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In Seventh Heaven?

“Im Siebten Himmel” (“In Seventh Heaven”): “Marsch, Walzer, Polka” / “Fly Paper Bird” / “Symphony in C”)
Vienna State Ballet
Vienna State Opera
Vienna, Austria
November 14, 2021 (live stream)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. S.Gargiulo, “Marsch, Walzer, Polka” by M.Schläpfer, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylor“Im Siebten Himmel” (“In Seventh Heaven”), the Vienna State Ballet’s second new triple bill this season, follows the formula of the previous one: one piece by Balanchine + one by Martin Schläpfer (the company’s artistic director) + one by a contemporary choreographer. Last time, this third choreographer was Ratmansky; this time, it’s Marco Goecke.

For the music, Schläpfer’s “Marsch, Walzer, Polka” – created for the Ballett Mainz in 2006 – was a fitting choice. What could be more engaging for the Viennese audience than popular melodies by Johann Strauss I and his two sons, Josef and Johann? Schläpfer uses “The Blue Danube”, “Annen- Polka”, “Sphärenklänge”, and “Radetzky March” – and, to expand the existing choreography, draws in the “New Pizzicato-Polka” as well. The costumes – extravagant versions 3. M.Menha, “Marsch, Walzer, Polka” by M.Schläpfer, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylor2. D.Vizcayo, A.Hanan, and G.Li Mandri, “Marsch, Walzer, Polka” by M.Schläpfer, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylorof traditional Alpine fashion pieces, lace dresses, and skintight, glittery outfits designed by the Viennese couturier Susanne Bisovsky – were new as well. The brocade, tulle, feathers, sexy lace stockings, bold patterns, and Black Forest headdresses added a great deal to Schläpfer’s parodistic assault on dance culture.

Ketevan Papava’s solo on a blue-lit floor (the Danube river?) looked like an alpine maid’s failed attempt to dance like an elegant lady. Sveva Gargiulo, sporting a puffy skirt with bright floral print, lies prone, swaying her arms and legs up and down like an angry, petulant child. Lourenço Ferreira tries to comfort 4. I.Milos and E.Ledán, “Marsch, Walzer, Polka” by M.Schläpfer, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylor5. F.McGee and C.Failla, “Marsch, Walzer, Polka” by M.Schläpfer, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylor6. H.-J.Kang and A.Popov, “Marsch, Walzer, Polka” by M.Schläpfer, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylorher, but in vain. He wears sleek, shiny black pants and moves so stiffly that it’s as if he was made by Dr. Coppélius. Gargiulo wails, is later dragged across the floor like a bag of flour and and finally stays down, lying flat as a pancake. Over and over, women turn in place like the musical clocks offered in souvenir shops. At times, they are acrobatically manipulated like puppets. At others, they squat down, legs apart, and stick their bottoms out. Men give one another piggyback rides and stand hip to bottom, jerking and bending their torsos suggestively at one another. 7. Ensemble, “Marsch, Walzer, Polka” by M.Schläpfer, Vienna State Ballet 2021 © Vienna State Ballet / A.TaylorOne group lets their fingers dance on the floor before grinning towards the audience. Two dancers embrace one another, while others gaze towards heaven or dance alone, their arms holding non-existent partners. A group of ballerinas in black lace tricots featuring black feather plumes strides stiff-leggedly, tapping their pointe shoes against the floor as if pounding on a table. Other shoe-noises evoke a Schuhplattler dance.

In the final Radetzky March, Jackson Carroll – wearing an all-black outfit that includes fur boots, a feather collar, and aiguilettes – satirizes a neurotic member of the military, bowing hyper-frantically, 8. Ensemble, “Marsch, Walzer, Polka” by M.Schläpfer, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylorsaluting in a staccato fashion, and shaking the hands of an imaginary on-stage audience. He stares furiously into the abyss, shouting inaudibly, his mouth wide open, gesticulating wildly until he trembles and runs in a circle. Even as the music ends, he continues his routine like a wound-up automaton.
Schläpfer’s humor isn’t quite mine and I found his choreography to be startlingly unimaginative and shallow. In the most swooshing of musical passages, his dancers move at glacial pace, or even stand motionless. More often than not, his dancers look clumsy and ungainly. Is this the direction that he wishes the company to take?

