Companies

Much story, little dance

“Édith Piaf – La vie en rose”
Finnish National Ballet
Opera House
Helsinki, Finland
March 15, 2025 (video)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

 1. T.Myllymäki (Édith Piaf), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © J.Lundqvist 2. T.Myllymäki, L.Haakana, H.J.Kang, and S.Kunnari (Édith Piaf); “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © J.Lundqvist Two weeks after its world premiere, the Finnish National Ballet streamed its latest piece, Édith Piaf – La vie en rose, live on the online platform Stage 24. Sami Sykkö presented the live stream and conducted several interviews during the break. I was able to watch a recording a few days later.

Javier Torres, the company’s artistic director, assembled an entirely Finnish artistic team for Édith Piaf – La vie en rose. It is choreographer Reija Wäre’s (whose previous work stretches various genres, including opera and street dance, TV shows, and sports events) first full-length production. Composer Jukka Nykänen also has a reputation as a pianist. Jani Uljas designed the set; Erika Turunen, the costumes.

4. S.Kunnari (Édith Piaf) and ensemble, “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © R.Oksaharju 3. T.Myllymäki and S.Kunnari (Édith Piaf), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © J.Lundqvist The libretto traces the biography of Édith Piaf as if reminisced by herself. Act I summarizes her life before becoming famous, and Act II her stardom and subsequent decline. Four dancers of different ages depict Piaf. Tiina Myllymäki was present in most scenes as the aged Édith who reflects upon her life, observing and interacting with the goings-on and highlighting certain contexts (the importance of a golden cross pendant, young Édith received when ill, for example). Stooped, her frizzy hair slightly unkempt, and wearing threadbare stockings, she bore a striking resemblance to the real Piaf. Sometimes, especially when smiling cunningly, she reminded me of a well-meaning witch, but she often looked helpless.
5. F.Valkama (Louis Alphonse Gassion), H.J.Kang (Édith Piaf), Y.Masumoto (Mômone); “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © J.Lundqvist 6. V.Keller (Rose Seller), H.J.Kang (Édith Piaf), and ensemble; “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © J.LundqvistSeela Kunnari portrayed Édith as a child growing up at a bordello run by her grandmother (Sara Saviola). A plain gray, white-collard dress underscored her juvenile naivety and contrasted with the scanty satin clothing of the whores. When the girl was fascinated by a toy carousel with ballerinas given to her as a present, I presumed that Wäre had turned Piaf’s career into a dancer’s, but the melodies and musical motifs of Piaf’s songs interwoven into the score confirmed her career as a chanteuse. But first, young Édith fell seriously ill, lost her eyesight, and miraculously recovered thanks only to Saint Therese of Lisieux, to whose icon Myllymäki presented a red rose on stage.
8. A.Kilpinen (Louis Dupont) and H.J.Kang (Édith Piaf), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © R.Oksaharju 7. A.Kilpinen (Louis Dupont), H.J.Kang (Édith Piaf), and Y.Masumoto (Mômone); “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © R.Oksaharju The convalesced Édith grew into a teenager (portrayed by Hye Ji Kang) and was soon fetched by her father, Louis Alphonse Gassion (Frans Valkama), a street acrobat. Watching both on tour reminded me of Zampano and Gelsomina in La Strada, except that the Cirque Gassion seemed more reputable.
Candy-colored houses lined the streets of the post-war French city where Édith performed with her father. There, she met her lifetime companion Mômone (Yuka Masumoto)—a savvy, easy-going woman who all too easily took to the bottle—and Louis Dupont (Atte 9. H.J.Kang (Édith Piaf), Y.Masumoto (Mômone), and ensemble; “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © R.Oksaharju Kilpinen), who would become the father of her child. The couple’s domestic happiness crumbled when Édith joined the female workforce of a factory (whose workers sat at tables mounted to a conveyor belt that ran and ran and continued to run in the background) and shattered even before their baby daughter died.
Piaf’s life took a decisive turn when she met the seasoned nightclub owner Louis Leplée (Samuli Poutanen). A flash of light indicated that Piaf believed their encounter to be divine providence. Under Leplée’s and his staff’s wings, Piaf transformed into a self-assured singer (portrayed by Heidi Salminen) in the plain black dress that became her trademark apparel. Ready to make it to the top and full of anticipation, she opened a wide, white door (that presumably symbolized a gate into the wide world) as if it was the twenty-fourth door of an Advent calendar. To Piaf’s delight, red roses poured from behind it. The metaphor was so clumsily explicit that it took the steam out of the story as it headed for its climax.

