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Subject: "What a differance a man makes" Archived thread - Read only
 
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Conferences What's Happening Topic #2716
Reading Topic #2716
Sharon

09-05-02, 00:22 AM (GMT)
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"What a differance a man makes"
 
   This evenings performance at The Royal Opera House WOW,what a show,Sylvie was Juliet, not the Juliet of Thursday last, but the true Juliet, and LeRiche what a Romeo , He is one of the lads at the start, but after seeing Juliet,his passion knows no bounds, the two pas de deux were breathtaking, the death scene had me sobbing in my seat, along with many others in the audience.
Cervera and Putrov danced so well with Nicolas,and Tuckett was a fine Tybalt, infact one of the finest Romeo and Juliet's I have seen for a long time.
The corps danced very well and all seem to be enjoing themselfs.Stepanek wonderful as Paris.
Its amazing how one artist can change the whole show.
Many thanks Nicholas.


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  Subject     Author     Message Date     ID  
  RE: What a differance a man makes sylvia 09-05-02 1
     RE: What a differance a man makes alison 09-05-02 2
         RE: What a differance a man makes Tomoko.A 09-05-02 3
             RE: What a differance a man makes Michael LL 10-05-02 4
                 RE: What a differance a man makes Jim 10-05-02 10
                     RE: What a differance a man makes Paul A 10-05-02 11
                         RE: What a differance a man makes AnnaM 10-05-02 12
                             RE: What a differance a man makes Paul A 10-05-02 13
                             RE: What a differance a man makes AnnaM 10-05-02 14
                             RE: What a differance a man makes Jim 10-05-02 15
                             RE: What a differance a man makes Paul A 10-05-02 16
         RE: What a differance a man makes sylvia 10-05-02 5
             RE: What a differance a man makes Flight 10-05-02 17
         RE: What a differance a man makes Flight 10-05-02 6
         RE: What a differance a man makes Flight 10-05-02 7
             RE: What a differance a man makes Brendan McCarthymoderator 10-05-02 8
                 RE: What a differance a man makes Flight 10-05-02 9
     RE: What a differance a man makes sylvia 11-05-02 18

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sylvia

09-05-02, 04:13 AM (GMT)
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1. "RE: What a differance a man makes"
In response to message #0
 
   LAST EDITED ON 09-05-02 AT 05:46 AM (GMT)

I agree that Le Riche was a fantastic Romeo. In fact I can't really sum him up any better than Sharon already has. And unlike Jonathan Cope he fit right in with Cervera's Mercutio and Putrov's Benvolio. I'm still unsure about Sylvie. I find her unconvincing as a young girl in Act I. She seems too brash, too abrasive (in the midst of being courted by Romeo, she sends her Nurse off with a little kick). It does give her Juliet more colour and personality but I think at the expense of any innocence. She already seems like a woman who secretly already knows how the world works and is unafraid of love. I can't dispute the quality of her dancing. I can certainly see why some people loathe her over-extensions which look so out of place here. I mean, practically her first step on stage is a six o'clock penche. But like her performance with Cope last week she warmed up in Act II, the bedroom pdd was so beautifully danced. The family scenes didn't work for me. David Drew's Capulet seemed curiously absent of any rage. The tomb scene and Juliet's discovery of Romeo was the most moving I've seen so far. Cervera oozes so much charisma through his extraordinary nimble dancing it's quite a blow when he finally dies.

I really do think R&J should watched up close so you can see the acting, or from above where the dancing looks so lively. When I sat in the amphi last time I was practically bouncing around on my seat I was so involved and enjoying the market scenes. But from the stalls circle the same scenes feel kinda empty and flat. Oh well, live a little, learn a little.


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alison

09-05-02, 05:42 PM (GMT)
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2. "RE: What a differance a man makes"
In response to message #1
 
   >>Sylvie. I find her unconvincing
>as a young girl in
>Act I.

Does she still do that thing in the ballroom (not sure whether she's dancing with Paris or Romeo at the time) - reacting to everything as though it is new to her? ("Oh, he's picking me up - not sure if I like this - do I? - hang on, if I tuck my leg behind his shoulder I can balance - I think I like this ..."), that sort of thing?

>I really do think R&J should
>watched up close so you
>can see the acting, or
>from above where the dancing
>looks so lively. When I
>sat in the amphi last
>time I was practically bouncing
>around on my seat I
>was so involved and enjoying
>the market scenes. But from
>the stalls circle the same
>scenes feel kinda empty and
>flat. Oh well, live a
>little, learn a little.

