terça-feira, 17 de janeiro de 2017

Wiener Staatsballet: "Cendrillon" revisited. January 16th, 2017.

Wiener Staatsballet: "Cendrillon" revisited. January 16th, 2017.


Somehow yesterday I had a funny feeling of „Déjà-vu” as “Cendrillon” started… of all things that I could think of just one stuck to my mind: “Annie Hall” (Woody Allen, 1977) and the (fabulous) scene in which Woody’s semi-biographical character “Alvy Singer” reveals that he always fell in love with the wrong women and we, the audience, are soon transferred to a cartoon in which Alvy makes love to Snow White’s Stepmother!
I know: it is another fairy-tale!
But she was not exactly the "good girl" of the movie/story, if you can remember and know what I mean!

But we will come to that later again!


At the precise moment in which Lázlo Benedek, Samule Colomber and Keisuke Nejime entered the stage as the Stepmother, Javotte and Anastasie it was love at first sight. And I must tell you: I was not the only that felt that way!
I simply love those rare moments in which audiences “fall madly in love” and you feel a wave of feelings reaching the proscenium.
These moments are becoming so rare nowadays...

copyright: Ashley Taylor

The production is beautiful - with an incredble good taste all around (Something that I missed so much in the last production of "Josephs Legende").
Perhaps even more because of its simplicity that left so much more room for creativity. Thierry Malandain’s ideas and choreography are a joy. The choreography itself is much more “classical” than his previous “Don Juan” but I consider a great step in a beautiful direction. One that showed us that there’s no need about “lots of fuss” with sets, costumes, revolving stages, visual effects, videos and all the mad paraphernalia that some choreographers have been using to hide a certain lack of inventiveness.
Dance.
Simplicity.
Unassumed.

And using Prokofiev’s music splendidly. A fact we must definitely mention.

copyrght: Wiener Staatsballet

Jorge Gallardo’s sets and costumes are perfect. Lovely details, like the mannequins (and the whole ensemble mastered a very good use of them), the wheel in which the Fairy Godmother brings Cendrillon to the ball (such a beautiful effect that represented the carriage marvelously), the high-heels… such lovely imaginative ideas! Intelligent ideas.

Even though there are many dancers that are ill at the moment – the Flu has also reached Vienna – I must congratulate the ensemble for such a good show and for such discipline.

copyright: Ashley Taylor

Andrés Garcia-Torres, in three roles, but especially as the ballet-Master gave a technically very clean, very beautiful performance!

Kristina Ermolenok, looking very delicate and thin, could have impressed the audience more with her presence and clean performance, had it not been for a certain tension on her upper back and neck. But this winter is hard and I do not know if she was also fighting some health troubles.

Tainá Ferreira Luiz delighted as the “Solo-Fairy” – always giving 100% of her strength and concentration on stage, she was immensely sure-of-herself and confident en pointe (the only dancer to dance on her toes in this piece) and mastering perfectly the Fouettés-en-tounant. A versatile dancer she brought me to some good laughs as “the dressmaker” and again as the Fairy while trying to show the way to the prince and his friends. I like humour.


Gleb Shilov. A prince. What else can I say? Great presence, clean technique, very gifted physique. His experience as a performer shows on stage. I wish the choreography could include some more “Bravura” for this prince. Mr. Shilov can handle it.

Unfortunately, the dullest part of the evening is Cendrillon herself. It is quite hard for a dancer to make something interesting out of the choreography. I cannot comment Miss Kovacs-Galavics’ performance because she had not the chance to show anything.
This Cendrillon is normal, well-adjusted, a good girl with no fire in her, boring in fact!
Other characters are so more much interesting, more challenging to play.
Could you imagine Bette Davis being "a good girl" in films her whole life?

copyright: Ashley Taylor

All this takes me fly back to where I started while writing this:
The Stepmother (Lázlo Benedek, fabulous with his walking sticks) and the Stepsisters (Samuel Colombet and Keisuke Nejime): these are really the great Stars of the evening.
Because they are fun. They are alive!

You see: like Woody I also do not care about falling in love with the wrong women.

A very pleasant evening at the Volksoper!

14 comentários:

Mike disse...

I love those pictures.you seem to have liked the show,didn't you?love.Mike

Gleb Shilov disse...

Hallo Ricardo! Dankeschön für die gute Kritik! Ich wollte dir nur sagen das gestern tatsächlich Andres Garcia-Torres die drei Rollen getanzt ich hat ( Tanzmeister-Zeremonienmeister und den Freund) Lg. Gleb

As Tertulías disse...

Oh, dear! I thought the ballet-master was Felipe Vieira. I cannot change the critic anymore... well, I'll try!

As Tertulías disse...

Danke!

Gleb Shilov disse...

Gerne!😉

Lázlo Bedenek disse...

Waow, Ricardo! Thank you, thats an excellent critique! And I am really happy because you like my job in the stage! Thank you!

As Tertulías disse...

But YOU were excellent!!!

Claudia Büthe disse...

I like this on Facebook!

As Tertulías disse...

P.S. It is always better to visit performances a long way after their premiére... Like Margot Fonteyn said: " a baby never looks its best on the day it is born"

Iris Braga disse...

Obrigada pela crítica. Sua visão é sempre maior do que é visto automaticamente em cena por quem não é profissional. Percebem-se muitas façanhas paralelas à primeira impressão e temos uma performance mais completa que se soma à nossa inicial interpretação depois de lermos suas palavras.
Assisti à estreia desta beleza de peça, fiquei muito feliz com todos em cena e impressionada com a qualidade dos bailarinos e bailarinas, um elenco que trabalha duro em toda a temporada, só tendo chance de estrear uma única performance exclusivamente de ballet por saison.
E todos se esmeram ao máximo para ter o prazer de receber seu público com a dignidade e a excelência técnica e artística de sua formação.
Pena que havia desfalques e o elenco principal talvez não tenha tido tempo suficiente para se preparar para tamanha responsabilidade.
Mas, de modo impecável, você nos mostrou uma crítica bem positiva e bastante entusiasmada, espero que mais coreografias consagradas ou novas voltem a desafiar esse time tão coeso e tão talentoso.
Bravo, Thierry!
Braviiiiissimo, WienerStaatsballett!
Bravo, orquestra que nos presenteou com o brilhantismo de Prokofiev, perfeitamente!
Bravo, Ricardo, por ter sempre a ousadia crítica necessária para o crescimento e reflexão dos que integram o backstage e a platéia!
E Toi Toi Toi às novas oportunidades!

Regina Ferraz disse...

Ricardo querido.Cendrillon muito lindo e divertido.
Muito obrigada pela Tertulia sempre carinhosa.
Beijos Regina e Roberto.

Anônimo disse...

lieber ricardo, danke für deine nachricht. mir gefällft sehr gut was du da geschrieben hast ich stimme absolut über ein!
und ja, du hast recht, die rolle ist ein bisschen gefangen, es gibt keinen moment in dem man ausbrechen kann und sich die seele aus dem leib tanzen kann...vielleicht schaffst dus nocheinmal mich anzuschauen..das würde mich sehr freuen.
mitlerweile bin ich wieder gesund und fit. danke dir!
ganz liebe grüße!

Igor Milos, Eleanora Benedetti, Iris Braga Ferreira, László Benedek & Claudia Büthe disse...


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Mary Castro disse...

Imagino, Ricardo, o quanto Vc. se divertiu com esse espetáculo meio inusitado.
Bjs.