Tag Archive: Ted Brandsen

Other than Bright

“Four Temperaments” (“The Four Temperaments” / “The Chairman Dances” / “Frank Bridge Variations” / Full Frontal” / extra: “After the Rain”)

Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
September 17, 2023 (matinee)

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

1. F.Eimers and J.Spunda, “The Four Temperaments” by G.Balanchine, Dutch National Ballet 2023 © M.Haegeman 2. J.Xuan and D.Ramos, “The Four Temperaments” by G.Balanchine, Dutch National Ballet 2023 © M.Haegeman 3. M.Makhateli and V.Caixeta, “The Four Temperaments” by G.Balanchine, Dutch National Ballet 2023 © M.Haegeman It’s unclear whether the Dutch National Ballet’s new mixed bill “Four Temperaments” took its title from one of the pieces – George Balanchine’s “The Four Temperaments” – or alludes to the different personalities of all choreographers involved. Next to Balanchine are the company’s artistic director Ted Brandsen, doyen Hans van Manen, and the Spaniard Juanjo Arqués, a regular contributor to the repertory. Let’s disclose later, why Christopher Wheeldon’s “After the Rain” was added as an extra to the matinee.

Balanchine’s “The Four Temperaments” relates to the Hippocratic medical concept of humourism that four bodily fluids (blood, yellow bile, black bile, and mucus) affect human personality traits and behaviors. Depending on which fluid dominates, an individual is melancholic, sanguine, phlegmatic, or choleric. For what would become his first piece for Ballet Society (the predecessor of New York City Ballet) in 1946, Balanchine commissioned a half-hour score by Paul Hindemith.
5. Y.Zhang and D.R.Silva, “The Four Temperaments” by G.Balanchine, Dutch National Ballet 2023 © M.Haegeman 4. J.Xuan and D.Ramos, “The Four Temperaments” by G.Balanchine, Dutch National Ballet 2023 © M.Haegeman Edwin Denby (1903 – 1983), a renowned US dance critic, described it as “exceptionally powerful thick-flowing.” Altogether, the ballet fascinated him: “It is full of Beckmesserish dance jokes, classic steps turned inside-out and upside-down, retimed, reproportioned, rerouted […]” and full of “every kind of oddity of device or accent,” he wrote in 1952. Denby praised Balanchine’s wealth of ideas – ideas which, though innovative, stayed faithful to classicism. “The Four Temperaments” became a major success.
I was less impressed. What was cutting-edge almost eighty years ago, looks affected today. What was once bold and funny, has become a series of weird (and at times cringy) posturing. Through the perspective of dance history the piece might be interesting to watch, but it’s hardly worthwhile entertainment to whet the audience’s appetite for the new season. Especially not, if some dancers haven’t yet taken to Balanchine’s style like ducks to water. The female corps often looked awkward, spoiling the fine performances of the soloists.
Young Gyo Choi pranced like a big cat through the melancholic variation; Riho Sakamoto, as sanguine as self-absorbed, did what pleased her (I’m not sure whether she recognized that it was Timothy van Poucke who followed her every whim). The arms of Davi Ramos – whose determined gaze defied the phlegm of his role – plowed through the air as if fishing for magic, and as the choleric, the tall and classy Floor Eimers was the most Balanchinesque of all.

