European Companies

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.
Anderson is highly respected in Stuttgart and the character traits Arnold attributed to him in her introductory speech were no trivial birthday compliments. Indeed, Anderson is assiduous, very hard working, well organized and an exemplary multitasker. “Doing three things at the same time is no problem,” he confirmed. Moreover, he is generous, has humor but talk straight as well. Mediocrity does not become him and if the company’s progress should decline, he swiftly takes corrective measures. Anderson’s instinct for spotting talent has been proven over decades, and he has also been patient to see it bud and grow. His role has been one of a facilitator, and he is known for giving opportunities early.

2. T.Schleider and R.Anderson, matinée talk © Stuttgart BalletAnderson expects commitment, but, as Valerie Wilder, his associate director back then in Toronto, is cited in the book, “when something happened that was his fault; he took the blame.” For Anderson, failures are lessons, which, once learned, can be forgotten. Compared to many other directors who are reluctant to allow their dancers a short leave, his dancers guest a lot. In an anecdote in the book Robert Tewsley recalls how Anderson even pressed an agent’s telephone number into his hand, saying: “You must dance all over the world, you really have the potential to make an international career. […] Your career is short-lived, you have to earn well.” But he did expect you to come home. The ones who don’t, the renegades, as Reinhardt once termed them, risk losing the permission to dance Cranko’s pieces in the future.

Genuinely modest, Anderson was surprised by the book project at first. “I’m not Marcia [Haydée] or Richard [Cragun]. Maybe I was a dance personality, but I didn’t dance in the front line.” Yet mulling the idea over he got more and more interested in walking down memory lane. Many carefully researched details found their way onto the pages. They help to understand Anderson’s personal development, which is inseparable from that of Stuttgart Ballet. “After reading the book one knows why things are like they are,” he said. But for describing “how it really was”, Anderson thinks he might have to take up the pen himself some day.

On Broadway, Anderson would be dubbed a triple threat, because he can dance, play-act and sing. That is why he almost would have launched into a career as an actor at the age of sixteen if “this insect Classical Ballet” had not already bitten him. Instead of performing on Broadway, Anderson opted to enroll at the Royal Ballet School in London, prompting a huge argument with his father. “He said that I wouldn’t make any money and would end up living in a basement flat with no hot water in the middle of nowhere and that no one would respect me.” But in the end, both parents supported their son as they’ve always had.

3. R.Anderson doing the Cha-Cha-Cha © R.AndersonThat Anderson is a child of the stage – regardless of which one – was discovered by accident when he was four years old. His parents, big fans of Fred Astaire, Ginger Rogers and Gene Kelly, had decided that Reid’s younger sister should take dance classes, but “[…] poor Susan was so shy back then she just stood around. She wouldn’t hop. She wouldn’t clap. She wouldn’t do anything. She just grabbed onto my shorts and held on.” […] Before too long Reid’s dad asked him to get up and hold his sister’s hand. Little Reid didn’t find the exercises all too difficult, joined in, and that was the beginning.

Two years later, he took up ballet training and later participated in several summer intensives at the Banff School of Fine Arts. His sister carried on with dance too, and the siblings became firmly established performers at local shows. Their mother designed and sewed the costumes, while their father coached and rehearsed them. “Other kids had loud-mouth stage mothers egging them on. We had a father who helped us in a quiet, but demanding way.” Warren Anderson trusted his son, instilled self-trust in him, and taught him discipline: “If you begin something, do it wholeheartedly and, whatever happens, complete it.”

Anderson has been praised as a fantastic stage partner. “You just felt like gold in his hands,” ballerina Yseult Lendvai raved. Yet his body wasn’t made for dance, and he needed to work against it all the time. Today, he has two hip replacements.

