Tag Archive: Marijn Rademaker

Dancers’ Choice

Spring Special”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
April 05, 2021 (online)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. N.Tonoli, S.Yamada, J.Spunda, and S.Leverashvili (Peasants), “Giselle“ by M.Petipa after J.Coralli and J.Perrot, production and additional choreography by R.Beaujean and R.Bustamante, Dutch National Ballet 2021 © H.GerritsenFor most artists, the flow of opportunities for performance on home stages or abroad has either thinned to a trickle or dried up altogether since the onset of the pandemic. The Dutch National Ballet filled some of those gaps with a “Spring Special” -gala that featured a selection of ten short pieces in total – eight excerpts from the company’s existing repertory, one new acquisition, and one world premiere. Each dancer was able to choose which piece to perform in (with appropriate attention to pandemic-related restrictions of group size). All of the principals, several soloists, and one member of the corps de ballet participated. The gala was streamed live on April 5th. A second broadcast is scheduled for April 10, 2021

2. S.Velichko (Count Albrecht) and Q.Liu (Giselle), “Giselle“ by M.Petipa after J.Coralli and J.Perrot, production and additional choreography by R.Beaujean and R.Bustamante, Dutch National Ballet 2021 © H.GerritsenThe opening piece – the peasants’ Pas de Quatre from the 2009 adaption of “Giselle” by Rachel Beaujean and Ricardo Bustamante – sparkled buoyantly. The peasant couples – Salome Leverashvili & Jan Spunda and Nina Tonoli & Sho Yamada – were well matched. Spunda and Yamada, both attentive partners, delivered confident solos. Tonoli cheerfully stitched together her steps as if creating a fine piece of crochet work; Leverashvili, after adroitly finishing her solo, seemed to sigh with happy relief.

3. S.Velichko (Count Albrecht) and Q.Liu (Giselle), “Giselle“ by M.Petipa after J.Coralli and J.Perrot, production and additional choreography by R.Beaujean and R.Bustamante, Dutch National Ballet 2021 © H.GerritsenLater in the program, Qian Liu and Semyon Velichko danced another excerpt from “Giselle” – the Pas de Deux of the second act. Without the frame story and most of the scenery, it’s hard to evoke an appropriate atmosphere – but it was astonishing to see the depths to which Liu plumbed Giselle’s tragic love. Her Giselle was as light and ethereal as a spider’s web. If the camera had zoomed in on her face, I wouldn’t have been surprised to see tears flowing. Velichko’s Albrecht, understandably, was made ashen by grief.

“Duet”, a Pas de Deux created by Wayne Eagling for the company in 1995, was similarly packed with emotion. Isolde’s love-death from “Tristan and Isolde” served as his source of inspiration; accordingly, the music is Richard Wagner’s. Eagling 5. A.Ol and A.Shesterikov, “Duet” by W.Eagling, Dutch National Ballet 2021 © H.Gerritsen4. A.Ol and A.Shesterikov, “Duet” by W.Eagling, Dutch National Ballet 2021 © H.Gerritsendepicts an earthly relationship between lovers in an attempt to explore love as a cosmic principle. His choreography is as velvety as the dark blue night that surrounds the couple (Anna Ol and Artur Shesterikov). Ol melts in Shesterikov’s arms, huddled up like a child, or lets loose, stretching her limbs wide as if flying. Each step is built from mutual trust. A beautiful piece of work!

6. R.Wörtmeyer, “Classical Symphony” by T.Brandsen, Dutch National Ballet 2021 © H.GerritsenThe same is true of the gavotte from “Classical Symphony”, with choreography by Dutch National Ballet’s artistic director Ted Brandsen to Prokofiev’s “Romeo and Juliet”- music. The gavotte is less than one and a half minutes long – but that’s sufficient for Remi Wörtmeyer to dazzle us with an eye-popping performance. Wörtmeyer teases and swaggers nonchalantly, radiating Mercution-like charm. It was particularly amazing to watch his legs vacillate between being incredibly long, rubber-like, or sharp-edged.