In Act II, Piaf basked in the public’s admiration, enjoyed various lovers, and maneuvered the manipulations of people in power. But her drinking habits and demeanor got simultaneously out of control. Quite tipsy, she rolled on top of a piano at whose keys Shunsuke Arimizu played one of her songs. She begged him for more booze and persistently teased him until Arimizu—like other men—lay at her feet.
11. H.Salminen (Édith Piaf), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © R.Oksaharju10. T.Myllymäki (Édith Piaf), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © R.Oksaharju “AMERICA,” displayed in huge, light letters on the floor, announced Piaf’s first tour across the pond. Although she looked like a country woman at a loss in high society’s glamorous circles, she immediately received adulation. Her romance with the popular boxer Marcel Cerdan (Johan Pakkanen) caused much gossip. Although their romantic pas de deux was modest, the black-and-white archive film clips of the singing Piaf and the boxing Cerdan that flickered on numerous TV screens on the backdrop represented the buzz the couple created. On the same screens, the plane in which Cerdan died crashed. The spotlight that hit Piaf’s face afterward was cold and bright, and she suddenly looked aged and furrowed.
12. J.Xia (Lover) and L.Haakana (Édith Piaf), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © R.Oksaharju 13. X.He (German officer), L.Haakana (Édith Piaf), F.Modan (German officer), and ensemble; “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © J.Lundqvist Myllymäki played Piaf in her memories of her last chapter. Grown old and unhinged, she ran after shadows, hopped into the arms of her doctor (Evaldas Bielinis) like an anxious child, and sought help from some dubious clairvoyant (Kailey Kaba). The red wine she uncontrollably consumed stained her dress. For her last concert, she stood on a podium with corner posts that likened it to a bier. While the real Piaf sang La vie en rose for the first time, the mesmerized crowd lifted the younger Piaf (Heidi Salminen) from their midst like an icon. The old Piaf (Tiina Myllymäki) sat down and became one with the shadow.

15. L.Haakana (Édith Piaf) and E.Raušerová (Celebrity), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © J.Lundqvist 14. A.Kokkonen (Pianist) and H.Salminen (Édith Piaf), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © R.Oksaharju Piaf’s life was colorful and Wäre had some fine ideas to squeeze its major events into two acts. I liked, for example, how Piaf’s shadows gradually adopted a life of their own in the opening scene and how the four dancers portraying Piaf replaced one another on stage. Wäre knows when and how to create effects, even if some lack subtlety. I mainly missed expressive dances, a substantial palette of styles, and, most importantly, movements that reveal the inner mechanics of the protagonists. The soldiers visiting the bordello, for example, had not the least itch for the whores, and the whores played sexy but weren’t.
16. J.Pakkanen (Marcel Cerdan) and L.Haakana (Édith Piaf), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © J.Lundqvist 17. T.Myllymäki (Édith Piaf), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © R.Oksaharju All four of Piaf`s solos mourning the baby’s death lacked emotional power, and when Piaf was seriously enamored, she and her lover walked hand in hand toward the audience, as if their emotions were too big to be expressed in dance. The corps often danced basic choreography that didn’t challenge them.

Perhaps Édith Piaf – La vie en rose lacked depth because the remembering perspective from which it was told acted as a milk glass pane that softens past emotions. That would also explain why the music (played by the Finnish National Opera orchestra under the baton of Aliisa Neige Barrière) was a pleasing accompaniment tinged with melancholy.
18. T.Myllymäki (Édith Piaf), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © J.Lundqvist

