Wiener Staatsballet: May 09th, 2017, Season 2017/18, Press Conference.

Another season, another reason: Wiener Staatsballet, Season 2017/18

As the old song says: “Another season, another reason, for making Whoopee!”

Even if thousands of people have discussed this “Whoopee” (always “philosophizing” about its meaning), I am sure of a positive touch about it – and this sounds good, according to today’s press conference at the Opera that predicted a marvelous 2017/18 season – and a very carefully planned one too.

But before jumping into next year, here some “News” that are still going to take place during this season (that was not easy one due to the many pregnancies in the company – but on the other side, as reported, dancers like Liudmila Konovalova, Nina Polakova, Ioana Avraam and Maria Yakovleva got a chance to dance more):

The many casts for the upcoming “Swan Lake” are not only a logistic challenge but will also give some dancers the long awaited opportunity to make a debút on “Lake”. Robert Gabdullin, Jakob Feyferlik, Masayu Kimoto and Leonard Basílio will have their chance to play Prince Siegfried. On May 14th and 17th Semyon Chudin and Olga Smirnova (both from The Bolshoi) will play the leading roles. On June 4th other World Stars (this time from the Royal Ballet) will take over the roles of Siegfried and Odette/Odille: the gifted Vadim Muntagirov and magical Marianela Nuñez.

The Nureyev Gala on June 29th will be once more the “highlight” of the Season: a wonderful programme which includes, among many others, “Spartacus Pas de Deux” with Maria Shirinkina and Vladimir Shklyarov from the “Bayerisches Staatsbalet” (whom I recently had the opportunity to witness on stage in Munich), “Magnificat” (John Neumeier), that was in fact created for Sylvie Guillem and Manuel Legris, “Stars and Stripes” (Balanchine), “Solo” (Hans van Manen), “In the middle, somewhat elevated” (Forsythe) with the future principal of the “Ballet Zürich”, Elena Vostrotina and Vladimir Shishov, Balanchine’s “Tchaikovsky pas de deux” with Ludmilla Pagliero (Etoíle from National Opera de Paris) and Denys Cherevychko and “With a chance of rain” by Liam Scarlett (the same choreographer that did the “hit” “Frankenstein”).

Monsieur Legris talked about his participation as a member of the jury at the “Prix Benois de Danse” to which Wiener Staatsballet’s principal dancer Davide Dato was also nominated, the upcoming planed tounées to China and Japan as well the new DVD of “Don Quixote” that shall be released next autumn, about four new dancers joining the company: Andrés Garcia-Torres (up to now at the Volksoper) and three other (male) dancers, respectively from Italy, America and Belgium and about two Demi-Soloists leaving the company: Dagmar Kronberger that decided not to come back after getting her second baby and Greig Matthews that is joining the Joffrey Ballet.

Mrs. Mag. Simone Wohinz, commercial director of the Wiener Staatsballet, informed us about interesting facts and figures: The Ballet had 57 performances at the State Opera and 34 in the “Volksoper”. Around 150.000 viewers visited the performances (plus 7.150 in Madrid, during the Tournée at the Teatro Real, in which 5 sold-out performances of Legri’s “Le Corsaire” were shown to Spanish audiences).
At the moment (44 performances up to now) at State Opera, the average seat occupancy is by 97,39% - in fact a peak figure when compared to international standards.

Mrs. Simona Noja-Nebyla, Managing Director of the Ballet Academy from the Vienna State Opera, delighted us all with all her energy and enthusiasm about the school, its team and pupils. 130 students from 22 different countries that are willing to dance and will have performed in 167 pieces by the end of the season. This means that they perform an average of 16 pieces a month (in a ten month-period) and that is an enormous accomplishment!

Manuel Legris resumed the conference giving the “news” for the 2017/18 Season:

A very “British evening” with MacMillan’s “Concerto”, McGregor’s “Eden” and the very special, lovely, passionate and romantic piece “Marguerite and Armand” created in 1963 especially for Fonteyn and Nureyev by Sir Frederick Ashton. This was in fact the first Ballet ever to be created to both. And how fitting that Monsieur Legris decided to use in it, exactly in the year in which Nureyev, if he'd still be among us, would have turned 80 years old.