Anderson describes himself as having been a well-behaved boy, shy and mute like a fish in interviews while his sister blithely chattered. Today, this is totally different. He knows how to flip his inner switch to Showtime!, onstage as well as in everyday life. Being an entertainer comes naturally to him. Regardless how he feels in the morning, the moment he opens the door to the opera house, it is showtime. Anderson himself doesn’t matter anymore; the people matter, and it is time for business.

Asked by Schleider why he always puts the others in the spotlight and hardly ever himself, Anderson explained: “In my position one cannot think of oneself. I think of the others, because they are the ones I have to work with. You mentioned Robert Tewsley … all right: one sees Robert Tewsley. He looks like a young god; he is seventeen years old and has something, which is unique. Of course I think about how to support him. Because if he proceeds, if he becomes the best version of himself, he will advance the progress of the company. Pushing dancers and young choreographers to the top is an investment into our future.” Under Anderson, Stuttgart Ballet has invested enormously in this future; many dancers and choreographers have made their mark because of him. He has this ominous it-factor that, as Cranko said, you either have or you don’t, andthat you can’t get. It is more than the sum of skills. It is the gift one is given from heaven, and luckily, Anderson made it thrive in himself and in others.

4. R.Anderson and F.Vogel at a rehearsal of M.Béjart`s “Bolero” © Stuttgart BalletOn first sight, Anderson’s career path seems like a staircase he smoothly climbed up, step by step. Already a successful performer at young age, he complemented his training in London, got a contract in Stuttgart, rose through the ranks, became director in Canada and, experienced and apparently bursting of energy, he finally returned to Stuttgart where he led the troupe back to world-class level. Upon closer look, things weren’t free of trouble though.

In London, Anderson had worked hard for months to get an engagement with the Royal Ballet. But Frederick Ashton, director of the company back then, turned him down: “We can’t take that Canadian boy. He sticks out a mile. He’s too tall. You can see him all the time.” Anderson was devastated and thought this would be the end of everything.

Purely by chance, he learned that Cranko was searching for male dancers in Stuttgart. His parents wired him the money for the flight to Stuttgart. On January 3rd, 1969, he arrived there in the depths of winter, auditioned, returned to London, and prepared himself mentally to be refused. Two weeks later a telegram arrived from Dieter Graefe, the secretary of the ballet (and since Cranko’s death the owner of the performing rights for all Cranko ballets): “You got the job – stop – need you asap – stop – for the tour to New York – stop – can you get out of your contract – stop.” Anderson not only had a job; with Graefe, he had found the love of his life. Both have been a couple for forty-eight years since then.

In early 1986 Anderson and Graefe moved to Vancouver. Did a lucrative job offer lure Anderson back to his homeland? No. In fact, he and Graefe had hit rock bottom. After a “blazing row” with Haydée, then artistic director of Stuttgart Ballet, Greafe left the company. For Anderson, it was clear that he had to go with his partner.
At Christmas 1985 both men sat at home in Stuttgart, jobless and clueless about the future. They decided to go to Canada, but still they had no precise plans and hoped for serendipity to take over. Exactly that happened. Anderson was asked to choreograph a piece for Ballet British Columbia, when the post of artistic director there suddenly became available. He was appointed. Compared to the Stuttgart top troupe, Ballet British Columbia  was in its early stages of development. “I did what I always do: I do everything myself. I gave class, conducted rehearsals and wrote applications. […] I knew how to build up a company, because I had experienced it myself with John. Regardless how big it is, whether it has twelve or twenty-five or 5. R.Anderson and M.Haydée at the Stuttgart Ballet 50th Anniversary celebrations © Stuttgart Balleteighty dancers, a company is a company is a company.” Anderson activated his old contacts, called Billy Forsythe, Jiří Kylián and others to ask for pieces. Using the network – the same strategy all of Anderson’s dancers apply today when leaving the company to establish themselves in leading positions elsewhere.

Ballet British Columbia was growing and thriving by the time the National Ballet of Canada searched for a new director. Anderson, interested in working with a big company, gave it a try, applied and got the job. In the following seven years he restructured the troupe’s repertoire. His programming skills are compared to those of a genius. For the ones curious about Anderson’s tried and tested formula for compiling program: check the book!

