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 Staatsballet: December 22nd, 2016. "Raymonda" revisited.

Wiener Staatsballet: December 22nd, 2016. "Raymonda" revisited.

It had been years since I had last seen „Raymonda“. In fact I guess it was in the 80’s with Makarova & Bujones…

Yesterday’s performance was part of a very well supervised production, with good sets (nothing breathtaking but very effective), lovely costumes (special note to the black & white tutus of Raymonda’s girlfriends), “pleasant” ballet music (even with the never ending repetitious Glasunow’s cordals) but, to be very honest, through the passing of the years I had completely forgotten how “Raymonda” simply bores and tires me… Immensely.

Rudolph Nureyev repeats – like in his “Nutcracker” – the unnecessary choreographic “complications” that are very “ungrateful” to dancers and just happen to “please” the half a dozen true Ballet Connoisseurs that may happen to be visiting the performance that day. Even in other metropolis, in which there is a stronger following to Ballet - and a bigger understanding of it than in Vienna - the general public does “not get” these tricky, irrelevant obstacles that are strategically disposed throughout the ballet.

But this is only my point of view…

However there is some praise to be made to yesterday’s cast.

Nina Tonoli and Natascha Mair, two (very different) dancers in perfect “unison”, yes, exactly like in music: two or more musical parts sounding the same pitch… It has been some years since I have first started to “follow” their careers. With such an infinite joy... and I can keep on saying that they still always surprise me.
One can nearly “touch” the immense progress they have been making.

Copyright: Wiener Staatsoper/Michael Pöhn

Masayu Kimoto and Richard Szabó: what a fortunate combination of talents. Mr. Kimoto is the kind of dancer that really makes us believe in the joy he is having while dancing. Mr. Szabó – with a very pleasant new “look” that is not only most becoming but gave him a very distinguished aspect: longer, straight hair, combed to the back. Both gave very strong performances – even though I missed a little bit more of demi-plié in Mr. Szabó’s performance in order to equalize his (already very good) jumps to Mr. Kimoto’s.

What a pleasure to witness again lovely Gloria Maass as “the white Lady”. Wearing not only the most beautiful costume of the evening but also that inimitable grace and poise that is so natural to her, she simply "enchants"!
I do salute Mr. Legris’ decision of using the unique talents of this beautiful dancer again in this production.

Jakob Feyferlik: how can he do it? Every time I presence him onstage he seems to have grown more as an artist. Sometimes in just a question of a few weeks. Clean technique, very comfortable with his own “persona” onstage, Mr. Feyferlik is capturing more and more the audience’s attention. A brilliant future lies ahead of him.

Copyright: Wiener Staatsoper/ Michael Pöhn

Davide Dato – one of the Opera’s biggest and most gifted talents – gave once more a performance (as Abderachman) so filled with magnetism and exactitude that the audience was ecstatic. From beginning to end, every time he entered the stage this “thing” called magic happened again… and the rapport that he creates with the audience belongs to those moments that are turning more and more rare to witness. Great technique as a tool to artistry. Not great technique for the sake of great technique.

Copyright: Wiener Staatsoper/ Michael Pöhn

Last but not least Miss Nina Poláková. After yesterday’s performance one could really understand why she may be the logic choice to portray Raymonda. Even with the “obstacles” created by Mr. Nureyev, she was at complete ease with herself and gave an electric performance filled with power and delicacy at the same time. Miss Poláková does not forget for a single moment the character she is playing. She becomes completely the role. An artist. Even if the choreography requires many times lots of unnecessary complications – but I have already written about that.

It would be too much to extend these "thoughts" and mention every single dance from the corps de Ballet - many of them very gifted demi-soloists - but this time I feel like thanking the whole cast for such a professional and special "delivery" onstage yesterday. Chapeau!


Copyright: Balázs Delbó

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: Le Corsaire (World Première, Vienna, March 20th 2016)

The long awaited première. Perhaps the highest point of this Season in Vienna:
Manuel Legris' "Le Corsaire".

In contrary to a lady sitting next to me that has started making her notes at the middle of the third act, I have to go back a little in time in order to write not only about the dancers and the choreography but also about the production, the intellectual process and its “coming into life”.

As I have often commented, I like to arrive earlier at premières, as if "soaking" more of the atmosphere would underline more and more the excitement of a discovery, of witnessing something new. Premières are very special evenings, with lots of expectation in the air.

As a kind of “hobby” I like to analyze faces of certain members of the audience before, during and after the show... huge transformations can take place and be seen - depending on the grade of interested that a performance "exhales" and on the individual interest of many.
Extremely interesting.