Brandsen’s second contribution to the program was “Replay”, a Pas de Deux originally created for Igone de Jongh and Vito Mazzeo in 2014 to piano music by Philip Glass. At the time, Mazzeo was a younger man performing with an older woman. This time around, his partner, Yuanyuan Zhang, was the younger one. Mazzeo depicted an initially protective man, who soon had to accept his partner’s pursuit of independence. Arms stretched in embrace suddenly moved apart. Hands held just together snapped asunder like the 8. V.Mazzeo and Y.Zhang, “Replay” by T.Brandsen, Dutch National Ballet 2021 © H.Gerritsen7. V.Mazzeo and Y.Zhang, “Replay” by T.Brandsen, Dutch National Ballet 2021 © H.Gerritsenopening of a latch. Surprisingly, Mazzeo (quite tall) seemed more vulnerable than Zhang (quite small). The pair never separated from one another, only moving seamlessly between tight closeness and less tight closeness.
Glass’s music was played live by Ryoko Kondo.

9. J.Xuan (Princess Aurora) and J.Feyferlik (Prince Florimund), “The Sleeping Beauty” by M.Petipa, production and additional choreography by Sir P.Wright, Dutch National Ballet 2021 © H.GerritsenJessica Xuan’s first principal role with Dutch National Ballet was Princess Aurora in 2017; Jakob Feyferlik’s last role before the first lockdown was Prince Florimund. It’s no surprise, then, that the pair chose the Grand Pas de Deux of the Sleeping Beauty (a version by Peter Wright) to take up the thread again. The piece’s regality which included boldly swift fish dives was an interesting contrast to the other pas de deux’s deep emotion.

Wubkje Kuindersma created “Two and Only” in 2017 for Marijn Rademaker and Timothy van Poucke. After Rademaker left the company, Jozef Varga inherited the role. The piece is accompanied by guitar & piano music and a song by Michael Benjamin (who played live), but according to Kuindersma, 10. T.van Poucke and J.Varga, “Two and Only” by W.Kuindersma, Dutch National Ballet 2021 © H.Gerritsenthe song’s lyrics (about painful yearning, true love, and the desire to forget) aren’t to be taken literally. To me, it seemed as if an older men (Varga) wanted to re-invigorate his romantic relationship with a younger one (van Poucke). For a moment, he’s successful; they roll on top of one other, thrust their arms upwards (as if pushing a murky memory towards heaven), and mirror each other’s movements. Eventually, though, confrontational face-offs ensue until van Poucke, held by Varga in a trusting embrace, slips away, leaving Varga in a lonely void.

The sunny vibe returned with “Delibes Suite”, a Pas de Deux by José Carlos Martínez to music composed by Delibes for 11. A.Tsygankova and C.Allen, “Delibes Suite” by J.C.Martínez, Dutch National Ballet 2021 © H.Gerritsen12. C.Allen and A.Tsygankova, “Delibes Suite” by J.C.Martínez, Dutch National Ballet 2021 © H.Gerritsen“Coppélia” and “La Source”. The piece was a wonderful vehicle for Anna Tsygankova to show off her assured technique. She playfully – even mischievously – vacillated between gentle tenderness (think of butterflies fluttering on a sunny spring day) and verve. The long-limbed Constantine Allen has an elegant line and spacious jumps, but he underpowered the jeté en manege. With his physique he could dash through like an arrow.

13. A.Ol and J.Stout, “Alignment” by J.Nunes, Dutch National Ballet 2021 © H.GerritsenThe new piece, “Alignment”, was second to last in the program. The piece was choreographed over Zoom by Brazilian choreographer Juliano Nunes for Anna Ol and James Stout and was accompanied by edgy, strident string music by Ezio Bosso. Restlessness, desultoriness, and subtle anxiety permeate the atmosphere within its six-ish minutes. Lifts, leg splits, and embraces return again and again in Nunes’s choreography. Sometimes Ol’s legs quiver with fear. Stout bent her leg and arm upwards into a bud-like shape, carried her like a bundle behind his neck, or circled her like a carousel horse. Intermittently, the pair danced apart from one another; 14. J.Stout and A.Ol, “Alignment” by J.Nunes, Dutch National Ballet 2021 © H.Gerritsenonce, they fell to the ground as if exhausted. The costumes – full-body leotards by Oliver Haller with a yellow-red color gradient – lend the movements an intriguing visual aesthetic. Nunes didn’t focus on depicting the emotional fabric of the relationship, leaving us in the dark about what keeps this couple together.

