European Companies – Landgraf on Dance

4. August 202612. August 2026

Squandered

“Scirocco” (“Death in Venice”/“Bridge of Sighs”)
WINNDance
Teatro Malibran
Venice, Italy
August 01, 2026

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

“When if not now” (WINN) is the attitude of movers and shakers. Earlier this year, two such movers and shakers, Slava Tutukin (former soloist of the Mikhailovsky Ballet, St. Petersburg, and the Aalto Ballet, Essen) and Marijn Rademaker (choreographer and ex-principal of Stuttgart Ballet and Dutch National Ballet) founded WINNDance, a Stuttgart-based dance company for dancers forty years old and older. It attracted renowned names: People’s Artist of Russia, Diana Vishneva; the late Hans van Manen’s muse, Igone de Jongh; Hamburg Ballet’s Ivan Urban, Silvia Azzoni, and Oleksandr Ryabko; the Royal Ballet’s former principal, Mara Galeazzi; and Polina Semionova (who didn’t perform in Venice). The new enterprise includes an educational platform (WINN&Learn) and an exploratory platform for collaboration with different industries (WINNLab). Continue reading “Squandered”

29. July 20264. August 2026

A Ballet Onion

“Ma Bayadère”
Les Ballets de Monte-Carlo
Forum Ludwigsburg
Ludwigsburg, Germany
July 24, 2026

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

The pronoun Ma in Les Ballets de Monte-Carlo’s 2025 Ma Bayadère is a clever modification. It allows the ballet’s creator, artistic director Jean-Christophe Maillot, to twist and mock Petipa’s La Bayadère with impunity while also advertising his brand. Ma Bayadère is like an onion of correlating layers. Like previous productions by Maillot, it reinterprets ballet history. Last weekend, the audience of the annual Ludwigsburg Festival had the opportunity to watch the German premiere of Ma Bayadère at the Ludwigsburg Forum.

Maillot transforms Petipa’s Indian Rajah from a palace ruler to a company’s choreographer who dances the role of the Rajah in his own La Bayadère. Niki, Gamza, and Solo are dancers of his company and prepare for the roles of the temple dancer, Nikiya, the Rajah’s daughter, Gamzatti, and the warrior, Solor, respectively. Continue reading “A Ballet Onion”

24. June 20264. July 2026

Ambitious but Not Gripping

“Wonderland” (“Alice in Wonderland”/“Through the Looking-Glass”)
Hamburg Ballet
Hamburg State Opera
Hamburg, Germany
June 20, 2026

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

Compared to Alexei Ratmansky’s recent choreography, Callirhoe, for the Vienna State Ballet, his new creation, Wonderland, for the Hamburg Ballet feels empty. It combines two dance adaptations of Lewis Carroll’s most notable novels, Alice’s Adventures in Wonderland (1865) and its sequel Through the Looking-Glass (1871), each of which is presented in a one-hour act.

No doubt, the production is ambitious and elaborate. Ratmansky and his son, Vasyl, assembled different music for each of the no fewer than twenty-eight scenes, which Philip Feeney merged into a score. Erik Satie’s Three Gnossiennes, no.3, for example, lulls Alice (Olivia Betteridge) into her dream journey down the rabbit hole. Percy Grainger’s Molly on the Shore (amended by a cock-crow) gives the cackling animals at the Caucus race—among them a crab, mouse, dodo, and eaglet—a voice, Continue reading “Ambitious but Not Gripping”

4. June 20268. June 2026

Enlightening

“American Signatures”
Vienna State Ballet & Volksoper Wien
Volksoper Wien
Vienna, Austria
May 30, 2026

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

Of the four American choreographers included in the Vienna State Ballet’s mixed bill, American Signatures, only Jerome Robbins is well known in mainland Europe. Works by Pam Tanowitz, Lar Lubovitch, and Jessica Lang are rarely staged. Hence, I was glad to see this season’s last performance.

Robbin’s Interplay premiered in autumn 1945, shortly after World War II, as the second choreography in his oeuvre. Absolutely nothing in the piece hints at war. Instead, its eight dancers (four women and four men) portray unburdened, fun-loving youth with contagious optimism and self-assurance. A backdrop as gloriously blue as a summer sky intensifies the bright colors of the men’s shirts (with which they wear black, skintight pants and white socks) and the girls’ short dresses. Of course, they wear ponytails. The American way of living that they represent reminds me of Continue reading “Enlightening”

30. April 20261. June 2026

Congratulations

“Giselle”
Vienna State Ballet
Vienna State Opera
Vienna, Austria
April 26, 2026 (live stream)

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

The Vienna State Ballet’s recent live stream of Giselle was one of those precious events where everything is perfect. Choreographed for Vienna in 1993 by Elena Tchernichova, the piece is the company’s “calling card.” Additionally, perhaps due to the new artistic director, Alessandra Ferri, who passed on her experience studying with Tchernichova herself, the dancers performed especially well. “Elena Tchernichova was the person who first taught me the role of Giselle when I was just twenty-one, dancing with American Ballet Theatre alongside Mikhail Baryshnikov,” Ferri revealed. Continue reading “Congratulations”