“Peer Gynt” by Edward Clug, a full length contemporary work will have its Première on January 21st. Back to the repertoire are “Giselle” (which has not been performed in the Opera since 2011), “Nutcracker”, the “very round” programme “Balanchine/Liang/Proietto”, “Raymonda” (“Hopefully also with Olga Esina this time”, concluded Mr. Legris) and “Balanchine/Neumeier/Robbins” which will bring back the “beloved” Robbins’ “The Concert” (or “The perils of everybody”) – Surely a special homage to Jeromme Robbins’ 100th Birthday.

At the Volksoper Davide Bombana’s “Roméo et Juliette” with Berlioz’ music that, if I am not mistaken, was just used by Maurice Béjart until now. Back, to audience’s delight: Jorma Elo’s “A Summernight’s dream”and Patrick de Bana’s “Marie Antoinette” among others.

And of course “The Nureyev Gala 2018” that – as Monsieur Legris emphatically put it - will have to “top” this year’s Gala in honour of Rudolf Nureyev’s 80th Birthday: something not so easy to do due to the already known very high standards with which he has been “pampering and coddling” Vienna’s audiences during the last seasons…

But I am positive that he’ll surpass himself, as usual!

Yes, an extremely promising year: “another season, another reason… for making Whoopee!”

Wiener Staatsoper: a talk with Igor Zapravdin

A talk with Igor Zapravdin: April 5th, 2017



Astrologically speaking, what you make of yourself is a “10th house matter”.

The 10th house describes your career, your public reputation, your worldly status. It suggests your optimum contribution to society, the qualities for which you'd like to be admired and respected.

People who have their “sun” in the 10th house are blessed with so much awareness that when they enter a room every single person turns in their direction. This has to be the case with Igor Zapravdin.

At the precise moment when he entered the Café, in which our interview was going to take place, he became the center of attention, in an almost ferocious but natural, uncomplicated way at the same time.

After shaking hands and exchanging a warm embrace, we sat down to “talk”. Oh, I do love talking to genius. I do love talking to people with broad experience and deep knowledge of their “métier”. It has been a long time since I realized that in order to go further, one has to ask questions. Many questions. Even if you feel that may be “silly”. When I think back at all people I have met, I sometimes think: why didn't I ask more? Why didn't I ask them to dinner so we could talk more? It is really a long time since I stopped being shy about asking too much. And I am glad about that! As Jane Fonda once said “It is so much better to be interested than interesting... “.

Igor Zapravdin was born in Sevastopol (Crimea) and started his musical studies at the early age of 6. When I asked him if he had ever also been to ballet classes he answered immediately “Of course, during my times in music school I also went to ballet classes... for about 6 years!”
That made it all clear to me – this unique understanding of ballet and of the needs of the ballet teacher. This unique feeling for tempo. “There must be a total feeling for the person you are working with. Class is a holly place. Respect and understanding are required. Albert (Mirzoyan) knows what he needs. I give it to him – But this understanding comes with time... We have been working together for so many years!”.

Mr. Zapravdin has been working since 1992 at the Vienna State Opera.

“I am a ballet pianist – you see, a ballet pianist can be a concert pianist but a concert pianist is not a ballet pianist!” he continued, “ There are three extremely important things: the ballet repertoire – even of unimportant pieces, capacity of improvisation and the knowledge of ballet technique itself! Without these three vital things, you cannot be a ballet pianist!”

Talking to him and concentrating on writing down every single important information is not an easy thing. He is quick, pin-pointed to the last details about his work and “his soul overflows with excitement” while he is talking. Talking about the things he loves most!

“Mr. Zapravdin, you have done a great work with the musical arrangements of “Le Corsaire”... “ I started to say. “Yes, that had to be done... You see, the score from “Le Corsaire” has not the musical quality of a “Giselle”. There were so many pieces that were added to it through the years. Music from eleven composers! I have reduced them to 5!”

“Which is your favourite com... ?“ Before I could finish my sentence he answered “Riccardo Drigo”, his eyes shining with delight a the very mention of his favourite composer.

A man of great stamina, Mr. Zapravdin has been working on extra projects that include a Gala in Luxembourg on May 20th & 21st (with Vladimir Malakhov, Lucia Lacarra, Marlon Dino, Eno Peci & Natascha Kusch among others), which unfortunately I will not be able to attend and his own 25 year Jubilee at the State Opera which will take place on October 29th at the Volkstheater, which I will surely attend to.

