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Hermione
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23-11-01, 00:48 AM (GMT) |
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2. "RE: RB Onegin..."
In response to message #0
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Personally I think Tamara Rojo was a wonderful Tatiana in all 3 acts. Initially she is a shy but self-determined girl, gradually as the story goes she realizes that Onegin, charming as he is, isn't worth her love for nobody is worth loving unless he loves, & clearly Onegin mocks her innocence affection towards him & regards it as merely youthful infatuation. In the final act she's even more determined but with more rational sense & dignity, though not less passionate. I love the way she looks at Onegin at the moment just after the fatal duel in which Lensky is killed. Onegin comes out from the duel with guiltless expression but when he beholds Tatiana's expression he feels remorse & starts wiping his hands as if trying to cleanse them from Lensky's blood. Tatiana's looks seem to say to him, "Is this the man I love? The man who kills his own friend, the man who mocks affection & discards friendship easily to suit him."Both Adam Cooper & Ethan Stiefel did a great job in their portrayal as worldly, sardonic, & insensitive Onegin & romantic, idealistic Lensky. Adam has always been a great actor as well as a marvellous dancer & Ethan Stiefel has danced this role before with the ABT, so they do deserve credit for their roles. Alina Cojocaru, while she was a charming & flirty Olga, I found her miscast because I think Olga is Tatiana's older sister while she is younger than Tamara Rojo & clearly looks younger than her, & that leaves me with an impression that this Olga isn't just flirty but spoilt as well. Christopher Saunder was a calm, dignified, & authoritative as the Prince Gremin. I can't help thinking that this prince is a dependable though probably less exciting a husband to wed. On the whole though I believe the Royal Ballet didn't disappoint John Cranko had he been there tonight. If they were a bit unsure, it was excusable because it was only the 1st night & there's so much hope for them to improve in later performances. |
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lara
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23-11-01, 03:16 AM (GMT) |
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3. "RE: RB Onegin..."
In response to message #2
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>I love the way she looks >at Onegin at the moment >just after the fatal duel >in which Lensky is killed. >Onegin comes out from the >duel with guiltless expression but >when he beholds Tatiana's expression >he feels remorse & starts >wiping his hands as if >trying to cleanse them from >Lensky's blood.In both the version by the National Ballet of Canada and in the film with Fiennes, Onegin tries to convince Lensky NOT to fight the duel and goes to it reluctantly and when it is over is mortified by what he has does. His blase-ness does not extend to killing his friend. |
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meunier
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23-11-01, 11:52 AM (GMT) |
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4. "RE: RB Onegin..."
In response to message #3
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I had very mixed feelings about last night. I admire all of the artists who were dancing, individually. I thought Ethan Steifel came off best as Lensky as his drama was as clean as his line - which was delicately pristine. The ladies, I thought, should both be dancing Olga. Adam Cooper looked the role, but struggled with the, admittedly, heavy work of the partnering. Still, this, too, could be forgiven. All were doing their best. Last night, for me, proved that the ballet needs a senior ballerina (Seymour, Heidi, Maximova, Makarova, etc.) to really give it enhanced weight; an expanded sense of drama; in order to bring it afire. Where this is not prevelent, it is all too easy for the piece to date, which I thought was the case. Certainly, the orchestra drooped on more than a few occasions. I agree that Rose did, originally, a lovely job with the settings - firmly placing his emphasis on the dance itself. No tables or beds here to steal from or unduely engulf the steps. However, like some of self-same choreography and the dance boom having bust - the flower has, if memory serves accurately, faded. Or is it but my aging eyesight? Bless all who joyously cheered - and Pushkin for the poetry. |
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tortie14
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23-11-01, 09:25 PM (GMT) |
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18. "RE: RB Onegin..."
