Companies

State Ballet Berlin – Do Incorrect Procedures Mar Waltz and Öhman’s Appointment?

October 29, 2016

State Ballet Berlin
Berlin, Germany
October 28, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

Reportedly, Sasha Waltz and Johannes Öhman’s contracts as future artistic directors of the State Ballet Berlin were ratified a few days ago. The procedure as taken by Berlin’s Senate Chancellery for Cultural Affairs puzzles one though. Personal decisions of this caliber require the approval of the Stiftungsrat of the Opera. The Stiftungsrat is the board of the Berlin Opera Foundation, a corporate body under public law, integrating Berlin’s three opera houses, the ballet company and the Stage Services Company as individual organizations under one roof. Seven members constitute this board, among them Micheal Müller, the cultural senator and governing mayor of Berlin. The Stiftungsrat requires a quorum of at least half of all the members. (more…)

Creating an Image

October 22, 2016

Ballet Companies in Germany, the Netherlands and Switzerland
Semperoper Ballet, Bavarian State Ballet, State Ballet Berlin, Stuttgart Ballet, Ballett am Rhein,
Dutch National Ballet, Zurich Ballet
October 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

What kind of image distinguishes Stuttgart Ballet from Dutch National Ballet? Or the Bavarian State Ballet from the State Ballet Berlin? What is it the dancers – and their audience – identify with as their company? How do companies present themselves to the public? Such were my thoughts when seeing the Semperoper Ballet’s new image campaign, #WHYWEDANCE. I asked several major companies to send me images of their choice representing their respective company’s image.

Semperoper Ballet chose four of the sixty-one dancer portraits of #WHYWEDANCE. The new ensemble brochure presents each in full-page size. In addition they are spread via social media and on billboards and advertising pillars in Dresden. Aaron S.Watkin, in his eleventh year as artistic director, put the spotlight on his company this season whose face has changed since his beginning in 2006. Next to the dancers, Ian Whalen, the troupe’s photographer and multimedia expert, also shot Watkin and staff members. Names, places of birth, ranks within the company and the year when joining the ensemble come along with each portrait. In addition, every dancer sums up their motivation for the profession, the why and wherefore of choosing a career with dance in a single word. (more…)

Pirate’s Luck

October 17, 2016

“Le Corsaire”
Vienna State Ballet
Vienna State Opera
Vienna, Austria
October 14, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

Spared for a very long time, Vienna’s State Opera was finally conquered by pirates earlier this year. Solely Manuel Legris, artistic director of the ballet company, is to be held to account for this invasion. Yet I assume he bears responsibility with pleasure as his “Corsaire” is well received.

According to the program book, around 70% of the choreography is Legris’s, the rest is based on Marius Petipa’s tradition. I missed the “Corsaire”, which Doug Fullington reconstructed from the Stepanov-notation of Petipa’s 1899 version for the Bavarian State Ballet in 2007, so I cannot compare the Viennese choreography with what is thought to come closest to the original. Lord Byron’s 1814 poem “The Corsair” is the initial source of inspiration for opera and ballet adaptions alike. But already in the first “Corsaire” ballet, Joseph Mazilier’s 1856 version for the Paris Opera Ballet, little of the original was left. Subsequent choreographies weren’t more faithful to the text source either. Apart from a few changes in the libretto Legris’s three-act piece has the ingredients familiar from other versions: a great portion of classical variations, character dance, heroism, romance and a hefty dose of kitsch. (more…)

Almost Holy

October 12, 2016

“The World of John Neumeier”
Hamburg Ballet – John Neumeier
Festspielhaus Baden-Baden
Baden-Baden, Germany
October 08, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

Calling two big stages home is a luxury few can call their own. Hamburg Ballet – John Neumeier enjoyed it for the seventieth time this autumn when touring the Festspielhaus in Baden-Baden for one week. Usually they bring along two pieces and one workshop moderated by Neumeier himself. This year the two ballets were “Romeo and Juliet”, scheduled three times with different leading couples, and “The World of John Neumeier”, a collection of excerpts from autobiographically significant pieces. It premiered in Tokyo earlier this year and was shown on two consecutive evenings in Baden-Baden. I saw the first performance. (more…)

State Ballet Berlin: An Update

October 8, 2016

State Ballet Berlin
Berlin, Germany
October 07, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

While the State Ballet Berlin is about to kick off its “Nutcracker” season with the newly acquired version by artistic director Nacho Duato, a suspicious silence has spread over the controversial issue of Sasha Waltz and Johannes Öhman’s assignment as Duato’s successors in 2019.