But that is the thing about Mr. Zapravdin his total dedication and love to a profession that found him. Yes, I do believe that artists do not look for their profession. They are chosen by it! And this the fascinating thing. I could still be sitting there, listening to the wisdom of this learned gentlemen! I am looking forward to learning more from him and from his infinite cultural baggage!

Many thanks!

Some facts about Mr. Zapravdin:

After attending music and Ballet school, Mr. Zapravdin continued his studies and graduated for composition and classical piano from the Academic Music College under the Moscow State Tchaikovsky Conservatory and Moscow State Pedagogical University. In Moscow he worked as a repetiteur in many different theatres such as “Stanislavskiy”, “ Nemirovich Danchenko Musical Theatre”, “The Musical Theatre for children” (Natalija Sac) and the “Russian State Ballet Theatre” under the direction of V.Gordeev.

Since 1992 he has been working at the “Vienna State Opera” as a Soloist and Ballet pianist. He has been in many productions as a Concert Pianist for Ballet productions, accompanying the Vienna State Opera on tournées to Luxembourg, Tokyo and Monte Carlo. Zapravdin has played in Russia, Austria, Paris, Varna, Budapest, Tokyo, South Korea, Luxembourg and Brazil.
He is the music director of the Nureyev-Gala in Kazan (Russia) and of the Fanny Elssler gala which takes him to play at the Bolshoi Theatre in Moscow. He also collaborated with the cellist and Orchestra Conductor Mstislav Rostropovich.



He has edited the musical arrangements of “La Bayadére”, “The Ice Queen” and from the “pas de six” from “Laurencia”. He has also published music CDs for Ballet lessons focused on the least known classical repertoire.

Wiener Staatsballet: March 22nd, 2017. "Onegin" revisited.

For me Onegin is and always will be one the most sensitive works ever made for ballet. It may sound ridiculous – due to the fact that it is based on Pushkin’s lyrical work – but it is pure poetry... Poetry perfectly translated into ballet by John Cranko, for me until today one of the great genius of last century’s ballet – his work will live forever: I always begin, all over again, to admire immensely his “pas de deux solutions” and group scenes, as if I had never seen them before. And his personal way of building the characters into dance and into the story-telling… more to that a little bit later.

Maria Yakovleva/Roman Lazik: Copyright Wiener Staatsoper/ Ashley Taylor

I was very pleased with the Corps-de-Ballet. Last time I had seen this production I thought that a lot of the precision Cranko put in his work was missing and lots of work should be done: directions, heads and – mostly – arms… that single precision that this South-African brought to life... But yesterday’s performance showed that the company has been working very hard on “style & precision”. And that made me glad! Very glad indeed! So many new faces in the company, which I am not able to distinguish from each other or, better put it this way, faces to which I cannot yet add a name to. I have to write about the ones nobody ever writes about – I have space enough, here on this online platform – and I do not have to reduce my reviews to a few sentences...

Wonderful work by Elena Bottaro (always a joy to look at!), Suzan Opperman, Céline Janou Weder (both such “pros”) and Alaia Rogers (who gave us a beautiful and precise “mirror reflection” of Tatjana – showing through her face all the thoughts, doubts and feelings of the main character! No an easy task). But we all agree that we would love to have a mirror reflection just like Miss Roger's face!

The same applies to the boys – growing very strongly as a group, in complete “unison” with each other.
I have the feeling that between male dancers there are not so many “new faces” and I’d like to mention the names on which an audience can always “rely on” (and put “their feet up and relax because of the good work): Marat Davletshin, Marcin Demp, Alexis Forabosco (that will dance Gremin soon… I guess I’ll have to return to the Opera sooner than I thought!), Igor Milos, Tristan Ridel, James Stephens, Dumitru Taran, Zsolt Törok, Jaimy van Overeem and Géraud Wielick. Dancers you can really rely on. I do not remember – in all years I have been in Vienna, well... decades in fact, following Ballet here in Vienna – to have witnessed a moment in which the male dancers from the Corps-de-Ballet (many half soloists within the names I have mentioned) were so strong together. I like that! Awesome!

