The Australian Ballet

Work Ethics

December 27, 2023 0 Comments

The Australian Ballet
Southbank/Victoria, Australia
December 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

It’s no secret that the country of Germany is in descent. Of the various aspects that add to the misery, one is that work has lost its intrinsic value in many classes of German society. Matters are different in the ballet world though. The Australian Ballet, for example, delivered high quality throughout the year. Earlier this December, the company’s artistic director, David Hallberg, honored the achievements of his dancers. In a sweeping series of promotions, sixteen dancers climbed the ranks. Their joy was infectious. Each promotee knows that a higher rank bestows higher expectations, and each one seemed to wholeheartedly embrace the new challenge.

The newest coryphées are Sara Andrlon, Saranja Crowe, Hugo Dumapit, Adam Elmes, Evie Ferris, Lilla Harvey, Larissa Kiyoto-Ward, and Montana Rubin.

(more…)

The Full Package

November 27, 2023 0 Comments

“Marguerite and Armand”/“The Dream”
The Australian Ballet
Sydney Opera House/Joan Sutherland Theatre
Sydney, Australia
November 21, 2023 (livestream)

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

The last new program of the Australian Ballet’s 60^th anniversary season was an all-in-one package. Its two Ashton ballets – “Marguerite and Armand” (1963) and “The Dream” (1964) – showcased the dancers’ prowess and satisfied the audience’s appetite for both the tragic and the comic while at the same time celebrating the company’s historic connection to the Royal Ballet. This connection has been of the most pleasant nature as became evident in the interview that the livestream’s presenter, Catherine Murphy, and the artistic director, David Hallberg, conducted with Berry Wordsworth. Wordsworth, the Royal Ballet’s former music director, joined the Opera Australia Orchestra to conduct the Ashton program. As he recalled Ashton’s creative passion and the friendship between Peggy van Praagh, the Australian Ballet’s founder, and her London counterpart, the Royal Ballet’s Dame Ninette de Valois, one could sense that the buoyant spirit of the good old days is still vibrant. Furthermore, warmth and good humor dominated the add-on program and included additional backstage interviews and videos. (more…)

Refurbished

October 5, 2023 0 Comments

“Swan Lake”
The Australian Ballet
Arts Centre Melbourne / State Theatre
Melbourne, Australia
September 29, 2023 (livestream)

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

The sixtieth anniversary season of the Australian Ballet called for the crème de la crème of classical ballet: “Swan Lake”. Of the several versions kept in the company’s archive, artistic director David Hallberg decided to reinvent Anne Woolliams’s 1977 rendition. Hallberg, for whom this project marked his debut as a director, commissioned a fresh look, but kept 95% of Woolliams’s choreography. The remaining parts were contributed not by himself (“I’m definitely not a choreographer”, he stated during last Friday’s livestream), but by the Australian choreographer Lucas Jervies.

Woolliams’s “Swan Lake” opens with a prologue, in which the malicious von Rothbart casts a spell over captivated maidens, transforming them into obedient swans. The following four acts are in line with the traditional libretto, but include some noteworthy details. At his birthday party, the prince doesn’t meet his potential fiancées face-to-face, but is confronted with a political choice between the crowns presented by ambassadors from Spain, Hungary, and Italy. The related princesses only attend the ball in Act III, where they lead their country’s delegation of folk dancers. (more…)

Fissures

July 10, 2023

“Jewels”
The Australian Ballet
Arts Centre Melbourne / State Theatre
Melbourne, Australia
July 06, 2023 (livestream)

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

David Hallberg, artistic director of the Australian Ballet, has a knack for presenting his company in a complimentary light. Of the many troupes which streamed their performances live during the pandemic, only the Australians have maintained and enhanced this practice. The most recent livestream proved their ability to produce a compelling digital program. Livinia Nixon, who gave her debut as presenter alongside the ever-smiling Hallberg, kept me glued to the screen during the intervals, offering a steady flow of interesting interviews and behind-the-scenes clips. Each of them revealed the warmth and camaraderie within the company that has so often been mentioned in previous livestreams.

Celebrating their sixtieth anniversary this season, the company presented a sparkling new acquisition – Balanchine’s “Jewels” (1967) complete with Barbara Karinska’s sumptuous original costumes. One year of painstaking handicraft was spent on the latter’s recreation, requiring many volunteering hands and two months to sew and glue more than 29.500 beads, crystals, and pearls to dresses, tops, and tiaras. (more…)

Cheers!