6. R.Valdez, K.Hilli, E.Mardegan, L.Bertho, S.Quintyn, B.Kuperus, D.Bai, M.Kumar, R.Valdez, and G.Torrijos, “The Chairman Dances” by T.Brandsen, Dutch National Ballet 2023 © M.Haegeman 7. R.Valdez and ensemble, “The Chairman Dances” by T.Brandsen, Dutch National Ballet 2023 © M.Haegeman Brandsen’s “The Chairman Dances” should have premiered one year ago, but was postponed due to the war in Ukraine. Though the fighting continues, Brandsen decided to bring his ballet on stage this season. The twelve-minute piece has an urging score taken from an operatic composition by John Adams. Its vibes recall ballroom dancing, but also include eerie and weirdly stumbling passages. Of the eighteen dancers in total, both men and women wear long white tulle skirts and white corsages made of multiple layers of fabric (design by François-Noël Cherpin) which blur the distinction between the sexes. The movement qualities of men and women are largely indistinguishable as well, except that the lifting work is still done by the men.
9. D.Bai, R.Catalan, M.Kumar, S.Baaij, D.R.Silva, K.Yamamoto, R.Valdez, J.Spunda, and G.Torrijos, “The Chairman Dances” by T.Brandsen, Dutch National Ballet 2023 © M.Haegeman8. D.R.Silva, K.Hilli, and ensemble, “The Chairman Dances” by T.Brandsen, Dutch National Ballet 2023 © M.Haegeman Brandsen presents a coherent unity that conglomerates and disperses in quick succession. A women-only sequence reminded me of the Wilis in “Giselle”, but for the main part I couldn’t help but think of Hans van Manen. Swaggering steps, hands placed on the thighs, defiant glances, arms held upwards in a V – that’s van Manen’s handwriting.

10. O.Smirnova and V.Caixeta, “Frank Bridge Variations” by H.van Manen, Dutch National Ballet 2023 © M.Haegeman 11. Q.Liu and Y.G.Choi, “Frank Bridge Variations” by H.van Manen, Dutch National Ballet 2023 © M.Haegeman His “Frank Bridge Variations” (2005), shown right after “The Chairman Dances”, made the similarities obvious. Perhaps that’s because van Manen is in the company’s DNA. Every step, every gesture had clarity and punch. Instantly, the air sizzled with tension. Victor Caixeta, flush with adrenaline, buzzed like an angry hornet after Olga Smirnova had sauntered off and Young Gyo Choi (partnering Qian Liu) again proved an inexhaustible dynamo, his legs slicing through the air like a hot knife through butter.
But “Frank Bridge Variations” also has a somber part. It’s Funeral March isn’t meant to be uplifting and definitely wasn’t. I’ve never experienced it like this, but it sucked away the energy.

13. G.Potskhishvili and R.Sakamoto, “Full Frontal” by J.Arqués, Dutch National Ballet 2023 © M.Haegeman 12. C.Walmsley, N.Agvanean, Y.G.Choi, and G.Potskhishvili, “Full Frontal” by J.Arqués, Dutch National Ballet 2023 © M.Haegeman Things turned thoroughly bleak in the last piece, Arqués’s new creation “Full Frontal”. The ear-piercing thunder that prompted the curtain to rise bode ill, and the gray box-like space it revealed intensified my apprehension. Accompanied by rhythmic string music highlighted with electronics (Michael Gordon’s Weather One) four women and five men sprinted across the stage, chased one another, practiced acrobatic duets, or enjoyed themselves in unrelated solos. One man fought against an invisible threat, another against the power games of a ruthless business top dog. Riho Sakamoto depicted an overwrought rebel who, though disoriented and worn out, couldn’t stop revolting. I tend to believe that Giorgi Potskhisvili, who at times covered her desperate eyes, never leaving her side, protected rather than manipulated her.
14. S.Yamada, C.Walmsley, N.Agvanean, G.Potskhishvili, N.Tonoli, and R.Sakamoto, “Full Frontal” by J.Arqués, Dutch National Ballet 2023 © M.Haegeman 15. A.Maldini, C.Walmsley, N.Tonoli, and S.Yamada, “Full Frontal” by J.Arqués, Dutch National Ballet 2023 © M.Haegeman The misery climaxed when long metal bars dropped onto the stage like a collapsing construction. As an aftermath, they left the dancers stretched out on the ground as if dead, their bulging chests hinting at decay. White fog covered them like a death blanket. This was the moment the black suited Young Gyo Choi (for the third time a core figure) intervened. Stepping onto the scene from his observer’s post in the rear, one wave of his hand opened the blanket of fog. Everyone recovered and resumed the previous routine. Improvement wasn’t within sight.