The National Ballet of Canada was flourishing, but Anderson returned to Stuttgart. Why? Ongoing funding cuts were the root of the problem. Just at that time, Stuttgart Ballet was searching for a new director to succeed Haydée. Anderson picked up the phone… “It was zero hour. They already had names in the hat. I flew over. […] I walked into a room and there were 25 people. I was being introduced to the important politicians, the mayor, the movers and shakers of the state. I hadn’t spoken German for ten years. They asked questions. […] The biggest question asked was: Do you think you would be able to clean up the company?” […] The next morning, Reid learned from a telephone call that he was accepted. “I remember I stood frozen to the spot.”

6. R.Anderson with his Intendant-colleagues A.Petras (Theater), M.-O.Hendriks (State Theater Stuttgart) and J.Wieler (Opera) in 2015 © M.SigmundCleaning up was a tough mission. In the following years, Anderson had to solve the problem of an aging ensemble. Twenty-five dancers were released from their contracts, and the gaps were filled by twenty-one new dancers he brought along. The local newspapers railed. Anderson was spat at in the streets; an angry ballet fan poured a drink into his face, furious that his favorite dancer had been fired; Anderson even got death threats. “But I got through. I had experience.” Experience is the key element. Anderson has gained so much of it that nothing frightens him. “People want change, but the moment one takes it on, they are not pleased.” This proved true just recently, although change dawned only faintly on the horizon. Tamas Detrich, Anderson’s successor in 2018, had talked with resident choreographer Marco Goecke about possible artistic directions for the company in the future. This caused an outcry in the media, which speculated that Goecke’s contract might not be extended.
Maybe it is worth to call to mind what Smith writes about Anderson’s time at the National Ballet of Canada: [Reid Anderson] saw the good in what had been and was sorry to let it go, but he knew excitement and renewal would only come with a new look at old things. Sticking with the tried and true was a route to disaster.

Regarding his time after handing over the baton, Anderson already has an idea up in his sleeve: “I’m very tidy; I already was as a child. I’m fantastic in doing the housework. So after next season, if you need a cleaner … I will make everything spic and span. I’m also good in dealing with craftsmen. If one has eighty racehorses in the stable, handling some craftsmen is peanuts…” Anderson would not only spruce up your home, you would also get a good show. What a deal!
7. T.Schleider and R.Anderson, matinée talk © Stuttgart Ballet

Links: Website of Stuttgart Ballet
Photos:  1. “Reid Anderson – Having It”, book cover © Henschel Publishing House
 2. Tim Schleider and Reid Anderson, matinée talk © Stuttgart Ballet
 3. Reid Anderson doing the Cha-Cha-Cha © Reid Anderson
 4. Reid Anderson and Friedemann Vogel at a rehearsal of Maurice Béjart`s “Bolero” © Stuttgart Ballet
 5. Reid Anderson and Marcia Haydée at the Stuttgart Ballet 50th Anniversary celebrations © Stuttgart Ballet
 6. Reid Anderson with his Intendant-colleagues Armin Petras (Theater), Marc-Oliver Hendriks (State Theater Stuttgart) and Jossi Wieler (Opera) in 2015 © Martin Sigmund
 7. Tim Schleider and Reid Anderson, matinée talk © Stuttgart Ballet
Editing: Tiffany Lau

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…)

Two Farewells at the Semperoper Ballet

“Theme and Variations” (Triple bill: “Theme and Variations”, New Suite”, “She Was Black”)
Semperoper Ballet
Semperoper
Dresden, Germany
March 30, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. F.Voranger, Semperoper Ballet © I.WhalenSemperoper Ballet bid a double farewell on April 1st. True to his announcement last year, Mats Ek withdrew his works from the stage forever as he heads into retirement. “She Was Black”, originally choreographed in 1995, is among those that will retire with him. It has been part of the repertoire of the Dresden company for six years. When I learned about the 2nd goodbye, I thought it might be a premature April Fools’ joke – but it wasn’t. Fabien Voranger, the 36-year old principal of the company, ended his active dancing career with a final pas de deux in “She Was Black” in the middle of the season.