The audience was full - full and filled with many "names" of the international dance panorama – especially from the Paris Opera - as well as ballet critics.

Some few weeks ago during an official "talk" at the Opera, Monsieur Legris told me personally:
"We are on the right way" - how right he was!
The challenge that Manuel Legris took is a fascinating one. A very honest one. Chapeau.

"Le Corsaire" was not in the repertoire of the Paris Opera, so in this case, as Monsieur Legris put it well, there were no possibilities of influences, just his plain understanding about the work and its complicated, very peculiar dynamic. Also his understanding about the characters should not be forgotten. The characters that we have witnessed yesterday on stage were far away of being just statues in a wax museum but characters with an own drive.
On the top of it all, I have to draw your attention to the point that, “Le Corsaire” is in itself an enormous challenge.
Its story telling-line is a very old-fashioned one, quite difficult to adapt to our present times. Also its constant use of pantomime presents another challenge – not only to dancers but also to the audiences (which are not used anymore to this kind of language). It is, as a full-evening ballet, a very complex piece of work and this regardless of the fact that the main line of the story is difficult to understand, even remember... I have rarely found someone who could "tell the story" of "Le Corsaire" without consulting either the libretto or some other sources of literature about it (or even without contradicting oneself).

Special mention should be made about Albert Mirzoyan, as assistant choreographer. As Mr. Legris put into words: “We are a good combination, the French and the Russian souls”. Mr. Mirzoyan is that kind of gentle character that exhales knowledge about ballet, art, history and is always in full-command of what he is doing. And this "at ease".
Such a blessing for our State Opera and for Mr. Legris to have such a gifted person, such an erudite, among his few co-workers. His work is not only of extreme importance for us but also to the Ballet world. As we have witnessed yesterday.

Lots of praise no Mr. Igor Zapravdin, responsible for the musical arrangements and his brilliant use of music from “L’Écumeur de mer” (also Adam) for the Odalisques and Slave Dances. Merely this distinctiveness turns this production into a “unique” one – without the confusing use of music from up to 11 different composers (like in many other productions), concentrating on Adam’s work – which in the case of “Le Corsaire” is not so brilliant as his “Giselle” but surely much more consistent when treated not so eclectically.

Luisa Spinatelli’s décor and costumes are a beautiful work of art and delicacy – with the only exception of the girl’s flowery headdresses during “Le jardin animé” that, from a certain distance, give more the impression of being hair-curlers than roses – a fact that was confirmed to me by an Stylist friend - especially on blonde dancers like Eszter Ledán or Suzan Oppermann.

Valery Ovsianikov’s conduction was at few times quite irregular. The tempo was either too fast (as during some fouettès that tossed Maria Jakovleva completely out of music) or too a bit too slowly (during a part of Miss Konovalova’s variation in the third act). But still, a brilliant Ballet conductor.

The following performances should be highlighted:

The Waltz on the third act was brilliantly performed by Oxana Kiyanenko, Eszter Ledán, Anita Manolova and Laura Nistor. An interesting, very lively piece of choreography that was beautifully executed by the four of them.

The three Odalisks danced by Natascha Mair, Nina Tonoli and Prisca Zeisel were a simple masterpiece of precision and joy. Three very gifted dancers, splendidly “on style” (as they have proved many times before) in perfect “unison” with each other. Not only a question of talent but also of emotional intelligence. Three dancers that really made their “homework”, thinking about the characters, adjusting to each other, talking about what they were doing. I like that. Congratulations to these exceptional talents.

Firenze/Dato. Copyright: Ashley taylor (Wiener Staatsoper)

Davide Dato and Alice Firenze were at their element as Birbanto and Zulméa: motion and fire. Every time they came on stage you had that certain (very well known) feeling of a “show-stopper”. And stop the show they really did.

Sosnovschi. Copyright: Ashley Taylor (Wiener Staatsoper)

Mihail Sosnovschi’s Seyd Pasha (another innovation by Mr. Legris that instead of having a laughable character as the Pascha decided for the more logical choice of a good looking man) left no impression. This non-dancing role is not quite adequate for Mr.Sosnovschi. His pantomime is too subtle, too understated, too “small” for that huge stage. He seemed bored. And this is quite unusual with Mr. Sosnovschi.