Links: Website of the Finnish National Ballet
Édith Piaf – La vie en rose” – Trailer
Édith Piaf – La vie en rose” – comments by the artistic team
Photos: (Some photos show a different cast.)
1. Tiina Myllymäki (Édith Piaf), Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Jonas Lundqvist
2. Tiina Myllymäki, Linda Haakana, Hye Ji Kang, and Seela Kunnari (Édith Piaf); “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Jonas Lundqvist
3. Tiina Myllymäki and Seela Kunnari (Édith Piaf), “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Jonas Lundqvist
4. Seela Kunnari (Édith Piaf) and ensemble, “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Roosa Oksaharju
5. Frans Valkama (Louis Alphonse Gassion), Hye Ji Kang (Édith Piaf), Yuka Masumoto (Mômone); “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Jonas Lundqvist
6. Violetta Keller (Rose Seller), Hye Ji Kang (Édith Piaf), and ensemble; “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Jonas Lundqvist
7. Atte Kilpinen (Louis Dupont), Hye Ji Kang (Édith Piaf), and Yuka Masumoto (Mômone); “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Roosa Oksaharju
8. Atte Kilpinen (Louis Dupont) and Hye Ji Kang (Édith Piaf), “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Roosa Oksaharju
9. Hye Ji Kang (Édith Piaf), Yuka Masumoto (Mômone), and ensemble; “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Roosa Oksaharju
10. Tiina Myllymäki (Édith Piaf), Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Roosa Oksaharju
11. Heidi Salminen (Édith Piaf), “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Roosa Oksaharju
12. Jun Xia (Lover) and Linda Haakana (Édith Piaf), Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Roosa Oksaharju
13. Xiaoyu He (German officer), Linda Haakana (Édith Piaf), Florian Modan (German officer), and ensemble; “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Jonas Lundqvist
14. Aapo Kokkonen (Pianist) and Heidi Salminen (Édith Piaf), Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Roosa Oksaharju
15. Linda Haakana (Édith Piaf) and Edita Raušerová (Celebrity), “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Jonas Lundqvist
16. Johan Pakkanen (Marcel Cerdan) and Linda Haakana (Édith Piaf), “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Jonas Lundqvist
17. Tiina Myllymäki (Édith Piaf), Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Roosa Oksaharju
18. Tiina Myllymäki (Édith Piaf), “Édith Piaf – La vie en rose” by Reija Wäre, Finnish National Ballet 2025 © Jonas Lundqvist
Editing: Kayla Kauffman

 

Family Feeling

“Dream Team” (“Jardi Tancat”/“The Blue Brides”/“Lickety-Split”/“High Moon”)
Gauthier Dance Juniors
Theaterhaus Stuttgart
Stuttgart, Germany
March 15, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “Jardí Tancat” by N.Duato, Gauthier Dance Juniors 2025 © J.BakIs it the laid-back, feel-good attitude of Eric Gauthier, director and choreographer of Gauthier Dance, that makes his company’s performances feel like family gatherings? A sense of family also unites his junior company, which was founded in 2022 and comprises six dancers (three men and three women) from Australia, Canada, France, Italy, Spain, and Taiwan. Their latest mixed bill, Dream Team, premiered in January. It includes two podcasts that fill the breaks the performers take to change costumes. In them, Gauthier chats with his juniors and the choreographers. When talking about their group spirit, the young dancers call Gauthier their boss whereas Gauthier seems like a proud daddy.

The original title of the program (Something Old, Something New, Something Borrowed, Something Blue—quoting a traditional English wedding rhyme that details what a bride should wear for good luck) referred to the selection of pieces. (more…)

Brimful

“Cipollino”
Bolshoi Ballet
Bolshoi Theatre (New Stage)
Moscow, Russia
March 08, 2025 (matinee and evening performance)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

 1. S.Maymula (Little Radish), I.Sorokin (Cipollino), A.Vinokur (Mother Radish), and E.Besedina (Mother Cipolla), “Cipollino” by G.Mayorov, Bolshoi Ballet 2025 © Bolshoi Theatre/E.FetisovaThe boy Cippolino (Little Onion), the hero of Gianni Rodari’s 1957 children’s book Adventures of Cipollino, enjoyed an international career. He was especially popular in eastern countries and a famous cartoon and film figure in the Soviet Union. A ballet adaption by Genrikh Mayorov (1936-2022) entered the Bolshoi Ballet’s repertory three years after its Kiev premiere. Cipollino was revived at the Bolshoi earlier this season and still attracts crowds. Though a children’s fairy tale, adults can appreciate the production, especially when danced at top quality. I saw a matinee attended primarily by children and their parents as well as a sold-out evening performance.

