Companies

Missing Diversity

June 12, 2015

“b.22” (“verwundert seyn – zu sehn”, “Moves”, “ein Wald, ein See”)
Ballett am Rhein
Opera House Düsseldorf
Düsseldorf, Germany
June 06, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

Martin Schläpfer, artistic director of the Ballett am Rhein, makes no effort racking his brain to find appealing titles for ballet evenings. He simply numbers them, this season arriving at “b.24”. I saw an earlier work, “b.22”, a triple bill made up of Jerome Robbins’s “Moves” as the centerpiece, framed by two works by Schläpfer himself: “verwundert seyn – zu sehn” and “a forest, a lake” (“ein Wald, ein See”).

“Verwundert seyn – zu sehn” premiered in January this year at the Theater Duisburg, the company’s second home stage. Its title is a citation picked out of “Parerga and Paralipomena” (“Appendices and Omissions”), a collection of reflections by the German philosopher Arthur Schopenhauer. The two volumes gather, among others, Schopenhauer’s thoughts on philosophy, science, nature, color theory, suicide or metaphysic. “Verwundert seyn – zu sehn” is taken from a chapter dealing with the vanity of life. A serious, rather gloomy subject. To get the right perspective, one has to know that Schläpfer dedicated the piece to Bogdan Nicula, a long-time dancer in his ensemble. Being in his mid- thirties, the Rumanian developed amyotrophic lateral sclerosis last year. Within short time he was bound to the wheelchair and depended on artificial respiration. (more…)

Hope is the last to die

June 5, 2015

“A Streetcar named Desire”
Stuttgart Ballet
Stuttgart Schauspielhaus
Stuttgart, Germany
May 30, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

John Neumeier’s “A Streetcar named Desire”, based on Tennessee Williams’s drama of the same title, is probably not a piece one would be eager to see several times in a row. Unless one is hard-boiled. Calling it disturbing is too lenient. Its dense, oppressive atmosphere and brutal physicality that finally seals the mental destruction of its main character, Blanche DuBois, devours one. As food for thought, a single dose of this ballet brings along with it more than enough indigestion.
Neumeier has woven a masterful psychological drama, whose intensity might even surpass the stage play. What the dancers’ bodies express is more direct than any spoken word. Stuttgart Ballet has now again revived the two-act piece which Neumeier had created for the Baden-Wuerttemberg company in 1983. Back then the forty-six year old Marcia Haydée and Richard Cragun danced the leading characters, Blanche and Stanley.

Neumeier begins the story with its end. When the curtain rises we see Blanche (Alicia Amatriain) sitting on a bed in an asylum. She is elegantly dressed but looks distraught. Flashbacks are tormenting her, making her tremble. What has happened unfolds in cross-fades, not necessarily following the story’s chronological order. Music from Prokofiev’s “Visions fugitives op.22”, fragmented like Blanche’s memories, underscores the first act’s nostalgic, subdued mood. (more…)

Much Ado About Nothing

May 30, 2015

“Impressing the Czar”
Semperoper Ballet
Semperoper
Dresden, Germany
May 25, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

William Forsythe’s “Impressing the Czar” is the Semperoper Ballet’s second premiere this season. It testifies to the company’s strong ties with the choreographer, reinforcing the relationship. After the closure of Forsythe’s own company, Ballet Frankfurt, in 2004, where “Impressing the Czar” had received its premiere in January 1988, only the Royal Ballet of Flanders and now the Semperoper Ballet are allowed to perform it. In the program notes Forsythe emphasized his intense, confidence-building collaboration with the Dresden company. At the moment it is the only one dancing his earlier works in a true and faithful manner.

Hence the prospects were bright that the evening would be exceptional and, as the title implies, really impressive. (more…)

Still enigmatic

May 22, 2015

Marco Goecke
Stuttgart, Germany
May 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

Marco Goecke is a well-established German choreographer. Though he is open, kind and easy-going, he is mysterious, with an air of inscrutability surrounding him. His choreography can hardly be classified among the existing canon of styles. He has established something new. Meanwhile “Goeckes” are in the repertory of ballet companies all over Europe and abroad, but, above all, they are integral to the repertory of his two home bases: Stuttgart Ballet and the Nederlands Dans Theater.

We met on the occasion of a rehearsal with Thomas Lempertz in a basement studio belonging to Stuttgart’s Theaterhaus. Lempertz, ex-first soloist of Stuttgart Ballet, is planning to come back on stage with a solo by Goecke. The premiere is scheduled for November.

