German Companies

A Showpiece

“A Swan Lake”
Semperoper Ballet
Semperoper
Dresden, Germany
December 17, 2023 (online since December 28, 2023)

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

1. Ensemble, “A Swan Lake” by J.Inger, Semperoper Ballet 2023 © Semperoper Dresden/N.MacKayDo not expect the Semperoper Ballet’s new A Swan Lake to be the well-known classical swan story. True, it’s still danced to Tchaikovsky’s score, but it eschews the greatest part of its traditional personage. Vladimir Begichev’s original libretto of Swan Lake (1877) wasn’t what the Swedish choreographer Johan Inger had in mind. He took inspiration from the German author Johann Karl August Musäus’s folk tale The Stolen Veil (1784), which is considered to be one of several possible sources that Begichev used.

For those familiar with a traditional Swan Lake, a few names of the characters, Inger included, ring a bell. One of them is Benno, the original Prince Siegfried’s friend. Dresden’s version has no Prince Siegfried, and Benno is the lover of Queen Zoe, the unhappy spouse of King Zeno. Thanks to a magic veil, she’s able to transform into a swan and fly to a faraway lake. There, she takes a rejuvenating bath once a year and lives out her secret love affair with Benno. Zeno, however, finds out about it and, tearing up the veil, puts an end to further escapes for Queen Zoe. Act II features Zoe twenty years later. (more…)

Lacking Punch (and more)

“The Nutcracker”
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
December 19, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

1. A.Su (Clara), D.Ionescu (Mrs. Stahlbaum), H.Erikson (Fritz), F.Puthenpurayil (Mr. Stahlbaum), and ensemble; “The Nutcracker” by E.Clug, Stuttgart Ballet 2023 © R.Novitzky/Stuttgart BalletAfter half a century without a family-friendly “Nutcracker”, the Stuttgart Ballet decided last year to fill the vacuum with a new version by Edward Clug. Clug, artistic director of the Maribor Ballet/Slovenia, had already contributed several short pieces to the Stuttgart company’s repertory, but “The Nutcracker” was his first full-evening story ballet for them. Stuttgart Ballet’s artistic director, Tamas Detrich, took the set and costume design choices into his own hands and commissioned a longstanding collaborator of the troupe – Jürgen Rose – to team up with Clug.

Rose’s design for the Stahlbaums’ Christmas celebration and their daughter Clara’s dream journey into a magical realm is a medley of old and new styles. The costumes and Clara’s bed are Biedermeier-ish, and the Stahlbaums’ mansion is ultra-modern. Its plain, washy-brown walls create a claustrophobic atmosphere. Walnuts of different sizes connect the scenes like a visual leitmotiv. (more…)

Customized

“Jane Eyre”
Hamburg Ballet – John Neumeier
Hamburg State Opera
Hamburg, Germany
December 09, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

1. M.Sugai (Jane Eyre), “Jane Eyre” by C.Marston, Hamburg Ballet 2023 © K.WestLast December, John Neumeier announced that his then-new “Dona Nobis Pacem” would be his last choreography for the Hamburg Ballet. I was rightfully doubtful because the eighty-four-year-old did indeed schedule the premiere of yet another new creation – Epilogue” – for July 2024. With very few exceptions, the Hamburg Ballet’s purpose has been to present its artistic director’s oeuvre. In his farewell season, he at least allocated the other premiere to a foreign choreographer, the Zurich Ballet’s new artistic director, Cathy Marston. Her “Jane Eyre” received its Hamburg debut earlier this December. It’s an adaptation of Charlotte Brontë’s eponymous 1847 novel and was created for Northern Ballet in 2016 and later developed into a big-scale production for American Ballet Theatre and the Joffrey Ballet.

In an interview printed in the program booklet, Marston reports having been surprised about the unexpected assignment by Neumeier and also hints as to why Neumeier might have chosen “Jane Eyre”. (more…)

Trashy

“Triple”
Richard Siegal – Ballet of Difference
Forum Ludwigsburg
Ludwigsburg, Germany
January 21, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

 1. E.Supple and M.Manning, “All For One” by R.Siegal, Richard Siegal – Ballet of Difference 2023 © T.Schermer Last weekend, the Cologne-based troupe Richard Siegal – Ballet of Difference toured the Forum Ludwigsburg. The American-born Siegal founded the company in 2016 in Munich. He also serves as its artistic director and has choreographed nearly all of their repertoire. The triple bill in Ludwigsburg combined twenty-or-so minute-long pieces created between 2014 – 2021.

