Czech National Ballet

Too Bad

“Scheherazade”
Czech National Ballet
National Theatre
Prague, Czech Republic
June 21, 2025 (matinee)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. N.Nakagawa (Scheherazade), “Scheherazade” by M.Bigonzetti, Czech National Ballet 2025 © S.Gherciu To be upfront, Mauro Bigonzetti’s new Scheherazade for the Czech National Ballet is no asset to its repertory. Its choreography is meager and the plot thin; the characters lack depth, and the digital set design is unconvincing.
Bigonzetti takes up the narrative thread where Fokine’s 1910 Scheherazade for Diaghilev’s Ballets Russes ends. Zobeida, the favorite but unfaithful wife of Shahryar, the king of Persia, had died. Enraged about womanhood in general, Shahryar took revenge by killing every woman he slept with the morning after their first night together. Scheherazade, the clever daughter of his vizier, put a stop to the slaughter. The tales she narrated to the king each night (collected in the Middle Eastern folk tale, One Thousand and One Nights) softened him.
Bigonzetti portrayed the women in line for Shahryar, among them Scheherazade (Nana Nakagawa), who was ready to sacrifice herself.
3. N.Nakagawa (Scheherazade), “Scheherazade” by M.Bigonzetti, Czech National Ballet 2025 © S.Gherciu 2. G.Rotolo (Shahryar), “Scheherazade” by M.Bigonzetti, Czech National Ballet 2025 © S.Gherciu Ambiguous movements made it difficult to discern their natures. Elegant and spiky sequences seemed to alternate randomly, flexed feet spoiled the lines, and hips gyrated but weren’t enticing. Little of these modern Orientals radiated beauty. Panels of rippling silky fabric (hanging from above like curtains and, later, symbolizing a connective bond between the women) and shawls that fluttered through the air in a ribbon-like dance distracted the eye from the limited choreography.
Video projections by OOOPSudio transported the audience into Shahryar’s (Giovanni Rotolo’s) palace, through whose hall snappy court society darted, either hopping on both feet or turning pirouettes.
4. G.Rotolo (Shahryar), “Scheherazade” by M.Bigonzetti, Czech National Ballet 2025 © S.Gherciu 5. G.Rotolo (Shahryar) and ensemble, “Scheherazade” by M.Bigonzetti, Czech National Ballet 2025 © S.Gherciu Shahryar’s characterization was blunt. A silent darkness represented his mental state; a stiff, pompous cloak closed with a grid collar (costumes by Anna Biagiotti) either imprisoned or protected him. Even after slipping out of it, he remained static and brooding. The knife in his overly beringed hand was connected to the huge splashes of blood on the backdrop. Suddenly, the seductive violin melody of Rimsky-Korsakov’s Scheherazade composition began to sing. It sounded out of place, like a far cry from cultured times. The violin accompanied the king as he entered a glass dome reminiscent of a space travel command center. He threw himself to the floor, ready to beat himself, but instead his movements alternated between sharp jerks and freezing.
7. N.Nakagawa (Scheherazade) and ensemble, “Scheherazade” by M.Bigonzetti, Czech National Ballet 2025 © S.Gherciu6. N.Nakagawa (Scheherazade), “Scheherazade” by M.Bigonzetti, Czech National Ballet 2025 © S.GherciuHeavy yellow smoke billowed in a video as the scene changed to a vaulted oriental hall, photos of which lined the backdrop. In each photo, the hall glowed as if burning hot. From there, two men dragged Scheherazade to the king. Although she was resolved to become his next lover, she fought her captors and flailed her legs while being carried past a blood-smeared wall. Her fate seemed to be part of the assembly line of women that Shahryar’s men delivered to him. Each woman was thrown, thrashing, into Shahryar’s arms, whose brief yank broke their necks. Shahryar dragged one woman across the floor like slain game and overstretched her leg as if to tear it out before strangling her. He then flung his coat off and screamed, which brought Rimsky-Korsakov’s music to a sudden halt.
8. N.Nakagawa (Scheherazade) and ensemble, “Scheherazade” by M.Bigonzetti, Czech National Ballet 2025 © S.Gherciu 9. N.Nakagawa (Scheherazade) and G.Rotolo (Shahryar), “Scheherazade” by M.Bigonzetti, Czech National Ballet 2025 © S.GherciuScheherazade walked for a long time between the corpses, which, after some time, came to life. To prepare herself for her encounter with Shahryar, she gave her headdress and jewelry to other women and, for some reason, pulled red ribbon from her mouth. After cutting a lock of her hair, she thrust Shahryar’s knife into the floor. The firestorm raging behind her indicated that the story was close to its climax. Although nothing in Scheherazade’s appearance indicated any special power, Shahryar backed off the moment she approached him. She immediately dominated him and stood on his chest, pushed him around, and flew into his arms like a redeeming dove. Chastening him was easier than previously thought. The violin played at a high pitch as Shahryar knelt on the floor, his bare chest bent back toward the audience, and his gaze lost.