Born in Aix-en-Provence in Southern France, Voranger was trained at the Opéra National de Paris and the Studio Ballet Colette Armand in Marseille. A Prix de Lausanne scholarship led him to The Royal Ballet School before signing his first contract with Roland Petit’s troupe in Marseille. Engagements at the Deutsche Oper Berlin and the Vienna State Ballet soon followed. As Voranger stated in an interview in 2015, he tended to move on to another company whenever he felt stuck in his artistic growth: There will be always someone who can do more pirouettes than you, who is technically superior. So the most important thing in a career is to find someone who makes something of you.” (more…)

Toer van Schayk – One Pillar of Dutch National Ballet

Dutch National Ballet
Amsterdam, The Netherlands
February, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. T.van Schayk working on the statue of Romeo and Juliet, Dutch National Ballet © R.HolleboomDutch National Ballet has been shaped by a troika of “van”: Rudi van Dantzig, Hans van Manen and Toer van Schayk, three fellow countrymen of roughly the same generation. Van Dantzig (1933 – 2012) became the company’s resident choreographer shortly after it emerged out of the Amsterdam Ballet and Nederlands Ballet fusion in 1961. He later co-directed the troupe for two decades before holding the director’s post. Since then, Hans van Manen, the Dutch doyen of choreographers, has created work for the company for more than forty years. Eighty-four-years old and still choreographing, he is internationally renowned. (more…)

First International Ballet Conference at Dutch National Ballet

“Positioning Ballet”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
February 11-12, 2017

by Ilona Landgraf
copyright © 2017 by Ilona Landgraf

To discuss fundamental topics concerning the art form of ballet, the Dutch National Ballet assembled a keenly interested, much involved, very international group of guests for a two-day conference last weekend in Amsterdam. At the Saturday session, panel discussions addressed three topics: Heritage, Diversity and Identity. Of the two Sunday morning talks, one focused on networking among companies, and the other advocated inventive entrepreneurship. There was a performance both days, each a mixed bill with works which had been made for the Dutch company (see my reviews of “Made in Amsterdam 1” and “Made in Amsterdam 2”). (more…)

Wheeldon, Ratmansky, Pastor and a New Dawson

“Made in Amsterdam 2”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, Netherlands
February 12, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. N.Yanowsky, R.Wörtmeyer and ensemble, “Concerto Concordia” by C.Wheeldon, Dutch National Ballet 2017 © H.GerritsenThe program “Made in Amsterdam 2” consisted of ballets by four established choreographers. It was the Dutch National Ballet’s second mixed bill of works specifically intended for this company. One piece – a solo by David Dawson – was brand new whereas the other three – Christopher Wheeldon’s “Concerto Concordia”, “Souvenir d’un lieu cher” by Alexei Ratmansky and “Moving Rooms” by Krzysztof Pastor – dated from between 2008 and 2015. (more…)

Well Done Dutch National Ballet!

“Made in Amsterdam 1”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
February 11, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. M.DePrince and J.Stout, “Homo Ludens” by J.Arqués, Dutch National Ballet 2017 © H.GerritsenLast weekend was a busy one for Dutch National Ballet. The company premiered two mixed bills of four pieces each, one on Saturday evening, the second in a matinee on Sunday. In addition it held a two-day conference titled “Positioning Ballet” to discuss central topics concerning the art form with international guests on the panels. Clearly a huge effort had gone into its organization. It totally paid off. The weekend was a success and the conference will hopefully lead to regular meetings in the future. (more…)