In a recent interview, Siegal revealed that “All For One” is a “reaction to the modes of digital spectatorship that emerged during the beginning of the pandemic.” The piece premiered online in fall 2021 with a set (an organ made from tall tubes of light arranged in a cylindrical semicircle) designed, perhaps, to appeal to an online audience. In Ludwigsburg, the murky illumination often hid the eleven dancers in twilight that obscured their pants, skirts, and bustiers (decorated with bulky silver folds that resembled supersized shreds of paper). (more…)

Neumeier’s Call for Peace

“Dona Nobis Pacem”
Hamburg Ballet – John Neumeier
Hamburg State Opera
Hamburg, Germany
January 05, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

 1. A.Martínez (He) and L.Giesenberg (Photographer), “Dona Nobis Pacem” by J.Neumeier, Hamburg Ballet 2023 © K.West John Neumeier’s latest choreography for the Hamburg Ballet, “Dona Nobis Pacem” (“Give Us Peace”), is meant to be the crown jewel of his fiftieth season as artistic director of the company. The eighty-three-year-old Neumeier had originally intended to resign in July 2023, but chose to extend his contract for another year in order to ensure the smooth transition of his named successor Demis Volpi, currently the artistic director of the Ballett am Rhein. There are one and a half long years until then – and perhaps Neumeier will renounce his statement that “Dona Nobis Pacem” is to be his last new creation. (more…)

Jittery

“A Wilde Story”
State Ballet Hanover
Opera House Hanover
Hanover, Germany
November 20, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. M.Chelucci (The Art of Writing), “A Wilde Story” by M.Goecke, State Ballet Hanover 2022 © B.Stöß2. C.Francis-Martin (Oscar Wilde), “A Wilde Story” by M.Goecke, State Ballet Hanover 2022 © B.StößMarco Goecke recently added the German magazine tanz’s “Choreographer of 2021” award and the 2022 German Dance Prize to his collection. Last month, he presented a new ballet at the State Ballet Hanover, which he has helmed as artistic director since 2019. “A Wilde Story” plays with the life and work of Oscar Wilde. I was curious to see whether or not the story was, in fact, wild.

The evening opens not with Wilde, but with a bare-chested Michelangelo Chelucci, who jerks open and closes off his muscular torso, arms plowing through the air. His feet scurry zealously this way and that as he elegantly lifts his black, floor-length skirt. A glance at the program book reveals that Chelucci personifies the art of writing. Behind him, black-clad dancers hustle from one side of the stage to the other, comic figures in fast-forward, shaking their fists. Their steps stir up dust that gradually blurs our view of the grainy facade of a stately gray mansion (set and costumes by Marvin Ott). Though the pulsing rock of The Smashing Pumpkins’ “Tonight Tonight” suggests otherwise, we’re in Victorian England. “Believe in me,” they sing – but at whom does this line aim? (more…)

Happy Eightieth!

“Egon Madsen 80”
Theaterhaus Stuttgart
Stuttgart, Germany
September 28, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. E.Madsen, “Egon Madsen 80”, Theaterhaus Stuttgart 2022 © J.BakEgon Madsen has been a foundational figure in Stuttgart’s ballet and theater world for close to his entire career. He gave his stage debut at the young age of ten in a children’s ballet in his home country of Denmark. Nine years later (in 1961) he joined the Stuttgart Ballet under the newly appointed John Cranko. Key roles in Cranko’s signature pieces were choreographed on Madsen during a period dubbed the “Stuttgart Ballet Miracle”. After Cranko’s death, Madsen stayed with the Stuttgart Ballet until 1981. In the years that followed, he helmed several companies (the Frankfurt Ballet, the Royal Swedish Ballet, and the Ballet of the Teatro Communale/Florence) before becoming Marcia Haydée’s assistant director at Stuttgart and serving as ballet master in Stuttgart and Leipzig. In 1999 – at age fifty-seven – he returned to the stage with Nederlands Dans Theater’s NDT III. He also served as the troupe’s teacher and rehearsal director until it disbanded in 2006. One year later, Madsen returned to Stuttgart as a driving force behind Eric Gauthier’s newly established Gauthier Dance Company at the Theaterhaus. In addition to dancing in numerous Theaterhaus productions (most recently “Greyhounds” in 2015), Madsen also coached and trained the dancers. Since 2014, he has forayed into play-acting; his solo evening “King Lear”, choreographed by Mauro Bigonzetti, can be seen at the Theaterhaus for a final time this November. (more…)

