Tag Archive: David Hallberg

“The Cherry on a Sundae”

“Harlequinade”
The Australian Ballet
Arts Center Melbourne / State Theatre
Melbourne, Australia
June 24, 2022 (livestream)

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. B.Bemet (Columbine), B.Chynoweth (Harlequin), and ensemble, “Harlequinade” by M.Petipa, additional choreography by A.Ratmansky; The Australian Ballet 2022 © J.Busby“The cherry on a sundae” – that’s what the Australian Ballet’s artistic director David Hallberg called “Harlequinade”, the latest (and this season’s last) addition to the company’s repertoire. “Harlequinade” – a popular Petipa-ballet in imperial Russia – premiered in 1900 in St. Petersburg, and was last performed in its original form at the end of the 1920s. Working from the notations and numerous other documents archived in the Nikolai Sergeyev collection at Harvard University, Alexei Ratmansky and his wife Tatiana reconstructed the choreography just as he has done with previous Petipa classics. American Ballet Theatre (ABT) and the Australian Ballet collaborated on the revival. Four years after its premiere at Costa Mesa, California, the two-act commedia dell’arte romp finally hit Melbourne’s stage. I saw the livestream presented on June 24th by Catherine Murphy and Hallberg. (more…)

An Asset

“Kunstkamer”
The Australian Ballet
Arts Center Melbourne / State Theatre
Melbourne, Australia
June 10, 2022 (livestream)

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

 1. Ensemble, “Kunstkamer” by S,León, P,Lightfoot, C,Pite, and M.Goecke; The Australian Ballet 2022 © J.BusbyAustralian audiences aren’t particularly familiar with the Nederlands Dans Theater (NDT). Australian Ballet artistic director David Hallberg scored a coup by adding to their repertory “Kunstkamer” – a dance theater piece created in 2019 on the occasion of NDT’s 60th anniversary and as yet never danced by another company. (The Australian Ballet celebrates its 60th anniversary this year.) And Hallberg was not only able to import a collaboration between four of NDT’s defining choreographers (Paul Lightfoot and Sol León – until 2020 the company’s figureheads – as well as associate choreographers Crystal Pite and Marco Goecke), but also used this as a chance to interrupt his retirement from the stage and participate in the piece himself. Putting aside the director’s scepter to take on a role that was weird rather than flattering required courage – which Hallberg mustered. To me, it seems there was no better way to deepen his connection to the dancers. (more…)

Brilliant!

“Anna Karenina”
The Australian Ballet
Arts Center Melbourne / State Theatre
Melbourne, Australia
March 08, 2022 (livestream)

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. R.Hendricks (Anna Karenina) and C.Linnane (Count Alexei Vronsky), “Anna Karenina” by Y.Possokhov, The Australian Ballet 2022 © J.BusbyWhile western cancel culture appears to be targeting all things Russian, the Australian Ballet points the way towards cooperation. This February, a ballet about an icon of Russian culture – Tolstoy’s epic novel “Anna Karenina” – premiered in Melbourne. Co-produced with the Joffrey Ballet and decorated with the 2021 Prix Benois for best choreography, it was a prime example of the uniting power of the arts. Its US-based choreographer Yuri Possokhov was born in Luhansk / Ukraine; the composer Ilya Demutsky, a frequent collaborator of Possokhov, is Russian. Valeriy Pecheykin, an Uzbeg working at Moscow’s Gogol Center, wrote the libretto. Set and costumes are by the British designer Tom Pye. Finn Ross, also a Brit, oversaw the video projections, and US-born David Finn created the lighting. (more…)

Two Dutch Premieres

“Four Seasons” (“The Two Of Us” / “The Four Seasons”)
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
June 15, 2021 (live broadcast)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. A.Tsygankova and C.Allen, “The Two Of Us” by C.Wheeldon, Dutch National Ballet 2021 © H.GerritsenJust one week after the premiere of “Prometheus”, the Dutch National Ballet premiered a second program as part of the annual Holland Festival: “Four Seasons” – a double bill comprised of Christopher Wheeldon’s “The Two Of Us” and David Dawson’s “The Four Seasons”. Two dance films created by members of the company during last year’s lockdown – “Oblivion” and “The Garden” – were shown during the break. The performance was attended by a live audience and, in addition, broadcast online.

“The Two Of Us” premiered at New York City Center’s 2020 Fall for Dance festival and paired New York City Ballet’s principal Sara Means and David Hallberg, close friends who’d never before had the chance to dance together. In Amsterdam, the duet was performed by Anna Tsygankova and Constantine Allen, depicting two tender souls unsure whether to stay together or to part.

As the curtain opens, Tsygankova is seated on the floor, her elbow resting pensively upon her knee. Allen kneels behind her, his hand touching her shoulder. He begins to walk away from her, and at that exact moment we hear the first sounds of a melancholic guitar strummed by Joni Mitchell. “I don’t know where I stand,” Mitchell sings, verbalizing Tsykankova’s state of being. (more…)

“I feel like Lensky”

Semyon Chudin, Bolshoi Ballet
Royal Opera House
London, Great Britain
August, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

1. S.Chudin © Bolshoi TheatreI first saw Semyon Chudin dance in Stuttgart Ballet’s end-of-the season gala this July. He had danced the Wedding Pas de Deux from “Sleeping Beauty” next to Anna Osadcenko and immediately caught my attention. Chudin has an aura, which only a great personality is able to radiate.

As it happens the Bolshoi toured London for three weeks during this summer. One and a half weeks after the Stuttgart gala I sat in the Royal Opera House, watching the company in Jean-Christophe Maillot’s “The Taming of the Shrew”. The following day I met Chudin in the Opera House’s cafeteria to talk about his career and his life offstage. We spoke twice, first in the afternoon, and, after rehearsals and with translation support by Sonia Serduk, a longstanding friend of Chudin from St. Petersburg’s Mikhailovsky Theatre, again in the evening. Chudin’s English is good but he feels more at ease when speaking Russian. I guess our group of three attracted attention as we had much fun.

Chudin is natural, kind and easy-going. He does not make the slightest attempt to cultivate a glossy image of himself or to feign a conformist mindset. Telling people what they want to hear isn’t his. The timbre of his voice simply reveals his true opinions. Centered in himself Chudin radiates calmness but at the same time is very self-critical. After the Stuttgart gala he asked Filip Baranciwicz and Mikhail Kaniskin to give him corrections. How many principals act in the same way? “One could always improve something. When you’re satisfied with yourself you should stop,” he later stated. (more…)