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“Shostakovich Trilogy”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
June 17, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. Ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen“Ted, I don’t know what you’re doing with the company,” Alexei Ratmansky said after the premiere of his “Shostakovich Trilogy” at Dutch National Ballet, “but they get better and better.” He was right to praise the dancers. Their dedication and attention to detail – and this piece is replete with details – made the evening a thorough success.

“Shostakovich Trilogy” is the fifth piece by Ratmansky to enter the company’s repertoire and, next to “Don Quichotte”, is the second full-evening one. The piece does not only challenge the dancers, but also proves a hard nut to crack for the audience as well. Repeated viewing is 2. Ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsenrecommended, as is knowledge about Shostakovich’s life and about Russian history and culture. Although the ballet’s three parts are not narratives, they tell a story. They reflect the composer’s life, his work, and the political and social climate he experienced.

Shostakovich is considered a poly-stylist. Ratmansky, too, seems to draw on unlimited choreographic resources, which he exploits without reserve. The steps, ideas, and associations that he worked with in only the first part of the triad other choreographers might have stretched to fill a whole-evening ballet. I regretted every moment that I spent taking notes, knowing that I couldn’t anticipate or predict what would happen onstage. Group formations changed constantly and, above all, rapidly but, as if drawing a wide variety of patterns without lifting pen from paper, Ratmansky maintained a connecting thread. For example, phrases from earlier segments were brought back later, serving as visual cues.

3. E.Wijnen, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen 4. S.Yamada, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen In 2014 Ratmansky played down the significance of his art form in an interview, saying “(…) ballet is just dancing. We can’t compete with literature, with philosophy.” “Shostakovich Trilogy” is one of many examples that prove him wrong. Beyond not knowing how many pages an author would need to present in words what Ratmansky expresses in dance, I think even finding the right words would be difficult.

Ratmansky used three different compositions by Shostakovich for the trilogy. Symphony No. 9 accompanies the first part. The composition dates from 1949 and was meant to celebrate, either just initially or more fully, the Russian victory over Nazi Germany in World War II. An atmosphere of gaiety, playfulness, brilliance, and bite suffuses the music. Accordingly, the dance had an exuberant and teasing cheerfulness. One would have 5. S.Kaic, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen almost thought that the dancers had sipped some champagne in advance, if not an oppressive element had gradually crept in. Movements, formerly light and airborne, were suddenly directed downwards, as if trying to avoid touching the upper sphere.
The backdrop (credited to George Tsypin) changed, now depicting drawings of people walking – model citizens or national heroes, maybe – some of them carrying red banners. Dancers lined up in rank and file, marched ostentatiously, smiling and swaggering. Suddenly, some of the group collapsed to the ground. Their bodies broke down bit by bit, as if dying in installments before all resumed their cheerful hopping.

6. J.Varga, I.de Jongh, S.Yamada and ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen Keso Dekker’s costumes were black for corps dancers and brown / black or green / black for soloists. However, in terms of the choreography, the differentiation between the two groups was sometimes blurred. Of the two leading couples, Suzanna Kaic and Edo Wijnen seemed to be engaged in shenanigans, whereas Wen Ting Guan and Jozef Varga portrayed a couple (possibly Shostakovich and his first wife Nina Varzar) repeatedly stricken by apprehension. They moved with stooped posture, staying close to each other, checking their surroundings carefully. The pair was separated twice and, although not much had happened, one had the feeling that they had been put through the mill by the two men lifting and bending each of them.
8. Ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen 7. Ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen At one point, Varga joined the back ranks of the marching group, but peeled off soon after. Standing alone on stage, he was eyeballed by four men, who had crept in softly. Upon Varga’s brisk gesture, a winds solo began, which totally distracted the men. For now, it seemed he had his peace. The mob was silenced by a new composition.

According to one dancer, Sho Yamada’s role was that of the angel. Indeed, Yamada was exposed. He appeared to be upbeat, hardly ever joining the group, but instead seemed to be their whisperer or a hybrid of tummler and manipulator. His turns, fired off towards the end of the piece, made the semicircle of dancers that surrounded him run like a machine set in motion.

9. D.Camargo, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.GerritsenThe String Quartet No. 8, chosen for the trilogy’s second part, was Shostakovich’s musical response to a period of personal crisis in 1960. For one thing, he couldn’t avoid joining the Communist Party that time; for another, his health began to deteriorate. The Quartet had biographical intent – and so too did the choreography, which was full of biographical references.

