Tag Archive: Jake Stepansky

Vibrant

April 17, 2023

“Dances of the World”
Igor Moiseyev Ballet
Hall of Church Councils
Moscow, Russia
April 7, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

I’ve had the Moiseyev Ballet on my wish list for quite some time. During my latest visit to Moscow, I lucked out: one of their rare performances was announced for the Hall of Church Councils. Though it was a challenge to find the venue and its entrance (not a single poster to be found), I arrived in time. The spacious 1300-seat hall happens to be located right between the Cathedral of Christ the Savior (the largest of the Russian-Orthodox churches) and the Moskva river. The buzz of excited children (and audience members of all ages!) filled the foyer.

“Dances of the World” was comprised of eleven folk dances from, as the title suggests, all over the world – each choreographed by the company’s founder Igor Moiseyev (1906 – 2007). His vast choreographic legacy has been kept alive by the 88 dancers and small symphonic orchestra of 35 musicians based in Moscow. (more…)

Well kept

April 13, 2023

“Raymonda”
Bolshoi Ballet
Bolshoi Theatre
Moscow, Russia
April 6, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

“Raymonda” is a foundation of Russian ballet repertoire, but is rarely performed in Europe. After his flight to the west, Nureyev staged several versions of the work for western companies, staying faithful to Petipa’s 1898 original. The few European choreographers who’ve tackled the piece – among them Pontus Lidberg for the Royal Swedish Ballet in 2014 and Rachel Beaujean for the Dutch National Ballet in 2022 – adjusted Lydia Pashkova’s libretto to match western tastes. The only Petipa/Pashkova-based Russian production I saw was Konstantin Sergeyev’s from 1948, presented by the Maryinsky Ballet on their 2014 tour to Baden-Baden. That production felt alien in Baden-Baden’s modern Festspielhaus, reinforcing the reputation of “Raymonda” as dusty and outdated. In last year’s review of Tamara Rojo’s “Raymonda” for the English National Ballet, London critic Jenny Gilbert went so far as to call Raymonda an “ineffectual heroine” (implying that the numerous renowned ballerinas who’ve taken on that leading role in the last 125 years were foolish in doing so) and the plot “offensively silly.” She also claimed that Russian “ballet culture has a higher tolerance of such [silly] things.” After watching the Bolshoi Ballet’s “Raymonda”, I’m inclined to think that the western perspective misses what “Raymonda” is actually about. (more…)

Hot!

April 9, 2023

“Don Quixote”
Bolshoi Ballet
Bolshoi Theatre
Moscow, Russia
April 5, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

“The Bolshoi Ballet” is synonymous with excellence – and if anyone can pull off “Don Quixote”, it’s them. This past Wednesday, though, the company left me flabbergasted. Pavel Klinichev wasted no time at the conductor’s podium, unleashing Ludwig Minkus’s score the instant he turned to face the orchestra. The effervescent pacing of the first few bars made clear that this “Don Quixote” would be a spicy one.
From the first moment that the goateed Don Quixote (Alexey Loparevich) and his loyal, oft-gluttonous squire Sancho Panza (Georgy Gusev) set off on their chivalrous journey, Valeriy Levental’s set transported us to the sizzling cauldron of the jam-packed port of Barcelona. Everything is perfect: the turquoise Mediterranean Sea glints under the bright summer sun; fresh fruit is piled sky-high; and the local youth remain in the merriest of moods. The happiest of all, Kitri (Elizaveta Kokoreva) and Basilio (Alexey Putintsev), quickly bring the scene to a boil. Kokoreva’s Kitri sweeps onstage like a torpedo, her fleet-footed legs and teasing fan leaving a trail of sparks. Klinichev’s brisk conducting seemed to spur rather than challenge her. I especially admired Kokoreva’s rock-solid balances – from which she descended only to hurl herself into a battery of snappy pirouettes. (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…)

Brazilian Vibes

March 23, 2023

“Primavera” / “Breu”
Grupo Corpo
Forum Ludwigsburg
Ludwigsburg, Germany
March 18, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

If there’s one thing to be associated with Brazilian dancers, it’s that dance and rhythm course through their blood. Grupo Corpo, one of the oldest contemporary Brazilian troupes, is currently touring Europe – and they offered a sample of their country’s dance spirit last weekend in Ludwigsburg. The double bill presented at the Ludwigsburg Forum was comprised of two works by Rodrigo Pederneiras, the chief choreographer of the company and brother of its founder Paulo.