Kourlaev. Copyright: Ashley Taylor (Wiener Staatsoper)

On the other hand Lanquedem, as danced by Kirill Kourlaev, is a character to remember: Mr. Kourlaev’s total command of the stage, his beautiful technique (and of a very good pantomime) just made us sit back, relax and “put our feet up” to enjoy a performance without any fears that the dancer might not “make it”. A pleasure for everyone present. Vitality at its best. A danseur.

Gabdullin/Yakovleva. Copyright: Ashley Taylor (Wiener Staatsoper)

Unfortunately there was no chemistry between Robert Gabdullin and Maria Yakovleva.
I simply could not “buy it”, not believe the love story that was supposed to go on between the two of them onstage.
Mr. Gabdullin, an extremely gifted dancer with a very clean technique and beautiful lines, gave us a beautiful, daring and corageous Conrad. In every sense.
His special temperament and dramatization of the character were well idealized.
But there was no response from Médora, who seemed to be dancing alone and for herself: sometimes even giving the impression of walking “through”, allowing once in a while Conrad to touch her, support her.
I am looking forward to Mr. Gabdulli’s future.
Miss Yakovleva was correct as Médora, even without any sign of even trying to perform some pantomime BUT unfortunately with a strong tendency to the inelegance of over-extensions.
Even so a good part of the audience seemed to have liked her.

Konovalova. Copyright: Ashley Taylor (Wiener Staatsoper)

The real star of the evening, along with the choreography and production, was Liudmilla Konovalova as Gulnare. Very thin and looking better than ever, Miss Konovalova’s performance was one of pure joy. After having gone through two “turbulences” on the first act (because of bad partnering by the boys) she emerged as the Queen of the night. Complete in command of her technique she enjoyed the role the Gulnare with all its nuances. Such performances are rare. Performances that fill the audience with joy because of their sensibility, delicacy and strength at the same time and musicality (even adjusting without any effort to the wrong tempo, as mentioned above, given by the conductor).



No coincidence, that, during the bows, all of a sudden Miss Konovalova was center stage: the deserving queen of the evening! Bravo!

Mr. Legris work and legacy to the Ballet world, already immense, increased enormously after last night’s world Première. I wonder how long it will still take until this work is “framed” in its definite version.
At the moment it is already a brilliant piece of work - with quite intricate parts in, if I may say so, very good Nureyev tradition. Yes.

Legris/Mirzoyan and the whole ensemble. Copyright: Ashley Taylor (Wiener Staatsoper)

As Mr. Dominique Meyer mentioned during his speech in the after-Première Party: "this is an Opera House but the Ballet is now as important as the Opera..."



To be very honest, which Opera Director would/could not be happy about the financial aspect that is brought to the State Opera with the high occupancy, high percentage of seats sold for the ballet performances since the beginning of the "Legris Era"? Economically speaking this is a wonder - if you think about the sales' problems in the MET...

At this point, and to finish this long review, I would like to quote Dame Margot Fonteyn, a person whose thoughts about art I much admire:
"The first night is the worst possible time to make a hard and fast criticism: the baby never looks its best on the day it is born".

Thinking about that I would still like to add:
If this baby is already looking like this on its first night, so good, it is surely going to be a beauty, a star of first magnitude.


Film Copyright: Delbeau Films (Balázs Delbó)


...and coming soon!


Film Copyright: Delbeau Films (Balázs Delbó)

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”!

Revisited: Junge Talente des Wiener Staatsballets II / Young Talents from the Vienna's State Ballet (Volksoper, January 22nd 2016)

It surely is a privilege to be a direct eye-witness to what has been going on in Vienna for the last years during the so-called „Legris era“. Not only that but also to be able to follow closely the indivudual progress of so many careers… This includes, of course, our young dancers…

“Junge Talente des Wiener Staatsballets” (Vienna's State Ballet’s Young Talents) is a „small“ Gala that has a certain charm, therefore attracting a completely different audience to the “Volksoper”. Side by side with the customary (elder) Volksoper’s spectators you could find “Balletomanes”, young students from the Ballet school (screaming “Bravo” to their friends while not applauding other good dancers - politcally VERY incorrect - and this just one row behind me), an international choreographer, ex-dancers and many foreigners, attracted by Mr. Legris’ name in the auditorium.
Such “Galas” are refreshing and I must point that it is most important to invest in our young talents.
It is specially touching to witness the great progress of some dancers over just three, two years…

Since I have last seen this programme there have been minor cast changes.

