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Subject: "La Bayadere - thread II" Archived thread - Read only
 
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Conferences What's Happening Topic #2525
Reading Topic #2525
Bruce Madmin

27-02-02, 10:51 PM (GMT)
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"La Bayadere - thread II"
 
   A second thread - the last one was getting to a crazy length! Link to first thread:
http://www.danze.co.uk/dcforum/happening/2481.html

To get something going here I'm copying the last contribution on that thread...

David M 27-02-02, 10:32 PM (GMT)
Re Zanaida Yanowsky performance as Gamzatti.

I have commented on the two dancers who I have previously seen perform Gamzatti(being Nunenz and Galeazzi) but upon seeing Yanowsky's portrayal last Thursday evening , it left me thinking in my humble opinion , that she without doubt has given the best portrayal to date of that character.( in this run)

Her reading and interpretation of the role was
entirely differant.

Both Nunenz and Gamzatti, were aloof, haughty, with scheeming minds , but none of that was for Yanowsky.

To begin with I was slightly dissapointed in what i was witnessing,there was no aloofness, the evil glances of the eyes. I think i was expecting her to portray Gamzatti in a simaler vein to that of both Nunenz and Galeazzi ( which i know is wrong).

Yanowsky very cleverly played heavily on her beauty, her natural beauty , playing on the confidance that a beautiful Rajah's daughter must have , playing on the knowledge that she is the daughter of a Rajah and can have anything that she wants. This was acheived by never taking her eyes off Solor ,looking at him constantly, ensuing extreeme confidace in everything that she did , and seducing Solor with her charm and basically sex appeal .

There was never a doubt that she would not snare her man, but if the possibility arose of Solor becoming bored or being attracted by another women , than she made it all to aware to the person concerned who she actually was and way behold if you crossed her path , she was a force not too be triffled with.

Like another reveiwer, I noticed in the scene where she was playing chess with Solor, it was if they were playing / toying with each other . She and Solor never once took their eyes off one another for one single second, they were both entrapped in each others looks , smiling constantly , teasing one another , looking at each other sexually .

To me it was an interesting interpretation and made sense once I had thought the whole thing through .

However , some of the chess moves that were made during this alleged game, are i think to say the least taking a liberty as to what is and what isn't allowed in a game of chess.( joke , but true)

Still as i say , i really enjoyed Yanowsky's portrayal and look forward to seeing her again so i can absorb more of her reading.


As to the performance of J Tapper on Monday as Gamzatti, the jury is still out on that one , but I am pleased to say she received an excellant reception , even more applause that Benjamin.

As to last night performance with Cojacuru as Nikiya, beautiful in every way , stunnig. If you have not saw her perform the role of Nikiya in this run , do anything legal to get a ticket.

Take Care

David


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  Subject     Author     Message Date     ID  
  RE: La Bayadere - thread II SLH 28-02-02 2
     RE: La Bayadere - thread II eugdog 28-02-02 3
         RE: La Bayadere - thread II Tim Powell 28-02-02 4
             RE: La Bayadere - thread II alison 28-02-02 5
             RE: La Bayadere - thread II Richard Jones 28-02-02 6
                 RE: La Bayadere - thread II alison 01-03-02 12
             RE: La Bayadere - thread II K 28-02-02 7
                 RE: La Bayadere - thread II Brendan McCarthymoderator 28-02-02 8
                     RE: La Bayadere - thread II Tim Powell 01-03-02 9
                         RE: La Bayadere - thread II Brendan McCarthymoderator 01-03-02 10
                             RE: La Bayadere - thread II Tim Powell 01-03-02 11
                     RE: La Bayadere - thread II Richard Jones 02-03-02 15
                         RE: La Bayadere - thread II AEHandley 02-03-02 16
     RE: La Bayadere - thread II alison 01-03-02 13
         RE: La Bayadere - thread II Tomoko.A 01-03-02 14
             RE: La Bayadere - thread II sylvia 03-03-02 17
                 RE: La Bayadere - thread II lara 03-03-02 18
                     RE: La Bayadere - thread II sylvia 03-03-02 19
         RE: La Bayadere - thread II alison 04-03-02 20

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SLH

28-02-02, 09:49 AM (GMT)
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2. "RE: La Bayadere - thread II"
In response to message #0
 
   Agree about Cojocaru on Tuesday 26/2 - she was amazing. Her extensions in the dance with the red costume at the end of act 1 have to seen to be beleived. I have seen many dance the role including Guillem, Benjamin and Bussell and she topped them all!
Was not impressed with Galeazzi as Gamzatti however. She had the same dour expression throughout and was no match for Cojocaru and Corella.
Saw Yanowsky cast with Rojo and Acosta on Thursday 21/2 and much preferred her. Such a presence and spendid command of the choreography.


