they managed to stay in character, since I kept wanting to laugh. Sweet though, how at the end this one boy in front of me gave the dancers his own mini-standing ovation. All in all, not a very memorable R+J, but a good time nonetheless. [ 06-20-2001: Message edited by: sylvia ]

Opening notes of Prokofiev's R+J. Does it for me every time.

I didn't mention how the orchestra sounded from row 1 - not great. I knew it probably sounded magnificent higher up. What really perturbed me was how short all the dancers appeared. I don't think any of them could have been any taller than 5'7 or 5'8. Oh well, that's another illusion dashed.