9. Ensemble, “Fly Paper Bird” by M.Goecke, Vienna State Ballet 2021 © Vienna State Ballet / A.TaylorIf you commission a piece by Goecke, you know what style and look you’ll get. His new “Fly Paper Bird” is no exception. Mist wafts across a modestly lit arena at the center of a dark stage. The costumes are predominantly black. Goecke’s dancers – three women and eight men – perform quick, ultra-precise movements, their limbs cutting sharply through the air. Joints jerk mechanically as the dancers move from one edgy position to another. Arms and hands flutter nervously or tremble out of sheer tension; fingers distort into frozen claws as if paralyzed. Small scuttling steps alternate with grand swooshing 10. D.Tariello, D.Dato, and M.Menha, “Fly Paper Bird” by M.Goecke, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylor 11. F.McGee, “Fly Paper Bird” by M.Goecke, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylorones. Watching a piece by Goecke usually makes me think of dancing robots, but that’s actually not a fair evaluation – robots are emotionless, whereas Goecke’s dancers seem to be exhausting all of their willpower and muscular strength to tamp down their feelings. Their energy is consistently high-voltage – and they over-contort every tiny move.

12. Ensemble, “Fly Paper Bird” by M.Goecke, Vienna State Ballet 2021 © Vienna State Ballet / A.TaylorThe music chosen by Goecke – two movements of Gustav Mahler’ Symphony No. 5: “Stürmisch bewegt” and “Adagietto” – is in bizarre contrast to the choreography. Even though hope looms faintly on the horizon – a promising hint of dawn light, a huge white (paper?) pigeon flying into the distance – his dancers find neither peace nor freedom, let alone experiencing a Mahler-ian apotheosis. Instead, they laugh hysterically when all but one man magically disappear into a crevice that suddenly opens out in the rear (the entrance to Dante’s hell?). Soon afterwards, they hurry one-by-one to the front of the stage, facing the audience and gaping like 13. R.Horner and D.Vizcayo, “Fly Paper Bird” by M.Goecke, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylor14. A.Hanan and F.McGee, “Fly Paper Bird” by M.Goecke, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylordesperately hungry birds. Their outstretched arms resemble faltering sails; their bodies shake from convulsions. Even though Rebecca Horner’s hissing voice re-assures Daniel Vizcayo that Whatever happens: you know your time, my bird. You fly through the mist to me (lines taken from Ingeborg Bachmann’s poem “Mein Vogel”) – none of them will ever spread their wings and escape their depressing existence.
The company performed excellently, paying great attention to detail.

16. E.Bottaro, A.Liashenko, and ensemble, “Symphony in C” by G.Balanchine © The George Balanchine Trust, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylor15. L.Konovalova, A.Popov, and A.Inculet, “Symphony in C” by G.Balanchine © The George Balanchine Trust, Vienna State Ballet 2021 © Vienna State Ballet / A.TaylorWatching the first movement of “Symphony in C”, I wondered whether Schläpfer’s style still lurked in the dancers’ bones. The leading couple, Hyo-Jung Kang and Masayu Kimoto, delivered solid performances, as did the male soloists. However, the female corps tossed aside their elegance and met the choreography’s challenges with sporty vigor, kicking their legs, hectically switching arm positions, and slumping onto their knees when kneeling. Although 17. K.Hashimoto, D.Dato, and ensemble, “Symphony in C” by G.Balanchine © The George Balanchine Trust, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylortheir performances improved in the following sequences, it would haven been nice for the group to be more in line and in sync. Clean, precise technique and stalwart stamina are key to making this ballet sparkle.
Of the leading couples, Liudmila Konovalova and Alexey Popov display smooth elegance, having mastered the adagio’s nose-to-knee penchè and performing it with steely calm. Kiyoka Hashimoto and Davide Dato inject effervescent pizzazz into the third movement, followed by the fleet-footed Sonia Dvořák and Roman Lazik.
The orchestra of the Vienna State Opera, with Patrick Lange at the conductor’s desk, played with aplomb.
18. L.Konovalova, A.Popov, and ensemble, “Symphony in C” by G.Balanchine © The George Balanchine Trust, Vienna State Ballet 2021 © Vienna State Ballet / A.Taylor