18. J.Stout and A.Ol, “After the Rain” by C.Wheeldon, Dutch National Ballet 2023, © N.Tonoli 17. J.Stout and A.Ol, “After the Rain” by C.Wheeldon, Dutch National Ballet 2023, © N.Tonoli16. J.Stout and A.Ol, “After the Rain” by C.Wheeldon, Dutch National Ballet 2023, © N.TonoliThe matinee would have been dispiriting, hadn’t there been a surprise: James Stout, a principal dancer of the company, retired from the stage after sixteen years with Dutch National Ballet. He chose to rehearse a new piece for his farewell, Christopher Wheeldon’s intimate pas de deux “After the Rain”. The ease and naturalness with which Stout partnered Anna Ol attested to Brandsen’s laudation: “All the ballerinas wanted to dance with James.” Showered with heartfelt applause, Stout had to fight his emotions. Witnessing a career culminate like this made the matinee precious after all.

Links: Website of the Dutch National Ballet
“Four Temperaments” – trailer
Four Temperaments” – behind the scenes (video)
A Tribute to James Stout (video)
Photos: (Some photos show a different cast from an earlier performance.)
: 1. Floor Eimers and Jan Spunda, “The Four Temperaments” by George Balanchine, Dutch National Ballet 2023 © Marc Haegeman
2. Jessica Xuan and Davi Ramos, “The Four Temperaments” by George Balanchine, Dutch National Ballet 2023 © Marc Haegeman
3. Maia Makhateli and Victor Caixeta, The Four Temperaments” by George Balanchine, Dutch National Ballet 2023 © Marc Haegeman
4. Jessica Xuan and Davi Ramos, The Four Temperaments” by George Balanchine, Dutch National Ballet 2023 © Marc Haegeman
5. YuanYuan Zhang and Daniel Robert Silva, The Four Temperaments” by George Balanchine, Dutch National Ballet 2023 © Marc Haegeman
6. Rafael Valdez, Kira Hilli, Emma Mardegan, Luiza Bertho, Sandra Quintyn, Beatriz Kuperus, Dingkai Bai, Manu Kumar, Rafael Valdez, and Guillermo Torrijos, “The Chairman Dances” by Ted Brandsen, Dutch National Ballet 2023 © Marc Haegeman
7. Rafael Valdez and ensemble, “The Chairman Dances” by Ted Brandsen, Dutch National Ballet 2023 © Marc Haegeman
8. Daniel Robert Silva, Kira Hilli, and ensemble, “The Chairman Dances” by Ted Brandsen, Dutch National Ballet 2023 © Marc Haegeman
9. Dingkai Bai, Rémy Catalan, Manu Kumar, Sander Baaij, Daniel Robert Silva, Koyo Yamamoto, Rafael Valdez, Jan Spunda, and Guillermo Torrijos, “The Chairman Dances” by Ted Brandsen, Dutch National Ballet 2023 © Marc Haegeman
10. Olga Smirnova and Victor Caixeta, “Frank Bridge Variations” by Hans van Manen, Dutch National Ballet 2023 © Marc Haegeman
11. Qian Liu and Young Gyu Choi, “Frank Bridge Variations” by Hans van Manen, Dutch National Ballet 2023 © Marc Haegeman
12. Conor Walmsley, Naira Agvanean, Young Gyu Choi, and Giorgi Potskhishvili, “Full Frontal” by Juanjo Arqués, Dutch National Ballet 2023 © Marc Haegeman
13. Giorgi Potskhishvili and Riho Sakamoto, Full Frontal” by Juanjo Arqués, Dutch National Ballet 2023 © Marc Haegeman
14. Sho Yamada, Conor Walmsley, Naira Agvanean, Giorgi Potskhishvili, Nina Tonoli, and Riho Sakamoto, Full Frontal” by Juanjo Arqués, Dutch National Ballet 2023 © Marc Haegeman
15. Arianna Maldini, Conor Walmsley, Nina Tonoli, and Sho Yamada, Full Frontal” by Juanjo Arqués, Dutch National Ballet 2023 © Marc Haegeman
16. James Stout and Anna Ol, “After the Rain” by Christopher Wheeldon, Dutch National Ballet 2023, © Nina Tonoli
17. James Stout and Anna Ol, “After the Rain” by Christopher Wheeldon, Dutch National Ballet 2023, © Nina Tonoli
18. James Stout and Anna Ol, “After the Rain” by Christopher Wheeldon, Dutch National Ballet 2023, © Nina Tonoli
Editing: Samuel Snodgrass

Magnificent!