29. April 202630. April 2026

Retrospection

“Tribute to Tetley”
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
April 25, 2026

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

In 1972, no one foresaw how fateful Glen Tetley’s (1926-2007) invitation to stage his 1965 piece, The Mythical Hunter, for Stuttgart’s junior company would be. He and the artistic director, John Cranko, got along, and Tetley was commissioned to create a new ballet for the main company. It was June 1973, and Voluntaries wasn’t yet finished when news of Cranko’s sudden death on a transatlantic flight reached Stuttgart. At the request of Marcia Haydée and Cranko’s heir, the late Dieter Graefe, Tetley subsequently took over as the company’s artistic director. But administrative work burdened him. After two seasons, he passed the reins to Haydée, relieved to renew his focus on choreography. Yet fate had something else in store. In 1986, just as Tetley agreed to become Erik Bruhn’s artistic associate at the National Ballet of Canada, Bruhn died. Tetley kept his word, took up the post, and stayed for five years. Continue reading “Retrospection”

24. April 202629. April 2026

Growing From Solid Roots

“Miniatures”
Les Ballets de Monte Carlo
Salle Garnier Opéra de Monte-Carlo
Monte-Carlo, Monaco
April 18, 2026

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

Les Ballets de Monte-Carlo’s recent premiere, Miniatures, takes up the 2004 project of the same title. Back then, Bruno Mantovani, artistic director of the festival Printemps des Arts de Monte-Carlo and director of the Ensemble Orchestral Contemporain, challenged Le Ballets de Monte-Carlo’s artistic director, Jean-Christophe Maillot, with seven contemporary compositions. Each of them represented another mindscape; none was written for dance, and Maillot was tasked with choreographies. He was successful. Mantovani threw four new compositions commissioned for this year’s festival into the ring (and also played them with the Ensemble Orchestral Contemporain during the run of the program), which former and current dancers of the company put into dance. Two of Maillot’s 2004 works complemented the ninety-minute program. Continue reading “Growing From Solid Roots”

25. March 202630. March 2026

Unrealistic

“Nureyev”
State Ballet Berlin
Deutsche Oper
Berlin, Germany
March 21, 2026

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

Last weekend, Yuri Possokhov’s and Kirill Serebrennikov’s joint production Nureyev premiered with the State Ballet Berlin. I remember well the piece’s 2017 world premiere at the Bolshoi Theatre and the troubles preceding it. In 2022, Nureyev was removed from the Bolshoi’s repertory following new Russian anti-LGBTQ+ legislation that made it illegal to promote the success and power of queer personalities, per Serebrennikov’s explanation.

Bringing this ballet back to life could have been a tribute to not only Rudolf Nureyev but also Russian ballet as well as a gift to the Bolshoi, which celebrates its 250th anniversary this year. Continue reading “Unrealistic”

27. December 20253. May 2026

Flimsy

“Marie Antoinette”
Vienna State Ballet & Volksoper Wien
Volksoper Wien
Vienna, Austria
December 20, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

Thierry Malandain’s Marie Antoinette was the Vienna State Ballet’s second premiere under Alessandra Ferri’s directorship. The one-act piece, created for the Malandain Ballet Biarritz, received its premiere in 2019 at the Palace of Versailles’s Opéra Royal. Its stage was inaugurated in 1770 during Marie Antoinette’s lavish wedding to Louis Auguste, heir to the throne.
Marie Antoinette follows the life of the then only fourteen-year-old Dauphine of France until her execution by guillotine in 1793. That’s twenty-three years of life (nineteen of which Marie Antoinette was Queen consort) to narrate. But Malandain tells little, and the ninety minutes of Marie Antoinette dragged on. Continue reading “Flimsy”

25. December 202527. December 2025

Doing the Company Proud

“Gala pour les 50 ans de l’Académie Princess Grace”
L’Académie Princesse Grace
Salle Prince Pierre, Grimaldi Forum
Monte Carlo, Monaco
December 19, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

Les Ballets de Monte-Carlo has much to celebrate this season: the company’s fortieth anniversary and the associated Academy Princess Grace’s fiftieth anniversary. The company will host a gala in July 2026, and the Academy’s gala took place last Friday. It combined a “best of” selection of works performed by the Academy during the past sixteen years. Princess Caroline of Hanover, president of Les Ballet de Monte-Carlo, attended the gala.