It's amazing how people's perceptions of performances change depending on where they sit, especially at the ROH (viz. my not so ecstatic comments about Kobborg/Cojocaru). There are all sorts of what you might call "black spots" where you shouldn't sit for a particular ballet, or for particular performers, and the trouble is that you need to go to so many performances first to find out where they are!


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Tomoko.A

09-05-02, 06:47 PM (GMT)
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3. "RE: What a differance a man makes"
In response to message #2
 
   I totally agree with Sharon about Le Riche. To me he has everything I wish for Romeo ! He was even better than the last year's run. I watched this cast last Saturday and it was one of the best live R&J performances. The performance with Jonathan & Sylvie last Thursday didn't move me very much. ( I much prefer them in Manon.)On Saturday I was sitting in the front row of the Orchestra Stalls (I treated myself to be close to Nicolas !)and I think it helped a lot as I could catch every single acting detail of R&J. The both were full of pasison and all pdds were so moving that I couldn't stop crying. I just love Le Riche's reading of Romeo and hope to see him again soon. I always found Sylvie's Juliet too sophisticated and too calculated, but she was very convincing from the start to the end last Saturday, I thought.


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Michael LL

10-05-02, 02:09 AM (GMT)
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4. "RE: What a differance a man makes"
In response to message #3
 
   Sylvie (bare legs again) is very much a woman from the start and wonderful as she is, it isn't quite Juliet. Her Act III is now very calculated indeed. Le Riche was absolutely fabulous, and related so well (unlike last year) to the excellent performances of Cervera, Putrov, and Tuckett. His acting is so natural - the look of sheer delight when he read the letter brought by the Nurse lit up the theatre. Cervera is now a very fine Mercutio, and danced the ballroom solo with tremendous elan.


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Jim

10-05-02, 09:05 AM (GMT)
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10. "RE: What a differance a man makes"
In response to message #4
 
   >Her Act III is now very calculated indeed.

Would you care to elaborate a little here? Do you mean "well-rehearsed"? "Perfectly executed"? I'm not sure that I wouldn't expect a performer of her talent and experience to have 'calculated' every nuance of her performance and to execute it faultlessly.


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Paul A

10-05-02, 09:45 AM (GMT)
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11. "RE: What a differance a man makes"
In response to message #10
 
   I didn't see performance this but "very calculated" is the problem I've had with Guillem in latter years. Everything is so thought through, so self-absorbed and controlled that she has become very distant - basically she's doing it to please herself and doesn't connect with the audience has been my reaction (witness Caroline and Marguerite). Her Manon too has lost the thrill and emotion it used to have - latterly it has been more controlled - calculated - so whilst not quite mechanical the performance seems exist in a vacuum, unresponsive to those around her.

Yes there's a great talent at work, I don't doubt that, but nowhere near as thrilling when we first saw her. The contrast I'm trying to paint that other dancers are as well rehearsed, are strong technically and thoughtful about what effect they want to make but there is a spontaneity and humanity that shines through.


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AnnaM

10-05-02, 09:56 AM (GMT)
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12. "RE: What a differance a man makes"
In response to message #11
 
   To me Sylvie remains a revelation.
What you can "calculated" I call "intelligent".

You may not find what you are looking for in her, and you may prefer other artists but as always the response to an artist or an art work remains a subjective view. It involves as much of the viewer as the performer (or art work) and reveals as much of both.

The situation is really easy: don't go to see Sylvie if you do not enjoy her, and there will be more seats available for those of us desperate to get in


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Paul A

10-05-02, 10:37 AM (GMT)
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13. "RE: What a differance a man makes"
In response to message #12
 
   >To me Sylvie remains a revelation.
>What you can "calculated" I call
>"intelligent".

I don't doubt her intelligence but the way it is applied. To me now her performances are more of a deconstruction rather than an interpretation.

>You may not find what you
>are looking for in her,

I do not consciously "look" for anything - rather I experience the performance as it arrives.

>the response to an artist or
>an art work remains a
>subjective view.

Yes, but there are objective criteria to use in understanding your response.

>It involves as
>much of the viewer as
>the performer

Yes, it's an open process, so the critic or audience's reaction is valid even if the performer (or their fans) don't like that reaction.


>don't go to see Sylvie if
>you do not enjoy her,

Don't lecture! But exactly why I've booked to see Valtat in Month. But remember the comments about casting monopolistaion - if you want to see some works we don't get much choice.

