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Subject: "Rojo's Giselle, 29 July" Archived thread - Read only
 
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Ann Williams

30-07-00, 04:24 PM (GMT)
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"Rojo's Giselle, 29 July"
 
  

Tamara Rojo's debut as Giselle with the RB last night (29 July) was a patchy affair; she disappointed in the first act with some disastrous over-acting, but redeemed herself throughly in the second act with some glorious dancing.

When, in Act I, Giselle discovers Albrecht's treachery, Rojo went overboard in the mad scene with hysterical laughter, sobs and gasps clearly audible all the way up to the amphi (in fact, I covered my ears). Her dancing, though, was technically excellent and her interactions with Albrecht (Inaki Urlezaga), Hilarion (Luke Heydon) and her mother (Rosalind Eyre) were touching. In this act, the Peasant pas-de-six was danced as brilliantly as I've seen it for a long time. Marinela Nunez and Yohei Sasaki danced the lead couple with dazzling technique and command. Nunez was wonderful; easy control, exquisite line and apparent enjoyment of dancing. No wonder everyone's getting excited about her. No less brilliant were the other pas-de-six dancers - Mara Galeazzi, Laura Morera, Ricardo Cervera and Jonathan Howells, all worthy of note. (A diversion: I spotted Morera at her School performance in Holland Park some (seven?) years ago as the Gypsy Girl in Ashton's 'The Two Pigeons' and noted in a letter to a friend in Ireland: 'She's definitely going places - she already has total stage command').

In Act II, Zenaida Yanowsky opened proceedings as the chilling Myrthe in an unexpectedly muted manner, but soon warmed to her evil purposes. She's a thrilling dancer with a huge soaring jump and a Garboesque face, but her tallness may rule her out for some important roles, which is a pity.

Rojo was all silent beauty in Act II, light as air and excellent in her explosive emergence from her grave. Urlezaga's dancing was clean and crisp with easy elevation and he was wonderfully strong in the difficult overhead lifts. I really like him, though, lookswise, he always reminds me of a nice young country vet. The corps was excellent in it's brutal disposal of Hilarion, but otherwise a little ragged and I thought they failed to get the right dramatic tension into that famous slow converging hop across the stage; it all seemed a little rushed to me.

Rosalind Eyre danced Berthe, her last stage performance after 46 years with the company, latterly as Ballet Mistress. She got a heartwarming ovation from the audience as she took her bows in evening dress.

And that wasn't the only last performance. In the interval, David, a very knowledgable fan I meet from time to time, told me that Jerry Douglas had also danced his last RB performance, but dressed as a woman, according to the archaic tradition for a final performance by a man. I only wish I had known so that I could have looked out for him, but I am sure all of us here wish him every success in his future dancing career.


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  Subject     Author     Message Date     ID  
  RE: Rojo's Giselle, 29 July Bruce Madmin 30-07-00 1
  RE: Rojo's Giselle, 29 July alison 31-07-00 2
  RE: Rojo's Giselle, 29 July Bruce Madmin 07-08-00 3

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Bruce Madmin

30-07-00, 06:36 PM (GMT)
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1. "RE: Rojo's Giselle, 29 July"
In response to message #0
 
   >Tamara Rojo's debut as Giselle
>with the RB last night
>(29 July) was a patchy
>affair; she disappointed in the
>first act with some disastrous
>over-acting, but redeemed herself throughly
>in the second act with
>some glorious dancing.
>

I was pleased by Tamara's first RB Giselle - the more so given that its not a role she has danced so much for some time. I didn't think her acting particulallry over the top, but consistent with the villages favourite girl.

I was very impressed with the corps last night and in the afternoon also - they put on a fine show given its the end of a long season. Eyre must have been pleased. Which reminds me that I have an old Dancing Times where she was featured in In the Classes. Sods law of course means I can't find it when I need.

In the afternoon I finally caught up with Yoshida and Kobborg. I was so glad I got there - a marvelous partnership in the making with such similar and fine styles. Yoshida continues to get ever more depth to her acting and Kobborg seemed to bring new levels of realism to Albrecht. It was one of the best Giselle performances I've ever seen. Is it me or is Miyako looking more sleek these days?


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alison

31-07-00, 01:25 PM (GMT)
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2. "RE: Rojo's Giselle, 29 July"
In response to message #0
 
   That says something for the acoustics (and everything else) at the ROH. I was in rear Stalls Circle and couldn't hear any sign of "hysterical laughter", although I would agree that there was some gasping/heavy breathing. I didn't think she was overdoing the acting generally (in fact, I was finding it unusually difficult to follow her face, most unusual for Tamara), although a friend in the amphitheatre said she found her rather strident. However, given that it was her first (and short-notice) performance in a completely different type of venue from what she's used to, perhaps it could be expected that she might have some problems adjusting. Anyway, I thought she danced beautifully in the second act.

Agree that Nunez danced most of the Peasant pas de six very well, but am I really the only one to have noticed her *feet*?


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Bruce Madmin

07-08-00, 00:10 AM (GMT)
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3. "RE: Rojo's Giselle, 29 July"
In response to message #0
 
   Just to say, as I go through all the links for the Reviews database, that the critcs seem to have loved Rojo's performance and there are lost of lovey comments. One, can't remember who, even likens her arrival on a par with that of Guillem...


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