After a mild beginning (Petit’s “Die Fledermaus” and “Pas des Odalisques” from "Le Corsaire”) the programme began to “warm-up” with “The Fall (Attila Bakó).
But the first true surprise of the evening was Laura Nistor in Bejárt’s “Arepo”: known as a very ethereal dancer, Miss Nistor displayed another side of her personality. Her magnificent lines were extremely well showcased in this choreography, specially underlined by the marvelous blue costume. But the point is: Miss Nistor had the chance to prove her versatility not being typecast as a “fairy” and dancing against type, she gave the clear impression of feeling very comfortable in this role. A joy.
James Stephens, from whom we’d see much more during the evening, proved once more to be a reliable, strong partner – something that cannot be said about other members of the company yet, either dancing with a girl or a boy.
I never forgot this: Rule #1 for partnering: Take care of your partner and just then (try to) look god. The other way around does not work – and is mostly disastrous. No place for vanity while on stage.
Mr. Basílio’s persona suits “Arepo” very well. But I have commented that last year.

Greig Matthews and Anita Manolova, two very promising dancers, once more delightful in “Spring and Fall”. This piece suits Mr. Matthews and his technique very well. His jumps improved but most of all, he was at ease, not only with the beautiful use of his arms but also with pirouettes and tours en l’air (finishing in a precise 5th position – something that became quite rare on stage nowadays).

Balanchine’s “Tarantella” – a beautiful tour de force for lovely Nikisha Fogo who finally found the perfect partner for this quick piece that is filled with stamina. Even though for a while musically a bit lost during the first part (she recovered quickly from this sudden lapse) she managed to enchant the audience. The “spring quality” of the grand pliés en pointe à la seconde is still not there – the way Balanchine intended them to be – but it does not matter.
Last year I have written very positively of her and I can only repeat every time that her progress as an artist is immense.
Géraud Wielick, simply powerful, strong, at ease with the technical challenges of the part and not looking for a single moment, as a peasant (Think of the original cast with Edward Vilella). Mr. Wielick passed the impression to the audience of having big fun while dancing. I especially enjoy the way Monsieur Legris has been investing and investing on Mr. Wielick since sometime. A gifted dancer that is beginning to flourish beautifully.

Photo: copyright Thomas Schulz

Not much to tell about Balanchine's “Valse Fantaisie” except that James Stephens was last year a much more reliable partner to Miss Tonoli.
Mr. Basílio did well on his solos, very well indeed – but perhaps the pressure of appearing in three ballets in one single evening was beginning to show.
Miss Tonoli’s exquisite arms, clean technique, lovely lines and very special charisma are something that her into a balletomane’s darling.
The classical dancer per se.
I am positive that we will hear and be seeing even more of Miss Tonoli in the near future.

Chroreographically speaking “Creatures” is my favourite piece of this programme.
A programme that was carefully put together by Monsieur Legris to lighten up hs young dancers.
Patrick de Bana’s incomparable "magical" touch/style (which is so rich i its use of different languages) comes wonderfully to life when danced by dancers like Nikisha Fogo, Francesco Costa, Marian Furnica & Géraud Wielick. Three boys with amazing physiques.
Miss Fogo, a dancer without affectations, grew up even more in this role since last year: the intense richness of her performance, her remarkable technique and musicality – all three combined - enthralled the audience once more (I love the effect of her pas-de-bourrées in comparison to the more “earthy”, round, sometimes pelvis-centered movements of the boys).
That “magic moment” in which the “love affair” between the public and the artist came true once more.
“Creatures” is one of the best rehearsed pieces of the show and one can feel how much accurateness the dancers dedicate to it and the full understanding, full awareness that they have about what they are doing.

Francesco Costa once more a show-stopper in “Le Bourgeois”. Incredible energy.
Not one of my favourite pieces - but still... audiences love it - its humour, its (sometimes) circus-like line...

“Proust” was a disappointment for me: Mr. Stephens was (like Jacopo Tissi in the past) perfectly cast but Mr. Basílio was wrong for the role.
He seemed tired and not at ease (already having danced “Arepo” and “Valse Fantaisie”). His grands Battements jetés balancés (backwards) were notably skew - and that was very obvious from the audience's angle of view. Another dancer, not so “strong”, would have suited this role better. But do not misunderstand me: Mr. Basílio is a gifted dancer. There is only some more work to be done.
Mr. Stephens and his fine lines, gave a very good and clean display of technique and emotions.

The “finale” ( “Grand Pas classique”) was a curious piece to watch.
Both dancers (Adele Fiocchi and Marian Furnica) performed well – when NOT dancing with each other.
Together their chemistry simply did not work, did not match. That happens sometimes.
Appart? They were nice.
Another case of partnering.