Nikisha Fogo, giving her début as Olga, gave a good performance – even though she must have been a bit nervous. But just as the curtain opened I felt that she “had the role” under control: in the scene in which she is doing some embroidery with her mother and foster mother, she was not doing affected movements as a dancer but really putting her strength in the fun of the movement without “pretending”. Sawing... She really was doing her embroidery. Her pas de deux with Lenski was the first “catchy” moment of the evening. Still, there is still some work to be done on this couple's "chemistry". But I am sure they will find it!

Nikisha Fogo/Davide Dato: copyright Wiener Staatsoper/Ashley Taylor.

Davide Dato who hasn’t stopped to delight his audiences – since 6 years (I just found a review that I wrote 5 years ago, in which I said “I am sure that we will be hearing from Mr. Dato very much in the future – I could not have been more right!) is at top form. But I always say this and he always gives performances that are “a notch above” the last one. Always “surpassing” the last performance. A gifted dancer and a very good actor. His Lenski is complete – down to the last details!

Davide Dato/Roman Lazik. Copyright: Wiener Staatsoper/Ashley Taylor.

For me the biggest “gift” of the evening was Alexandru (Sascha) Tcacenco as Gremin. I had never seen a Gremin that possessed such firmness and determination like this portrayal of the role. Dogmatic. Strong. After “decades” of watching Onegin I, at last, understood why Tatjana was so determined, in the last scene, in her way of sending Onegin away from her chambers. At last I understood the “bridge” that Cranko has thought of… the country girl that became the wife of an aristocrat learned also to “command” – because of his army-like behaviour… That is what I meant aat the beginning of this review. The line of story-telling and the way Cranko built his characters. But this was only possible because of Mr. Tcacenco’s performance. A dancer not only with a great stage presence but also with a great “insight” about the characters he’s playing, understanding them completely.


Alexandru Tcacenco/Maria Yakovleva: Copyright Wiener Staatsoper/Ashley Taylor

Maria Yakovleva and Roman Lazik were on their element.

Miss Yakovleva, looking beautifully frail, perhaps in the best role I have ever seen her in, gave us a sensitive portrayal of “haunted” Tatjana – down to the last details. Average audiences will not pay much attention to that – because THESE are no moments of “bravura” (and circus) onstage but, for example, her first “soliloquy” (bedroom scene) was a moment of pure art. The way she lies and moves in bed and then pretends to sleep while her foster mother enters the room, just to stand up a bit later to write on her desk… her thoughts and doubts and wishes symbolized by the mirror and the entrance of Onegin himself, in her dream. Miss Yakovleva delighted the audience – made us sometimes laugh, wonder and then cry… Her interpretation reminded me a lot of the character study that Marcia Haydée (the original Tatjana) did for her work. Insight. As a dancer and actress…
In fact, technique is not all, and those moments, in which the audience is simply “hypnotized” by such a touching performance are more worth than a trunk filled with diamonds and pearls - think about Cunegonde in "Candide".

Maria Yakovleva/Roman Lazik: Copyright Wiener Staatsoper/Ashley Taylor

Mr. Lazik – in the role of his life… that was my impression. And what else could I add to that? Not much. He knows all the dark sides of this character – but also, like he showed in the first act, his “dandy”, bored side. In a very well mastered interpretation, he turned Onegin, who in Russian literature would influence so many other Russian literary characters, into a real person. Flesh and blood. Onegin is a ballet that is not only perfect for him as a character but that also emphasizes his technique and his physique – long legs and very special arms.
A pure joy for Balletomanes – although sad, very sad: think about this quote that Pushkin wrote about Onegin's character: ““..depression still kept guard on him, and chased after him like a shadow - or like a faithful wife.” 

Onegin is a very “round” piece – a form I simply love – precise and compact. There are no “wasted moments”. Thank you, John Cranko!

Wiener Staatsballet: "Marie Antoinette" revisited (Volksoper, June 16th, 2016)

I think I had seen Patrick de Bana’s “Marie Antoinette” for the last time in 2012… or was it 2011?

By the time this work “re-opened” at the Volksopera, I was on my way to South-America. But things happen in a way because they should happen that way – I still believe that… If I had been able to watch previous performances I might have lost this one that meant a great deal for me. Specially because of its young cast.