At first sight one could easily think Goecke stepped out of a detective film. His dark sunglasses – signature features of his outfit – contrast with his fair skin. He wears a trench coat, robust shoes, smokes a lot, and has his steady companion, a sausage dog named Gustav, at his side. (more…)

Four Re-encounters

May 13, 2015

“ALL Cranko!” (“Concerto for Flute and Harp”, “Holberg Pas de Deux”, “Opus 1”, “Initials R.B.M.E.”)
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
May 07, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

“ALL Cranko!”, Stuttgart Ballet’s new mixed bill, assembles four abstract ballets by John Cranko: the “Concerto for Flute and Harp”, premiered in 1966 and for more than a quarter of a century absent from stage, the “Holberg Pas de Deux” (1967), “Opus 1” (1965) and the repertory’s reliable asset “Initials R.B.M.E”, performed more than 230 times since its premiere in 1972.

Certainly many of the older Stuttgart balletomanes remember the original casts, the troupe’s signature dancers Marcia Haydée, Birgit Keil, Egon Madsen, Richard Cragun (1944 – 2012), later also Heinz Clauss (1935 – 2008). They are spoken of with great respect. Critical comparisons thus suggest itself. Would the ballets work with entirely new casts? (more…)

A Team of Strong Individuals

May 4, 2015

Semperoper Ballet
Dresden, Germany
April/May 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

In 2006 the winds of change were blowing through the Semperoper Ballet Dresden. After twelve years under Vladimir Derevianko’s directorship the Canadian Aaron S. Watkin took over the reigns. He thoroughly revitalized the company and adopted a new course for the repertory. The classics, already the company’s linchpin, were kept, but modern pieces were now strongly fostered. As a result, after almost a decade of constant work, the company receives much international attention. Ballets by William Forsythe, David Dawson, Stijn Celis and Aaron S. Watkin are its signature features. Recently I spoke with five leading dancers about their backgrounds and how they experienced the company’s development. (more…)

Go All Out Again!

April 29, 2015

“Giselle”
Semperoper Ballet
Semperoper
Dresden, Germany
April 18, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

Earlier this year, Courtney Richardson and Fabien Voranger enthralled Semperoper Dresden’s audience in the leading roles of David Dawson’s “Tristan + Isolde”. In April both had their debut in Dawson’s “Giselle”. I was curious as to how the two would tackle this quite different love story. The performance on April 18 – the second for Richardson and Voranger – was the last of this season’s run of “Giselle”.
For the specifics of Dawson’s version I would like to refer to what I wrote almost exactly one year ago (Landgraf on Dance: Last Dance). In short, Dawson’s reading of the classic is timeless yet modern. The roles of Berthe (Giselle’s mother) and the Duke of Courland are dropped; the first act’s hunting party is replaced by a wedding party; the miming scene foreboding disaster takes place in the course of the wedding festivities. The second act depicts Abrecht’s memories, his mental state, his process in coping with what had happened. Neither Hilarion appears again nor is there a grave. Nor are the Wilis avenging spirits. Rather, they remind one of impartial beings. (more…)

Emotions – that’s what it’s all about

April 16, 2015

“Lady of the Camellias”
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, Netherlands
April 10, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

One feels immediately comfortable at the Dutch National Opera & Ballet, Amsterdam’s principal opera house. Its spacious foyers are flooded with light provided by large windows which allow a panoramic view over the Amstel River. Terraces on various levels are favorite meeting spots of the audience. The house radiates the city’s atmosphere: Amsterdamers are open-minded, easy-going and kind. Special excitement and anticipation was in the air on April 10 at the premiere of John Neumeier’s “Lady of the Camellias”.

After “Sylvia” in 2011, it is the second piece by Neumeier that the company’s director Ted Brandsen has added to the repertory. Ballets by Hans van Manen, established as the company’s associate and resident choreographer for more than five decades, by Krzysztof Pastor and by David Dawson are the backbone of the schedules. Rudi van Dantzig (1933 – 2012), for twenty years at the helm of Dutch National Ballet, also left his mark as a choreographer. (more…)

Safety and Comfort are Rare

April 2, 2015

“Winterreise” (“Winter Journey”)
Hamburg Ballet – John Neumeier
Hamburg State Opera
Hamburg, Germany
March 29, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

