quarta-feira, 12 de dezembro de 2012

Wiener Staatsballet: 2012,Nov 30th: MEISTERWERKE DES 20. JAHRHUNDERTS

Before you start reading the text bellow, please notice that I have nearly no pictures of THIS particular performance. That is the reason why I have used other dancers’ in order to illustrate this performance.

One November 30th I had the privilege (and luck) to receive 2 tickets for the Opera from my friend Vladimir Shishov. After a hard week full of problems and hard work, I was really looking forward to a relaxing evening… I had much more than that!

The seats were marvelous, exactly in the fourth row, even though quite unusual for me: I normally choose seats on the first balcony for the Ballet… I like to be a bit “above” the stage. Unfortunately it is not always a pleasure to sit there and be aware of the formations which are usually intended by the choreographer… last March at “Glass pieces” the company hadn’t been properly rehearsed for the 3rd piece (a part of “Echnaton” from Glass) and I nearly regretted to be seated in my favourite box of the Opera…

Anyways, this time I had a completely different experience: not only has the company been “growing and growing” in artistic terms, repertoire and internationality, it has been working a lot… and rehearsing a lot… and DANCING a lot! Monsieur Legris…
The first part of the evening – and main reason of this review - “Suite en Blanc”(Serge Lifar) is one of my all-time favourites. I hadn’t seen this ballet in years until it premiered again in Vienna last February. I was at that time very much impressed with Shane Wuerthner’s performance (bellow with Liudmila Konovalova and Alexis Forabosco). Unforgettable.

When the curtain opened, guess whom I saw first. My dear frined Flavia Soares, her delicate fairy-like figure and inimitable smile. What a pleasure!

Copyright: Wiener Staatsoper

Copyright: Wiener Staatsoper

Copyright: Wiener Staatsoper

Copyright: Wiener Staatsoper

Once more Vladimir Shishov (above) showed us why he is in the Premieur Danseur rank. His stage presence, his “Persona” shines… When he enters on stage, the whole Opera House seems to belong to him. He demands our full concentration… and everything seems to be done at such ease, with incredible naturality and poise:
Premier Danseur. It could not be any othe way.

He and Olga Esina (below) were marvelous at the “Adage”.

Mais uma vez Vladimir Shoshov (acima) nos mostrou o porque do seu Status de Premieur Danseur. Sua presença no palco, sua “persona” brilha… Quando ele entra no palco, toda a Ópera parece lhe pertencer. Ele atrai toda a nossa concentração… e tudo parece ser feito com facilidade, com incrível naturalidade e porte: Premier Danseur. Não poderia ser de outra forma.

Ele e Olga Esina (abaixo) estiveram maravilhosos no “Adage”. "Poise" is the key-word.

Copyright: Wiener Staatsoper
Copyright: Wiener Staatsoper

I was also very impressed with Denys Cherevychko’s (below) strong performance in “La Mazurka” (Denys was a short time ago at the Paris Opera as Basil in “Don Quixote” ).

Always a pleasure to look at, Davide Dato (“Pas de Cinq”), “growing” more and more and everyday as an artist. Every time I see him on stage, he surprises me agin.
Exact, technically stronger every day and a beautiful, dynamic personality on stage.

Enchanting Prisca Zeisel (below), one of the few Austrians in the company, impressed the public with her musicality and lines in “Thème varié”).
Precious Precociousness!

Copyright: Wiener Staatsoper.

Copyright: Wiener Staatsoper

The revelation of the evening for me was Alexis Forabosco (below).
Although I had seen him already many times on stage, this time I sort of “concentrated” more on his performance, he caught my full attention. His French background and technique give him a full understanding of “Suite” – combine these qualities and add presence, musicality and beautiful lines, mix them on a stage while slowly adding the music of Edouard Lalo and you’ll have what just delighted me and the audience on the last November 30th in “Thème varié”.
A beautiful performance by a very gifted and very sensual dancer. Bravo, Monsieur Forabosco.

Copyright: Wiener Staatsoper

After the first intermission another “jewel” by the Swedish choreographer Nils Christe. Inventive work to a very difficult music from Bohuslav Martinu – really VERY difficult.

Two of the dancers which had just only been on stage in “Suite” were again on stage. Much energy required after the technically demanding “
Copyright: Wiener Staatsoper

Copyright: Wiener Staatsoper

Copyright: Wiener Staatsoper

Copyright: Wiener Staatsoper

Above Eno Peçi & Ketevan Papaya as well as Misha Sosnovischi in “Nightfall”.

Unfortunately the evening came to an end with “L’Arlésienne” (below) which I consider a boring ballet, a big bore really – as many others from Roland Petit.
This choreography does not appeal to me at all. And the evening should have started and not finished with it.

But this review is coming to an end and I would like to dedicate to the Prima-Ballerina Cristina Martinelli, who danced (the full version of “Suite en Blanc” for the firsttime in Brazil) at the "Adage". Unfortunately the only time it was ever shown in Brazil, at Rio de Janeiro’s “Theatro Municipal”, her artistic home for many, many years... During which she reigned as Brazil's "Majesty"!

Cristina Martinelli's private collection.

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