Others / Europe

As It Should Be

February 1, 2025

“Peter and the Wolf”
Jugendkompanie of the Ballet Academy of the Vienna State Opera
NEST (Künstlerhaus Vienna)
Vienna, Austria
January 26, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

Last December, the Vienna State Opera opened a new venue for its young audience in a side wing of the Künstlerhaus, around 550 yards from the Vienna State Opera. The venue was previously a home for the city’s independent companies but was rebuilt thanks to private funding and a grant from Austria’s Ministry of Education, Science, and Research. The theater’s steep auditorium ensures visibility of the stage for even the shortest audience members. Although I was told that its name, NEST, is an abbreviation of “New State Opera,” it reminded me of a bird’s nest.

Despite sunny early spring weather, last Sunday’s matinee was well attended by both children and grown-ups to see the premiere of Peter and the Wolf, (more…)

Aerial Ballet

January 16, 2025

“Möbius”
Compagnie XY
Forum Ludwigsburg
Ludwigsburg, Germany
January 10, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

The northern French company Compagnie XY is a group of forty acrobats who specialize in lifts. Nineteen of them perform in Möbius, the troupe’s fifth and latest piece created in collaboration with the French choreographer and dancer Rachid Ouramdane. Last weekend, it toured at the Forum Ludwigsburg.
Möbius opened sedately and silently. One by one, the barefooted artists walked on either side of the auditorium toward a stage equipped only with gray-greenish flooring. They stood scattered across it, motionless, gazing sternly at the audience. The first percussive beats set them in motion. They stretched their arms sideways like birds ready for take-off, and a blink of an eye later, the first bodies soared in the air. Pushed by multiple interlocked arms that served as a living trampoline, they flew from one group to the other, often adding extra thrilling saltos and other aerial acrobatics. (more…)

Lucky He

December 31, 2024

“A Christmas Carol”
Finnish National Ballet
Opera House
Helsinki, Finland
December 2024 (video)

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

Last Christmas, I missed the Finnish National Ballet’s new A Christmas Carol on arte.tv. Luckily, the channel rescheduled the recording for this December. David Bintley, the Birmingham Royal Ballet’s former director, choreographed the two-act production and was the first to adapt Charles Dickens’s novella about the chronically ill-tempered miser, Scrooge, for the ballet stage.

In Act I, Bintley introduces the old merchant, Scrooge (Johan Pakkanen), who hates people in general and Christmas in particular, along with his antitheses, Fred (Jun Xia) and Bob Cratchit (Frans Valkama). Both are family men but represent different social classes. Fred, Scrooge’s nephew, is well-off and in the most buoyant of Christmas moods when he invites his uncle for Christmas (he’s, of course, immediately rebuffed). Bob, Scrooge’s conscientious but underpaid clerk, feeds his family of six on a limited budget. He, too, is happy and generous by nature but worries about the serious illness of his youngest son, Tiny Tim (Janne Kouhia). (more…)

Choreographer Nominees for the Prix Benois 2024

June 14, 2024 0 Comments

Prix Benois de la Danse
Martin Chaix, Marco Goecke, Jo Kanamori, Yuri Possokhov, and Maxim Sevagin
Bolshoi Theatre (Historic Stage)
Moscow, Russia
June 2024

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

On June 25th, the Bolshoi Theatre will host the annual Prix Benois charity gala and awards ceremony. It will be followed by a gala concert on June 26th during which laureates of previous years will perform. Prizes will be awarded to the best choreographer and the best female and male dancers. Below is an overview of the five nominated choreographers in alphabetical order. A report on the nominated dancers will follow. (more…)

Half-Baked

March 21, 2024

“Faust”
Maribor Slovene National Theatre
Forum Ludwigsburg
Ludwigsburg, Germany
March 16, 2024

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

Goethe’s Faust: The Tragedy’s First Part wasn’t on Edward Clug’s agenda when choreographing a new piece for the Zurich Ballet in 2018. He wanted to tackle Bulgakov’s Master and Margarita, but upon finding out that Zurich’s audience wasn’t familiar with the so-called “Soviet Faust,” he turned to his German representative. After its Zurich premiere, Clug’s Faust entered the repertory of other ballet companies, among them Clug’s home company in Maribor, Slovenia. Last weekend, this company performed the piece on their tour to Ludwigsburg.

Fate decided that Clug would indeed later adapt Master and Margarita for the ballet stage, but it was the Bolshoi Theatre in Moscow where it premiered in 2021. Faust is a journeyman’s piece whereas Master and Margarita by comparison counts as a masterpiece. Faust assembles plenty of dance theater with group sequences, some of which are trenchant, while others are less convincing. At times, its acrid wit is close to horror. Although the ingredients are fine overall, they didn’t merge as a whole. (more…)

An Empty Packaging

January 16, 2024 0 Comments

“Ballet du Grand Théâtre de Genève” (“Noetic”/“VÏA”)
Ballet du Grand Théâtre de Genève
Forum Ludwigsburg
Ludwigsburg, Germany
January 12, 2024

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

Nothing in last weekend’s tour of the Ballet du Grand Théâtre de Genève reflected the name of the company. It did not present ballet, and the two pieces that they performed did not represent in any way the significance that the theater claims. The first – Noetic (2014) – was choreographed by Sidi Larbi Cherkaoui, former artistic director of the Royal Ballet of Flanders, who has held the same position at the Grand Théâtre de Genève, Switzerland, since 2022. VÏA is a 2023 creation, which the Morocco-born Fouad Boussouf choreographed for the company.