“Raymonda”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
May 06, 2022 (stream)

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

1. T.van Poucke, S.Velichko (Jean de Brienne), M.ten Kortenaar, and ensemble, “Raymonda” by R.Beaujean after M.Petipa, Dutch National Ballet 2022 © M.Haegeman A mid-January newsletter from the Dutch National Ballet did little to hide the company’s disappointment at having to postpone their premiere of “Raymonda” from mid-February to early April. At the time, ongoing COVID-19 restrictions made uncertain the possibility of re-opening the house at full-capacity, but artistic director Ted Brandsen wanted the production – the biggest of the season – to be seen by as many people as possible. So he chose to wait.

Brandsen’s patience paid off. I watched the online stream on May 6th (filmed on April 19th) and from the moment the new front curtain rose (itself a gorgeous art nouveau design), it was instantly clear that this “Raymonda” would be a marvel. (more…)

Now More Than Ever!

“The Nutcracker And The Mouse King”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
December 24, 2021 (livestream)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. J.Lord (Jansje), K.Hirst (Young Clara), F.Eimers (Louise), and L.Smith (Young Fritz), “The Nutcracker and The Mouse King” by T.van Schayk and W.Eagling, Dutch National Ballet 2021 © H.GerritsenThe Dutch National Ballet’s “Nutcracker” series was abruptly brought to an end due to – what else – “COVID-19 related restrictions.” A lockdown was once again imposed on the entire country – this time until mid-January. Nevertheless, the company decided to dance their Christmas Eve performance, which they’d intended to livestream. As artistic director Ted Brandsen welcomed the online audience from the empty auditorium, it was clear that the situation was a difficult one – emotionally and beyond. (more…)

Unparalleled

“TOER” (“Lucifer Studies” / “7th Symphony”)
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
September 25, 2021 (live stream)

by Ilona Landgraf
Copyright © 2021 by Ilona Landgraf

1. M. ten Kortenaar and T. van Poucke, “Lucifer Studies” by T. van Schayk, Dutch National Ballet 2021 © H. Gerritsen “Unparalleled.”
That’s how Ted Brandsen, artistic director of the Dutch National Ballet, described Toer van Schayk – Holland’s renowned multi-disciplinary artist. van Schayk, who celebrated his eighty-fifth birthday earlier this month, has excelled across a broad spectrum: as a dancer, choreographer, set and costume designer, painter, and sculptor. His knowledge of the history of the arts combined with his wholehearted dedication to his craft and persistent motivation to create make him one-of-a-kind in the field. Though he has been a pillar of the Dutch National Ballet since its founding, his pieces have rarely been scheduled in recent years – and so it was most welcome that this year’s 60th anniversary season opened with the double bill “TOER”. It consisted of van Schayk’s much-acclaimed “7th Symphony” (1986) and a new ballet titled “Lucifer Studies”. I watched the live-stream on September 25th; it will be repeated on October 6th, 2021. (more…)

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 (more…)

Second International Ballet Conference at Dutch National Ballet

“Positioning Ballet 2019”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands

February 16/17, 2019
by Ilona Landgraf

Copyright © 2019 by Ilona Landgraf

This February, the Dutch National Ballet welcomed international dance professionals for a two-day working meeting at the second “Positioning Ballet” conference. In 2017, at the first iteration of the event, the key topics were heritage, diversity, and identity. The 2019 meeting dealt with the relevance of ballet in the 21st century, the work culture ballet aims to embody, and the types of leadership required from artistic directors. Unlike in 2017, this year’s conference was closed for the press on the first day. As such, I missed the two keynote speeches – one by Jennifer Homans, the author of “Apollo’s Angels”, and the other by Theresa Ruth Howard, the founder and curator of MoBBallet (Memoirs of Blacks in Ballet) – and the discussions that followed. Homans spoke about internal and external threats to the arts and ballet in particular, while Howard’s speech was titled “The Deconstruction of the Anatomy of Culture and Leadership in Ballet”. (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…)

Just Dance?