Getting background information about the candidate search process for the director’s post was laborious, as the Senate Chancellery’s spokesman for cultural affairs, Lars Bahners, was ungenerous in providing substantial information. Hollow words are his metier. (more…)

The First Run of “Giselle” in Munich

October 5, 2016

“Giselle”
Bavarian State Ballet
National Theater
Munich, Germany
October 02, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

The Bavarian State Ballet opened its first season under Igor Zelensky with the revival of Peter Wright’s “Giselle”. Each of the six performances was led by a different couple. Of the guest dancers Natalia Osipova and Sergei Polunin created major excitement on opening night. Further guests included the Bolshoi’s Svetlana Zakharova and Vadim Muntagirov from the Royal Ballet London. Both were paired with Munich principals. Of the four ballerinas cast as Giselle, Osipova and Maria Shirinkina danced twice, Zakharova and Ksenia Ryzkhova once. Albrechts coming from within the ranks of the Bavarian State Ballet were Osiel Gouneo and Vladimir Shklyarov. (more…)

Van Dantzig, Van Schayk, Van Manen

September 28, 2016

“Dutch Masters”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, Netherlands
September 25, 2016

by Ilona Landgraf
copyright © 2016 by Ilona Landgraf

Dutch National Ballet’s latest mixed bill was all-Dutch. It assembled four pieces by three pivotal choreographers of the Netherlands: “Vier letzte Lieder” (“Four Last Songs”) by Rudi van Dantzig (1933 – 2012), the company’s artistic director for twenty years; “Adagio Hammerklavier” by Hans van Manen (born: 1932) ; plus “Episodes van Fragmenten” and “Requiem”, both by Toer van Schayk (born: 1936). This wasn’t lightweight entertainment but a program upon which to ponder. I attended the last performance, the Sunday, September 25th matinée. (more…)

Quarrels at the State Ballet Berlin Continue

September 22, 2016 5 Comments

State Ballet Berlin
Berlin, Germany
September 22, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

The announcement that Sasha Waltz and the Royal Swedish Ballet’s artistic director Johannes Öhman will succeed Nacho Duato at the helm of the State Ballet Berlin in the 2019/20 season is still creating massive waves. Michael Müller, Berlin’s governing mayor and cultural senator since 2014, and Tim Renner (both SPD), state secretary for cultural affairs, announced the news on September 7th, just before the elections in Berlin. Since then, the two men have been facing trouble. Recently, another decision of theirs, the appointment of the Belgian Chris Dercon, director of the Tate Modern in London, who will follow Frank Castorf at the Berlin Volksbühne, caused harsh criticism as well. Müller and Renner are accused of making these decisions alone, behind closed doors, resistant to the advice of others. (more…)

A Conversation with Tadeusz Matacz

September 19, 2016

John Cranko School
Stuttgart, Germany
September, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

The Cranko School is one of the most renowned ballet schools of the world, a talent pool known for excellence and, according to surveys at the Youth American Grand Prix (YAGP), the second most favored school among students after London’s Royal Ballet School. When I arrived in Stuttgart in mid-September to find out about the school’s formula of success, I was surprised. Located in the Urbanstrasse, around 0,6 miles distance from the State Opera, the five-story building is unremarkable in the row of houses. Only a metal plate next to the entrance reveals that this is the school John Cranko founded in December 1971, ten years after he had taken over the reins of Stuttgart Ballet. (more…)

Behind the Scenes at the Bavarian State Ballet

September 12, 2016

“Ballet Extra: A Day of Rehearsals”
Bavarian State Ballet
Ballet Rehearsal Premises, Platzl 7
Munich, Germany
September 10, 2016

by Ilona Landgraf
copyright © 2016 by Ilona Landgraf

Igor Zelensky’s directorship at the Bavarian State Ballet kicked off for the public last Saturday with a “Ballet Extra”. The doors of the rehearsal studios in Munich’s City Center were open from 9:45 AM well into the afternoon. The company – or more precisely its principals, soloists and demi-soloists – rehearsed “Giselle”, the season’s first production, and “Spartacus”. Corps dancers weren’t involved.

People queued up in front of the entrance that morning and it seemed a sizeable crowd although, according to new press spokesperson Annette Baumann, it was slightly smaller than last year’s. Given that it was a lovely late summer day, people may have preferred to spend their free time outdoors rather than in stuffy studios full of hard working dancers. (more…)

A Bright Opening

September 11, 2016

“Gala”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, Netherlands
September 07, 2016

by Ilona Landgraf
Copyright © 2016 by Ilona Landgraf

Amsterdam’s National Opera House always radiates a light and welcoming atmosphere. This was especially so at this season’s opening gala on September 7th, which saw large crowds, women in evening gowns, flocking into the buzzing foyer amid flurries of camera flashes around the red carpet.