The young Cipollino and his family are members of jovial townsfolk who are anthropomorphic fruits and vegetables—Cobbler Grape, Professor Pear, Godfather Pumpkin, and the Radish family, whose daughter, Little Radish, becomes Cipollino’s best buddy. They’re ruled by the high-handed, eccentric Prince Lemon whose court includes an acerbic guard, ludicrous knights, and the two overexcited Countesses Cherry. (more…)

Dreams versus Reality

“The Seagull”
Bolshoi Ballet
Bolshoi Theatre (New Stage)
Moscow, Russia
March 06, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. A.Putintsev (Konstantin Treplev), “The Seagull” by Y.Possokhov, Bolshoi Ballet 2025 © Bolshoi Theatre/M.Logvinov Almost four years after its premiere in summer 2021, I finally saw Yuri Possokhov’s The Seagull at the Bolshoi Theatre. It was his sixth creation for the company (his seventh and latest, The Queen of Spades, premiered in 2023), and the fourth time, he teamed up with composer Ilya Demutsky. The artistic team included costume designer Emma Ryott (a longstanding collaborator of choreographer Christian Spuck) and set designer Tom Pye (who also created the designs for Possokhov’s Anna Karenina). David Finn contributed the lighting, Sergei Rylko the video design.

Chekhov’s The Seagull is labeled as a comedy, but its humor is bitter at best. Not a single protagonist leads a fulfilled life. Everybody runs after a dream world or tries to construct their realities. Family relationships are strained, and love is unrequited, quickly exhausted, or phony. Possokhov’s interpretation throws more light on some characters, and less on others, and differs in some respects from the original. Irina Arkadina (Kristina Kretova)—an actress in Chekhov’s version, a renowned ballerina in Possokhov’s—is not merely a fashionable yet greedy diva and dysfunctional mother. She shows her empathetic side when she recalls childhood memories with her elderly brother, Pyotr Sorin (Mikhail Lobukhin), whose unrealized dreams of marriage and artistic career Possokhov omitted. Like in the text, events largely unfolded at Sorin’s country estate. (more…)

Human Striving

“Homage to Uwe Scholz”
Leipzig Ballet
Forum Ludwigsburg
Ludwigsburg, Germany
February 15, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “Seventh Symphony” by U.Scholz, Leipzig Ballet 2025 © I.Zenna The Stuttgart-bred Uwe Scholz was in his early thirties when he became the Leipzig Ballet’s artistic director and chief choreographer in 1991. Scholz’s ballets were substantial and had depth, but the extent of his choreographic talent has been undiscovered due to his premature death in 2004. Last weekend, the Leipzig Ballet toured Homage to Uwe Scholz at the Forum Ludwigsburg. The double bill comprised two of Scholz’s symphonic pieces, Seventh Symphony, set to Beethoven’s Symphony No. 7 (1811-1812), and Second Symphony, set to Robert Schumann’s Symphony No. 2 (1847).

For the first time, Leipzig Ballet isn’t led by a choreographer, but by artistic director Rémy Fichet. Fichet, who took the reins from Mario Schröder just this season, danced in Leipzig under Scholz and intends to keep his ballets in the repertory. However, he’s realistic. The company’s standard does not yet meet the requirements of every Scholz piece, he admitted, and the dancers will need time to hone their technique. Perhaps, Fichet can prevent Scholz’s work from sinking deeper into oblivion. (more…)

Effervescent

“The Merry Widow”
Hungarian National Ballet
Hungarian State Opera
Budapest, Hungary
February 8-9, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. M.Takamori (Valencienne), M.Bäckström (Camille), and D.Zhukov (Njegus), “The Merry Widow” by R.Hynd, Hungarian National Ballet 2025 © V.Berecz 2. M.Radziush (Count Danilo Danilovitch) and T.Melnyik (Hanna Glawari), “The Merry Widow” by R.Hynd, Hungarian National Ballet 2025 © V.Berecz The brisk beats that opened last Saturday’s revival of The Merry Widow at Budapest’s opera house promised a peppy performance, and the following two and a half hours delivered brio indeed. Franz Lehár composed the music in 1905 for his popular eponymous operetta, and John Launchbery and Allen Abbot were the first to edit it for the dance stage in 1974. Both worked on behalf of the British choreographer Ronald Hynd who in 1975 adapted the comic operetta into a three-act ballet for the Australian Ballet. Since then, many ballet companies have added it to their repertory. The Hungarian National Ballet premiered The Merry Widow in 2014 with new sets and costumes by the Brit Peter Docherty.