Many weeks ago, on my way to the Opera, I met Manuel Legris, by chance as he was walking out of the underground. It was raining and he was kind enough to offer me a place under his umbrella. He told me that Mr. de Bana was strongly reworking the piece. What can be more fascinating than an artist that keeps his work in constant motion, changing it if he feels that things could be made another way, better, more effectively, more emotionally? That is exactly what dancing is all about – MOTION. Constant motion. Not “framed” pictures that will never be able to move or change… Well, for weeks I have been “haunted” with curiosity and did not know exactly what to expect. With Monsieur Legris’ words, still sounding in my ears, I walked into the Volksoper yesterday. So many changes... even point work! He really did not exaggerate and I could not have been more delighted.

Natascha Mair & Kamil Pavelka / Copyright: Ashley Taylor

The Corps-de-Ballet was wonderfully rehearsed – perhaps with the exception of the beginning of the second act – which is musically very tricky. Strong personalities like Alexandru Tcacenco, Zsolt Török, Elena Bottaro, Anita Manolova, Suzann Oppermann, Alaia Rogers and Géraud Wielick among others.

Most principals dancers were brilliant in their own ways and qualities.
That is sometimes a very underrated quality: the wisdom to give the right roles to the right performers.

Nikisha Fogo and Francesco Costa – respectively “The Shadows of Antoinette” and “The destiny” gave very strong performances of two extremely well-conceived characters. Perhaps choreographically seen, the strongest parts of the play. Miss Fogo, as I say, “always on fire” is one of our new, most promising talents in Vienna.

Nikisha Foho & Francesco Costa / Copyright: Ashley Taylor

Nina Tonoli, as Madame Elizabeth, surprised me once more. Her anguish while imprisoned was extremely well played – with the difficult task of having to emit sounds of fright and desperation, losing her mind. This fact gave us a glimpse of Miss Tonoli’s acting abilities, which until now had remained – at least for me – quite unknown. Her beautiful technique and poise must not be mentioned.

Nina Tonoli / Copyright: Ashley Taylor

Laura Nistor: after watching Miss Nistor in “Arepo”, last January, I thought “well, that is really another side of this gifted dancer”. Yesterday she surprised me once more (Sorry , if I am being repetitious with the use of the word “surprised” but that is exactly the way I feel. The way it was). Another side – an amalgam of her different gifts - emerged strongly with Mr. Bana’s “Maria Theresia”: a VERY strong character which Miss Nistor added to her versatility list. The use of her arms was amazing – she used this “language” as though she had grown-up as a contemporary dancer. And she did not. On top of it all: her poise… impressive, outstanding.

Laura Nistor / Copyright: Ashley Taylor

Jakob Feyferlik had the difficult task to play Louis XVI – a very difficult character to my way of thinking: a part that combines so many specific movement directions in such a complete intrinsic way. Not easy to portray. He gave us a marvelous portrait, with neither stereotypes nor clichés, using his outstanding technical qualities to his advantage and best effect. His costumes accentuated his physique – specially his long legs.


Jakob Feyferlik & Natascha Mair / Copyright: Ashley Taylor

Natascha Mair: I remember really noticing Miss Mair for the first time as “Amor” in D.Q. and this was not many years ago. On the other hand it seems like “ages ago” due to her extreme growth as an artist during the past few years. Apart from her technical gifts and skills – I will not waste time about her pirouettes, extension, developées , point work, balance etc. – Miss Mair possesses aacting talent which makes us feel and fight with her, right beside her. An impressive picture that was pasted in my mind yesterday: Antoinette’s despair, sitting in her cell while Madame Elizabeth “freaked out” (to put it mildly)- take a look at Nina Tonoli's picture above - Miss Mair is sitting in the background.
Her strength and frailty at the same time are a rare thing – her vulnerability and sadness towards the end of the piece, the way in which Antoinette “gives up” astonishing.
I consider Miss Mair a rising, bright new Star of the Opera. I am positive that we will hear very much from her in the future and that a brilliant career lays ahead of her.


Natascha Mair & Francesco Costa & Jakob Feyferlik / Copyright: Ashley Taylor

One thing became quite clear to me – a sort of certainness about a very subjective feeling, sense of continuity:
a new generation of dancers in the Staatsballet is not coming; it has arrived. IT IS THERE!

Patrick de Bana’s contribution to the dancing world is unique. His talent also singular. His jumps over emotional abysses are filled with an easiness, in such a way that makes us wonder how a choreographer has created such a deep and vast OWN language and dance vocabulary.