Rural Idyll

“La Fille mal gardée”
Bavarian State Ballet
National Theater
Munich, Germany
January 24, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. V.Alberton and ensemble, “La Fille mal gardée” by F.Ashton, Bavarian State Ballet © W.Hösl 2017Given the uncomfortable winter cold in Munich and the even more uncomfortable general political climate, being carried off by “La Fille mal gardée”, a rural late-summer idyll, in the National Theater was a welcome time-out. Frederick Ashton’s work, revived by the Bavarian State Ballet this week, brought us a harvest of good feelings.
The ballet, which premiered with the Royal Ballet London in 1960, is set in a time in which crops were harvested manually and women turned their spinning wheels at home. The tranquil, peaceful farming life “La Fille” depicts and its well-functioning village society with a sweet romance blossoming in secret, remind one of a time gone by. (more…)

A Gala without Glamor

“Gala With Stars of the Bavarian State Ballet”
Bavarian State Ballet
Prinzregententheater / Prince Regent Theatre
Munich, Germany
January 15, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. M.Shirinkina and V.Shklyarov, “Parting“ by Y.Smekalov, Bavarian State Ballet © W.Hösl 2017Half a year after Igor Zelensky assembled his new company in Munich, a gala seemed like the ideal opportunity to showcase his dancers’ individual talents. The gala was scheduled for three evenings in the city’s Prince Regent Theatre; the third evening, the one I saw, was even streamed live on the internet. Sadly, the Bavarian State Ballet didn’t take advantage of this opportunity. That wasn’t due to the dancers but mainly because of organizational failures. From the outside, it appeared the gala was a necessary ingredient to promote the repertory for this season, but when the time came, resources were inadequate to make the event special. (more…)

Can Dance Add to Verdi’s “Requiem”?

“Messa da Requiem”
Ballet Zurich
Opernhaus Zurich
Zurich, Switzerland
January 08, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. W.Moore and ensemble, “Messa da Requiem” by C.Spuck, Ballet Zurich © G.Batardon 2017In mounting Giuseppe Verdi’s “Messa da Requiem”, the Zurich Opera House is bold but has set its sights quite high. Bold, because Christian Spuck, the ballet company’s artistic director, in charge of choreography and staging, involved the whole house, the entire ballet company, singers and the orchestra. Yet that the project would have weak points was predictable. Spuck himself declared in the program book, that this music needed no visualization. “Merging dance with singing is always prone to failure”, he moreover stated. So why did he try? (more…)

Spartacus versus Crassus

“Spartacus”
Bavarian State Ballet
National Theater
Munich, Germany
January 03, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. O.Gouneo and ensemble, “Spartacus” by Y.Grigorovich, Bavarian State Ballet © W.Hösl 2017Yuri Grigorovich’s “Spartacus” has four leading characters: Spartacus, the heroic fighter for freedom, his antipode, the Roman consul Crassus, and the two men’s lovers, Phrygia and Aegina. The dynamics between the four characters varies depending on the dancers. Having already seen the ballet before Christmas, I was curious as to how the dynamics would be re-balanced by another cast. This time Cuban-born Osiel Gouneo danced Spartacus alongside Ivy Amista as Phrygia. Erik Murzagaliyev replaced the injured Matêj Urban in the role of Crassus. Prisca Zeisel was Crassus’s concubine Aegina.

Gouneo’s Spartacus melded feline suppleness with focused power. He is a fine jumper and turns with elegant ease. With confidence and natural pride, his chest cut through the air like a stately ship’s figurehead. His Spartacus was driven by inner visions, by an intense desire which the flash of his eyes also strongly expressed. Gouneo’s acting, be it when protecting Phrygia, uniting his fighters or struggling as a captive, was credible throughout. He made Spartacus a charismatic, likeable leader. (more…)

Maillot Revives His Beauty

“La Belle”
Les Ballets de Monte Carlo
Salle des Princes Grimaldi Forum
Monte Carlo, Monaco
December 30, 2016

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. S.Chudin and O.Smirnova, “La Belle” by J.-C.Maillot, Les Ballets de Monte Carlo © A.Blangero 2017Shortly after Christmas Les Ballets de Monte Carlo revived “La Belle”, Jean-Christophe Maillot’s version of “La belle au bois dormant”, written by Charles Perrault in 1697. Maillot kept his original choreography from 2001 as well as Ernest Pignon-Ernest’s set design, but commissioned Jérôme Kaplan for new costumes most of which comically quote details of 16th century fashion. The music is Tchaikovsky’s but trimmed to around two hours.