Docherty designed a long workbench stuffed with books and champagne (shadowed by a wall-sized replica of the national coat of arms) where the staff of the Pontevedrian embassy in Paris shuffled papers, boozed, and stood at attention as soon as the anthem sounded. The small Balkan state of Pontevedrian was bankrupt, but its geriatric ambassador, Baron Zeta, had a bailout plan. If his first secretary, Count Danilo Danilovitch, married the Pontevedrian millionaire’s widow, Hanna Glawari, her money would refill the state coffers. (more…)

As It Should Be

“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

1. A.Martelli (Peter) and S.E.Schippani (Bird), “Peter and the Wolf” by M.Schläpfer, Jugendkompanie of the Ballet Academy of the Vienna State Opera 2025 © M.Furnica2. E.Renahy (Cat), “Peter and the Wolf” by M.Schläpfer, Jugendkompanie of the Ballet Academy of the Vienna State Opera 2025 © M.Furnica 3. A.Martelli (Peter), Y.Kato (Grandfather), and S.E.Schippani (Bird); “Peter and the Wolf” by M.Schläpfer, Jugendkompanie of the Ballet Academy of the Vienna State Opera 2025 © M.Furnica 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…)

Striking Similarities

“kaiserRequiem”
Vienna State Ballet & Volksoper Wien
Volksoper Wien
Vienna, Austria
January 25, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1.D.Schmutzhard (Emperor Overall) and ensemble, “kaiserRequiem”, directed and choreographed by A.Heise, Vienna State Ballet/Volksoper Wien 2025 © A.Taylor kaiserRequiem, the Volksoper Wien’s latest premiere, is a joint production of the State Ballet Vienna and the singers, choir, and orchestra of the Volksoper. The piece intertwines the sixty-minute chamber opera Der Kaiser von Atlantis (The Emperor of Atlantis), composed by Viktor Ullmann in 1943/44, with Wolfgang Amadeus Mozart’s Requiem in D minor (K. 626). Both pieces feature death, which overtook both composers while working on them. Mozart died in December 1791 before finishing Requiem. Requiem had been commissioned, and when Mozart died, his wife, Constanze, assigned its completion to Franz Xaver Süßmayr, her husband’s former pupil. Being of Jewish parentage, Ullmann and his wife were deported to the Nazi concentration camp Theresienstadt (in today’s Czech Republic) in September 1942. It was a showpiece ghetto to promote the allegedly successful resettlement of Jews, so Theresienstadt had a department for so-called “leisure activities,” such as sports, theater, lectures, and reading. Ullmann worked there as a composer, music critic, and musical event organizer. The premiere of his opera The Emperor of Atlantis was scheduled for Theresienstadt’s stage but was canceled after the general rehearsal. Perhaps the piece’s highly political sarcasm, though subtle, did not slip the notice of the ruling powers, but that’s only speculation. (more…)

Aerial Ballet

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

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “Möbius”—a collective artwork by Compagnie XY in collaboration with R.Ouramdane, Compagnie XY 2025 © C.R.De LageThe 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…)

Back in 1892…

“The Nutcracker”
Perm Ballet
Perm Tchaikovsky Opera and Ballet Theatre
Perm, Russia
December 31, 2024 (live stream)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

Like all Russian ballet companies, Perm Ballet, one of the country’s leading troupes, presented The Nutcracker during the Christmas season. Their version is by Alexey Miroshnichenko, artistic director of the Perm Ballet since 2009, and premiered in December 2017. I watched the live stream of the performance on New Year’s Eve.

Miroshnichenko relocated the fairy tale to the St. Petersburg of 1892 (where Petipa’s The Nutcracker had its world premiere at the Imperial Mariinsky Theatre) where the dusky streets were bustling. Traders with vendors’ trays offered hot drinks and sweets, sleighs crossed pedestrians’ paths, and anticipation put a spring in everyone’s step.

