Tag Archive: Jenni Schäferhoff

A Sweeping Goodbye

November 17, 2015 2 Comments

“Manon”
Semperoper Ballet
Semperoper
Dresden, Germany
November 11, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

1. M.Hamilton and J.Bubeniček, “Manon” by Kenneth MacMillan, photo Ian WhalenOne could make things easier when it comes to the end of a dance career. A favorite piece which the audience likes should make for a decent leave-taking. Jiří Bubeníček is of another caliber. After nine years with Semperoper Ballet Dresden he tackled a debut for his farewell, Des Grieux in Kenneth MacMillan’s “Manon”. Moreover, he asked a ballerina, with whom he had never danced before, to be his Manon: Royal Ballet’s principal Melissa Hamilton, who will stay with the Semperoper company for the whole season.

“Go for it!” is one of Bubeníček’s principles. Exactly this is what he did. In fact, what the whole company did. Aaron S.Watkin, the company’s artistic director, aimed to use “Manon” to explore yet another style with his already versatile company. It was enthusiastically received. No wonder. All ingredients merged splendidly presenting “Manon” as a gripping narrative. (more…)

Marzipan and Sweetmeats

November 27, 2014

“The Nutcracker”
Semperoper Ballet
Semperoper
Dresden, Germany
November 22, 2014

by Ilona Landgraf
Copyright © 2014 by Ilona Landgraf

1. I.Simon, “The Nutcracker” by A.S. Watkin and J.Beechey, Semperoper Ballet © C.Radu 2014While Dresden is just starting to build up the numerous stalls for its famous Christmas markets, Semperoper Ballet has already begun to put audiences in a festive mood with the first of a series of sixteen “Nutcrackers”.
Rather restrained in choreographing, Semperoper Ballet’s artistic director Aaron S. Watkin replaced John Neumeier’s version of the “Nutcracker” which had been in the company’s repertory until 2010 by his own new creation in 2011. As with “Coppélia” which also premiered in 2011, Watkin collaborated with Jason Beechey, rector of Dresden’s Palucca School for Dance. Putting aside historical records they created completely new choreography yet firmly grounded on classical movement vocabulary. Both two acts of the ballet involve a great number of students of the Palucca School of Dance giving the Christmasy goings-on and the festivities at the Land of Sweets a natural and vivid atmosphere. Almost the whole school participates, around thirty students of different age per cast complemented by eight little children as Polichinelles. (more…)

Still in the Warming Phase

September 11, 2014

“Bella Figura”
Semperoper Ballet
Semperoper
Dresden, Germany
September 05, 2014

by Ilona Landgraf
Copyright © 2014 by Ilona Landgraf

1. Albouy, Weiss, Cangialosi, Bella Figura by Jiri Kylián, Semperoper Ballet Semperoper Ballet Dresden heralded the new season with the triple bill “Bella Figura”, titled after Jiří Kylián’s eponymous “Bella Figura” and complemented by David Dawson’s “The Grey Area” and “Minus 16” by Ohad Naharin.
(The photos show a different cast of an earlier performance.)

Where is the borderline between art and artificiality? Between fantasy and reality? Truth and falsehood? Such are Kyliàn’s questions behind “Bella Figura”. Also: at which point does a performance actually start? “Bella Figura” has no formal beginning. While the auditorium fills, the dancers warm up. They wear practice clothing and repeat step combinations. When the lights dim, the curtain shuts. With the start of the music – a collage of various Baroque composers plus a Renaissance-based suite by the contemporary American composer Lukas Foss – two dancers are in the spotlight: a section of the curtain, as large as a door, is left open on the right. It leaves room for a man in skin-colored undershorts (Maximilian Genov). Lying on the floor with bent legs up in the air, he reminds of an insect that accidentally has fallen on its back. To the left, Jenni Schäferhoff, bare-breasted and likewise in skin-colored undies, is wrapped into the curtain’s folds by invisible arms from behind. Repeatedly she walks, gesticulating to the forestage but – perhaps confronted with something daunting – backs away and again seeks shelter in the curtain’s embrace. (more…)