After All

“Giselle”
State Ballet Berlin
Staatsoper unter den Linden
Berlin, Germany
September 18, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. K.Ovsyanick (Giselle), D.Motta Soares (Duke Albrecht), and ensemble, “Giselle” by P.Bart after J.Coralli and J.Perrot, State Ballet Berlin 2022 © M.KulchytskaDavid Motta Soares honed his artistic skills under the watchful eyes of the teachers at the Bolshoi Ballet. This spring, he joined the State Ballet Berlin as a principal dancer, and in June he gave his debut as Prince Désiré in Marcia Haydée’s “The Sleeping Beauty” alongside Ksenia Ovsyanick’s Princess Aurora. Last Sunday, the two again shared the stage as the leading couple in Patrice Bart’s rendition of “Giselle”. How did they fare?
Albrecht and Giselle’s romance, unfolding under the warm autumn sun shining on mother Berthe’s quaint cottage yard (set and costumes by Peter Farmer), was not as sweet as expected. In Moscow, Motta Soares had danced Albrecht in Yuri Grigorovich’s “Giselle”. Bart’s version was new for him and his Albrecht here – cocksure and confident – flitted between gentle wooing and impatient attempts at taking. In certain moments he stood with his arms crossed, signaling reserve. After two botched tours en l’air, Motta Soares seemed slightly unsettled. Though he made a decent showing by the end of his second solo (Pas de vendanges), its piecemeal choreography – involving a great deal of jumping back and forth, as if drunk on infatuation and indecisive about which direction to move – offered little chance to shine. (more…)

Plays within Plays

“Made For Us III” (“The Last Coincidence” / “Nighttime Showtime”)
Ballet of the State Theater Nuremberg
Play House
Nuremberg, Germany
July 01, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. K.Cummings (Soldier), S.Vervaecke (Bride), O.Alonso (Magician), P.Lassere (Pierrot), and A.Fernández (Gentleman), “The Last Coincidence” by B.Arias, Ballet of the State Theater Nuremberg 2022 © B.StößThe ballet of the State Theater Nuremberg recently premiered “Made For Us III” and, in so doing, resumed their project of commissioning ballets from external choreographers (a project originated in 2014). This year, pieces by Bryan Arias and Joseph Hernandez shared the stage.

In Arias’s “The Last Coincidence”, two women and three men engage in a lively multi-language debate (or monologue?) on a bare, box-like stage. Huge papier-mâché masks enlarge their heads and make them into distinct characters: a braided, epauleted soldier (Mikhael Kinley), a magician wearing striped knickerbockers (Carlos Blanco), a female Pierrot (Stella Tozzi), and a bride (Kate Gee) in love with a disheveled and portly gentleman (Edward Nunes). When the spotlights are suddenly switched on and the group lines up for a revue dance routine, it becomes clear that we are watching a backstage rehearsal. (more…)

Inadequate

“The Sleeping Beauty”
State Ballet Berlin
Deutsche Oper
Berlin, Germany
June 24, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. K.Ovsyanick (Princess Aurora) and ensemble, “The Sleeping Beauty” by M.Haydée after M.Petipa, State Ballet Berlin 2022 © Y.RevazovThis May, the State Ballet Berlin premiered Marcia Haydée’s version of “The Sleeping Beauty” after twice postponing the 2020 production – first due to a lack of preparation, and later due to the pandemic. At the time of the piece’s creation in 1987, Haydée had just taken over the reins of Stuttgart Ballet as its artistic director. “The Sleeping Beauty” was her choreographic debut and – aided by Jürgen Rose’s (aesthetically and financially) overwhelming set and costumes – was a grandiose success.

Since then, several other companies have tackled Haydée’s interpretation (currently: the Czech National Ballet and Les Grand Ballets Canadiens Montréal), but usually opt to use a more reasonably priced designer. So did the State Ballet Berlin when commissioning set and costumes from Jordi Roig. (more…)

Co-Evolution

“LAB-WORKS 2022” (“Children of the Night” / “Oh Captain” / “This Too Shall Pass” / “Die Nacht”)
State Ballet Berlin
Komische Oper
Berlin, Germany
June 09, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. Ensemble, “Children of the Night” by A.Abdukarimov, State Ballet Berlin 2022 © O.KollmannspergerFor many young dancers, it can be incredibly difficult to join a company right after ballet school. There have been many efforts to smooth this transition (for example, years ago the Dutch National Ballet, Bavarian State Ballet, and Hamburg Ballet established junior troupes) – including last fall’s launch by the State Ballet Berlin of the ten-month ENHANCE Mentorship Program for graduates of the State Ballet School Berlin. The program provides individualized mentoring by dancers from different ranks of the ensemble (Soraya Bruno, Anneli Chasemore, Arshak Ghalumyan, Mehmet Yumak, Aurora Dickie, and others) and culminates in a final performance called “LAB_WORKS”. This series was introduced in 2019 to showcase choreographies created during the lockdown. This June, the company presented “LAB_WORKS 2022” – comprised of four new ballets by aspiring choreographers from within the company. Eleven program fellows and various members of the main company danced the four works. (more…)