Resumée: a most enjoyable “revisted” evening - especially what progress is concerned.
Most enjoyable indeed.
Congratulations Vienna's State Ballet for such a wonderful new generation!

Vienna State Opera: Premiere "Thoss / Wheeldon / Robbins". October 29th, 2015

A „special“ première at the Opera… “special” due to the fact that “Blaubarts Geheimnis” (“Bluebeard’s Secret”) is already well-known to viennese audiences in its full-length version. But the combination of such different choreographers like Stephan Thoss, Christopher Wheeldon and Jerome Robbins seemed quite promising even though I was not quite sure of what to expect.
But from one thing I was sure; of the privilege to be able to witness again Alexander Ingram conducting!

Stephan Thoss’s “Blaubarts Geheimnis”: not being a favourite of mine, even if quite well rehearsed, I must admit that the shorter version was much pleasant to watch than the artificially constructed whole evening programme, as I have already mentioned last year.

Kirill Kourlaev/Alice Firenze (Copyright: Wiener Staatsoper/Michael Pöhn)

The plot line is opressive. Nearly depressing. A fact that is constantly helped by Philip Glass’s music. The constant sexuality is sometimes exaggerated, in an excessive repetitious way.

Kirill Kourlaev – a dancer that understands what dramaturgy is all about, possesses a very unique presence on stage. He dominates this difficult character in all its small details even if, in his own words, he is sometimes scared of it.

Kirill Kourlaev/Alice Firenze (Copyright: Wiener Staatsoper/Michael Pöhn)

Alice Firenze’s “Judith” is, for me, the narrator of this story. She reminds me of a curious “Alice” (in Wonderland) going through all the doors. Very attentive, learning, understanding - or not... Miss Firenze possesses a fine dramatic artistry that is strongly involved by the cellophane of theatricality. Controlled theatricality underlined by an endearing sincerity. Not to mentioned grace and technique.

Andrey Kaydanovskiy’s strong presence on stage at what he can do best, should be mentioned. I wonder how this dancer would grow as an artist in a more contemporary environment than the Vienna’s State Opera.

Rebecca Horner, a dancer with a strong tendency to one-dimensional characterizations, compensated this lack with aggressiveness while interpretating the character, just to overact it - too much. This posture intensifies the “cliché” of the “contemporary dancer” that many dancers of traditional Companies, when confronted (for various, different reasons) with a more modern repertoire tend to adhere. Her “Bluebeard’s mother” was too threatening, too much. This is a fact that reminded me strongly of two of the most horrendous literary characters ever written: “La Cousine Bette” (Balzac) and “Juliana” from “Cousin Basilio” (Eça de Queirós).
And that is definitely too much.
Even though I can understand that it is too difficult to follow into the more experienced footsteps of Rafaella Albuquerque Sant'Anna and Dagmar Kronberger in a role like this.

Flavia Soares (Copyright:Ashley Taylor)

Special “visions”: Ioanna Avraam (that performed in all three ballets of the evening), Gala Jovanovic, Eszter Ledán, Flavia Soraes (very strong and in full-command of the choreographer’s language), Céline Janou Weder, Kamil Pavelka, András Lukács and Jaimy van Overeem.

Christopher Wheeldon’s “Fool’s Paradise” – the surprise of the evening even if Joby Thalbot’s music tend to portray a very strong pathos. In quite an epic quality that could be misinterpreted (as americans would say) as “tacky”.

Ioanna Avraam/Eno Peci (Copyright: Wiener Staatsoper/Michael Pöhn)

Gala Jovanovic/Greig Matthews/Richard Szabo (Copyright: Wiener Staatsoper/Michael Pöhn

The choreography is so well idealized that it is nearly impossible to concentrate on single performances instead of on the group. Simply pure harmony. Even so I could glimpse at amazing performances: Davide Dato, stronger than ever, Ioanna Avraam in an exquisite display of emotions, charming countenace and lovely lines, Kiyoka Hashimoto, Eno Peçi, Greig Matthews. It should but be said that the boy’s costumes by Narciso Rodriguez, were not ideal in this particular case due to the fact that some of them should take more care of their waist line.

