Tag Archive: Nicholas Beriozoff

Keeping Cranko’s Heritage Vivid

Georgette Tsinguirides
Stuttgart Ballet
Stuttgart, Germany
December, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

1. Georgette Tsinguirides © Roman Novitzky 2015Reviving a ballet from the repertory or mounting it for another company isn’t just learning the steps. The most crucial part of the work is to make the role speak. In story ballets, the characters’ personalities have to come across authentically. Most of all the choreographer’s intentions must have priority.

Today, when starting rehearsals, ballet masters and dancers usually refer to videos of former performances. They are the perfect tools to convey a piece’s atmosphere, the steps and lifts of a pas de deux or a solo variation. Depending on the perspective of the camera they also depict group patterns. But other details are lost. What exactly is each member of the corps doing from the third line back? What is the posture hidden by the costume? Learning from videos promotes copying. But isn’t the goal to develop one’s own interpretation of the role?

Stuttgart Ballet also draws on videos when reviving old choreography. The ballet masters’ and Reid Anderson’s recollections are trustworthy too. They have danced the ballets many times themselves. But first and foremost the company relies on Georgette Tsinguirides, choreologist, ballet mistress and coach. (more…)

Fostering Ballet’s Future

Noverre Society Stuttgart
Stuttgart, Germany
December 2014

by Ilona Landgraf
Copyright © 2014 by Ilona Landgraf

1. Logo of the Noverre Society Stuttgart © Noverre Society 2014The dance critic Horst Koegler once compared him with a F1 World Champion who – second to none – has held his title for more than half a century: Fritz Höver, founder and longstanding chairman of Stuttgart’s Noverre Society. How would the Stuttgart Ballet have developed without Höver? Back in the early 1960s no one knew John Cranko in Stuttgart, not even Stuttgart Opera’s general director Walter Erich Schäfer. It’s hard to believe these days but in the late 1950s Stuttgart’s audience had not yet acquired a taste for ballet. The genre’s main function, since 1957 in the hands of artistic director Nicholas Beriozoff, ex-dancer of the Ballet Russe de Monte Carlo, still was to take part in opera productions. Beriozoff, paving the way for the company’s ascent, put considerable effort in promoting ballet. It was due to the relentless persuasive power of Höver, that the young Cranko was invited to Baden-Wuerttemberg’s capital. In 1960 Cranko staged his first work in Stuttgart, “The Prince of the Pagodas” which had premiered three years earlier atNich The Royal Ballet. One year later he took over the reigns of “The Stuttgart Ballet”. (more…)