The legs of seven girls flew high to George Gershwin’s I’ve got Rhythm, and the joy and confidence in their faces, as well as the freedom, dash, and buoyancy of their movements, left no doubt that this would be a pleasant evening. Michel Rahn’s 2011 neoclassical choreography of almost the same title, We’ve Got Rhythm!, looked Balanchine-esque and employed a large group of male and female students. Continue reading “Doing the Company Proud”

2. December 202512. December 2025

Adventurous

“Peter Pan”
Vienna State Ballet & Volksoper Wien
Volksoper Wien
Vienna, Austria
November 22, 2025

Vienna’s Volksoper buzzed with excitement shortly before the performance of Vesna Orlić’s dance adaptation of Peter Pan. The great many children in the auditorium fell into eager silence when a rousing fanfare opened the ballet.

Orlić, leading ballet master of the Volksoper ensemble, began choreographing in 2006. For her 2019 Peter Pan, she was justifiably awarded Austria’s music theater prize. The production, which is based on James Matthew Barrie’s 1911 novel Peter and Wendy (known as Peter Pan), is witty, gripping, and great entertainment for the young and the old. I don’t know why the company’s former artistic director, Martin Schläpfer, shelved it. His successor, Alessandra Ferri, instantly decided on a revival. Continue reading “Adventurous”

26. November 20252. December 2025

Mockery

“Die Fledermaus” (“The Bat”)
Vienna State Ballet
Vienna State Opera
Vienna, Austria
November 21, 2025

For Johann Strauss II’s bicentennial, the Vienna State Ballet revived Roland Petit’s 1979 ballet adaptation of Strauss’s famous operetta, Die Fledermaus (The Bat). It’s accompanied by a “best of” selection of compositions by Johann Strauss II, his father, Johann Strauss I, and his brother, Josef. The score’s oomph and gaiety are infectious. Strauss’ music, particularly the Viennese waltzes (of which Die Fledermaus has plenty), is part of the DNA of the Vienna State Opera’s orchestra, and under Luciano Di Martino’s baton, it fizzed like champagne. Melodies rose boisterously to a tipping point, balanced provocatively on the edge, and rippled down with relish as if on a rollercoaster ride. Continue reading “Mockery”

14. November 202526. November 2025

Applied Faith

“Romeo and Juliet”
Hungarian National Ballet
Hungarian State Opera
Budapest, Hungary
November 8-9, 2025 (evening performance and matinee)

Most ballet companies have a version of Romeo and Juliet. The Hungarian National Ballet’s version, by László Seregi (1929-2012), has been on the program regularly since its premiere in 1985. A crowd puller, the opera house was sold out at both performances I watched.

Seregi’s name is well known to Hungarian ballet lovers. Initially trained as a folk dancer, he joined the opera’s corps de ballet when it was short on artists during the 1956 revolution. In 1977, he became the company’s director but, feeling burdened by his duties, suffered from an enduring artistic crisis. Continue reading “Applied Faith”

27. October 202514. November 2025

Reborn

“Callirhoe”
Vienna State Ballet
Vienna State Opera
Vienna, Austria
October 19, 2025 (live stream)

The title of Martin Schläpfer’s farewell choreography, Pathétique, summarized the condition of the Vienna State Ballet he left behind after five years as its artistic director. His successor, Alessandra Ferri, restructured the company. Some dancers left, and others joined, some of whom were returnees. Last weekend, she presented the first premiere under her reign, Alexei Ratmansky’s Callirhoe (which he choreographed for ABT in 2020 under the title Of Love and Rage). It felt like the rebirth of the company. I cannot remember when I last saw the Vienna State Ballet perform with such force. Congratulations! Continue reading “Reborn”

5. August 202525. August 2025

The Art of Embarrassing Oneself

“Stravinsky in Paris” (“Farewell in Paris”/“Le Sacre du Printemps”)
State Ballet of the Gärtnerplatztheater, Munich
Forum Ludwigsburg
Ludwigsburg, Germany
July 30, 2025

Since 1932, the city of Ludwigsburg in Baden-Württemberg has hosted an annual summer festival featuring various cultural genres. Many events are held at the Ludwigsburg Palace, a vast complex that served as the Duke of Württemberg’s residence after its completion in 1733. Munich’s State Ballet of the Gärtnerplatztheater, whose Stravinsky in Paris marked the festival’s final dance event, performed at the Ludwigsburg Forum near the palace. Last October, the Gärtnerplatztheater showed Troja (“Troy”) by the Greek-born Andonis Foniadakis on its tour to Ludwigsburg. Its display of sexist abuse was annoying. As the press praised Stravinsky in Paris as a “confetti rocket,” I was curious about its “sophisticated dance and music.”
Stravinsky in Paris, a co-production of the Gärtenerplatztheater and the Ludwigsburg Festival, recently premiered in Munich. The double bill combines Jeroen Verbruggen’s Farewell in Paris and Marco Goecke’s Le Sacre du Printemps.
The nonchalant steps of the straw-hatted men who opened Farewell to Paris seemed inspired by a blend of Broadway style and Parisian savoir vivre. In their pale pink of their blazers and pants, they seemed to belong in a little girl’s dream (costumes by Emmanuel Maria). Continue reading “The Art of Embarrassing Oneself”