Tag Archive: Ako Kondo

Comforting

December 18, 2024

“The Nutcracker”
The Australian Ballet
Sydney Opera House/Joan Sutherland Theatre
Sydney, Australia
December 12, 2024 (live stream)

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

This year, getting in a happy Christmas mood isn’t easy in my home country, Germany. We’re in troubled waters, and prospects for the new year are dismal. Even our major ballet stages abandoned a festive program. The State Ballet Berlin scheduled Christian Spuck’s Bovary and Swan Lake for the holiday season; the Bavarian State Ballet is presenting a mixed bill (Duato/Skeels/Eyal) and Cranko’s Romeo and Juliet. At least audiences in Stuttgart, Hamburg, and Dresden can attend performances of The Nutcracker, but Stuttgart’s rendering is screwed up, and Dresden’s is saccharine. The bright spot is Hamburg Ballet, which kept Neumeier’s much-lauded version in its repertory.

The Australian Ballet’s live stream of The Nutcracker was therefore a welcome addition, especially as the company presented Peter Wright’s traditional version, which was staged for the Royal Ballet in 1984 and later adapted for Birmingham Royal Ballet. (more…)

Coming Out

November 27, 2024

“Oscar©”
The Australian Ballet
Sydney Opera House/Joan Sutherland Theatre
Sydney, Australia
November 19, 2024 (live stream)

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

One long year has passed since The Australian Ballet’s last live stream, and it was uncertain if the company would dance again for an online audience. But after moving from Melbourne’s State Theatre (which is closed for major renovations) to their temporary home at the nearby Regent Theatre, they are back online. Christopher Wheeldon’s Oscar^© was the first ballet streamed live from the Sydney Opera House. Moreover, it is the first full-length commission by artistic director, David Hallberg, who has been friends with Wheeldon for twenty years. As a choreographer, Wheeldon is “hot property,” Hallberg stated. Oscar^© combines biographical aspects of the well-known, yet divisive, Irish author Oscar Wilde (1854-1900) with two pieces of his oeuvre.

As usual, Hallberg and presenter Catherine Murphy co-hosted the live stream, conducting backstage interviews and chatting about the piece. Hallberg quickly made clear that when approaching Wheeldon, he had a bold, unapologetic story in mind that wouldn’t shy away from telling uncomfortable realities, such as Wilde’s homosexuality for which he was persecuted and sentenced to two years in prison. (more…)

The Full Package

November 27, 2023 0 Comments

“Marguerite and Armand”/“The Dream”
The Australian Ballet
Sydney Opera House/Joan Sutherland Theatre
Sydney, Australia
November 21, 2023 (livestream)

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

The last new program of the Australian Ballet’s 60^th anniversary season was an all-in-one package. Its two Ashton ballets – “Marguerite and Armand” (1963) and “The Dream” (1964) – showcased the dancers’ prowess and satisfied the audience’s appetite for both the tragic and the comic while at the same time celebrating the company’s historic connection to the Royal Ballet. This connection has been of the most pleasant nature as became evident in the interview that the livestream’s presenter, Catherine Murphy, and the artistic director, David Hallberg, conducted with Berry Wordsworth. Wordsworth, the Royal Ballet’s former music director, joined the Opera Australia Orchestra to conduct the Ashton program. As he recalled Ashton’s creative passion and the friendship between Peggy van Praagh, the Australian Ballet’s founder, and her London counterpart, the Royal Ballet’s Dame Ninette de Valois, one could sense that the buoyant spirit of the good old days is still vibrant. Furthermore, warmth and good humor dominated the add-on program and included additional backstage interviews and videos. (more…)

Fissures

July 10, 2023

“Jewels”
The Australian Ballet
Arts Centre Melbourne / State Theatre
Melbourne, Australia
July 06, 2023 (livestream)

David Hallberg, artistic director of the Australian Ballet, has a knack for presenting his company in a complimentary light. Of the many troupes which streamed their performances live during the pandemic, only the Australians have maintained and enhanced this practice. The most recent livestream proved their ability to produce a compelling digital program. Livinia Nixon, who gave her debut as presenter alongside the ever-smiling Hallberg, kept me glued to the screen during the intervals, offering a steady flow of interesting interviews and behind-the-scenes clips. Each of them revealed the warmth and camaraderie within the company that has so often been mentioned in previous livestreams.

Celebrating their sixtieth anniversary this season, the company presented a sparkling new acquisition – Balanchine’s “Jewels” (1967) complete with Barbara Karinska’s sumptuous original costumes. One year of painstaking handicraft was spent on the latter’s recreation, requiring many volunteering hands and two months to sew and glue more than 29.500 beads, crystals, and pearls to dresses, tops, and tiaras. (more…)

Cheers!

March 30, 2023

“Don Quixote”
The Australian Ballet
Arts Centre Melbourne / State Theatre
Melbourne, Australia
March 24, 2023 (livestream)

Good news from the Australian Ballet: livestreams of performances will be resumed! The first of these – Nureyev’s version of Petipa’s “Don Quixote” – was broadcast this weekend. The company celebrates its sixtieth anniversary this season, and perhaps that is why artistic director David Hallberg chose a special opener – special because this “Don Quixote” harks back to the one that Nureyev, together with Robert Helpmann (then artistic director of the Australian Ballet) adapted for the screen in 1973. It stars the Australian Ballet, with Helpmann in the title role and Nureyev as Basilio. Needless to say, the film became a hit. Hallberg decided to re-adapt the hit film for the theater stage with piercing exactitude, replicating its aesthetic as closely as possible. That’s why Richard Roberts’s set design (including Don Quixote’s knightly home, the port of Barcelona, some windmills in Castilla-La Mancha, Dulcinea’s garden, and a smoke-filled tavern) was based on Barry Kay’s original film set and why Kay’s gorgeous costumes were painstakingly reconstructed. I especially admired the traditional Spanish garb of the corps at the tavern. (more…)