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eugdog

28-02-02, 03:03 PM (GMT)
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3. "RE: La Bayadere - thread II"
In response to message #2
 
   I loved Cojacaru's La Bayadere. Easily the best I have seen (compared to Benjamin and Bussell). Corella was stunning as well. Ballet does not get much better then this!

Corp de Ballet much improved on previous years as well!


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Tim Powell

28-02-02, 05:24 PM (GMT)
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4. "RE: La Bayadere - thread II"
In response to message #3
 
   Re 26/2 Bayadere Absolutely agree with the postings about Alina and Angel who were terrific but I think the comments a little hard on Galeazzi who was not helped by the conductor. In fact the conductor and standard of orchestral playing left much to be desired.
There seems no concern about the musical side of the company there is no musical director and we seem to have a ragtag and bobtail collection of conductors who are available at the time of asking and who show no understanding of the dancers.
BRB and ENB seem to be in a better position and we know where their incumbents came from.


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alison

28-02-02, 06:20 PM (GMT)
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5. "RE: La Bayadere - thread II"
In response to message #4
 
   >There seems no concern about the
>musical side of the company
>there is no musical director
>and we seem to have
>a ragtag and bobtail collection
>of conductors who are available
>at the time of asking
>and who show no understanding
>of the dancers.
>BRB and ENB seem to be
>in a better position and
>we know where their incumbents
>came from.

Too true


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Richard Jones

28-02-02, 07:46 PM (GMT)
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6. "RE: La Bayadere - thread II"
In response to message #4
 
   >BRB and ENB seem to be
>in a better position and
>we know where their incumbents
>came from.


The ROH also lost a ballet conductor to NYCB. There does seem to be a lack of direction (in all senses) at the RB regarding its music. These days, all the conductors for the ballet are listed as guests (apart from Philip Gammon who is the principal pianist). I have a programme from 1975 which lists the following names at the top of the page (before the list of dancers in the company):

Director: Kenneth MacMillan
Associate Director: Peter Wright
Guest Conductor: Sir Adrian Boult
Ballet Master: Desmond Doyle
Conductors: Anthony Twiner, Emanuel Young, Barry Wordsworth
Assistant Conductor: Colin Metters

Those were the days!

We are now far from the times when Stravinsky ballets were performed with conductors of the quality of Monteux and Ansermet. The RB must learn that variable direction from a sequence of visitors is no way to give the dancers confidence on stage. The dancers are the ones who suffer in the end, because they are the performers who are shown in a bad light when the musical direction is weak. At the same time, a guest conductor is hardly likely to get the orchestral players to respond when the music is not particularly brilliant (as in the case of Minkus); he comes in, does his job (with, one has to say, run-of-the-mill music), collects his money, and goes off to the next theatre. It's all very humdrum. The RB needs a firm musical hand.


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alison

01-03-02, 01:41 PM (GMT)
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12. "RE: La Bayadere - thread II"
In response to message #6
 
   Talking about Gammon, I was looking through a back issue (maybe 15 years ago?) of Dance and Dancers earlier this week, and the writer then was lamenting that G. was never allowed to conduct, only to play the piano!


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K

28-02-02, 09:31 PM (GMT)
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7. "RE: La Bayadere - thread II"
In response to message #4
 
   Went to see Bayadere on 26/2 as well. Cojocaru and Corella were absoloutely brilliant. Corella's turns still take my breath away and Cojocaru's extensions are so lovely. Have not seen such a good all round performance in ages.

However Galeazi did leave a lot to be desired for and she seemed very stiff and uncomfortable in the role. Maybe it was just nerves but she didn't really relax until the third act.

All in all a good night though.


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Brendan McCarthymoderator

28-02-02, 09:51 PM (GMT)
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8. "RE: La Bayadere - thread II"
In response to message #7
 
   On Richard's posting, I recently asked Tony Hall about plans to replace Andrea Quinn as musical director of the Royal Ballet. He told me that it had been agreed that Ross Stretton would spend his first year, and perhaps a bit longer than that, in seeing a variety of people through conducting. Tony Pappano would also have some input. An appointment would not, Tony Hall went on, be made in the foreseeable future.


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Tim Powell

01-03-02, 09:37 AM (GMT)
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9. "RE: La Bayadere - thread II"
In response to message #8
 
   I get the feeling that Mr.Stretton is unsure of what he wants in several areas. He is to take a whole year to identify a conductor and if reports are true needed to audition Carlos Acosta among others for their place in the company. He then puts on a pretty nonedescipt Don Q using second hand decor to see the dancers go through their paces although he has seemed quite ready to omit some dancers from the word go.
It may be early to judge him yet and on the credit side we have seen the company dance well,some thrilling guest male soloists and some pleasing young debuts. What we still lack is any sign that he is moving in a clear direction only that he is taking his time to look around and make up his mind.
In Australia he had a good name for going out to and relating with the public. He is dealing with a very different public here.


