German Companies

Overdone

April 15, 2022

“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

“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…)

Impromptu

March 8, 2022

“Einmalig”
(“Bliss” / “Falling Angels” / “Solo” / Excerpts from “Romeo and Juliet”, “Die Schöpfung”, and “Mayerling” )
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
March 04, 2022

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

Although the Stuttgart Ballet’s new all-Johan Inger triple bill was thwarted by a number of COVID-19 infections in the company, artistic director Tamas Detrich did not give in. Rather than canceling the scheduled March 4th performance, he assembled a substitute program literally overnight. From the original schedule, only Inger’s “Bliss” (2016) remained (2002’s “Out of Breath” and the recently premiered “Aurora’s Nap” were eliminated). A courageous dive into the company’s vast repertoire – short pieces by Jiří Kylián and Hans van Manen, and three excerpts from evening-length pieces – filled out the bill. (more…)

Giving Back

October 4, 2021

“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

Rocío 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…)

Blabla Or Food For Thought?

July 29, 2021

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

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

“Blitirí 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…)

“And I Have So Much to Say, But…”

July 6, 2021

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

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

Pina 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…)

Joint Venture

June 17, 2021

“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

Demis 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…)

Meager Substance

June 11, 2021

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

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

“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…)

Nuremberg’s Junior Choreographers (III)

April 30, 2021

“Exquisite Corpse Extra” (episode 3)
Ballet of the State Theater Nuremberg
State Theater
Nuremberg, Germany
April 24, 2021 (online)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

The final program of the three-part “Exquisite Corpse Extra” project by the Ballet of the State Theater Nuremberg was comprised of four short contemporary pieces by six young choreographers: Chisato Ide, Bo Jacobs, and Oscar Alonso (who created one piece each) and Michael García, Victor Ketelslegers, and Ana Tavares (who created a joint work). As with the previous presentations (episode 1, episode 2), the program lasted for around a half hour and was accompanied by videos in which the choreographers commented on their work. (more…)

Nuremberg’s Junior Choreographers (II)

April 24, 2021

“Exquisite Corpse Extra” (episode 2)
Ballet of the State Theater Nuremberg
State Theater
Nuremberg, Germany
April 17, 2021 (online)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

The second part of the State Ballet Nuremberg’s “Exquisite Corpse Extra” project featured works by four aspiring choreographers: Lucas Axel, Sarah-Lee Chapman, Kate Gee, and Sofie Vervaecke. As with the first part, the program lasted for around a half hour and was accompanied by videos of the dancers commenting on their work.

The opening piece was by Brazilian-born Axel, who received his training at the Bolshoi Theater School in Joinville/Brazil and danced with three companies in São Paulo before moving to Germany. There, he joined the ballet of the State Theater Augsburg, later moving to Nuremberg’s company. He describes himself as having struggled with anxiety since the age of ten. This experience was one grounding focus of his choreography – depression, anxiety, and death. (more…)

Nuremberg’s Junior Choreographers (I)

April 15, 2021

“Exquisite Corpse Extra” (episode 1)
Ballet of the State Theater Nuremberg
State Theater
Nuremberg, Germany
April 10, 2021 (online)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

Thirteen of the State Theater Nuremberg’s twenty-one dancers tried their hand at choreography this season, resulting in eleven new contemporary pieces split over three programs. The first of these programs premiered last Saturday; the remaining two will be broadcast online on upcoming weekends.
The first program (approximately 30 minutes) was assembled from three short pieces: a solo (choreographed and danced by Carlos Blanco) and two ensemble works (one by Edward Nunes and one by Andy Fernández). Each choreographer commented on their work in an accompanying video. (more…)

Some Thoughts on Ratmansky’s Reconstruction of Petipa’s “Bayadère”

January 4, 2019

“La Bayadère”
State Ballet Berlin
Staatsoper unter den Linden
Berlin, Germany
December 28, 2018

“My Bayadère?…I can’t describe it. It’s the same, but completely different. On one hand it’s less; on the other, it has more details – but these are different details.”
That’s what Alexei Ratmansky said in an interview conducted by Margaret Willis for the January issue of Dancing Times about his recent reconstruction of Marius Petipa’s “La Bayadère” for the State Ballet Berlin. If he can’t describe it, then who?