Daniel Camargo, wearing a black suit without a shirt, portrayed the desperate, drained composer. Did Naira Agvanean, Sasha Mukhamedov and Emanouela Merdjanova depict Shostakovich’s three spouses? Or did only one dance the role of his wife, while the other two depicted his pupils, Galina Ustvolskaya and Elmira Nazirova, with whom Shostakovich had close relationships? We don’t know.
What became clear, though, was that neither relationship was easy. The women seemed to flee his arms – and yet Shostakovich also abandoned one, at least for a time. Was this an allusion to his divorce from Nina Varzar, which was followed by a re-marriage? One woman returned after playing coy several times; Shostakovich kissed her, yet the way she hung over him while being lifted didn’t look as though their love was flying high. Also, during their subsequent pas de deux, neither related to each other, instead performing almost unrelated solos next to each other.

10. Ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.GerritsenA second attempt to pursue a romance with one woman (Agvanean) ended with her collapsing to the floor. A line of three men in silver pants (the regime?) crossed Shostakovich’s path, reminding him and us that he was perpetually on the radar of the authorities. The following love affair seemed happy, even though other dancers sneered mockingly at the couple, but the woman (Mukhamedov) soon died. She, or presumably her spirit, was later carried back on stage by the same men. Both lovers yearningly stretched out their arms, but they couldn’t reach each other. The last women to return was Merdjanova. Happiness briefly flickered, but suddenly Merdjanova disappeared.

11. S.Mukhamedov, D.Camargo, E.Merdjanova and N.Agvanean, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen 12. S.Mukhamedov, D.Camargo and ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen Shostakovich never lost hope that he might find love. If his affection was answered, his mood brightened, but this single ray of light couldn’t compensate for the blows of fate. Every romance brought his smile back, but it became more fragile, worn-down by painful experience.
13. D.Camargo and ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen Camargo poignantly conveyed Shostakovich’s gradually rigidifying depression. The grief he poured on stage was hard to digest. At the end, left alone by the women, he arranged the other dancers into a beautiful tableaux (a new composition?), then turned his back to them and walked towards the backside of the stage. He was a wreck, no longer interested in his work.

The backdrop showed cubistic portraits of men with clear-cut features, occasionally covered by black face masks. Maybe those were the faces Shostakovich needed to hide behind?

14. J.Stout, R.Artyushkin, M.ten Kortenaar, J.Wright and D.Camargo, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen The second part, at the heart of the trilogy, conveyed a deep sadness that retrospectively marred the lightness of the first. These insights into Shostakovich’s private life also changed our perspective on the third part. It was set to the Piano Concerto No. 1, a composition from 1933 involving a solo trumpet. Many other musical works are quoted by or parodied in the concerto. The trumpet frequently interjects sarcastically to the witty, humorous piano passages.

The concerto came to life three years before Shostakovich fell from official favor in 1936, the same time the Great Terror began. Ratmansky preempted the double-game that Shostakovich was forced to play from then on. His choreography is as 16. A.Okumura and ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen 15. A.Okumura, Y.G.Choi and ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen Janus-faced as the costumes (shiny full-body leotards for group dancers; gray on the front side, red on the backside). At times the dance had an air of triumph, as if being performed for propaganda purposes. The playfulness in the first part had been genuine, but now the dance looked well-calculated, like a machine with perfectly interlocking parts. But the fake was so skillfully done, that one was easily carried away and merely enjoyed the firework of quick changes happening onstage. Jumps and turns ended in poses, like 17. A.Okumura and ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen notes highlighted with an exclamation point, that were accurately aligned with the tones of the trumpet or used as a means to chase another dancer. Leaps performed in series grew in height and length; pirouettes began slowly and sped up – did the dancers play with the music or vice versa? But there were downcast, sad scenes as well, and maybe they were closer to reality.

Of the two leading couples, Anna Ol and Artur Shesterikov melted jagged moves into soft ones; Aya Okumura and Young Gyo Choi flicked into their pas de deux like horses out of the bay at a race, before delivering some grandiose lifts, which included Okumura being propelled stunningly through the air. Later, Shesterikov prevented Ol from seeing something horrible – which 19. A.Shesterikov and A.Ol, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen 18. A.Shesterikov and A.Ol, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen wasn’t revealed – before all four soloists performed together, weighed down by an unknown grief.