March 30, 2023

“Don Quixote”
The Australian Ballet
Arts Centre Melbourne / State Theatre
Melbourne, Australia
March 24, 2023 (livestream)

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

Good news from the Australian Ballet: livestreams of performances will be resumed! The first of these – Nureyev’s version of Petipa’s “Don Quixote” – was broadcast this weekend. The company celebrates its sixtieth anniversary this season, and perhaps that is why artistic director David Hallberg chose a special opener – special because this “Don Quixote” harks back to the one that Nureyev, together with Robert Helpmann (then artistic director of the Australian Ballet) adapted for the screen in 1973. It stars the Australian Ballet, with Helpmann in the title role and Nureyev as Basilio. Needless to say, the film became a hit. Hallberg decided to re-adapt the hit film for the theater stage with piercing exactitude, replicating its aesthetic as closely as possible. That’s why Richard Roberts’s set design (including Don Quixote’s knightly home, the port of Barcelona, some windmills in Castilla-La Mancha, Dulcinea’s garden, and a smoke-filled tavern) was based on Barry Kay’s original film set and why Kay’s gorgeous costumes were painstakingly reconstructed. I especially admired the traditional Spanish garb of the corps at the tavern. (more…)

Galvanizing

October 26, 2022

“Romeo and Juliet”
The Australian Ballet
Arts Centre Melbourne / State Theatre
Melbourne, Australia
October 18, 2022 (livestream)

by Ilona Landgraf
Copyright © 2022 by Ilona Landgraf

Each of the three livestreams I’ve watched from the Australian Ballet so far have proven that the company’s standards are high. The most recent – John Cranko’s “Romeo and Juliet” – left me flabbergasted. I’ve seen Cranko’s 1962 version a few times, since Stuttgart Ballet (where the largest part of his oeuvre was created) regularly revives the star-crossed lovers’ tragedy. It’s a pillar of their repertoire. But compared to the work that the Australian Ballet delivered in Melbourne, Stuttgart’s performances pale. From the first moment that the first maid set foot in Verona’s marketplace, it was clear that the Australian Ballet was performing on an entirely different level.

Artistic director David Hallberg, who co-hosted the livestream together with Catherine Murphy, was correct in noting that “we look good on screens all over the world tonight”. Dance, set, costumes, lighting – everything was perfect. (more…)

“The Cherry on a Sundae”

June 28, 2022

“Harlequinade”
The Australian Ballet
Arts Center Melbourne / State Theatre
Melbourne, Australia
June 24, 2022 (livestream)

“The cherry on a sundae” – that’s what the Australian Ballet’s artistic director David Hallberg called “Harlequinade”, the latest (and this season’s last) addition to the company’s repertoire. “Harlequinade” – a popular Petipa-ballet in imperial Russia – premiered in 1900 in St. Petersburg, and was last performed in its original form at the end of the 1920s. Working from the notations and numerous other documents archived in the Nikolai Sergeyev collection at Harvard University, Alexei Ratmansky and his wife Tatiana reconstructed the choreography just as he has done with previous Petipa classics. American Ballet Theatre (ABT) and the Australian Ballet collaborated on the revival. Four years after its premiere at Costa Mesa, California, the two-act commedia dell’arte romp finally hit Melbourne’s stage. I saw the livestream presented on June 24th by Catherine Murphy and Hallberg. (more…)

An Asset

June 18, 2022

“Kunstkamer”
The Australian Ballet
Arts Center Melbourne / State Theatre
Melbourne, Australia
June 10, 2022 (livestream)

Australian audiences aren’t particularly familiar with the Nederlands Dans Theater (NDT). Australian Ballet artistic director David Hallberg scored a coup by adding to their repertory “Kunstkamer” – a dance theater piece created in 2019 on the occasion of NDT’s 60^th anniversary and as yet never danced by another company. (The Australian Ballet celebrates its 60^th anniversary this year.) And Hallberg was not only able to import a collaboration between four of NDT’s defining choreographers (Paul Lightfoot and Sol León – until 2020 the company’s figureheads – as well as associate choreographers Crystal Pite and Marco Goecke), but also used this as a chance to interrupt his retirement from the stage and participate in the piece himself. Putting aside the director’s scepter to take on a role that was weird rather than flattering required courage – which Hallberg mustered. To me, it seems there was no better way to deepen his connection to the dancers. (more…)

Brilliant!

March 14, 2022

“Anna Karenina”
The Australian Ballet
Arts Center Melbourne / State Theatre
Melbourne, Australia
March 08, 2022 (livestream)

While western cancel culture appears to be targeting all things Russian, the Australian Ballet points the way towards cooperation. This February, a ballet about an icon of Russian culture – Tolstoy’s epic novel “Anna Karenina” – premiered in Melbourne. Co-produced with the Joffrey Ballet and decorated with the 2021 Prix Benois for best choreography, it was a prime example of the uniting power of the arts. Its US-based choreographer Yuri Possokhov was born in Luhansk / Ukraine; the composer Ilya Demutsky, a frequent collaborator of Possokhov, is Russian. Valeriy Pecheykin, an Uzbeg working at Moscow’s Gogol Center, wrote the libretto. Set and costumes are by the British designer Tom Pye. Finn Ross, also a Brit, oversaw the video projections, and US-born David Finn created the lighting. (more…)