From the start the Grand Défilé, which opened the gala, gained warm-hearted applause. The program of the following three-and-a-half hours had been kept as a surprise. It included three highlights. (more…)

“I feel like Lensky”

August 19, 2016 1 Comment

Semyon Chudin, Bolshoi Ballet
Royal Opera House
London, Great Britain
August, 2016

I first saw Semyon Chudin dance in Stuttgart Ballet’s end-of-the season gala this July. He had danced the Wedding Pas de Deux from “Sleeping Beauty” next to Anna Osadcenko and immediately caught my attention. Chudin has an aura, which only a great personality is able to radiate.

As it happens the Bolshoi toured London for three weeks during this summer. One and a half weeks after the Stuttgart gala I sat in the Royal Opera House, watching the company in Jean-Christophe Maillot’s “The Taming of the Shrew”. The following day I met Chudin in the Opera House’s cafeteria to talk about his career and his life offstage. We spoke twice, first in the afternoon, and, after rehearsals and with translation support by Sonia Serduk, a longstanding friend of Chudin from St. Petersburg’s Mikhailovsky Theatre, again in the evening. Chudin’s English is good but he feels more at ease when speaking Russian. I guess our group of three attracted attention as we had much fun.

Chudin is natural, kind and easy-going. He does not make the slightest attempt to cultivate a glossy image of himself or to feign a conformist mindset. Telling people what they want to hear isn’t his. The timbre of his voice simply reveals his true opinions. Centered in himself Chudin radiates calmness but at the same time is very self-critical. After the Stuttgart gala he asked Filip Baranciwicz and Mikhail Kaniskin to give him corrections. How many principals act in the same way? “One could always improve something. When you’re satisfied with yourself you should stop,” he later stated. (more…)

Grand Glamor

August 13, 2016

“Les Ballets Trockadero de Monte Carlo”
Theaterhaus Stuttgart
Stuttgart, Germany
August 09, 2016

For almost a week the venerable “Trocks” have been doing themselves the honor of guesting at Stuttgart’s Theaterhaus as part of an extended tour through Germany. A packed house duly welcomed them and was generously rewarded with a mixed bill of iconic classics. I saw the program on opening night which, “in accordance with the greatest tradition of Russian Ballet”, slightly differed from what had been announced in advance. Instead of the “Pas de deux Mystérieux” we were presented with the threesome of the “Le Corsaire Pas de Deux”, “Go for Barocco” and the “Dying Swan” which were framed by Act II of “Swan Lake” and the Grand Pas Classique of “Paquita”. (more…)

Maillot’s Idea of How to Tame

August 9, 2016 0 Comments

“Taming of the Shrew”
Bolshoi Ballet
Royal Opera House
London, Great Britain
August 03, 2016

The Bolshoi Ballet’s three-week tour to London draws crowds of ballet aficionados to the Royal Opera House. Every evening each of the five productions is sold out. Those include the much-loved classics, “Swan Lake”, “Don Quixote” and “Le Corsaire”, as well as “The Flames of Paris” by Alexei Ratmansky and Jean-Christophe Maillot’s “The Taming of the Shrew” which premiered two years ago at the Bolshoi. “Shrew” was scheduled only twice. I saw the first performance.

Similar to Kurt-Heinz Stolze’s Scarlatti-pastiche for John Cranko’s “Shrew”, Maillot also cobbled together the score. He assembled less well known film music and excerpts of symphonies by Dmitri Shostakovich which go along with the events on stage like lubricating oil. Whether swooshing or romantic, the Orchestra of the Bolshoi Theatre under Igor Dronov’s baton played with verve.

The story sets off at the estate of Baptista, a wealthy lord in Padua. But the two broad, curved outdoor stairs arching over the house’s entrance, designed by Ernest Pignon-Ernest, don’t relate to any specific town. Baptista is beset with two daughters, the prickly Katharina and her younger sister, the much-adored Bianca. But the latter will not be allowed to marry until Katharina first wears her wedding ring. (more…)

Done For Reid

July 31, 2016 0 Comments

Stuttgart Ballet’s Festival Weeks: “Gala”
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
July 24, 2016

Not even a quarter of the way into Reid Anderson’s twentieth jubilee gala, this leader of the Stuttgart Ballet confided to the audience that “We’re both done for and, by the way, I’m a bit gaga.” By “we” he meant himself and Tamas Detrich, his Associate Artistic Director. Detrich, though, will take charge after the 2017/18 season. What was going on ? (more…)