Links: Website of the Vienna State Ballet
Interview with Martin Schläpfer (video)
Rehearsal of “Fly Paper Bird” (video)
Photos: 1. Sveva Gargiulo, “Marsch, Walzer, Polka” by Martin Schläpfer, Vienna State Ballet 2021
  2. Daniel Vizcayo, Adi Hanan, and Gaspare Li Mandri, “Marsch, Walzer, Polka” by Martin Schläpfer, Vienna State Ballet 2021
  3. Marcos Menha, “Marsch, Walzer, Polka” by Martin Schläpfer, Vienna State Ballet 2021
  4. Igor Milos and Eszter Ledán, “Marsch, Walzer, Polka” by Martin Schläpfer, Vienna State Ballet 2021
  5. Fiona McGee and Calogero Failla, “Marsch, Walzer, Polka” by Martin Schläpfer, Vienna State Ballet 2021
  6. Hyo-Jung Kang and Alexey Popov, “Marsch, Walzer, Polka” by Martin Schläpfer, Vienna State Ballet 2021
  7. Ensemble, “Marsch, Walzer, Polka” by Martin Schläpfer, Vienna State Ballet 2021
  8. Ensemble, “Marsch, Walzer, Polka” by Martin Schläpfer, Vienna State Ballet 2021
9. Ensemble, “Fly Paper Bird” by Marco Goecke, Vienna State Ballet 2021
10. Duccio Tariello, Davide Dato, and Marcos Menha, “Fly Paper Bird” by Marco Goecke, Vienna State Ballet 2021
11. Fiona McGee, “Fly Paper Bird” by Marco Goecke, Vienna State Ballet 2021
12. Ensemble, “Fly Paper Bird” by Marco Goecke, Vienna State Ballet 2021
13. Rebecca Horner and Daniel Vizcayo, “Fly Paper Bird” by Marco Goecke, Vienna State Ballet 2021
14. Adi Hanan and Fiona McGee, “Fly Paper Bird” by Marco Goecke, Vienna State Ballet 2021
15. Liudmila Konovalova, Alexey Popov, and Alexandra Inculet, “Symphony in C” by George Balanchine © The George Balanchine Trust, Vienna State Ballet 2021
16. Elena Bottaro, Aleksandra Liashenko, and ensemble, “Symphony in C” by George Balanchine © The George Balanchine Trust, Vienna State Ballet 2021
17. Kiyoka Hashimoto, Davide Dato, and ensemble, “Symphony in C” by George Balanchine © The George Balanchine Trust, Vienna State Ballet 2021
18. Liudmila Konovalova, Alexey Popov, and ensemble, “Symphony in C” by George Balanchine © The George Balanchine Trust, Vienna State Ballet 2021
all photos © Vienna State Ballet / Ashley Taylor
Editing: Jake Stepansky

A Bold Combo

“Giselle” (Act II), “Agora”
São Paulo Dance Company
Teatro Sérgio Cardoso
São Paulo, Brazil
October 02 and 03, 2021 (live streams)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. C.Pegurelli (Giselle), “Giselle” by L.van Cauwenbergh after J.Coralli and J.Perrot, São Paulo Dance Company 2021 © C.LimaBefore resuming their international tours, the São Paulo Dance Company opened the season at home in the Teatro Sérgio Cardoso with a refreshingly bold double bill that contrasted the second act of “Giselle” – an foundational piece from the romantic era – with “Agora”, a punchy 2019 creation by the São Paulo-based choreographer Cassi Abranches. I viewed two performances with different casts that were streamed live on October 2nd and 3rd, 2021. (more…)

Giving Back

“Creare Crescere”
Stuttgart Ballet / Escuela Superior de Música y Danza de Monterrey
Stuttgart, Germany / Monterrey, Mexico
September 25, 2021

