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Royal Ballet 2019/20 Season

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3 hours ago, Jane Simpson said:

It was the production, entirely - Schaufuss had made a cut-down version to tour in small theatres round the country and he brought it to the Coliseum, one of London's largest theatres -  I think he had about 12 dancers in all so he'd cut the mandolin dance completely and some nights he didn't have anyone to play the nurse's page and so on.... I though it was a travesty of a lovely ballet.  The good bits were that it showed Alban Lendorf (as Mercutio) in London for the first time and Osipova's Juliet came good in the second half and was really touching. But there must be hundreds of people who saw it and think that's what Ashton's like.

I should think it might look really good on the Sarasota company - though I do wish they could use Prokofiev's lighter version of the score - the one Mark Morris used: it would suit this version very well, I think.

It does need looking after, though - when Schaufuss acquired it for English National Ballet in the 1980s the first cast, coached by Ashton himself, was lovely but later casts quickly lost much of the detail and at a revival a few years later I actually left after the first act as I couldn't bear to watch what they had let it  become.

 

 

 

If i'm not mistaken, i think, Katherine Healy was one of the Juliets that Ashton coached( the other was Trinidad Sevilano ?).

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Thank you @Jane Simpson for responding about Romeo and Juliet. It's a shame. (I own I am happy to see Osipova in pretty much anything.) But God knows I don't expect the Royal Ballet to give up dancing Macmillan's version! Just wish they would find room to prioritize Ashton more. Some of his ballets have actually proven unexpectedly hardy -- that is, proven that they can be effective even in less than ideal performances.  For example, who knew Marguerite and Armand (not, by common consensus, one of his greatest works and created for two artists who define the word "irreplaceable") would have an afterlife as a ballerina vehicle and with more than one company?

Edited by Drew

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I can remember a time when the Bolshoi had three R&J's in it's rep, so I see no reason why the Ashton version should not be added, other than financial of course.  MacMillan's version has changed over the years and doesn't resemble the original now, the last time I saw it I think I fell asleep, it's become that turgid.  Of course ENB dumped the Ashton for Nureyev, an inexplicable decision.

In a few minutes time it will be the 100th anniversary of Fonteyn's birth, so a reminder of the embarrassing performances of M&A we are currently force fed adds to my gloom regarding the poor show the RB has made of her centenary,  So far just a hastily arranged gala (including Le Corsair pdd (well she did actually dance it a few times), a small exhibition in the amphi bar area and this https://www.roh.org.uk/news/margot-fonteyn-a-celebration  And there was I looking forward to an entire year of ballets created for Fonteyn, instead we have none.  Will complain no more, the tears are welling up.

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On 5/15/2019 at 2:34 PM, Roberta said:

Similarly, ABT is ignoring its Tudor heritage. I last saw Gala Performance in Sarasota, Florida, in 2015. It was wonderful!

The Joffrey is similarly ignoring its heritage ballets - the Joffreys and Arpinos. I last saw a Joffrey heritage ballet in Oklahoma City, of all places, a month ago -- a fantastic Pas des Deesses. So sad that none of this is seen in the larger ballet cities of the USA.

The Joffrey is missing out on its entire heritage right now -- they offered a home to the Ballets Russe repertory when the rest of the ballet world was less than interested in those works, they were responsible for the renewed interest in Kurt Jooss' works, Tharp's first crossover works... 

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