Red objects, among them hammer, sickle and stars, hung in front of the dark blue backdrop. Later, they were gradually raised. On the backdrop, a black arrowhead with a blurred edge could be seen diagonally upwards. (Maybe the first Sputnik veiled in dark clouds, flying through a cosmos of fragments of Communist Russia?) The arrowhead later turned into a black triangle.
20. A.Ol and ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen In the final scene three women each were carried out by their partners to the left and right wings. Their diagonal lines reminded one of merrily flying flags. At the front of the stage, the two leading couples posed like victors.
The applause was thunderous. My enthusiasm was subdued, but only because of Ratmansky: he had made the tragedy and sadness pervading Shostakovich’s life palpable.

Matthew Rowe conducted Het Balletorkest. The piano soloist for Piano Concerto No. 1 was Michael Mouratch; Erwin ter Bogt played the trumpet.
Aya Okumura was promoted to soloist after the performance.
21. Ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen

 Links: Website of Dutch National Ballet
Trailer “Shostakovich Trilogy”
Rehearsal “Shostakovich Trilogy” (Symphony No. 9), video
Rehearsal “Shostakovich Trilogy” (String Quartet No. 8), video
 Photos: Symphony No. 9
 1. Ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
 2. Ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
 3. Edo Wijnen, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
 4. Sho Yamada, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
 5. Suzanna Kaic, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
 6. Jozef Varga, Igone de Jongh, Sho Yamada and ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
 7. Ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
 8. Ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
String Quartet No. 8
 9. Daniel Camargo, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
10. Ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
11. Sasha Mukhamedov, Daniel Camargo, Emanouela Merdjanova and Naira Agvanean, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
12. Sasha Mukhamedov, Daniel Camargo and ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
13. Daniel Camargo and ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
14. James Stout, Roman Artyushkin, Martin ten Kortenaar, Jared Wright and Daniel Camargo, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
Piano Concerto No. 1
15. Aya Okumura, Young Gyu Choi and ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
16. Aya Okumura and ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
17. Aya Okumura and ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
18. Artur Shesterikov and Anna Ol, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
19. Artur Shesterikov and Anna Ol, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
20. Anna Ol and ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
21. Ensemble, “Shostakovich Trilogy” by Alexei Ratmansky, Dutch National Ballet 2017
all photos © Hans Gerritsen
 Editing:  Jake Stepansky

Searching for the Soul

“Corpus” (“disTANZ” / “Lady with a Fan”)
Ballet Zurich
Opernhaus Zurich
Zurich, Switzerland
June 10, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. F.Dell'Aria, J.Fraser, E.Wisenberg and D.Slavkovský, “disTANZ” by F.Portugal, Ballet Zurich 2017 © G.BatardonHow does the soul get into the dance? What relationship does the soul have to the body? Such were the questions, Filipe Portugal and Douglas Lee, the two choreographers of “Corpus” tried to explore in their new works. The double bill premiered at the end of May. Portugal, principal of the company, has been choreographing several years now for his Zurich colleagues as well as for Zurich’s Junior Ballet. “disTANZ”, his most recent creation, was the first on the program. Like Portugal, Lee, a Berlin-based choreographer with British roots, is familiar with the company as well. “Lady with a Fan” is his third creation for Ballet Zurich. Both Portugal and Lee choreographed group pieces. (more…)

Substance versus Effects

“Quintett” (Triple Bill: “rituals from another when” / “Kammerballett” / “Quintett”)
Ballet Zurich
Opernhaus Zurich
Zurich, Switzerland
June 09, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. Ensemble and Junior Ballet Zurich, “rituals from another when” by J.Godani, Ballet Zurich 2017 © C.QuezadaUnlike its title suggests, “Quintett”, Zurich Ballet’s mixed bill which premiered in February this year, is made of not five but three pieces. William Forsythe’s “Quintett”, rarely performed choreography from 1993, lent the evening its caption. The other two ballets were “rituals from another when,” a new creation for Zurich Ballet by Jacopo Godani, and Hans van Manen’s “Kammerballett.” All three pieces were danced to recorded music. (more…)

Changes

“Don Quixote”
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
June 03, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. E.Badenes, A.Soares da Silva and ensemble, “Don Quixote” by M.Guerra, Stuttgart Ballet 2017 © Stuttgart BalletStuttgart Ballet is facing a time of great change. Just recently, artistic director Reid Anderson announced that the company will part at the end of this season with Demis Volpi, who had been its resident choreographer since 2013. Whether the contract of Marco Goecke, the company’s second in-house-choreographer, will be extended beyond summer 2018 (after which Tamas Detrich will take the reins from Anderson) is still the subject of rumors. What is certain, though, is that this season will be the last for an icon of Stuttgart Ballet. After more than seventy years as dancer, choreologist, coach, ballet master and linchpin for the company, 89-year-old Georgette Tsinguirides will retire in July. (more…)

A Masterpiece?