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. Escuela Superior de Música y Danza de Monterrey 2021 © Escuela Superior de Música y Danza de MonterreyRocío Alemán, principal dancer of the Stuttgart Ballet, started her dance education in 2003 at the Escuela Superior de Música y Danza de Monterrey in her hometown of Monterrey, Mexico. In 2008, she moved to Stuttgart, where she finished her studies at the John Cranko School. After carving out a successful career for herself, she thought it time to thank her school in Monterrey for what it has given her. Her plan was to invite ten graduate students from Monterrey to visit the Stuttgart Ballet and work with dancers-cum-choreographers (of which the Stuttgart company, thanks to their annual choreographic workshops, has many) – but the plan was thwarted by COVID-19. Still, Alemán didn’t give up, adjusting her project to the new circumstances. If students and choreographers couldn’t meet in person, (more…)

Unparalleled

“TOER” (“Lucifer Studies” / “7th Symphony”)
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
September 25, 2021 (live stream)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. M. ten Kortenaar and T. van Poucke, “Lucifer Studies” by T. van Schayk, Dutch National Ballet 2021 © H. Gerritsen “Unparalleled.”
That’s how Ted Brandsen, artistic director of the Dutch National Ballet, described Toer van Schayk – Holland’s renowned multi-disciplinary artist. van Schayk, who celebrated his eighty-fifth birthday earlier this month, has excelled across a broad spectrum: as a dancer, choreographer, set and costume designer, painter, and sculptor. His knowledge of the history of the arts combined with his wholehearted dedication to his craft and persistent motivation to create make him one-of-a-kind in the field. Though he has been a pillar of the Dutch National Ballet since its founding, his pieces have rarely been scheduled in recent years – and so it was most welcome that this year’s 60th anniversary season opened with the double bill “TOER”. It consisted of van Schayk’s much-acclaimed “7th Symphony” (1986) and a new ballet titled “Lucifer Studies”. I watched the live-stream on September 25th; it will be repeated on October 6th, 2021. (more…)

Comparisons

“Tänze Bilder Sinfonien” (“Symphony in Three Movements” / “Pictures at an Exhibition” / “Sinfonie Nr. 15”)
Vienna State Ballet
Vienna State Opera
Vienna, Austria
September 21, 2021 (live stream)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. K.Hashimoto, D.Dato, A.Firenze, and D.Tariello, “Symphony in Three Movements” by G.Balanchine © The George Balanchine Trust, Vienna State Ballet 2021 © Vienna State Ballet / A.TaylorThe Vienna State Ballet opened their season with a revival of “Tänze Bilder Sinfonien”, a triple bill that premiered in June. It is comprised of two ballets originally created for the New York City Ballet: Balanchine’s “Symphony in Three Movements” from 1972 and Ratmansky’s “Pictures at an Exhibition” from 2014. The third choreography – “Sinfonie Nr. 15” – was a new piece by Martin Schläpfer (formerly the artistic director and choreographer of the Ballet am Rhein; currently in the same positions at the State Ballet Vienna). I viewed the live-stream of the performance on September 21, 2021.

“Symphony in Three Movements”, set to Stravinsky’s eponymous composition, is Balanchine’s tribute to the composer following the latter’s death in 1971. (more…)

Blabla Or Food For Thought?

“Blitirí”
Ballet of the State Theater Nuremberg
State Theater
Nuremberg, Germany
July 25, 2021 (online)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. E.Nunes, O.Alonso, S.Vervaecke, C.Blanco, V.Ketelslegers, A.Fernández, A.Tavares, J.Toscano, and S.Tozzi, “Blitirí” by G.Montero, Ballet of the State Theater Nuremberg 2021 © J.VallinasBlitirí is a term used in medieval time for something that has no meaning,” explains Goyo Montero, choreographer and artistic director of the State Theater Nuremberg’s ballet ensemble. He compares the word to jovial “blabla”. Indeed, his new choreography for “Blitirí” revolves around joy – at least, almost entirely.
Though originally planned as a solely digital project, the 25-minute piece premiered on July 10th to a live audience at Nuremberg’s State Theater as part of the triple bill “Goecke / Godani / Montero”. A few weeks later, Stefan Kleeberger and Montero realized the initial plan by releasing a filmed version that is available on the company’s YouTube channel. (more…)