Reviving John Neumeier’s “Winterreise” in early spring seems odd programming. The ballet is based on Franz Schubert’s somber song cycle of 1828 as rendered musically by German conductor and composer Hans Zender. The twenty-four songs’ verses seem simple at first glance, almost folk-like, but plumb deeply into existential states of mind. Center stage are a young wayfarer’s experiences – encounters he has had with others along his life’s passionate path. Even if spring moods must be left aside “Winterreise” was a good opener the week before Easter.
Schubert had based “Winterreise” on poems by Wilhelm Müller (1794 – 1827), and he set them without informing the poet. Some attribute Müller’s death, which was untimely, to complete exhaustion; others speculate that he committed suicide due to unbearable depression. His verses exude gloom. He died in September and Schubert began composing in October. The two never met. Allegedly, Schubert secluded himself while composing. Eventually, when visiting friends he seemed to be unhinged. Zender suspects that the first concert performances of the piece must have caused fright rather than delight. Schubert died only one year later, in 1828. He was just thirty-one years old. (more…)

Re-exploring Stravinsky

March 28, 2015

“Stravinsky TODAY” (“Le Chant du Rossignol”,”L’Histoire du Soldat”, “The Firebird”)
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
March 21, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

Stuttgart Ballet’s new triple bill is an all-Stravinsky evening. Three choreographers – Marco Goecke, Demis Volpi and Sidi Larbi Cherkaoui – explored the exceptional composer’s music for their works. Two ballets are world premieres: Volpi’s “L’Histoire du Soldat” to Stravinsky’s suite from 1919 and Cherkaoui’s “The Firebird” to the Firebird-suite for orchestra, while Goecke presented a revision of his “Le Chant du Rossignol” originally created for the Leipzig Ballet in 2009.
Around a century ago Stravinsky’s unfamiliar, bold compositions set the ballet community abuzz. The scandal the Ballets Russes caused in Paris in 1913 with Nijinsky’s choreography of “Le Sacre du Printemps” has no equal. Stravinsky, Diaghilev, the Ballets Russes – an explosive, cross-fertilizing artistic collaboration. What impact has Stravinsky today? A question raised in the program book, which in the same breath mentions that using Stravinsky’s music already has a long tradition in Stuttgart: “The Soldier’s Tale” was Cranko’s first choreography in Cape Town in 1944. Ten additional ballets by Cranko set to Stravinsky followed, among them “The Firebird” (1964, a production for the Deutsche Oper Berlin) and “Le Chant du Rossignol” for Munich (1968). (more…)

A Well Assembled Spectrum

March 25, 2015

“2. International Ballet Gala”
Ballet of the State Theater Nuremberg
State Theater
Nuremberg, Germany
March 20, 2015

Goyo Montero is in his seventh season as artistic director of the State Theater Nuremberg’s ballet. Since then the Spaniard has established the troupe’s reputation – nationally as well as internationally. Last weekend’s ballet gala – the second since Montero took over the reins – gave ample proof that dance prospers in Middle Franconia’s largest city.
Montero, son of a ballerina and a dancing and choreographing father, studied at the Royal Conservatory for Professional Dance in Madrid and the School of the National Ballet of Cuba. Amongst others he danced with the Deutsche Oper Berlin and the Royal Ballet of Flanders. Solidly rooted in classical dance, Montero explores contemporary movement vocabulary in his choreography. This season his company, twenty-two dancers, many of them his compatriots, present works by Nacho Duato, Johan Inger, Ohad Naharin in addition to Montero’s own creations. In early July they will guest with “Cinderella” at the Chekhov International Theatre Festival in Moscow. Dance definitely has moved on from its former niche existence in Nuremberg!
This season’s gala wasn’t sparing with highlights: on the guest list were dancers from Stuttgart Ballet, Semperoper Ballet Dresden, English National Ballet, Les Ballets de Monte Carlo and Stanislavsky Ballet Moscow sharing the program with Nuremberg’s troupe. (more…)

Oh Dear!