The gala concluded with a dashing rendition of a piece new to the repertory: Pyotr Gusev’s 15. M.Makhateli (Niriti) and Y.Gyu Choi (Noureddin), “Talisman Pas de Deux” by P.Gusev, Dutch National Ballet 2021 © H.GerritsenTalisman Pas de Deux. As Niriti, daughter of the Queen of Heavens, Maia Makhateli flirts with feminine reticence, hemming creamy, soft movements with crisp edges. Her arms and wrists are especially expressive. I was completely surprised by Young Gyu Choi’s performance as Maharaja Noureddin – never before have I seen Gyu Choi give such a fiery performance, jumping forcefully and beaming with joy. Bravo!

Each piece except the first one was preceded by a short video made from snippets from the rehearsals and the dancers’ comments on their choices. Applause came from the very few lucky ones who were allowed to attend the performance – among them staff, colleagues, and Hans van Manen.
16. Y.Gyu Choi (Noureddin) and M.Makhateli (Niriti), “Talisman Pas de Deux” by P.Gusev, Dutch National Ballet 2021 © H.Gerritsen 

Links: Website of Dutch National Ballet
Photos: 1. Nina Tonoli, Sho Yamada, Jan Spunda, and Salome Leverashvili (Peasants), “Giselle“ by Marius Petipa after Jean Coralli and Jules Perrot, production and additional choreography by Rachel Beaujean and Ricardo Bustamante, Dutch National Ballet 2021
2. Semyon Velichko (Count Albrecht) and Qian Liu (Giselle), “Giselle“ by Marius Petipa after Jean Coralli and Jules Perrot, production and additional choreography by Rachel Beaujean and Ricardo Bustamante, Dutch National Ballet 2021
3. Semyon Velichko (Count Albrecht) and Qian Liu (Giselle), “Giselle“ by Marius Petipa after Jean Coralli and Jules Perrot, production and additional choreography by Rachel Beaujean and Ricardo Bustamante, Dutch National Ballet 2021
4. Anna Ol and Artur Shesterikov, “Duet” by Wayne Eagling, Dutch National Ballet 2021
5. Anna Ol and Artur Shesterikov, “Duet” by Wayne Eagling, Dutch National Ballet 2021
6. Remi Wörtmeyer, “Classical Symphony” by Ted Brandsen, Dutch National Ballet 2021
7. Vito Mazzeo and Yuanyuan Zhang, “Replay” by Ted Brandsen, Dutch National Ballet 2021
8. Vito Mazzeo and Yuanyuan Zhang, “Replay” by Ted Brandsen, Dutch National Ballet 2021
9. Jessica Xuan (Princess Aurora) and Jakob Feyferlik (Prince Florimund), “The Sleeping Beauty” by Marius Petipa, production and additional choreography by Sir Peter Wright, Dutch National Ballet 2021
10. Timothy van Poucke and Jozef Varga, “Two and Only” by Wubkje Kuindersma, Dutch National Ballet 2021
11. Anna Tsygankova and Constantine Allen, “Delibes Suite” by José Carlos Martínez, Dutch National Ballet 2021
12. Constantine Allen and Anna Tsygankova, “Delibes Suite” by José Carlos Martínez, Dutch National Ballet 2021
13. Anna Ol and James Stout, “Alignment” by Juliano Nunes, Dutch National Ballet 2021
14. James Stout and Anna Ol, “Alignment” by Juliano Nunes, Dutch National Ballet 2021
15. Maia Makhateli (Niriti) and Young Gyu Choi (Noureddin), “Talisman Pas de Deux” by Pyotr Gusev, Dutch National Ballet 2021
16. Young Gyu Choi (Noureddin) and Maia Makhateli (Niriti), “Talisman Pas de Deux” by Pyotr Gusev, Dutch National Ballet 2021
all photos © Hans Gerritsen
Editing: Jake Stepansky

The Doyen

“Ode to the Master” (“On the Move” / “Symphonieën Der Nederlanden” / “Sarcasmen” / “5 Tango’s”)
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
February 17, 2019

by Ilona Landgraf
Copyright © 2019 by Ilona Landgraf

1. H.van Manen and D.Camargo, rehearsal of “5 Tango's” by H.van Manen, Dutch National Ballet 2019 © A.Kaftira“If it was up to me, all I’d be doing was cooking for friends and watching snooker on TV”

These are the words, taken from a 2018 interview, of a choreographer heralded by the Dutch National Ballet as a master. The company dedicated an ode in the form of a ballet program in September 2017, to celebrate the 85th birthday of this nonpareil: Hans van Manen.