Amsterdam’s Dance Students

“Dancers of Tomorrow”
Dutch National Ballet Academy
Dutch National Opera & Ballet
Amsterdam, The Netherlands
July 10/11, 2021 (video)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. Students of the Dutch National Ballet Academy, “10 Years Tailor-Made” by I.Lešić, Dutch National Ballet Academy 2021 © S.Derine End-of-year performances are a highlight for the students of any ballet school. Last weekend, the Dutch National Ballet Academy performed “Dancers of Tomorrow” on the main stage of the Dutch National Opera & Ballet for an empty auditorium due, sadly, to ongoing COVID-19-restrictions. The silver lining: a video of the performance, augmented by footage from backstage, was streamed online for two days, allowing a much larger audience to see the work. I wonder: could we include online streams and video broadcasts as a standard addendum to live performances in the future?

“Dancers of Tomorrow” was assembled from ten pieces geared to the students’ age groups and adapted or created especially for the occasion. All students participated. (more…)

A Journey Through Time

“Beauty Mixed Programme”
The Royal Ballet
Royal Opera House
London, Great Britain
July 09, 2021 (live stream)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. F.Hayward and C.Coralles, “Morgen” by W.McGregor, The Royal Ballet 2021 © A.Uspenski Ninety years ago, Ninette de Valois founded the Vic-Wells Ballet, which would later birth today’s Royal Ballet and Birmingham Royal Ballet. The Royal Ballet celebrated the anniversary with a mixed bill that linked the past and the present, showcasing works by two pillars of the repertory – the late Frederick Ashton and Kenneth MacMillan – and works by resident choreographer Wayne McGregor, artistic associate Christopher Wheeldon, principal dancer-cum-choreographer Valentino Zucchetti, and Arthur Pita. The crown jewel of the program (more…)

“And I Have So Much to Say, But…”

“Sleeping Woman”
Tanztheater Wuppertal Pina Bausch
Opera House
Wuppertal, Germany
July 02, 2021 (online)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. T.-C.Yu and ensemble, “Sleeping Woman” by R.Behr, Tanztheater Wuppertal Pina Bausch 2021 © E.RodoulisPina Bausch was the heart of Tanztheater Wuppertal – and since her premature death in 2009, the company has struggled to find new leadership to shape its artistic future. The termination of Adolphe Binder’s contract as intendant and artistic director in 2018 – after only one year in office – was followed by a two-year lawsuit between her and the theater. Although Binder won the suit (and the matter was settled out of court), Binder waived her claim to the post, making way for Bettina Wagner-Bergelt. (more…)

Exploring a Romantic Dream

“Les Sylphides” (“Chopiniana”)
São Paulo Dance Company
Teatro Sérgio Cardoso
São Paulo, Brazil
June 25, 2021 (video)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. T.Prata, V.Vieira, and L.Yuk, “Les Sylphides” by A.Botafogo after M.Fokin, São Paulo Dance Company 2021 © F.KirmayrThe COVID-19 pandemic compelled the São Paulo Dance Company to postpone this June’s run of “Giselle” to September. In its place, the company has offered another gem from the romantic repertory: Mikhail Fokin’s “Les Sylphides”, newly revised by Ana Botafogo, a Brazilian actress and former principal of the Theatro Municipal in Rio de Janeiro. The performance on June 18th – attended by a live audience and broadcast online on June 25th – was presented as part of the company’s educational program and followed by a 30-minute lecture about the piece and its production. (more…)

Two Dutch Premieres

“Four Seasons” (“The Two Of Us” / “The Four Seasons”)
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
June 15, 2021 (live broadcast)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. A.Tsygankova and C.Allen, “The Two Of Us” by C.Wheeldon, Dutch National Ballet 2021 © H.GerritsenJust one week after the premiere of “Prometheus”, the Dutch National Ballet premiered a second program as part of the annual Holland Festival: “Four Seasons” – a double bill comprised of Christopher Wheeldon’s “The Two Of Us” and David Dawson’s “The Four Seasons”. Two dance films created by members of the company during last year’s lockdown – “Oblivion” and “The Garden” – were shown during the break. The performance was attended by a live audience and, in addition, broadcast online.

“The Two Of Us” premiered at New York City Center’s 2020 Fall for Dance festival and paired New York City Ballet’s principal Sara Means and David Hallberg, close friends who’d never before had the chance to dance together. In Amsterdam, the duet was performed by Anna Tsygankova and Constantine Allen, depicting two tender souls unsure whether to stay together or to part.