“A Midsummer Night’s Dream”
Bavarian State Ballet
National Theater
Munich, Germany
May 26, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. K.Ryshkova, “A Midsummer Night's Dream” by J.Neumeier, Bavarian State Ballet 2017 © W.Hösl Balmy nights that follow days of 86°F are ideal to get one in a dreamy midsummer night’s mood. It was just the right time for reviving John Neumeier’s interpretation of Shakespeare’s iconic comedy, as danced by the Bavarian State Ballet this May. The amorous entanglements Shakespeare invented in “A Midsummer Night’s Dream” are confusingly intricate and very juicy. Theseus, the duke of Athens, is about to marry Hippolyta, the former queen of the Amazons. Oberon, king of the fairies, and Titania, his queen, have come to the forests surrounding Athens to attend the wedding. A bit short of domestic bliss, their quarrels cause great trouble among the four lovers of the human world, Lysander & Hermia and Demetrius & Helena. Chaos intensifies because of Puck, Oberon’s shrewd and knavish sprite. A group of incompetent, amateur actors, preparing to entertain the royal wedding with “Pyramus and Thisbe” adds to the overall confusion.

Neumeier streamlined the knotty story by dropping side characters and subplots and allocating distinct music to the three lifeworlds. Felix Mendelssohn’s compositions for “A Midsummer Night’s Dream” (and other pieces by him) accompany the events at court. The mechanicals rehearse and perform to barrel organ music. Oberon, Titania and their fairies live inside György Ligeti’s electronic soundscapes. The Mendelssohn was played live by the Bavarian State Orchestra under the baton of Michael Schmidtsdorff; of Ligeti, we heard a recorded version. James Lyttle, one of the mechanicals, played the barrel organ. (more…)

Wasted Effort?

“Gala des Étoiles”
Grand Théâtre
Luxembourg
May 20, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. D.Tamazlacaru and I.Salenko / State Ballet Berlin, “Chopiniana” by M.Fokin, Gala des Étoiles 2017 © P.Abbondanza Luxembourg, one of the smallest sovereign states in Europe, has no ballet tradition. To change this is the aim of former dancer Natascha Ipatova and Georges Rischette, both founders of the Luxembourg dance school DanceXperience. This year’s two galas on May 20th and 21st mark the fifth year in succession trying to wet the Luxembourg audience’s appetite for the art form. Unlike the suggestive title of the event, no étoiles of the Paris Opera Ballet were involved. Instead, there were leading principals and their colleagues from various international companies. (more…)

Four Dancer Nominees for the Prix Benois 2017

Prix Benois de la Danse
Bolshoi Ballet / Korean National Ballet / National Ballet of Uruguay
Moscow / Seoul / Montevideo
April 28, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. Statuette of the Prix Benois de la Danse, design by I.Ustinov © Y.PokrovskyOn May 30th and 31st the Bolshoi again hosts the ceremonies of the annual Prix Benois de la Danse Galas. Prizes will be given on the first evening, while the gala on the following day will look back on highlights from the twenty-five-year history of the Prix Benois. It is already known that Marcia Haydée will be awarded the Benois Prize for Lifetime Achievement and Aurelie Dupont the Russian-Italian Prize Miroir de la Danse.

This year’s nominees include seven choreographers, six ballerinas and seven male dancers. I asked four dancers – two female, two male – about the roles which earned them the nomination: they are, alphabetically, Nina Kaptsova (Bolshoi Ballet), Jae-Woo Lee (Korean National Ballet), Maria Riccetto (National Ballet of Uruguay), and Denis Rodkin (Bolshoi Ballet).
All four were asked the same questions:
“Why was performing this role special compared to other roles you danced? What challenged you? In what perspective did the role make you grow as an artist?”