Václav Zahradník and the orchestra of the National Theatre did their accompaniment for Rimsky-Korsakov’s iridescent Scheherazade score (to which Bigonzetti added Rimsky-Korsakov’s Sinfonietta on Russian Themes). Yet its allure suffered from the gloom onstage.
10. N.Nakagawa (Scheherazade) and G.Rotolo (Shahryar), “Scheherazade” by M.Bigonzetti, Czech National Ballet 2025 © S.Gherciu

Links: Website of the Czech National Theatre
“Scheherazade” – The Making Of
“Scheherazade” – Trailer
Photos: 1. Nana Nakagawa (Scheherazade), Scheherazade” by Mauro Bigonzetti, Czech National Ballet 2025
2. Giovanni Rotolo (Shahryar), “Scheherazade” by Mauro Bigonzetti, Czech National Ballet 2025
3. Nana Nakagawa (Scheherazade), “Scheherazade” by Mauro Bigonzetti, Czech National Ballet 2025
4. Giovanni Rotolo (Shahryar), “Scheherazade” by Mauro Bigonzetti, Czech National Ballet 2025
5. Giovanni Rotolo (Shahryar) and ensemble, “Scheherazade” by Mauro Bigonzetti, Czech National Ballet 2025
6. Nana Nakagawa (Scheherazade), “Scheherazade” by Mauro Bigonzetti, Czech National Ballet 2025
7. Nana Nakagawa (Scheherazade) and ensemble, “Scheherazade” by Mauro Bigonzetti, Czech National Ballet 2025
8. Nana Nakagawa (Scheherazade) and ensemble, “Scheherazade” by Mauro Bigonzetti, Czech National Ballet 2025
9. Nana Nakagawa (Scheherazade) and Giovanni Rotolo (Shahryar), “Scheherazade” by Mauro Bigonzetti, Czech National Ballet 2025
10. Nana Nakagawa (Scheherazade) and Giovanni Rotolo (Shahryar), “Scheherazade” by Mauro Bigonzetti, Czech National Ballet 2025
all photos © Serghei Gherciu
Editing: Kayla Kauffman

 

Fighting Evil

“The Sun, the Moon and the Wind”
Czech National Ballet
The Estates Theatre
Prague, Czech Republic
October 10, 2024 (matinee)

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

1. P.Holeček (Triglav), “The Sun, the Moon and the Wind” by V.Konvalinka and Š.Benyovszký, Czech National Ballet 2024 © S.Gherciu “It has been written that the shrewdest thing Evil can do is to trick us into believing that it does not exist,” warned Štěpán Benyovszký who, together with Viktor Konvalinka, wrote the libretto and directed the Czech National Ballet’s new ballet, The Sun, the Moon and the Wind. It is based on a fairy tale that was first recorded in 1845 in the Czech Collection National Tales and Legends by Božena Němcová who later incorporated elements of Slavik versions. Although the ballet is meant to attract a young audience, it is entertaining for adults as well.

Benyovszký’s and Konvalinka’s adaption tells of the star of creation that illuminated primeval darkness. It split into four parts from which the sun, the moon, the wind, and Zora, the dawn princess, arose. Yet Zora’s part was stolen by Triglav, the vicious Dragon Lord of Time, who kidnapped and bewitched her. Determined to get ahold of the other three quarters of the star and thereby seize world power, Triglav regularly had to suck the souls of young men to stay young and strong. He singled out Prince Jan as a victim, but Jan’s three sisters, Rufflette, Sparkette, and Pallidette set off to rescue their brother. (more…)

Soul Food

“Coppélia”
Czech National Ballet
The State Opera
Prague, Czech Republic
May 26, 2024 (matinee)

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

1. M.Svobodník (Dr. Coppélius) and ensemble, “Coppélia” by R.Hydn after A.Saint-Léon and M.Petipa, Czech National Ballet 2024 © M.Divíšek Arthur Saint-Léon’s comic ballet Coppélia premiered on May 25, 1870, at the Théâtre Impérial de l’Opéra in Paris. Two months later, on July 19th, Napoleon III declared war on Prussia. The opening night featured a military dance portraying twelve Ottoman Janissaries fencing against twelve Austrian Hussars. It concluded with a ballerina holding an olive branch heralding peace. Times were anything but auspicious during the descent of the Second French Empire, but that wasn’t reflected in the ballet. To the contrary, Léo Delibes’s vibrant score infused the comedy with a buoyant joie de vivre. Might it be a stroke of fate that now of all times, as the political landscape darkens with mind-boggling speed and social cohesion is worn down (at least in my home country, Germany), the Czech National Ballet premiered Coppélia? The Prague audience’s warm reception proved that the ballet still conveys what people are yearning for in times of crisis: togetherness, good humor, generosity, and a romance with a happy ending. (more…)