“Shostakovich Trilogy”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
June 17, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

1. Ensemble, “Shostakovich Trilogy” by A.Ratmansky, Dutch National Ballet 2017 © H.Gerritsen“Ted, I don’t know what you’re doing with the company,” Alexei Ratmansky said after the premiere of his “Shostakovich Trilogy” at Dutch National Ballet, “but they get better and better.” He was right to praise the dancers. Their dedication and attention to detail – and this piece is replete with details – made the evening a thorough success.

“Shostakovich Trilogy” is the sixth piece by Ratmansky to enter the company’s repertoire and, next to “Don Quichotte”, is the second full-evening one. (more…)

First International Ballet Conference at Dutch National Ballet

“Positioning Ballet”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
February 11-12, 2017

by Ilona Landgraf
copyright © 2017 by Ilona Landgraf

To discuss fundamental topics concerning the art form of ballet, the Dutch National Ballet assembled a keenly interested, much involved, very international group of guests for a two-day conference last weekend in Amsterdam. At the Saturday session, panel discussions addressed three topics: Heritage, Diversity and Identity. Of the two Sunday morning talks, one focused on networking among companies, and the other advocated inventive entrepreneurship. There was a performance both days, each a mixed bill with works which had been made for the Dutch company (see my reviews of “Made in Amsterdam 1” and “Made in Amsterdam 2”). (more…)

Fighting for Syria’s Dance Culture

Dutch National Ballet
Amsterdam, Netherlands
December, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

1. A.Joudeh, National Ballet Academy / Dutch National Ballet © M.Schnater“Every day when I wake up I look around myself, wondering where I am” Ahmad Joudeh tells me. The Syrian dancer grew up and lived in Damascus until in October of this year he had the chance to come to Amsterdam. “The first month I couldn’t accept the situation. Electricity for 24 hours, and water, hot water, every time; there is heat and the house … it’s a very nice house.”

How did things come about? Prompted by a press release from Dutch National Ballet about Joudeh, I skyped with him a few days ago to learn more about his background. (more…)

Van Dantzig, Van Schayk, Van Manen

“Dutch Masters”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, Netherlands
September 25, 2016

by Ilona Landgraf
copyright © 2016 by Ilona Landgraf

1. Y.Gyo Choi and Q.Liu, “Episodes van Fragmenten” by T.van Schayk, Dutch National Ballet © H.Gerritsen 2016Dutch National Ballet’s latest mixed bill was all-Dutch. It assembled four pieces by three pivotal choreographers of the Netherlands: “Vier letzte Lieder” (“Four Last Songs”) by Rudi van Dantzig (1933 – 2012), the company’s artistic director for twenty years; “Adagio Hammerklavier” by Hans van Manen (born: 1932) ; plus “Episodes van Fragmenten” and “Requiem”, both by Toer van Schayk (born: 1936). This wasn’t lightweight entertainment but a program upon which to ponder. I attended the last performance, the Sunday, September 25th matinée. (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…)

Coveted, Discredited and Executed: Mata Hari – a National Celebrity

“Mata Hari”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, Netherlands
February 13, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

1. A.Tsygankova and ensemble, “Mata Hari” by T.Brandsen, Dutch National Ballet © M.HaegemanDutch National Ballet’s YouTube trailer for its new ballet “Mata Hari” reveals two pythons leisurely encircling a ballerina. No need to worry though, no reptiles appear on stage, and there is no snake dance either. Besides that wouldn’t have been appropriate anyway because Mata Hari, whose performances as bayadère during the Belle Époque in Paris made a great stir, was never a snake charmer but rather a charmer of men.

Ted Brandsen, artistic director of the Dutch company, has traced the life of the famous Dutchwoman in his recently premiered story ballet. Mata Hari was born in 1876 as Margaretha Geertruida Zelle. Her parents separated when she was fourteen. Her mother died one year later; her father married again, but Margaretha was brought up by relatives. (more…)