His “Antoinette” possesses something very rare in the dance world. It does not “tell a story” in the common, old-fashioned, ordinary way. It gives us instead psychological glimpses and aspects of the characters – specially of Antoinette – just like Stephan Zweig’s “Marie Antoinette - Bildnis eines mittleren Charakters” , a book not famous for its precise historical research but simply amazing in its psychological insights and analysis of this historic person. There is no better way to understand and feel...

Having followed contemporary choreographers and their work during the last 40 years, I have seen many good works but also many repetitious, boring, dusty pieces along the way that just reminded me – badly - of other pieces. That is why I am so impressed by Mr. Bana’s contribution. His choreography is filled with a new richness that reminds us three basic things about dancing: emotion, motion and magic. It was a real privilege to watch this revised/reworked/reshaped version of “Antoinette” – and with such a wonderful young cast that it turned out to be difficult for me to imagine other dancers dancing these parts.

Not to forget: the wonderful and “sensual” costumes by Agnès Letestu, which could only have been conceived by a dancer, the scenery by Marcelo Pacheco & Alberto Esteban and the “plasticity” of the staging strongly emphasized by the brilliant lighting of James Angot. All part of this marvelous creative group!

All in all: my humble, special THANKS for such an evening filled with talent, creativity and JOY in dancing.
The “things” that really matter and that make all the difference.

P.S. My special Thanks to Ashley Taylor for kindly letting me use his wonderful pictures.

Wiener Staatsballet: The Snow Queen (Die Schneekönigin) - Volksoper - 2016, February 21st

Corder's "Snow Queen" is definitely not one of my favourite pieces.

The choreography neither follows nor contains an uniform line, a strong structure - it is sometimes "sprinkled" with a too obvious use of the music, sometimes too slow and all of a sudden - but lacking any stylish connection - too ferocious
(I am thinking about the gypsies at the third act's beginning - one of the few exciting and lively parts of the evening – but on its own!).

In fact, my chronic dislike to anything that is usually played at Christmas time – and specially targeted at families and children – is immense.
I dislike those "Season's spells" intensely.

Still “Snow Queen” offers good opportunity to young dancers.

Leonardo Basilio and Jakob Feyferlink were very secure and effective as the two wolves.

Basílio/Feyferlink/Ioanna Avraam - picture: copyright: State Opera

The same should be said about Tristan Ridel (making a good impression on stage) and Alexandru Tcacenco – both impressive, professional, melodic and very lyric as the two “roses”.
Not to be overlooked: Adele Fiocchi and Suzan Oppermann as the two polar foxes. Very, very effective.

The elves (or fairies) have quite dominated the stage and were splendidly danced by Natascha Mair, Eszter Ledán, Elena Bottaro (giving her debùt of this role) and Nikisha Fogo (unlike the others,focusing directly at the audience - and probably unintentionally "stealing" a bit of the show!).

Delightful Géraud Wielick made a good, secure impression as the reindeer.
He “wins the audience” on his first entrance: an obvious display of sympathy and good stage presence. One must say that Mr. Wielick seems changed everytime I see him on stage – he is developing fast, his stage persona is getting stronger with every single performance. A good thing.

Ketevan Papava and Eno Peçi, two great performers, were at ease, not being that much challenged as the gypsies. But their performances, as usual, were brilliant and precise – and always full of energy. Never dancers to “relax” on stage, they are – because of that quality – extremely appreciated by the audiences.

Nina Poláková, a dancer I have never – by coincidence – seen much of, gave a good, aggressive show of the (in fact) glacial character.
Unfortunately the choreography for the “Queen” tends to turn quite repetitive at the very end of the ballet, as if the choreographer’s vocabulary had vanished completely, finished.
The incessant, never ending lifts on jeté by the wolves are boring and make her look more like a drowning “Fliegende Holländer” than like a queen… also here Mr. Corder seems to have missed some more inventive ideas…
still…
Miss Poláková seemed a bit tense around the mouth and jaw area - A fact that is not seen at the video close-ups!
(which, in fact, I detest: they remind me of the wicked witch of the East in the Wizard of Oz!).
I am looking forward to watching Miss Poláková next week in “Onegin” – so shortly after having seen her in “Queen”.

The evening belonged completely to the lovely couple Nina Tonoli/ Greig Matthews.