March 19, 2015

“Multiplicity. Forms of Silence and Emptiness”
State Ballet Berlin
Komische Oper
Berlin, Germany
March 14, 2015

In mid-February after taking over the reigns of State Ballet Berlin, Nacho Duato received damning reviews of the first Berlin premiere of his “Sleeping Beauty”, an import that he had done in St. Petersburg, his debut as artistic director going badly. Shortly thereafter, Arte, a reputable television channel, broadcasted a documentary about Duato. But it did not silence the cries of naysayers who predicted the descent of State Ballet Berlin. Arte depicted an uprooted artist still struggling over his dismissal as director of the Spanish Compañía Nacional de Danza. Hired by a banana oligarch he had moved to St. Petersburg, becoming the artistic director of the ballet of the Mikhailovsky Theatre. Yet Duato remained a stranger. The film shows him struggling with communication problems and suffering from sleeplessness. He spent many nights smoking cigarettes, drinking red wine and soliloquizing on his smart phone. Almost twenty-five years ago Berlin had first wanted to hire him. Why was he called to Berlin again? An odd stroke of Berlin’s cultural policy? (more…)

Storytellers

March 13, 2015

“Drei Streifen:Tanz”, Choreographies by Benjamin Millepied, Demis Volpi and Jiří Bubeníček
Ballet Dortmund
Opernhaus Dortmund
Dortmund, Germany
March 07, 2015

“Drei Streifen: Tanz”, Ballet Dortmund’s new triple bill, allows insight into the work of three different choreographers. The pas de deux “Closer” offers a glance into Benjamin Millepied’s artistic work. Stuttgart Ballet’s resident choreographer Demis Volpi presents himself with three short duos. The evening’s second half was reserved for Jiří Bubeníček’s new creation “The Piano”.

“The Piano” is based on the movie of the same name by the New Zealand film director Jane Campion and has been awarded with – amongst others – the Golden Palm in Cannes in 1993 and an Oscar in 1994. Set in mid-19th century it is about a Scotswoman Ada McGrath, who, for whatever reason, has been mute since her sixth year of age. She expresses her inner life mainly through playing the piano. When Ada and her daughter Flora are forced into a marriage with the Britishman Alistair Stewart, a plantation owner living in New Zealand, the piano is the most important part of the luggage. The to-be-wed couple, however, has never met before. Alistair, at first disenchanted by his future wife’s appearance, doesn’t understand the piano’s importance. Seeming to be an unpractical object, it is left at the beach where Ada and Flora had come ashore.

(more…)

Stunning Emotions

February 23, 2015

“Tristan + Isolde”
Semperoper Ballet
Semperoper
Dresden, Germany
February 17, 2015

Reportedly a few of the audience had expected to see the opera, while others, having had a slightly closer look at Semperoper Dresden’s program, were anticipating hearing Richard Wagner’s famous music. Both parties must have been surprised. “Tristan + Isolde” is a ballet by David Dawson to new music by Szymon Brzóska.
Dawson wisely abstained from using Wagner’s well-known opera music. Instead Brzóska, a Pole, composed a tailor-made score for the Dresden company. Both had already collaborated on Dawson’s ballet “Overture” for Dutch National Ballet in 2013. Generally speaking, his music, Brzóska told in an interview, would range between contemporary avant garde and extended tonality that inclined towards minimalism. The new composition reminds one of film music. It’s emotional music, conveying love’s bliss but also dramatic, fragile and threatening moments. Though expressive, Dawson never left it to the music to bring forth the action but always backed it with choreographic substance. Paul Connelly and the Sächsische Staatskapelle Dresden highly focused playing captivated one from the first tone on. Laurels to them! (more…)

Keep it Up!

February 20, 2015

“Verklungene Feste/The Legend of Joseph”
Vienna State Ballet
Vienna State Opera
Vienna, Austria
February 14, 2015

In June of this year Richard Strauss would have celebrated his 150 birthday. In honor of the occasion the Vienna State Opera, which Strauss directed from 1919 to 1924, staged two works by John Neumeier to Strauss’ music, “Verklungene Feste” and the biblical story “The Legend of Joseph”.
In contrast to “The Legend of Joseph” which has quite some history with the Vienna stage, “Verklungene Feste” was seen for the first time in the Austrian capital. Originally, Neumeier admitted, he had known nothing of the existence of Strauss’ “Verklungene Feste” but in 1978 was made aware of it by August Everding, back then general director of the Bavarian State Opera. Everding deemed “Verklungene Feste” would perfectly complement Neumeier’s already existing “The Legend of Joseph” in a double bill. However, as neither a piano score nor other recorded material of the music was available, the idea was buried in oblivion. In 2008 Neumeier’s “Verklungene Feste” finally premiered in Hamburg – in the meantime recordings of all three Strauss ballets, “The Legend of Joseph (1914), “Schlagobers” (Whipped Cream, 1924) and “Verklungene Feste” (1941) had emerged conducted by a Japanese. (more…)