“Primavera” – which translates to “spring” in Portuguese – was Pederneira’s 2021 antidote to the pain caused by the COVID-19 pandemic. Joie de vivre and the proverbial bright side – that’s what he hoped to re-invigorate in his audiences, and that’s what radiates from his twenty dancers – eleven women and nine men. They hop, bounce, and twirl through a seamless succession of solos, duets, and group dances, swerving from cool and casual to fiery and dynamic. (more…)

A Silver Lining

March 9, 2023

John Cranko School
Forum Ludwigsburg
Ludwigsburg, Germany
March 04, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

It is no secret that Germany has been heading towards multiple calamities for some time. This has inevitably left its mark on theaters in many ways – and I’ve come to expect less-than-excellence when watching German performances of ballet. The performance by Stuttgart’s John Cranko School as guests in nearby Ludwigsburg, however, made me sigh with relief. Within minutes, it became clear that Tadeusz Matacz, the school’s longtime director, has kept the standard high. He chose to present a tasteful, primarily classical program devoid of the insipid vulgarity that I’ve encountered elsewhere. By sidelining the trends of today, Matacz takes an approach that some might discount as reactionary and outdated – but the results speak otherwise. His students seemed fabulously comfortable onstage – focused, technically strong, and convincing as actors. The sold-out auditorium cheered them on enthusiastically. (more…)

Dismissed → Celebrated: Béla Bartók

February 18, 2023

“The Wooden Prince” / “Bluebeard’s Castle”
Hungarian National Ballet / Hungarian National Opera
Hungarian State Opera
Budapest, Hungary
February 11, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

“Young Béla, you have no business composing music.”

Such was the spirit and style of the reviews that had been pre-fabricated by the Budapest press prior to the premiere of Béla Bartók’s pantomime ballet “The Wooden Prince” in May 1917. Instead, the piece was an enormous success – prompting a busy night of rewrites for the journalists. It marked Bartók’s Hungarian breakthrough – a shift in the attitude of his home audience towards his work. As a result, the opera house finally agreed to stage Bartók’s Symbolist opera “Bluebeard’s Castle” in 1918 after seven years’ waiting for a premiere. Over the last century, versions of both works have remained in constant rotation in the repertoire of the Hungarian National Opera. I saw the premiere of a new work – Velekei’s “Wooden Prince” – presented in a double bill alongside a 2018 staging of “Bluebeard’s Castle”. (more…)

Smart & From the Heart

February 16, 2023

“Little Swan Lake”
Hungarian National Ballet Institute / Hungarian National Ballet
Eiffel Art Studios
Budapest, Hungary
February 11, 2023 (matinee)

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

Excitement buzzed through Budapest’s Eiffel Art Studios as the curtain rose on “Little Swan Lake” – an adaption of one of the most classic of classical ballets. This past Saturday at noon, little ones – accompanied by parents and relatives – flocked into the Miklós Bánffy auditorium in great numbers to see Swan Lake for tots.
The Hungarian National Ballet puts a great deal of effort into reaching out to young audiences. “Little Swan Lake” is in its third season and tickets are still in high demand. The production not only nurtures a future generation of theater-lovers, but also has the potential to encourage hesitant children to take the leap into dance lessons themselves. Most of the dancers were as old as their audience, and it’s easy to find one’s passion for the art form stoked after watching them perform. This is all the more so true because “Little Swan Lake” traces the steady growth of a little swan to a mature one (the latter role was – as with the other leading roles – danced by a member of the main company). (more…)

A Fake Cosmos

February 7, 2023

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

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

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…)

Trashy

January 27, 2023

“Triple”
Richard Siegal – Ballet of Difference
Forum Ludwigsburg
Ludwigsburg, Germany
January 21, 2023

by Ilona Landgraf
Copyright © 2023 by Ilona Landgraf

Last weekend, the Cologne-based troupe Richard Siegal – Ballet of Difference toured the Forum Ludwigsburg. The American-born Siegal founded the company in 2016 in Munich. He also serves as its artistic director and has choreographed nearly all of their repertoire. The triple bill in Ludwigsburg combined twenty-or-so minute-long pieces created between 2014 – 2021.

In a recent interview, Siegal revealed that “All For One” is a “reaction to the modes of digital spectatorship that emerged during the beginning of the pandemic.” The piece premiered online in fall 2021 with a set (an organ made from tall tubes of light arranged in a cylindrical semicircle) designed, perhaps, to appeal to an online audience. In Ludwigsburg, the murky illumination often hid the eleven dancers in twilight that obscured their pants, skirts, and bustiers (decorated with bulky silver folds that resembled supersized shreds of paper). (more…)

Neumeier’s Call for Peace

January 12, 2023

“Dona Nobis Pacem”
Hamburg Ballet – John Neumeier
Hamburg State Opera
Hamburg, Germany
January 05, 2023