Tonoli/Matthews - picture: copyright State Opera

Both, still very young, gave confident performances and were rewarded with huge applause.
Mr. Matthews was a steady, strong partner and had his joy while dancing the young Kay. Also a very "clean dancer" Mr. Matthews pays lot of attention to "details" - always displaying his (marvelous) demi-pointe and an impecable turned-out passé relevé.
Miss Tonoli, a very modest dancer and a hard worker, was absolutely enchanting. Her technique is clean, seeming completely natural to her - as if she'd be a dancer who makes no efforts (that is an utopia!).
I consider Miss Tonli one of the few candidates for future 100% classic roles... and I could already imagine her in "Coppelia".

It should also be noted that their first pas-de-deux, in which they seem to be playing with each other and having lots of fun, is especially entertaining.
The use of the diagonals is extremely effective – and combines lot of fun with step precision.

All in all: a pleasant evening, very “Volksoper-like”.
Not a real challenge for an “every day, average ballet-goer” but still… colorful and “neat”!

Evelyn Hart: La mort du Cygne (2000)

Para que não seja mal entendido…

O video anterior à esta postagem (Raisa Gilko em “La mort du Cygne”) teve a única e exclusive função de mostrar um agradecimento do qual muito gostei.
Sua dança nada me emociona…



Um CISNE mesmo é a querida, eterna Evelyn Hart – que, aqui, não luta para parecer bonita e elegante todo o tempo (o que já é por sua elevada arte)
mas se concentra na execução e interpretação do único momento em que o cisne canta – em toda sua vida:

o momento de sua morte…

La Mort du Cygne: Raisa Gilko

After watching this video I have never heard anymore from Raisa Gilko, a Bolshoi dancer.
I also had never heard of her before…
In fact her dance neither surprises nor touches me.
Her Swan is too affected.

But I’ll never be able to forget her bow to the public.
Still completely “in the character” and in full command of her arms. I like that.
It is mad but I like her bowing more than her dance.

Depois de assistir este video nunca mais ouvi falar de Raisa Gilko, bailarina do Bolshoi.
Também nunca havia ouvido falar dela antes…
Na verdade sua dança nem me surpreende nem me toca.
Seu Cisne é muito afetado.

Mas jamais poderei esquecer seu agradecimento, sua reverencia ao público.
Totalmente dentro do personagem e em complete commando dos seus braços. Gosto disso.
É loucura mas eu prefiro seu agradecimento à sua danÇa.

Mr. B's "Tarantella" (English & Portuguese)

Mr. B’s „Tarantella“. This pas de deux has been haunting me for quite a while…

This version is very special and dear to me:
I taped it sometime during the 80’s (does anyone still remember a big thing called video2000?), then had it transferred to a VHS (also for younger generations quite difficult to remember) until, many years ago, I managed at last to make a home-made DVD out of it. It is still playing quite well but I could never save it as a MP4 file… The so-called “navigation Structure” turned out to be an invalid one… At long last I found someone who helped me save it “for posterity” (Thanks!) and I immediately posted it in my Youtube account. I am glad about that. Very glad.

This pyrotechnical pas de deux was at the time the perfect vehicle for Patricia McBride’s and Edward Villela’s virtuosity – Even if filmed in the early 70’s (The choreography was completed in 1964) it is interesting to notice how Miss McBride’s figure is still very “up-to-date” to our nowaday’s feelings towards aesthetic (in the Ballet).

“Tarantella” is definitely one “pièce de résistance” for two dancers.

The music was described by Balanchine in his “Complete Stories of the great Ballets” this way: “It is a dazzling display piece, full of speed and high spirits. So, I hope, is the dance, which is ‘Neopolitan’ if you like and ‘demi-caractère.’

Balanchine much admired, for some reason, Louis Moreau Gottschalk’s music. The audacity and wit of his works, along with his brilliance at the keyboard, made his compositions immensely popular — perhaps too popular…He fell out of favor after his death, considered old-fashioned and clichéd.