This February, the company revived “Ode to the Master”, and it happened that a matinee performance was shown at the closing of the international “Positioning Ballet”-conference held at the Dutch National Opera (a report on the conference will follow). It was a good chance to see the all-van Manen bill again. (more…)

Celebrating Hans van Manen

“Ode to the Master” (“On the Move” / “Symphonieën Der Nederlanden” / “Sarcasmen” / “5 Tango’s”)
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
September 17, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. Hans van Manen at the curtain call, Dutch National Ballet 2017 © M.Graste“Were you asked to choreograph about cheese?” the late Stuttgart dance critic Horst Koegler jokingly asked Hans van Manen in a 1982 interview when discussing Van Manen’s first-ever choreography. This first piece premiered at the Netherlands Opera in Amsterdam in 1957, was “nationally tinged,” but by no means about cheese, and has been performed more than 350 times. It was a thorough success. Sixty years later Hans van Manen is still choreographing and still successful. His works have won the acclaim of audiences all over the world. (more…)

Impressive!

“Ballet Matinée”
John Cranko School
Stuttgart State Opera
Stuttgart, Germany
July 16, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. A.Pernão and S.Pompignoli, “Alrededor No Hay Nada” by G.Montero, John Cranko School © Stuttgart Ballet Stuttgart’s John Cranko School has an excellent reputation in the ballet world. In a recent interview, Dutch National Ballet’s Marijn Rademaker talked about the excellent teachers in Stuttgart. I saw quite a few end of the year school performances, but this year’s matinée made me shake my head in disbelief. What outstanding talents has Tadeusz Matacz been training under his roof!

The students’ performance of Leonid Lavrovsky’s “Classical Symphony” could have vied with proper companies. The boys jumped spick and span, landed from tour en l’airs nicely in sync and partnered smoothly. Short Motomi Kiyota of the 6th class was especially intriguing. He soared through the air as if it were his natural space of being. The girls dabbed the choreography onstage, defying weight and gravity and confidently tossed out fouettes. “Classical Symphony” left one with an elevated feeling.

They proved they can also excel in contemporary pieces in “Alrededor No Hay Nada”, new choreography by Goyo Montero, artistic director of the company of the State Theater Nuremberg. (more…)

Conversations with Marijn Rademaker and Jozef Varga

Dutch National Ballet
Amsterdam, The Netherlands
June, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. Dutch National Opera & Ballet © L.KramerThe beautiful opera house and national ballet company are as welcoming and open as Amsterdam itself. During my last visit for the premiere of Alexei Ratmansky’s “Shostakovich Trilogy” in mid-June, I took the opportunity to talk with two principal dancers, Marijn Rademaker and Jozef Varga, about their career and their plans for the future.

Rademaker, a Dutchman, returned home in 2015 after many years with Stuttgart Ballet. We met in a cafe opposite the opera house a few hours before the premiere. Rademaker’s answers are in italics. (more…)

Creating an Image

Ballet Companies in Germany, the Netherlands and Switzerland
Semperoper Ballet, Bavarian State Ballet, State Ballet Berlin, Stuttgart Ballet, Ballett am Rhein,
Dutch National Ballet, Zurich Ballet
October 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

What kind of image distinguishes Stuttgart Ballet from Dutch National Ballet? Or the Bavarian State Ballet from the State Ballet Berlin? What is it the dancers – and their audience – identify with as their company? How do companies present themselves to the public? Such were my thoughts when seeing the Semperoper Ballet’s new image campaign, #WHYWEDANCE. I asked several major companies to send me images of their choice representing their respective company’s image.