John Neumeier’s latest choreography for the Hamburg Ballet, “Dona Nobis Pacem” (“Give Us Peace”), is meant to be the crown jewel of his fiftieth season as artistic director of the company. The eighty-three-year-old Neumeier had originally intended to resign in July 2023, but chose to extend his contract for another year in order to ensure the smooth transition of his named successor Demis Volpi, currently the artistic director of the Ballett am Rhein. There are one and a half long years until then – and perhaps Neumeier will renounce his statement that “Dona Nobis Pacem” is to be his last new creation. (more…)

Frothy

January 10, 2023

“The Nutcracker”
Ballet of the Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre
Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre
Moscow, Russia
December 30, 2022 (matinee)

This winter, the Stanislavsky Ballet replaced Vasily Vainonen’s 1995 “Nutcracker” with Yuri Possokhov’s – not a brand-new rendering, but an adaption of the “Nutcracker” that Possokhov created for the Atlanta Ballet in 2018 (new designs included). Since its premiere in Moscow at the end of November, tickets have been in high demand. Given Possokhov’s good work on the Bolshoi Ballet’s “Nureyev” and an “Anna Karenina” for the Joffrey Ballet & the Australian Ballet, I was curious what approach he’d take to this iconic ballet – and it was clear within seconds that he had given this Nutcracker a strong update.

Sergey Rylko’s dazzling videos hurl us through flurrying snow to a spinning astrological sign. From there, a golden ram gallops off towards and through a faceless white town, flying in low over rooftops, an ice-rink, and a carousel. We land at the workshop of Drosselmeyer (danced by Jonah Cook, a former principal of the Bavarian State Ballet and the Zurich Ballet), who is heaping presents onto a sleigh together with his nephew (Andrey Kirichenko). Drosselmeyer’s wall-sized astrological clocks, their faces rotating mysteriously, are presumably tools that control the ticking of the universe. (more…)

A Teaser

January 8, 2023

“Diaghilev. The Dress Rehearsal”
New Tretyakov Gallery
Moscow, Russia
December 2022

Sergei Diaghilev’s name is nearly synonymous with the art of ballet. Well-versed in both arts and business, he succeeded not only as a writer and curator, but indelibly as the founder and cunning impresario of the Ballets Russes.
From 1906 onwards, foreseeing political and cultural paralysis at home in Russia, Diaghilev shifted his activities from St. Petersburg to Paris (and later to other European metropolises). Though his first venture (an exhibition of Russian paintings at Paris’s new Salon d’Automne) earned him laurels, he soon turned away from museums towards the ballet stage. The Ballets Russes became the core focus of his life – and it’s because of them that the western art of ballet was reinvigorated. As Stravinsky stated, “it is to [Diaghilev], that we owe the recent development of choreographic art in the entire world.” (more…)

Transcendent

January 3, 2023

“The Nutcracker”
Bolshoi Ballet
Bolshoi Theatre
Moscow, Russia
December 29, 2022 (matinee and evening performance)

After meeting him at a guest performance with Les Ballets de Monte Carlo six years ago, the Bolshoi’s Semyon Chudin suggested that I see their “Nutcracker” in Moscow. Year after year, one thing or another has prevented me from getting to the Bolshoi at Christmastime. Finally, this year, it happened: on the edge of New Year’s Eve, I watched a matinee and an evening performance.

The Bolshoi’s “Nutcracker” dates back to 1966 – qualifying it neither as trendy nor hip by today’s standards. Perhaps Makhar Vaziev, the company’s artistic director, has kept it in the repertoire for a number of reasons: out of respect for tradition; out of respect for the ballet’s choreographer – Yuri Grigorovich – one of the company’s formative figures; and out of respect for the crowd-pleasing nature of the piece that leads to sold out performances now as ever. (more…)

Dreary

December 22, 2022

“Consagracíon” / “Polvo, palabras, sombras, nada”
Danza Contemporánea de Cuba
Forum Ludwigsburg
Ludwigsburg, Germany
December 17, 2022

Danza Contemporánea de Cuba – a contemporary ensemble from Cuba – is in the middle of a tour of Europe. After performances in France and Switzerland, the group presented a double bill in Ludwigsburg, Germany, last weekend. I expected exhilarating Latin American pyrotechnics infused with burgeoning Christmas spirit. However, the two pieces – “Consagracíon” (2018) and “Polvo, palabras, sombras, nada” (2021) – spoke quite a different language.

Stravinsky’s “Le Sacre du printemps” has provided a spark for choreographers throughout the ages. Nijinsky’s pioneering version augmented the music’s primeval power, as did some of his colleagues’ later works. Many “Sacres”, though, have turned out to be fairly insignificant entries to the canon. Though it’s true that the strength of a performance can depend on its venue (or on the perseverance that is needed to stomp the energy out of the ground), the Ludwigsburg Forum’s stage was not the reason that “Consagracíon” gained its momentum slowly. (more…)