Kylián Samples

“Bridges of Time”
Czech National Ballet
The National Theatre
Prague, Czech Republic
September 03, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. R.Cuadrado, L.Balogová, and A.Petit, ”Bella Figura” by J.Kylián, Czech National Ballet 2022 © S.Gherciu Theaters in the crisis-ridden EU face difficult times as soaring maintenance costs join the ever-present fear of declining ticket sales. Last Saturday, though, matters seemed to be in order at Prague’s National Theatre. Despite the approximately 70.000 protesters who hit the streets of Prague in the afternoon to demonstrate against skyrocketing energy prices and inflation, the evening performance of the all-Jiří Kylián bill “Bridges of Time” was well-attended – and well-received.

Typically, most theaters pick the same, better known titles from Kylián’s massive (over one-hundred-piece-strong) oeuvre. The Czech National Ballet’s artistic director Filip Barankiewicz did the same in 2018 when assembling a tribute program to the Czech-born Kylián on the centenary of the Czechoslovak Declaration of Independence. (more…)

Uplifting

“The Sleeping Beauty”
Czech National Ballet
The National Theatre
Prague, Czech Republic
April 29, 2021 (online)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1.A.Fujii (Fairy of Wisdom), A.Pera (Fairy of Grace), E.V.Gonzales (Fairy of Force), R.Zvonařová (Lilac Fairy), M.Hejduková (Fairy of Beauty), K.Němečková (Fairy of Eloquence), P.Holeček (Carabosse), and ensemble, “The Sleeping Beauty” by M.Haydée after M.Petipa, Czech National Ballet 2021 © S.Gherciu It is nearly impossible to mount a three-act full-ensemble classic in the midst of a pandemic – or at least it has been for many companies. That the Czech National Ballet accomplished this feat feels like a harbinger of better times to come. Last Thursday, on World Dance Day, they premiered “The Sleeping Beauty” on their YouTube channel. The video will be online until May 5th. (more…)

Necessity Yields Virtue

“Puppet” / “ Dos Soles Solos”
Czech National Ballet
The National Theatre
Prague, Czech Republic
March 18 and 25, 2021 (online)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1) F.Scarpato, “Puppet” by D.Lee, Czech National Ballet 2021 © M.Divíšek The Czechs’ are clearly adept at making films – no matter the genre. Last December, the Czech National Ballet danced a heartwarming “The Nutcracker – A Christmas Carol”, which was broadcast live on national television and on YouTube. This March, they premiered recordings of two short new pieces on their YouTube channel. The works – “Puppet” by Douglas Lee and “Dos Soles Solos” by Alejandro Cerrudo – are well worth watching. They are part of a triple bill (the third, yet-to-be released piece is by Cayetano Soto) that will be performed for an in-person audience whenever Czech theaters are allowed to re-open for the public. Martin Kubala, the filmmaker who oversaw the recording, expertly captured the production from interesting angles and distances. (more…)

Regional

“The Little Mermaid”
Czech National Ballet
The Estates Theatre
Prague, Czech Republic
January 26, 2019 (2:00 pm)

by Ilona Landgraf
Copyright © 2019 by Ilona Landgraf

1. T.Podařilová and M.Matějková, “The Little Mermaid” by J.Kodet, Czech National Ballet 2019 © M.Divíšek This week’s Economist features the title “Slowbalisation” – an invented term combining the notion that globalization is slowing down with the idea that regional relations are becoming weightier than ever. Prague’s Czech National Ballet is a prime example of how slowbalisation can be seen in the dance sector as well. The artistic team behind its “Little Mermaid”, a ballet based on Hans Christian Andersen’s fairy tale, is almost entirely Czech, complemented only by two Slovakians and one German. (more…)

A Fairy Tale Told Too Simply

“The Snow Queen”
Czech National Ballet
The National Theatre
Prague, Czech Republic
January 27, 2018

by Ilona Landgraf
Copyright © 2018 by Ilona Landgraf

1. A.Nanu and ensemble, “The Snow Queen” by M.Corder, Czech National Ballet © D.WhartonWhile beautifully costumed brass and percussion bands paraded across Prague’s Charles Bridge, vociferously driving out wintertime, icy winter’s cold descended on the National Theatre’s stage as the Snow Queen tried to extend her power over innocent village youth. She fails, securing a happy ending. Over the years a number of choreographers have adapted Hans Christian Andersen’s popular story for the ballet stage. In spring 2016 the Czech National Ballet took Michael Corder’s version into their repertoire, which was created for English National Ballet in 2007. (more…)