As the curtain opens, Tsygankova is seated on the floor, her elbow resting pensively upon her knee. Allen kneels behind her, his hand touching her shoulder. He begins to walk away from her, and at that exact moment we hear the first sounds of a melancholic guitar strummed by Joni Mitchell. “I don’t know where I stand,” Mitchell sings, verbalizing Tsykankova’s state of being. (more…)

Joint Venture

“Come In” / “Inquieto”
Ballett am Rhein / São Paulo Dance Company
Düsseldorf, Germany / São Paulo, Brazil
June 11, 2021 (online)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. G.Carvalho, “Come In” by A.Barton, Ballett am Rhein 2021 © B.StößDemis Volpi, artistic director of the Ballett am Rhein, and Inês Bogéa, the same at the São Paulo Dance Company, have known each other for years. This June, their professional relationship yielded a joint video release that featured one ensemble piece by each company. The video was available on the Ballett am Rhein’s YouTube channel from June 11-13 and can be re-watched there from June 18-20.

The Ballet am Rhein contributed a modified-for-2021 version of “Come In”, a piece for twelve men choreographed in 2006 by Aszure Barton for Mikhail Baryshnikov and Hell’s Kitchen Dance. (more…)

A Strong Comeback

“Beethoven” (“Prometheus” / “Grosse Fuge”)
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
June 08, 2021 (live broadcast)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. S.Yamada, D.Silva, and ensemble, “Prometheus” by W.Kuindersma, E.Meisner, and R.Wörtmeyer, Dutch National Ballet 2021 © H.GerritsenThe Dutch National Ballet’s celebration of Beethoven’s 250th birthday was, in fact, supposed to premiere a year ago. “We’re a little bit late,” admitted Ted Brandsen, Dutch National Ballet’s artistic director, for reasons dictated by COVID-19. The originally scheduled program would have included Toer van Schayk’s “7th Symphony”. The anniversary program that was ultimately shown on June 8th was an adaption of this program comprised of two pieces: “Prometheus” (a new creation by the choreographer-trio Wubkje Kuindersma, Ernst Meisner, and Remi Wörtmeyer) and Hans van Manen’s “Grosse Fuge”. The break was used for an excursion away from Beethoven to Milena Sidorova’s recently released dance film “Rose”. (more…)

Meager Substance

“Dance Gala Baden-Wuerttemberg”
Theater and Orchestra Heidelberg
Heidelberg, Germany
June 06, 2021 (online)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. I.Pérez, artistic director of the Dance Biennial Heidelberg and the Dance Theater Heidelberg © S.Reichardt“Everybody Can Dance” was the motto of this year’s Dance Biennial Heidelberg, the fourth since the event’s inception. Pandemic-related restrictions pared down the three-day festival’s schedule to a few online events, crowned by a dance gala on Sunday, June 6th. Nine of Baden-Wuerttemberg’s dance companies were represented there, together contributing thirteen short pieces – nine digital and four danced live.

The Unterwegstheater Heidelberg, a small touring company whose work spans multiple genres opened the program with the video “Die nackte Wahrheit” (“The Naked Truth”). (more…)

Incongruent

“Lyssa”
The Royal Ballet & Nadine Shah
Royal Opera House
London, Great Britain
June 04, 2021 (dance film)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. N.Shah and artists of the the Royal Ballet in “Lyssa” by L.Page, The Royal Ballet 2021 © A.Verzhbinsky In late 2019, the British choreographer Lynne Page created “Death in Venice” for the Royal Opera. “Lyssa”, a twenty-or-so-minute film, features her first-ever choreography for the Royal Ballet. After a year of pandemic-induced artistic drought (and a severe lack of live music), she felt that the time was ripe for arts institutions to tackle new genres in order to reach new audiences. This project, a merger between song and dance, brings together the English singer / songwriter Nadine Shah and seventeen female dancers from the Royal Ballet. Shah sings “Trad” from her 2020 album “Kitchen Sink”, a less-than-four-minute song with very few lyrics, which has been extended to fifteen minutes in a new version featuring the orchestra of the Royal Opera House. (more…)