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Brendan McCarthymoderator

01-03-02, 09:48 AM (GMT)
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10. "RE: La Bayadere - thread II"
In response to message #9
 
   LAST EDITED ON 01-03-02 AT 09:49 AM (GMT)

The point I was trying to make was that the issue of a ballet conductor is not one that Ross Stretton is able to decide on his own. I expect that Tony Pappano's yea or nay will be decisive. And he will not be in place until the autumn.


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Tim Powell

01-03-02, 12:14 PM (GMT)
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11. "RE: La Bayadere - thread II"
In response to message #10
 
   Thank you Brendan I do appreciate the point you have made. I also appreciate that there are many things that Ross Stretton cannot control. It is not his fault that he came to a company so bereft of lading male dancers though there has been a shiny side to this dark cloud we have already seen three splendid Solors and in Ethan Stiefel will soon have a fourth.
I will restate my point that the company does not seem to have a firm hand on the tiller or to be heading in a recognizable direction with any certainty.
Also I believe that the company should be able to retain or recruit a good specialist ballet conductor without the delay which currently exists whoever the responsible person in the ROH hierachy may be.


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Richard Jones

02-03-02, 09:44 PM (GMT)
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15. "RE: La Bayadere - thread II"
In response to message #8
 
  
>Ross Stretton would spend his
>first year, and perhaps a
>bit longer than that, in
>seeing a variety of people
>through conducting. Tony Pappano would
>also have some input. An
>appointment would not, Tony Hall
>went on, be made in
>the foreseeable future.


If Pappano is to have an influence on the appointment of a chief conductor for the RB, does that mean that Bernard Haitink has had anything to do with the present situation vis-a-vis the RB? No musical director for the RB for a year or more seems to be a recipe for rudderless performances. I don't see why Ross Stretton doesn't just get on with the job of appointing a musical director for the ballet, taking advice from Haitink and others if necessary. I can't see why there is a need to wait for Pappano to arrive before a decision is taken. He is to be musical director of the opera, but if his opinion is wanted there is no need for him to be working at the ROH before he gives his opinion.

Last night I was at the ROH to see the RO (Duke Bluebeard's Castle). The orchestra serves the opera very well. I would like to see the orchestra given a musically rewarding programme for the ballet, guided by a resident conductor who knows what he/she is doing.


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AEHandley

02-03-02, 10:21 PM (GMT)
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16. "RE: La Bayadere - thread II"
In response to message #15
 
   Pappano is an experienced ballet conductor, unlike Haitink, and so his opinion is probably well worth seeking on this matter.

It is a moot point as to whether playing for ballet is more or less rewarding than playing for opera. Musically, ballet is generally considered to be inferior to opera; personally, however, I have some problems with this viewpoint. Have you ever really listened carefully to the score of Aida? There's an awful lot of rubbish in there. At least when you're playing for ballet the audience are listening to YOU not a load of overpaid singers! Just another point of view.


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alison

01-03-02, 01:44 PM (GMT)
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13. "RE: La Bayadere - thread II"
In response to message #2
 
   Having just read Nadine Meisner's report (Links thread for 1st March) I think she's just put into words what it was about Corella's performance that jarred for me.


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Tomoko.A

01-03-02, 07:16 PM (GMT)
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14. "RE: La Bayadere - thread II"
In response to message #13
 
   Alison, agree ! agree !


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sylvia

03-03-02, 01:54 PM (GMT)
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17. "RE: La Bayadere - thread II"
In response to message #14
 
   LAST EDITED ON 03-03-02 AT 01:55 PM (GMT)

Really enjoyed Bayadere last night. Rojo and Nunez were their usual stunning selves as was Ethan Stiefel. His gestures and miming were so beautifully finished and done with such clarity (an over-used word when it comes to descibing Stiefel's dancing but I can't think of anything else). He seemed a bit ho-hum throughout Act I but his first solo at the start of Act II was very passionate and he just got better and better and is my favourite Solor so far. He doesn't have the same degree of chemistry with Rojo as Acosta does and their pdd didn't feel as secure but I guess it'll improve with a few more performances.


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lara

03-03-02, 06:01 PM (GMT)
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18. "RE: La Bayadere - thread II"
In response to message #17
 
   Interesting that Stiefel is dancing. In Orange County a couple of weeks ago he was not dancing Swan Lake because of an injured knee? It must be better now I suppose.


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sylvia

03-03-02, 06:41 PM (GMT)
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19. "RE: La Bayadere - thread II"
In response to message #18
 
   I've heard some talk that he considered pulling out of his RB performances so he could have surgery but decided to go ahead with them anyway. If it's true it's got to be pretty tough on him with several more Bayaderes, In the middle, and Giselle coming up.


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alison

04-03-02, 01:21 PM (GMT)
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20. "RE: La Bayadere - thread II"
In response to message #13
 
   http://enjoyment.independent.co.uk/theatre/features/story.jsp?story=250015

Come to think of it, I also agree with quite a few of her views on other dancers as well


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