>and there will be more
>seats available for those of
>us desperate to get in

Well I stand these days. The problem is with people in the corporate seats who come only drawn by the name, excluding the regular dance crowd, and applaud regardless.



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AnnaM

10-05-02, 11:48 AM (GMT)
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14. "RE: What a differance a man makes"
In response to message #13
 
   >The problem is with people in
>the corporate seats who come
>only drawn by the name,
>excluding the regular dance crowd,
>and applaud regardless.


Thank you for your views Paul, for your last point I fully agree with you.
At the R&J on Wed, I was shuffled at the edge of the Balcony almost dangling from the side chandeliers to watch the stage and my eye caught two audience members in the front and middle Stalls so relaxed they had dozed off! I just thought what a shame...


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Jim

10-05-02, 01:54 PM (GMT)
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15. "RE: What a differance a man makes"
In response to message #14
 
   If one of my lectures were to be described as 'calculated', I would equate that with 'well-prepared' and 'professional'. I can see what you mean, but to me, Sylvie is so thoroughly dependable you are confident if seeing an impeccable performance. If the conductor, or one of the instrumentalists, in the orchestra were not entirely well-prepared ('calculated') it would be noticed immediately and I bet there would be uproar!


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Paul A

10-05-02, 03:22 PM (GMT)
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16. "RE: What a differance a man makes"
In response to message #15
 
   >Sylvie is so thoroughly dependable you are confident
>if seeing an impeccable
>performance.

I think you've hit on the crux of it here - "impeccable".

When performers (I thinking of certain actors too) are so dependable the results of their thoughts and preparations verges almost on mechanical, and become rather soulless.


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sylvia

10-05-02, 03:34 AM (GMT)
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5. "RE: What a differance a man makes"
In response to message #2
 
   LAST EDITED ON 10-05-02 AT 03:36 AM (GMT)

>Does she still do that thing
>in the ballroom (not sure
>whether she's dancing with Paris
>or Romeo at the time)
>- reacting to everything as
>though it is new to
>her? ("Oh, he's picking
>me up - not sure
>if I like this -
>do I? - hang on,
>if I tuck my leg
>behind his shoulder I can
>balance - I think I
>like this ..."), that sort
>of thing?

I hadn't thought of it that way, but that's a pretty good description! I actually like Tomoko's word. Nothing ever looked impetous or impulsive. It felt calculated from the start.

>It's amazing how people's perceptions of
>performances change depending on where
>they sit, especially at the
>ROH (viz. my not so
>ecstatic comments about Kobborg/Cojocaru).

Likewise. I feel a bit cheated because I'm sure it was lovely but it was so hard to enjoy from where I was!


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Flight

10-05-02, 08:12 PM (GMT)
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17. "RE: What a differance a man makes"
In response to message #5
 
   I actually agree with Paul to some extent, from what I've seen.


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Flight

10-05-02, 06:34 AM (GMT)
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6. "RE: What a differance a man makes"
In response to message #2
 
   LAST EDITED ON 10-05-02 AT 06:37 AM (GMT)

Oops! Ignore this, it's a bit early for me.


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Flight

10-05-02, 06:39 AM (GMT)
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7. "RE: What a differance a man makes"
In response to message #2
 
   LAST EDITED ON 10-05-02 AT 06:40 AM (GMT)


>It's amazing how people's perceptions of
>performances change depending on where
>they sit, especially at the
>ROH (viz. my not so
>ecstatic comments about Kobborg/Cojocaru).
>There are all sorts of
>what you might call "black
>spots" where you shouldn't sit
>for a particular ballet, or
>for particular performers, and the
>trouble is that you need
>to go to so many
>performances first to find out
>where they are!

I think someone ought to start a seperate topic about that -
it's very important!

Sorry, I can't seem to get this up by the post I was replying to.


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Brendan McCarthymoderator

10-05-02, 07:42 AM (GMT)
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8. "RE: What a differance a man makes"
In response to message #7
 
   Flight - try this. http://www.ballet.co.uk/magazines/yr_01/oct01/sm_where_to_sit.htm


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Flight

10-05-02, 07:49 AM (GMT)
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9. "RE: What a differance a man makes"
In response to message #8
 
   Ooooh!!


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sylvia

11-05-02, 07:01 PM (GMT)
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18. "RE: What a differance a man makes"
In response to message #1
 
   LAST EDITED ON 11-05-02 AT 07:05 PM (GMT)

sorry...ignore this.


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