Noetic (from the Greek noēsis, meaning inner wisdom, direct knowing, intuition, or implicit understanding) opened promisingly as Shogo Yoshii silently stepped behind his Japanese Taiko drums and hammered out a forceful staccato. It called the dancers – ten men and ten women, one of whom was clad like the men – into the light-gray box that the stage had been turned into. As they assembled in groups of three, standing motionless back to back, they reminded me of the triple formations of German federal police when securing the train station against traveling football fans. Noetic’s dancers weren’t uniformed though. (more…)

An Own Goal

October 20, 2023 0 Comments

Wiebke Hüster / Frankfurter Allgemeine Zeitung (FAZ)

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

Some days ago, an article by Wiebke Hüster, leading dance critic of Germany’s Frankfurter Allgemeine Zeitung, caught my attention (FAZ, October 07, 2023). Hüster wrote on the upcoming premiere of “Last Work” at the Hessian State Ballet. “Last Work” is by the Israeli Ohad Naharin – and he was the one Hüster objected. (more…)

Prix Benois Laureates 2023

June 21, 2023

Prix Benois de la Danse
Bolshoi Theatre (Historic Stage)
Moscow, Russia
June 21, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

Yesterday evening, this year’s laureates of the Prix Benois were announced on the Historic Stage of the Bolshoi Theatre.

Qiu Yunting (National Ballet of China) and Misun Kang (Universal Ballet, South Korea) share the prize for the best female dancer. Yunting was nominated for her performance of Tatiana in John Cranko’s “Onegin”, Kang for her interpretation of the Widow in Bingxian Liu’s “Mirinaegil”. Hugo Marchand (Paris Opera Ballet) was awarded the prize for the best male dancer. He didn’t attend the ceremony. Vyacheslav Samodurov won the prize for the best choreography for “Dancemania” – a creation for the Bolshoi Ballet.

Mikhail Lavrovsky, People’s Artist of the USSR, was honored with the Lifetime Achievement Award. (more…)

Dancer Nominees for the Prix Benois 2023

June 18, 2023

Prix Benois de la Danse
Bolshoi Theatre
Moscow, Russia
June 17, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

Eleven dancers from five nations are nominated for this year’s Prix Benois. Of the six women and five men, one dances in South-Korea, four in Russia, and two each in China, France, and Kazakhstan. This Tuesday the laureates will be announced in an award ceremony at the Bolshoi Theatre, Moscow.

Here’s a short overview on the nominees:
Malika Elchibayeva, leading soloist of the Kazakh National Opera and Ballet Theatre after Abay in Almaty, Kazakhstan, is nominated for her performance as Queen Shamkhat in “Frescoes” by Zaurbek Raibayev. Gulzhan Tutkibayeva, artistic director of the company, describes Elchibayeva as having “an outstanding appearance, beautiful texture, a professional school, and acting skills. For 5 years in the theater, Elchibayeva has performed almost all the leading parts of the ballet repertoire. In the role of the Queen Shamkhat she is organic, expressive, and managed to fully convey the idea of the ballet master Raibaev.” (more…)

Choreographer Nominees for the Prix Benois 2023

June 16, 2023

Prix Benois de la Danse
Li Jun / Maša Kolar / Wayne McGregor / Vyacheslav Samodurov
Bolshoi Theatre
Moscow, Russia
June 15, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

On June 20th, the Bolshoi Theatre hosts the annual Prix Benois ceremony, followed by a gala on June 21st. Prizes will be awarded for the best choreographer, and the best female and male dancers. Mikhail Lavrovsky will be honored for his lifetime achievement.

Four choreographers are competing this year:
Li Jun, dancer-choreographer of the National Ballet of China, is nominated for “Where to Pour All My Love?”, a twenty-minute piece set to music by Zhao Jiping. It premiered at the company’s 12^th ballet workshop in April 2022. Jun’s source of inspiration was the Chinese multi-episode TV drama “Da Zhai Men” (Grand Mansion Gate) which traces the history of a Beijing-based family from the late Qing Dynasty (1644 – 1911) to World War II. “Where to Pour All My Love?” focuses on Bai Yuting – one member of this family – whose love for Peking Opera gets out of control. (more…)

A Fake Cosmos

February 7, 2023

“Hakanaï”
Adrien M & Claire B
Festspielhaus Baden-Baden
Baden-Baden, Germany
February 04, 2023