1. R.Martínez, #WHYWEDANCE, Semperoper Ballet © I.Whalen 20162. J.Gray, #WHYWEDANCE, Semperoper Ballet © I.Whalen 2016Semperoper Ballet chose four of the sixty-one dancer portraits of #WHYWEDANCE. The new ensemble brochure presents each in full-page size. In addition they are spread via social media and on billboards and advertising pillars in Dresden. Aaron S.Watkin, in his eleventh year as artistic director, put the spotlight on his company this season whose face has changed since his beginning in 2006. Next to the dancers, Ian Whalen, the troupe’s photographer and multimedia expert, also shot Watkin and staff members. Names, places of birth, ranks within the company and the year when joining the ensemble come along with each portrait. In addition, every dancer sums up their motivation for the profession, the why and wherefore of choosing a career with dance in a single word. (more…)

A Bright Opening

“Gala”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, Netherlands
September 07, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

1. Grand Défilé, Dutch National Ballet © M.Schnater 2016Amsterdam’s National Opera House always radiates a light and welcoming atmosphere. This was especially so at this season’s opening gala on September 7th, which saw large crowds, women in evening gowns, flocking into the buzzing foyer amid flurries of camera flashes around the red carpet.

From the start the Grand Défilé, which opened the gala, gained warm-hearted applause. The program of the following three-and-a-half hours had been kept as a surprise. It included three highlights. (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…)

Emotions – that’s what it’s all about

“Lady of the Camellias”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, Netherlands
April 10, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

1. M.Rademaker and I.de Jongh, “Lady of the Camellias” by J.Neumeier, Dutch National Ballet © A.Sterling 2015One feels immediately comfortable at the Dutch National Opera & Ballet, Amsterdam’s principal opera house. Its spacious foyers are flooded with light provided by large windows which allow a panoramic view over the Amstel River. Terraces on various levels are favorite meeting spots of the audience. The house radiates the city’s atmosphere: Amsterdamers are open-minded, easy-going and kind. Special excitement and anticipation was in the air on April 10 at the premiere of John Neumeier’s “Lady of the Camellias”.

After “Sylvia” in 2011, it is the second piece by Neumeier that the company’s director Ted Brandsen has added to the repertory. Ballets by Hans van Manen, established as the company’s associate and resident choreographer for more than five decades, by Krzysztof Pastor and by David Dawson are the backbone of the schedules. Rudi van Dantzig (1933 – 2012), for twenty years at the helm of Dutch National Ballet, also left his mark as a choreographer. (more…)

A Colorless Mix

“Gala 2014”
Dance Foundation Birgit Keil
Forum Ludwigsburg
Ludwigsburg, Germany
November 07, 2014

by Ilona Landgraf
Copyright © 2014 by Ilona Landgraf

1. B.Andrade, Kt. F.Salamanka and ensemble, “Presente” by R.Oliveira, State Ballet Karlsruhe © J.Klenk 2014Birgit Keil, ex-prima ballerina of Stuttgart Ballet, regularly tours nearby Ludwigsburg to present her work to her former home audience. Since 1997 Keil is director and professor of Mannheim’s Academy of Dance, six years later she also took over the helm of the Baden State Ballet Karlsruhe.

The gala presented both troupes, the Karlsruhe company as well as talented dancers of the Academy. A huge part of the program was reserved for the usual array of guest artists. (more…)

Bleak Prospects for the Future

“Ground Breakers”
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
December 15, 2013, 2pm

by Ilona Landgraf
Copyright © 2013 by Ilona Landgraf

1. P.von Sternenfels, H.MacIsaac, workwithinwork by William Forsythe, Stuttgart BalletStuttgart Ballet, seldom lacking self-assurance, titled its new ballet evening “Ground Breakers”. The German term “Fort//Schritt//Macher” better conveys this triple bill’s intention: Presented are works by three choreographers of different epochs, all driving forces behind European modern ballet’s progress, in short true trailblazers. And further all three – William Forsythe, Hans van Manen and Marco Goecke – are closely associated with the company or are even home-bred.

William Forsythe spread his choreographic wings in Stuttgart. There he made his debut at an evening of the Noverre Society, which promotes up-and-coming talent. Several pieces for Stuttgart Ballet followed and, after some years as freelance choreographer, Forsythe was appointed artistic director of Frankfurt Ballet in 1984. Striving after continual development, he modernized 20th century ballet by deconstructing all aspects of ballet, reassembling the fragments into abstract and speedy movements. Off-balances and overexpansions are his hallmarks. Forsythe also became more and more interested in other fields such as literature, philosophy, media and architecture, which he draws upon for inspiration. His approach is as cognitive as a researcher’s. Though Frankfurt Ballet was liquidated in 2004 for financial reasons, Forsythe continues his search for innovation with “The Forsythe Company”, founded in 2005, which resides in Dresden/Hellerau and in Frankfurt’s Bockenheimer Depot.

(more…)