Monthly Archive: January 2015

Bliss and Grief of Love

January 15, 2015

“Onegin”
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
January 10, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

1. A.Amatriain and F.Vogel, “Onegin” by J.Cranko, Stuttgart Ballet © Stuttgart Ballet 2015John Cranko’s “Onegin” is not only in the repertory of companies all over the world but for nearly fifty years has been revived time after time by its company of origin, the Stuttgart Ballet. The piece’s charisma has not faded a bit. Jürgen Rose’s set and the costumes are still drop dead gorgeous. In short, “Onegin” is a pearl of the repertory and a darling of the audience. In Stuttgart ballet connoisseurs flock into the opera to compare various casts or to witness a role debut. Just recently principal dancers of the Bolshoi Ballet guesting in “Onegin” caused a great rush. Some days later the opera house was again packed as Friedemann Vogel, the company’s well-traveled premier dancer, danced for the first time as Onegin on his home stage. He had already made his role debut in Bangkok during the troupe’s tour to Asia last fall. Many times he had portrayed the emotional poet Lenski but, having watched the piece since childhood again and again, Vogel was very familiar with the role of Onegin. This time the other central characters were danced by Alicia Amatriain (Tatiana), Elisa Badenes (Olga), Daniel Camargo (Lenski) and Roland Havlica (Prince Gremin) – truly a dream cast!

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Old Friends

January 8, 2015

“Hommage à MacMillan”
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
January 03, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

1. S.J.Kang, “Requiem” by K.MacMillan, Stuttgart Ballet, © U.Beuttenmüller 2015Kenneth MacMillan (1929 -1992) would have celebrated his 85th birthday in December 2014. Stuttgart Ballet used this date as an opportunity to bring its close connection to the choreographer to mind. The double bill “Hommage à MacMillan” comprises “Song of the Earth” and “Requiem”, ballets with a special genesis and both created for the Stuttgart company. I saw the last performance of the first run. A second will take place in April.
In 1963 MacMillan had already created “Las Hermanas” for Stuttgart Ballet. Back then John Cranko had been at the helm of the company for two years. In 1965 the Royal Opera House refused to give MacMillan, who was its resident choreographer, permission to use Gustav Mahler’s “The Song of the Earth” for a new piece. Mahler’s music was considered untouchable, definitely not made for dancing. Besides no one had ever dared airing such an unreasonable idea. Fortunately times have changed. John Neumeier, for example, choreographed pieces to all of Mahler’s symphonies, except the 2nd and 8th symphony. Currently he is preparing a new work to “The Song of the Earth” for the Paris Opera Ballet. In any case MacMillan found the doors opened by Cranko in the mid 60s. Both had met as teenagers when studying at the Sadler’s Wells Ballet School and became friends. Cranko was the one who encouraged MacMillan to start choreographing because the Scot, who was two years younger, was heavily afflicted by stage fright when performing. (more…)

The Land Where the Lemon Trees Blossom

January 6, 2015

“Napoli”
Hamburg Ballet – John Neumeier
Hamburg State Opera
Hamburg, Germany
December 31, 2014

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

1. L.Cazzaniga, A.Riabko, S.Azzoni, K.Tselikov, M.Jubete and ensemble, “Napoli” by A.Bournonville and with new choreography by L.Riggins, Hamburg Ballet © H.Badekow 2014Like the Bavarian State Ballet’s recent triumph with “Paquita”, John Neumeier’s Hamburg Ballet revived an old classic, August Bournonville’s “Napoli”, a buoyant, romantic love story with dramatic sprinklings, transferring the southern Italian joy of life to the Elbe River.
Premiering in 1842 in Copenhagen, “Napoli” is a staple of the Royal Danish Ballet’s repertory, so long as Nikolai Hübbe doesn’t continue replacing Bournonville’s legacy with his own creations, as happened with “La Sylphide” this autumn. Similar to other ballets of the romantic period, the libretto of “Napoli” is lightweight. Bournonville’s source of inspiration was a journey to southern Italy. Drawing on myriad impressions – from the quarreling fish traders to different types of street merchants, flirting youth, ragged beggars and monks strolling around – he wrote the libretto on his way back home, more precisely in the stagecoach between Paris and Dunkirk in northern France. Even an episode during an excursion to the fishing village Baiae was worked in: until 1848 Bournonville, still actively dancing in Copenhagen’s ensemble and also artistic director and senior choreographer, surprised his fellow travelers when he himself suddenly replaced a dancer of a local dance group in a lightning tarantella. (more…)