The survival of theaters and opera houses depends upon the survival of the audience. In an effort to lure the younger generation into their houses, the Festspielhaus Baden-Baden launched the Takeover Festival last year. Its three days of programming include concerts, dance, and workshops, as well as fun after-parties and a relaxed private lounge. Last weekend, the festival launched into its second round. I watched “Hakanaï” (Japanese for impermanent, fragile, evanescent, transitory, fleeting), a dance performance by the French-based troupe Adrien M & Claire B (short for Adrien Mondot and Claire Bardainne) that fuses movement with digital arts. The artistic team behind “Hakanaï” includes – among others – a computer designer, two sound designers, a light designer, two set designers, digital interpreters, sound interpreters – and one dancer: Akiko Kajihara. (more…)

Encompassing

December 8, 2022

“Romeo and Juliet”
Croatian National Theatre Ivan pl. Zajc Rijeka
Forum Ludwigsburg
Ludwigsburg, Germany
December 03, 2022

This season, the Forum Ludwigsburg has attracted an audience by offering an alluring variety of dance. Two weeks ago, it welcomed the Maribor Slovene National Theatre. This weekend, the Croatian National Theatre presented Jiří Bubeníček’s “Romeo and Juliet”, which premiered this April at the company’s home base in Rijeka.

While the quarrelsome Capulets and Montagues vociferously bumped heads in Verona’s marketplace, I thought back to a performance in which Bubeníček himself danced Romeo. Back in 2014, the Belgian Stijn Celis choreographed “Romeo and Juliet” for the Semperoper Ballet, tailoring the leading role to Bubeníček. The ballet was meant to be a feature for the company’s most prominent male dancer, but turned out to be disappointingly banal. Michele Pastorini’s performance as the title’s hero of Ludwigsburg felt like a depiction of how Bubeníček might have wished to dance the role himself. (more…)

Refreshing

November 16, 2022

“Peer Gynt”
Maribor Slovene National Theatre
Forum Ludwigsburg
Ludwigsburg, Germany
November 11, 2022

Edward Clug, the artistic director of the Slovene National Theatre’s ballet company, is currently creating a new “Nutcracker” for the Stuttgart Ballet – but, in the meantime, his own Maribor company has joined him in nearby Ludwigsburg. This weekend, they toured the Ludwigsburg Forum with Clug’s 2015 take on Henrik Ibsen’s “Peer Gynt”.

Ibsen’s happy-go-lucky peasant’s son Peer is quite the ambiguous figure. It’s easy to dismiss him as a narcissistic slacker and gascon. He never misses a chance to womanize or to seek trouble as he gads about Norway’s mountains. The splendid future that he imagines in his fantasy fails to become a reality. The wealth that he gains abroad does not make him lucky at home. His dream of becoming a crowned king (or emperor?) materializes, but only as an inmate in a Cairo madhouse. Old and feeble, he returns home in an effort to save his own soul. Only in the very last moment does he realize that he would have been much better off staying with his early love, Solveig. But why are we sympathetic to Peer rather than disliking him? (more…)

Unwieldy

October 12, 2022

“Cri de cœur”
Paris Opera Ballet
Palais Garnier
Paris, France
October 01, 2022 (matinee)

Alan Lucien Øyen: not a particularly familiar name to dance audiences outside of his home country of Norway – but his new creation “Cri de cœur” (“Cry of the Heart”) for the Paris Opera Ballet will soon change that.
Øyen grew up in Bergen, where he was introduced to the theater at the young age of seven. He received his dance training at the Oslo National Academy of the Arts and subsequently joined contemporary ensembles in Norway and Cologne. In 2004, Øyen turned to choreography; two years later, he founded Winter Guests, an interdisciplinary touring company. I missed his 2018 “Bon Voyage, Bob” at the Tanztheather Wuppertal and was curious to finally learn about his work in Paris.

To start, dance is not the most important ingredient of “Cri de cœur”. Acting, singing, and film are all featured – and, in particular, there is a great deal of spoken text in French written by Øyen and Andrew Wale. That’s a major difference from the dance theater of Pina Bausch, in whose footsteps Øyen is said to follow. (more…)

Life Support

June 22, 2022

“common ground[s]” / “Le Sacre du printemps”
École des Sables / Pina Bausch Foundation / Sadler’s Wells
Forum Ludwigsburg
Ludwigsburg, Germany
June 17, 2022

Since Pina Bausch’s death thirteen years ago, the Pina Bausch Foundation – chaired by Bausch’s son Salomon – has worked hard to keep her oeuvre alive. Some attempts were successful (I’m thinking of the Bavarian State Ballet’s “Für die Kinder von gestern, heute und morgen”, for example), while others failed. In a recent project, the Foundation joined forces with the École des Sables, a dance training center in Senegal, and Sadler’s Wells. The result was a double bill comprised of the new pas de deux “common ground[s]” and Bausch’s 1975 work “Le Sacre du printemps” that premiered in Senegal before setting off for a tour through Europe. I saw the first of three total performances at the Ludwigsburg Castle Festival. (more…)