Here is what they answered: (more…)

Real Life and Ideals – Nureyev’s “Swan Lake”

“Swan Lake”
Vienna State Ballet
Vienna State Opera
Vienna, Austria
May 14, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. S.Chudin and O.Smirnova, “Swan Lake” by R.Nureyev after M.Petipa and L.Ivanov, Vienna State Ballet © Vienna State Ballet / A.Taylor “French and Russian style differ, so everything is a bit new at the moment,” Semyon Chudin told me in an interview a few weeks before his premiere in Rudolf Nureyev’s “Swan Lake” in Vienna. He and Olga Smirnova, both figureheads of the Bolshoi, guested in the leading roles with Manuel Legris’s company. I saw the first of two performances. How did they do?

Nureyev’s version differs in style, choreography and the weight given to several characters in comparison to other traditional interpretations of “Swan Lake”. The role of Benno, Prince Siegfried’s friend, is gone and, unlike in Russian productions, there is no fool either. Instead the focus shifts towards Siegfried, whom Nureyev danced more than fifty times himself; his last performance was in 1988 a few days after his 50th birthday. Nureyev’s Siegfried has more to dance – a formal Pas de cinq at his birthday party followed by a melancholy solo, for example – and allows deeper insight into his psyche. At the end he falls victim to Von Rothbart’s revenge and drowns in the floods of the lake, whereas Odette, still alive, stands at the lakeside like the idealized female. However desperately Siegfried stretches his arms towards her she is unattainable. He is doomed to die. (more…)

State Ballet Berlin – The Die is Cast

State Ballet Berlin
Berlin, Germany
May 04, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. S.Waltz and J.Öhman © A.RivalAround six months ago, questions were raised about the legitimacy of Sasha Waltz and Johannes Öhman’s contracts as future artistic directors of the State Ballet Berlin. Their appointments needed the approval of the Stiftungsrat of the Opera, but because of the upcoming elections, the board hadn’t (and still hasn’t) the required quorum of members for making valid decisions. Having firmly protested against the appointment of the new directors for months, the dancers intensified their opposition at that time.

Apparently hoping that the furor would die down in the meantime, Waltz and Öhman, together with Berlin’s new cultural senator Dr. Klaus Lederer (DIE LINKE), talked with the dancers as part of a staff meeting at the end of April. Their aim was to provide insight into their artistic program, and to start “an open and constructive dialogue”*. On the following mid-morning, Waltz and Öhman gave a press conference in which they tried to imply that the waves had calmed and that all were eager to establish a “trustful and creative atmosphere”*.

The facts are as follows: (more…)

An Ordeal

“Don Quixote”
Ballet of the State Theater Nuremberg
State Theater
Nuremberg, Germany
April 28, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. N.Sasaki, R.Scott and ensemble, “Don Quixote” by G.Montero, Ballet of the State Theater Nuremberg 2017 © J.Vallinas“Don Quixote” is best associated with the showy dancing of snappy youth, lighthearted joie de vivre and air sizzling with eroticism. The Ballet of the State Theater Nuremberg’s new “Don Quixote” offers the opposite. Goyo Montero, artistic director of the company of around twenty dancers, boiled down the traditional three acts to a single one lasting 90 minutes. According to the program booklet, the production begins in a mental institution, a prison or a refugee camp. Given the huge gunny sacks serving as seats, buffers or protective wall (set design by Eva Adler and Montero), the scruffy gray and brown costumes and the simple bag-like headdresses credited to Angelo Alberto and Montero, I thought of mill hands kept in arrest. But regardless of the place one imagines the figures inhabiting it are insane. (more…)

Olga Smirnova and Semyon Chudin on “Swan Lake”

“Swan Lake”
Vienna State Ballet
Moscow / Vienna
April 28, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. S.Chudin and O.Smirnova, “Swan Lake” by Y.Grigorovich after M.Petipa, L.Ivanov and A.Gorsky, Bolshoi Ballet © Bolshoi Theatre / D.YusupovIn mid-May Vienna State Ballet revives Rudolf Nureyev’s “Swan Lake,” the version he choreographed for the company in 1964. The new set and costumes are by Luisa Spinatelli. Four guest dancers will take the leading roles in the course of the run. The Bolshoi’s Olga Smirnova and Semyon Chudin dance twice, on May 14th and 17th; on June 4th Marianela Nuñez and Vadim Muntagirov of The Royal Ballet guest in Vienna. The last performance on Monday, June 12th, will be streamed live on the internet.