(more…)

The Hub

“The Nutcracker”
Bolshoi Ballet
Bolshoi Theatre
Moscow, Russia
December 31, 2024 (live stream)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. E.Kokoreva (Marie) and ensemble, “The Nutcracker” by Y.Grigorovich, Bolshoi Ballet 2024 © Bolshoi Ballet/D.Yusupov2. A.Ovcharenko (Nutcracker Prince), “The Nutcracker” by Y.Grigorovich, Bolshoi Ballet 2024 © Bolshoi Ballet/D.Yusupov During this year’s Christmas sermon, my pastor asked which moment should best represent Christmas. The Christmas dinner? The lighting of the candles? Or, perhaps, unwrapping the presents? For me, this moment was the moment during the Bolshoi Ballet’s performance of The Nutcracker when the newlywed Marie (Elizaveta Kokoreva) and the Nutcracker Prince (Artem Ovcharenko) were lifted by their court toward the star at the top of the Christmas tree. It was the climax of their spiritual journey and of Yuri Grigorovich’s choreography for which I had been waiting since I last saw his Nutcracker live in Moscow in 2022.

Two live streams on December 30th (evening performance) and December 31st (matinee) enabled a vast audience to follow the heroes’ journey. To meet the demand, the number of cinemas offering live broadcasts grew from one hundred to three hundred in December. Most were located in Russia, but cinemas in Belarus, Armenia, and the United Arab Emirates also participated. I was able to watch the matinee on the Bolshoi’s vk video platform. (more…)

An Endeavor

“La Bayadère”
Ballet Estable del Teatro Colón
Teatro Colón
Buenos Aires, Argentina
December 28, 2024 (stream)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “La Bayadère” by M.Galizzi after M.Petipa, Ballet Estable des Teatro Colón 2024 © Prensa Teatro Colón/A.Colombaroli The Teatro Colón wrapped up its 2024 season with a stream of La Bayadère, which had been recorded a few days earlier. The choreography is by Mario Galizzi, the company’s artistic director for the past three years. His new version stays faithful to Petipa’s original and, like in Yuri Grigorovich’s rendition for the Bolshoi Ballet, Act III ends with Solor’s breakdown after he recognizes Nikiya among the Shades. Solor’s and Gamzatti’s wedding, the destruction of the temple, and the apotheosis were omitted. (more…)

Lucky He

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

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

1. J.Xia (Fred) and J.Pakkanen (Scrooge), “A Christmas Carol” by D.Bintley, Finnish National Ballet 2023 © R.Oksaharju 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…)

A Treat

“Don Quixote” (1973 film)
The Australian Ballet
Melbourne, Australia
December 2024 (video)

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

A couple of days ago, medici.tv re-released Rudolf Nureyev’s Don Quixote as part of its Christmas ballet program. Although fifty-two years old, the film is hot. Nureyev adapted it from his 1970 stage production for the Australian Ballet and co-directed it with Robert Helpmann (then artistic director of the Australian Ballet). Both starred in leading roles—Helpmann as the Don, and Nureyev as Basilio—alongside dancers of the Australian Ballet.
Nureyev was a notorious daredevil, but the fireworks that his steps set off from the moment he reached Barcelona’s port (set design by Barry Kay) until he finally married Kitri (Lucette Aldous) were beyond imagination.

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Comforting

“The Nutcracker”
The Australian Ballet
Sydney Opera House/Joan Sutherland Theatre
Sydney, Australia
December 12, 2024 (live stream)

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

 1. C.Linnane (Drosselmeyer) and ensemble, “The Nutcracker” by P.Wright, The Australian Ballet 2024 © D.Boud This year, getting in a happy Christmas mood isn’t easy in my home country, Germany. We’re in troubled waters, and prospects for the new year are dismal. Even our major ballet stages abandoned a festive program. The State Ballet Berlin scheduled Christian Spuck’s Bovary and Swan Lake for the holiday season; the Bavarian State Ballet is presenting a mixed bill (Duato/Skeels/Eyal) and Cranko’s Romeo and Juliet. At least audiences in Stuttgart, Hamburg, and Dresden can attend performances of The Nutcracker, but Stuttgart’s rendering is screwed up, and Dresden’s is saccharine. The bright spot is Hamburg Ballet, which kept Neumeier’s much-lauded version in its repertory.

The Australian Ballet’s live stream of The Nutcracker was therefore a welcome addition, especially as the company presented Peter Wright’s traditional version, which was staged for the Royal Ballet in 1984 and later adapted for Birmingham Royal Ballet. (more…)