Perrault took his inspiration from “Sun, Moon and Talia”, a fairytale written by Giambattista Basile in 1834, to which Maillot included some references. (more…)

Munich’s Heroes

“Spartacus”
Bavarian State Ballet
National Theater
Munich, Germany
December 23, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

1. V.Shklyarov and ensemble, “Spartacus” by Y.Grigorovich, Bavarian State Ballet © W.Hösl 2016Since last Thursday, shortly before Christmas Eve, heroic fighters have commanded the stage of Munich’s National Theater. Hordes of men together with a few women all of them representing characters of either Thracian or Roman lineage, dance “Spartacus”, the epic about a Thracian man who, after having been enslaved by the Roman consul Crassus, engineers a revolt. What will happen, happens: Spartacus dies a hero’s death.

Big doses of fierce fighting and repeated displays of valor need a strong portion of the erotic in order to make them palatable to the audience. That is supplied by two women – Phrygia, Spartacus’s faithful mistress, and Aegina, Crassus’s conniving courtesan. The ballet’s action is based on the novella “Spartaco”, penned in 1874 by Raffaello Giovagnoli, who likely took liberties with historical material from before the Christian era.

There are plenty of “Spartacus” ballets in existence. Budapest, Vienna, Hong Kong and Cape Town have their own productions. Russia has seen four versions: the most recent is Georgy Kovtun’s for the Mikhailovsky Theatre. Aram Khachaturian had composed the music in 1954, and the first staging, by Igor Moiseyev for the Bolshoi in 1956 was short-lived. It was given only two performances, perhaps because it contained much pantomime but too little dancing. (more…)

Fighting for Syria’s Dance Culture

Dutch National Ballet
Amsterdam, Netherlands
December, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

1. A.Joudeh, National Ballet Academy / Dutch National Ballet © M.Schnater“Every day when I wake up I look around myself, wondering where I am” Ahmad Joudeh tells me. The Syrian dancer grew up and lived in Damascus until in October of this year he had the chance to come to Amsterdam. “The first month I couldn’t accept the situation. Electricity for 24 hours, and water, hot water, every time; there is heat and the house … it’s a very nice house.”

How did things come about? Prompted by a press release from Dutch National Ballet about Joudeh, I skyped with him a few days ago to learn more about his background. (more…)

The Bavarian State Ballet Prepares for the Slave Uprising

“Ballet Extra: Open Rehearsal for Spartacus
Bavarian State Ballet
Ballet Rehearsal Premises, Platzl 7
Munich, Germany
December 16, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

1. M.Urban and P.Zeisel, “Ballet Extra: Open Rehearsal for Spartacus”, chor.: Y.Grigorovich, Bavarian State Ballet © N.Rodboon 2016Yuri Grigorovich’s “Spartacus” premieres the day before Christmas Eve in Munich. Since September the Bolshoi’s Oksana Tsvetnitskaya and Ruslan Pronin have been rehearsing the troupe. Grigorovich also arrived from Moscow to supervise the production. He didn’t attend Friday evening’s open rehearsal, but Tsvetnitskaya and Pronin were present.

Compared to the last “Ballet Extra,” the queue in front of the company’s rehearsal premises in Munich’s city center was shorter, certainly not because of a lack of interest or Christmas shopping, but due to the limited space in the Bosl-Studio where the event took place. (more…)