German Companies

“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

by Ilona Landgraf
Copyright © 2019 by Ilona Landgraf

“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

by Ilona Landgraf
Copyright © 2018 by Ilona Landgraf

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

by Ilona Landgraf
Copyright © 2018 by Ilona Landgraf

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

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

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…)

Timeless

October 8, 2017 1 Comment

“Pure Cranko” (“L’Estro Armonico” / “Brouillards” / “Jeu de Cartes”)
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
October 03, 2017

This season is an especially special one for Stuttgart Ballet. John Cranko, who took over the ballet company of the Wuerttemberg State Theater in 1961 and turned it into the “Stuttgart Ballet Miracle”, would have celebrated his 90th birthday this August. In October, the premiere of his “Onegin” will have its 50th anniversary. Moreover, it’s Reid Anderson’s twenty-second – and last – season as artistic director. He’ll pass the torch to Tamas Detrich next summer.

As a result, there are quite a number of events slated for the season – but, with everything being interconnected in Stuttgart, the first program already brought the company full circle. (more…)

A Patchy Beginning

October 3, 2017

“The Taming of the Shrew”
Bavarian State Ballet
National Theater
Munich, Germany
September 30, 2017

This August John Cranko would have celebrated his 90th birthday. Stuttgart Ballet honors its founder with several programs, beginning with the triple bill “Cranko Pur” that premiers on October 3rd. The Bavarian State Ballet, which Cranko directed in addition to his Stuttgart company from 1968 – 1972, revives his three big narratives. “The Taming of the Shrew” opened the season. “Onegin” and “Romeo and Juliet” are scheduled for February and April 2018. During the Ballet Festival Weeks next April all three ballets will be danced on three consecutive evenings.
I saw the second performance of “Shrew” led by Natalia Osipova and Sergei Polunin, both guest dancers of the Munich company.

Cranko’s characterization of the figures follows Shakespeare’s comedy closely. We are in Padua in the 17th century. Poor Baptista is kept in suspense by his two daughters. No less than three suitors buzz around the pretty Bianca like bees around the honey pot, but her older sister, the strident Katherina, fights getting married tooth and nail. Bianca is not allowed to marry until Katherina is wed, declares Baptista unceremoniously. But how to marry her off? By accident, Bianca’s suitors – Lucentio, Hortensio and Gremio – run into the young Petruchio and recruit him to court Katherina. (more…)

State of Affairs in Munich and News from Berlin

September 13, 2017

Bavarian State Ballet / State Ballet Berlin
Munich / Berlin, Germany
September 12, 2017

At the end of last season, the first under director Igor Zelensky, a second wave of dancers left the Bavarian State Ballet. Exact numbers and names weren’t announced by the press office, but according to information from within the company 22 out of a total of 69 dancers packed their bags. My report prompted an email by the press office that corrected the number to 21 and denied that the principals Maria Shirinkina and Vladimir Shklyarov would quit the company. What did finally come of it?

First, over the summer break the number of those leaving increased to 23, because demi-soloist Wentao Li had meanwhile returned to China, his home country, for family reasons and guest ballerina Svetlana Zakharova had withdrawn her commitment. Yet in the course of the last season Zakharova had performed only once in Munich. Secondly, Shirinkina and Shklyarov indeed did bid farewell to the core company and returned to the Maryinsky Ballet. They will appear in Munich as guest dancers.

So the gaps were considerable. How did Igor Zelensky fill them?
The company starts the new season with 66 dancers, four of them guest dancers (Shirinkina & Shklyarov and again, as last year, Natalia Osipova & Sergei Polunin). Five dancers of English National Ballet have joined: (more…)

Society’s Boggy Grounds

September 8, 2017

“Manon”
Semperoper Ballet
Semperoper
Dresden, Germany
September 04, 2017

Semperoper Ballet opened the season with a final run of Kenneth MacMillan’s “Manon.” In most performances since the Dresden premiere in fall 2015 Melissa Hamilton danced the title role. Hamilton returned to her home company, the Royal Ballet London, in May this year. The gap she left was filled by two guest ballerinas familiar with the role – Anna Ol (Principal of Dutch National Ballet) and Dorothée Gilbert (Étoile of Paris Opera Ballet). Both dance twice. The Semperoper Ballet’s Gina Scott is cast for the final two performances in mid-October. I saw the opening night with Ol alongside Julian Amir Lacey as Des Grieux. (more…)