In response to message #4
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LAST EDITED ON 23-11-01 AT 09:27 PM (GMT) Like you I had mixed feelings - nicely done by whole company. I am not a Cooper fan and I found him unconvincing (sorry to his fans) - a rather cardboard villain - could not she why she would fall for him - lacked charm; totally agree about Olga looking younger (programme said she is supposed to be older). I AM a Cojacaru fan and could watch her all night dancing anything and can't wait to see her as Tatiana because I thought her softer and more radiant presence was wrong against Rojo's much stronger more sophisticated looking Tatiana and Alina did not convince me with the flirting at the party bit. Love Steifel's dancing - agree with the comment on how beautiful he and Alina are together they are so graceful and have a Sibley/Dowell quality - (lets have more please Mr Stretton) but I think his acting was less convincing in this role - partly I think that it has dated and the music does not really support the drama which slipped into melodrama for me last night. I do think it needs dancers with some maturity and dramatic weight - Seymour, Markarova etc. I am looking forward to seeing other casts. Vanessa
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sylvia
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23-11-01, 01:06 PM (GMT) |
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7. "Onegin 22/11/01"
In response to message #6
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After the flamboyance and pyrotechnics of Don Quixote, Onegin felt wonderfully fresh and even airy in spite of the tragic storyline. It’s fantastic to see Adam Cooper back with the Royal Ballet in a role that he is eminently suited to and Tamara Rojo in a role that splendidly highlights her dramatic gifts. Rojo was so convincing in her mannerisms as a young girl. Rojo’s adolescent infatuation and Cooper’s disdain and cruelty made for some exciting chemistry – theirs is a partnership I’d never dreamed of seeing. The mirror scene was to say the least, emotionally draining. And I just loved how when Onegin came away from the duel the way Tatiana seemed to age years as she stood over condemning him. I was delighted at the portrayals of Olga and Lensky which I thought were well fleshed out by Alina Cojocaru and Ethan Stiefel. Cojocaru dances with youthful sweetness, the spirited girl so well I’m more than curious to see her approach to Tatiana later on. Ethan Stiefel’s innocent sunny blonde looks and superb dancing made it easy to see why Olga loves him so. I keep seeing the word ‘clarity’ used to describe their dancing and it does make their partnership an ideal one. Their first pas de deux was extraordinarily romantic, a dance of youthful, unsullied love. Stiefel’s solo before the duel was beautiful to watch in his despair at what he saw to be his end and his parting kiss to Olga just about broke my heart. Cranko’s choreography: his pdd are fascinating, the acrobatic lifts and innovative positioning of the arms in particular. And although there were a few dull moments I thought the choreography for the corps was very eye-catching and fun to watch. I can’t accept this ballet belonging just to the title role. The four roles have such extensive and gorgeous steps and were danced with such verve by Cooper, Rojo, Stiefel and Cojocaru that I feel the night belongs to all of them. I did feel that the their extended solos and pdd interspersed with the corps wasn’t enough – it left me wanting more. As for the production, the sets are very simple, in most cases just a beautifully detailed backcloth and a few pieces of furniture. I think they catch the atmosphere perfectly and its simplicity allows the dancers to shine. The muted costumes especially those of the corps are indescribably lovely.
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sylvia
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23-11-01, 01:08 PM (GMT) |
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8. "Onegin Rehearsal 22/11/01"
In response to message #7
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I was lucky enough to attend the rehearsal that afternoon too. First cast is a dream cast for me so I foolishly expected that the rehearsal wouldn’t be as good as First Night. Well what surprised me was how Galeazzi, Tewsley, Nunez and Persson more than matched their counterparts. Tewsley a revelation. He was absolutely outstanding. His brilliant portrayal of Onegin was polished, cold, full of disdain and expressed through his exacting leaps and pirouettes. In Act III he was a man transformed, broken by guilt and by love. Galeazzi’s Tatiana is every bit as tragic as Rojo’s - achingly sad, beautifully danced and weightless in her lifts. I've seen Nunez and Persson in lead roles before and haven't been very impressed. But the roles of Olga and Lensky brought out a sensitivity I'd never seen before in these two. They are very fine actors and were believably in love. This cast is very memorable and highly recommended. After yesterday afternoon I’m tempted to watch the other casts and see what they make of the ballet. |
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