While “Swan Lake” is Smirnova’s debut in Vienna, Chudin returns for the third time to the Austrian capital. Two weeks before opening night I asked both about their roles and about Nureyev’s production in particular. Smirnova, who at that time was in Moscow, answered in written form. Katerina Novikova, head of the Bolshoi’s press office, kindly translated Smirnova’s answers into English. Chudin, already rehearsing with the company in Vienna, talked with me via Skype. (more…)

Noverre Evening 2017

“Young Choreographers”
Noverre Society
Schauspielhaus Stuttgart
Stuttgart, Germany
April 20, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. A.McGowan and E.Comak, “Fraternal | Stories” by A.McGowan and E.Comak, Noverre Society Stuttgart – Young Choreographers 2017 © R.NovitzkyTwelve young choreographers presented their works to the public as part of this season’s two Noverre Evenings – Stuttgart’s platform for aspiring choreographers of dance. Two of the choreographers are female. Two of the ten pieces are collaborative works. Seven originated from within the ranks of the Stuttgart Ballet, and three were created by individual dancers from Lyon, Munich and Mannheim. Notably, none included point work. The quality of the works varied, but each was warmly applauded and some raised enthusiastic cheers. (more…)

Stuttgart Ballet’s “Walking, Talking Historical Person”

“Reid Anderson – Having it”
240 pages, b/w illustrations
Henschel Publishing House, April 2017
ISBN 978-3894877903
April 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. “Reid Anderson – Having It”, book cover © Henschel Publishing HouseReid Anderson celebrated his 68 years anniversary on April 1st a few weeks ago. His birthday present was a book: Reid Anderson – Having It, From Dancer to Director, initiated and edited by Vivien Arnold, Stuttgart Ballet’s Director of Press, Dramaturgy and Communications. Its authors, Angela Reinhardt and Gary Smith, are both very familiar with Anderson’s career. Smith covered Anderson’s childhood and teenage years in Canada, his training at the Royal Ballet School in London and his time as director, first of the Ballet British Columbia, then of the National Ballet of Canada. Stuttgart-based Reinhardt contributed the Stuttgart chapters of Anderson’s life, one as a dancer of John Cranko’s company, and the second, ten years later, as director of the company, a post he still holds.

The book, available in German and English, was introduced to the public by Anderson and Tim Schleider, Head of the Culture Department of the Stuttgarter Zeitung and the Stuttgarter Nachrichten, in a matinée talk in Stuttgart’s opera house on April 1st. (more…)

Heightened Drama

“Mayerling”
Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre
National Theater
Munich, Germany
April 06, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. S.Polunin and A.Pershenkova, “Mayerling” by K.MacMillan, Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre 2017 © W.Hösl Igor Zelensky invited Moscow’s Stanislavsky and Nemirovich-Danchenko Music Theatre, his own former troupe, to perform as a guest company for this month’s Ballet Festival Week in Munich. Last October, after a short period of double directorship in Moscow and Munich, Zelensky decided to concentrate solely on directing the Bavarian State Ballet. Laurent Hilaire, former Paris Opéra Ballet étoile, took over Zelensky’s post at the Stanislavsky in January this year.

The Stanislavsky brought along Kenneth MacMillan’s “Mayerling”, a piece rarely performed on German stages. As a special treat, Sergei Polunin danced the leading role at both performances. I saw the opening night. Although Polunin left the Stanislavsky in summer 2014, he continued to perform with the company on occasion. In Munich, he has been a permanent guest dancer since Zelensky took up the reins.

“Mayerling” isn’t the sort of piece one eagerly watches again and again – for at the root of the catastrophe of the piece is a tragedy that is too sad and a society that is too disgusting to witness repeatedly. The story is based on a dark chapter of the reign of Emperor Franz Joseph I of Austria. The Emperor’s third child with Elisabeth (“Sisi”), Duchess of the house of Wittelsbach, was Crown Prince Rudolf, who at the age of twenty-three, was forced into a marriage with Princess Stéphanie of Belgium. The ballet begins with the couple’s wedding ball and ends with the double suicide of Rudolf and his mistress, Mary Vetsera, at the royal hunting lodge at Mayerling. (more…)

Munich Opens Wonderland

“Alice in Wonderland”
Bavarian State Ballet
National Theater
Munich, Germany
April 03, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. Ensemble, “Alice in Wonderland” by C.Wheeldon, Bavarian State Ballet 2017 © W.Hösl The first day of Munich’s Ballet Festival Week heralded the start of an extended cricket season at the city’s National Theater. Captains of noble descent lead the competing teams. Which of the players – half a zoo plus numerous playing cards – fight for the Queen of Hearts and which fight for the Duchess isn’t always clear. Games aren’t played by the rules in Wonderland. (more…)