Astonishing

“CREATIONS VII-IX” (“Self-deceit” / “Reflection/s” / “Ifima”)
Stuttgart Ballet
Play House of the State Theater Stuttgart
Stuttgart, Germany
May 29, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. H.Erikson, “Reflection/s” by R.Novitzky, Stuttgart Ballet 2022 © Stuttgart BalletStuttgart Ballet’s recent premiere – “CREATIONS VII-IX” – continues the CREATION series launched in 2019. I was waylaid by several highway traffic jams on my way to the theater and arrived five minutes late, missing the triple bill’s first piece: Vittoria Girelli’s “Self-deceit”. As such, I can only comment on Roman Novitzky’s “Reflection/s” and “Ifima” by the choreographer duo Louis Stiens and Shaked Heller.

“Reflection/s” marks Novitzky’s retirement from an almost two-decade-long career as a dancer. Born in Slovakia, he danced with their National Ballet before joining the Stuttgart Ballet in 2009. Six years later, he was promoted to principal and made his first steps as a choreographer. On top of dancing and choreographing, Novitzky also became one of Stuttgart Ballet’s photographers. He was always busy and – if I interpreted his program-note interview correctly – rarely relaxed. (more…)

To Be Trimmed

“Naharin / Clug / Montero”
Ballet of the State Theater Nuremberg
State Theater
Nuremberg, Germany
May 14, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. Ensemble, “Submerge” by G.Montero, Ballet of the State Theater Nuremberg 2022 © J.VallinasThe new triple bill from the State Theater Nuremberg’s ballet company combines three established names: Edward Clug, Ohad Naharin, and the company’s artistic director Goyo Montero. Each contributed a piece from their collection.

Montero re-worked his “Submerge” for Nuremberg – enlarging it from its original eleven dancers (from Zurich’s 2018 Junior Ballet) to a 19-strong ensemble. Barely discernable in the foggy gloom, they wait motionless at the rear of the stage, their eyes fixed on something in the distance. Together they walk forward, staring into the bright glow of the pit, at once an attraction and terror. Simultaneously, they step into the light, as if crossing into a moment of courage. For those in the audience who haven’t consulted the program booklet in advance, the next scene (in which the dancers undulate their limbs like gently floating seaweed) reveals the subject of this piece: deep-sea diving. A scuba diving course in 2018 served as Montero’s source of inspiration. (more…)

Wrongdoings

“The Seven Sins”
Gauthier Dance
Theaterhaus Stuttgart
Stuttgart, Germany
May 08, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. Ensemble, “Corrupt” by S.L.Cherkaoui, Gauthier Dance 2022 © J.BakThose who aren’t well-versed in the dos and don’ts of Christianity might find a visit to the Theaterhaus Stuttgart to be worthwhile. Their recent premiere – “The Seven Sins” – translates each of the capital vices into a short piece of dance by a different choreographer.

Sidi Larbi Cherkaoui’s “Corrupt” deals with the first capital sin: greed. Accompanied by an extensive pre-recorded lecture on the nature of greed, nine dancers squirm and writhe, sabotage and manipulate. We hear about the Buddhist way of freeing ourselves from greed; about greed’s connection to hate and ignorance; about the upsides and downsides of wanting something; and about the impact of money. At times, their arms stretch outwards, as if attempting to escape the self-made prison. Cash is their sacred cow; bundles of crumpled notes bulge from the pockets of their dark suits, decorating their arms like bracelets and being exchanged by the handful. (more…)

Overdone

“Narrenschiff” (Ship of Fools)
Ballet of the State Theater Nuremberg
State Theater
Nuremberg, Germany
April 10, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. Ensemble, “Maria” by G.Montero, Ballet of the State Theater Nuremberg 2022 © J.Vallinas“Narrenschiff” (Ship of Fools), the first premiere of the season for the State Theater Nuremberg, is a double bill choreographed by the company’s artistic director Goyo Montero. It is comprised of two ensemble pieces: “Maria”, a ballad about the bible’s Maria Magdalena co-produced with the Diana Vishneva Foundation, St. Petersburg (Vishneva danced the leading role at the premiere in December; the photos below show her), and “Narrenschiff”, which gave the program its title. I saw the – for now – final performance. (more…)