But this pas de deux still lives today…

A “Tarantella” de Mr.B. Este pas de deux pirotécnico tem me perseguido já por algum tempo…

Esta versão é muito especial e querida para mim: Eu a gravei em alguma época dos anos 80 (alguém ainda se lembra de um trambolho chamado video2000?), então o transferi para um VHS (para jovens gerações também muito difícil de lembrar) até que, há muitos anos, eu consegui finalmente trasformá-lo num DVD “home-made”. Ele ainda toca mas jamais consegui salvá-lo como um arquivo MP4… A chamada “estrutura de navegação” resultou em ser invalida e eu jamais consegui passar por cima desta falha. Finalmente encontrei alguém que me ajudou a salvá-lo para “a posteridade” (Obrigado!) e imediatamente publiquei-o na minha conta do Youtube. Feliz com isso. Muito feliz.

Este pas de deux pirotécnico foi na época o perfeito veículo para o virtuosismo de Patricia McBride e Edward Villela – mesmo que filmado no início dos anos 70 (a coreografia foi acabada em 1964) é interessante notar-se como a figura de Miss McBride é ainda “moderna” para nossas percepções atuais em termos de estética (no Ballet).

“Tarantella” é definitivamente uma “pièce de résistance” para dois bailarinos.

A música foi descrita por Balanchine no seu livro ““Complete Stories of the great Ballets” desta forma:
“uma deslumbrante exibição , repleta de velocidade e de espírito leve. Da mesma, espero, é a dança, que é se voce quiser “napolitana” e “demi-caractère”.

Balanchine muito admirava, por alguma razão, a música de Louis Moreau Gottschalk. A audácia e sagacidade, junto com seu brilho no teclado, fizeram suas composições imensamente populares – talvez até demasiadamente populares… Ele saiu de moda depois de sua morte, sendo considerado antiquado e “cliché”.

Mas este pas de deux ainda vive hoje…

Ballet: Quo Vadis?

Antes de tudo um grande Obrigado a Straccio Carlo e sua maravilhosa pesquisa que inspirou esta “Tertúlia”.

First of all a big Thank you to Straccio Carlo and his wonderful research that inspired this “Tertúlia”.


Don Quixote: Makarova & Zakharova


Sleeping Beauty: Fracci & Zakharova


Swan Lake: Makarova/Dowell & Kolegova/Korsuntev

Vezes me pego pensando com horror sobre a forma como o Ballet está sendo encarado por gerações mais jovens… só testemunho trabalho sendo feito no lado físico, não vejo mais trabalho artístico… Essa situação me enche de horror e me deixa triste, muito triste… e me dá medo!

Sometimes I catch myself thinking with fright about the way Ballet is being faced be younger generations… I just witness work being made on the physical side, I don’t see any artistic work anymore… This situation fills me with horror and makes me sad, very sad… and scares me!


Sleeping Beauty: Makarova/Baryshnikov & Ballet Nacional de Cuba - WHAT IS THAT?


Onegin: Haydée/Cragun & Ciravola/Moreau

Tive o prazer de assistir duas vezes uma Zakharova muito bem ensaiada (e contida) no “Lago”. Suas Odette/Odille foram deslumbrantes… como disse, muito bem ensaiada, “coached”. Porém quando vejo essas fotos, acho-a tristemente circense, uma mestra em ginástica sem respeito à estilo, história… Muito me chateou a foto de “Giselle” na qual toda a ideologia que eu sempre descrevi como “meu coração - não minha barriga - ao centro da terra, meu pé para as estrelas” foi perdida num ataque de malabarismo.

I had the pleasure of watching Zakharova very well-rehearsed (and restrained) on “Lake”. Her Odette/Odille were stunning … as I sad, very well-rehearsed and coached. But as I look at these pictures, I thing of her as terribly “circus-like”, a gymnastics master without any respect to style, history… I got very annoyed about the “Giselle” photo in which all the ideology that I always described as “my heart - not my tummy - towards the center of the earth, my foot to the stars” was lost in a juggling fit.


Giselle: Alonso & Zakharova


Don Quixote: Maxivoma & (for me) unknown - can anyone help me?


Carmen: Plissetskaya & Zakharova

Veja as fotos e construa sua própria opinião sobre o “ontem” e o “hoje”…

Look at the pictures and build your own opinion about “yesterday” and “today”…


Swan Lake: Makarova/Nureyev & Sodoleva/Xander Parish


Romeo and Juliet: Hayée/Cragun & Semionova/Vogel


Sleeping Beauty: Gregory & Zakharova


Sleeping Beauty: Kirkland & Zakharova