Nevertheless, much has already been written about this “Bayadère”: Marina Harss posted an extensive review on DanceTabs and Alastair Macaulay covered the piece for the New York Times. All that I can do is add my thoughts and observations. (more…)

Progress

January 17, 2018

“Don Quixote”
Hamburg Ballet – John Neumeier
Hamburg State Opera
Hamburg, Germany
January 13, 2018

In an interview in the program booklet for “Don Quixote” Neumeier said that his vision has been to broaden the horizons of his dancers and of the audience. Noble motives that over the years have left much to be desired. Two years ago, Hamburg Ballet’s season involved only one piece by another choreographer in addition to Neumeier, while last season was all his. This season’s schedule was enriched by two foreign choreographers: Rudolf Nureyev and Jerome Robbins. Already in September a double bill by Robbins (“Dances at a Gathering” and “The Concert”) was revived. In December, Nureyev’s version of “Don Quixote” premiered. Manuel Legris had come over from Vienna to lead the rehearsals. But the question is, being primarily limited to Neumeier’s style and short of input from others, how did the company respond to the challenges Nureyev’s piece presents? (more…)

Dance and Music

January 13, 2018

“b.33” (“Stravinsky Violin Concerto” / “Roses of Shadow” / “Polish Pieces”)
Ballett am Rhein
Opera House Düsseldorf
Düsseldorf, Germany
January 07, 2018

Just a few days ago, Ballett am Rhein announced that the contract of its artistic director, Martin Schläpfer, has been extended until the fall of 2024. Schläpfer has helmed the company and its associated ballet school since 2009, but in 2016 handed over his administrative responsibilities to Remus Şucheană so that he might regain some freedom to pursue his artistic work. Şucheană’s contract was similarly extended.

Schläpfer names his ballet programs numerically – and with his latest, which premiered in mid-December, he reached “b.33”. It was a triple bill – a recurring and well-established format in Düsseldorf – with a tried and tested combination of choreographers: Balanchine, Schläpfer, and Hans van Manen. Specifically, Balanchine’s “Stravinsky Violin Concerto” and van Manen’s “Polish Pieces” were added to the already considerable repertoire the company dances from both choreographers. The middle piece, “Roses of Shadow”, was a new creation by Schläpfer. (more…)

A Disappointing “Swan Lake”

December 30, 2017

“Swan Lake”
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
December 25, 2017

After a five-year absence from the stage Stuttgart Ballet revived John Cranko’s “Swan Lake” this December. It premiered in Stuttgart in 1963 as Cranko’s second evening-length piece after “Romeo and Juliet” in 1962. Cranko generally followed Marius Petipa and Lev Ivanov’s traditional version, but shifted the focus towards the prince. While the third act’s festivities celebrating the prince’s coming of age (the introduction of the potential brides, the national dances, the Black Swan Pas de Deux and Rothbart’s deceptive maneuver) remained largely untouched, Cranko replaced the waltz and the Pas de Trois at Siegfried’s pre-birthday party in Act I with a Pas de Six. Of the various endings, Cranko chose to the one in which Siegfried drowns when the sea bursts its banks during a heavy thunderstorm, whereas Odette stays under Rothbart’s curse. (more…)

Looking Back

November 3, 2017 1 Comment

“Ballet Talk” (with Jürgen Rose, Marcia Haydée and Reid Anderson)
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
October 28, 2017

The jubilees pile up for Stuttgart Ballet this season. John Cranko, the company’s founder, would have been ninety years this August. His “Onegin” – its second, revised version to be precise – received its first performance half a century ago on October 27, 1967. Its stage and set designer – the internationally renowned and much admired Jürgen Rose – just celebrated his 80th birthday this August. His career is closely connected with Cranko and Stuttgart Ballet. Moreover, this season is artistic director Reid Anderson’s twenty-second and last one. In short, one special events follows the other. (more…)