Olga Esina/Roman Lazik (Copyright: Wiener Staatsoper/Michael Pöhn)

Two interpretations should be highlighted: Olga Esina’s precise performance in full-command of her technique. Since quite a long time this strong dancer, that was once ironically called “The Grace Kelly of Dance” (because people thought that she was cold and aloof) has been gaining “a new aura”. She has been creating powerful characters. Her subtle interpretations are filled with such strong energy that she attracts the audience’s attention like a magnet. She is reaching that special moment for an artist – the one in which youth and maturity melt into each other. I am looking forward to all she’ll give to her following in the next years. Gala Jovanovic, was fabulous. I could only describe her in this piece, as beautiful. An exquisite bird of paradise-like quality – with beautiful arms - emerged from her and filled the Opera House.

(Copyright: Wiener Staatsoper/Michael Pöhn)

All in all, pure harmony in a very intelligent piece of work that should be noted for its subtle “re-use” of movements, passages. Touching. Emotional. In perfect balance. A very dangerous and difficult language technique that should be used like a medicine – just in the right dosage. It is either perfect, like in “Fool’s Paradise” or it is simply repetitious and boring, like in “Blaubart”.

Jerome Robbins’s “The four seasons”. I had not seen it since 1979 – and had so much hoped for other costumes than Santo Loquasto’s (which I intensely dislike). This pleasure was not to be granted to me…

(Copyright: Wiener Staatsoper/Michael Pöhn)

Robbin’s choreography is demanding. But definitely not one of his best.

Géraud Wielick, Ioanna Avraam, Dumitru Taran (Copyright: Ashley Taylor)

“Winter” was marvelously danced by Ioanna Avraam, Dumitru Taran and – for the first time (for me) in a soloist role, Géraud Wielick. All three of them excelled in the quickest part of of the show as if they had been dancing this all their lives.

“Spring”, the most boring piece of choreography from “Seasons”, danced by Mihail Sosnovschi and Maria Yakovleva. Mr. Sosnovschi, even if professional as always, danced through it this time quite emotionless, as if he was bored, forcing himself to smile broadly and artificially just to fade again into seriousness. Miss Yakovleva proved once more that she is a clever dancer. Perhaps too clever for my way of thinking and taste. Even though very technically limited, she can hide these flaws and give a good impression because of her looks, “mignon” physique and lively way. Viennese Audiences, still in need of learning much about Ballet, usually welcome her performances overseeing what should not be overseen. I wonder how audience reception would be, for example, in London, where there is real respect for technique (and deep knowledge about it).


Robert Gabdoulin/ Ketevan Papava (Copyright:Ashley Taylor)

“Sommer” danced by Ketevan Papava and Robert Gabdullin, both giving a very touchy, calm, romantic performance. Beautifully rehearsed, in perfect harmony with each other. Mr. Gabdullin sent me to exotic worlds. Miss Papava and her joyful, relaxed smile… Later she told me about the ways she visualized the role, how she motivated herself and thought of how to make something beautiful and interesting to the audience out of this “simple” piece. Emotional intelligence some would say. Yes, but I prefer to refer to it as “real talent and Artistry”. In a world in which the ballet technique changed so much, in which (nearly) every dancer has a great technique, lovely feet, great extensions, turns dozens of pirouettes and jumps higher and higher every day, this “Artistry” is what differentiates dancers from real artists. This “icing on the cake” makes all the difference.

Davide Dato (Copyright: Wiener Staatsoper/Michael Pöhn)

“Autumn”, the “grand Finale” for this Ballet that I consider more a kind of “Divertissement”. A piece of bravura and a perfect vehicle for such “virtuosi” as Liudmilla Konovalova, Denys Cherevychko and Davide Dato. All three brought down the House, had the biggest ovations of the evening and had numerous curtain calls. Mr. Dato was fascinating and humorous as the “faun” – jumping better than ever.

Denys Cherevychko/Liudmilla Konovalova (Copyright: Ashley Taylor)

Denys Cherevychko/Liudmilla Konovalova (Copyright: Wiener Staatsoper/Michael Pöhn)

Denys Cherevychko literally “stopped the show” with his “Tours à la seconde” but it must be said that he, in comparison to many brilliant “Virtuosi”, that shine on their own because of the total technical command they posess, is NOT an egoistical and egocentric dancer. He takes intense care of his partner. Miss Konovalova seemed to be having fun during her variations. Quick, fleet-footed, owner of an unshakable axis, she makes everything seem so simple.

Fact is: “The four seasons” is not a typical Robbin’s work for me. Perhaps, at the end of his career “new ideas” were not being born anymore… and he relied in an elder language than his own... It has that kind of “circus atmosphere” that is so much appreciated by audiences that do not understand much about Ballet and insist to applaud during Codas. Another thing that I intensely dislike.

Even so, the evening presented a nice combination of three very different pieces. Another good, interesting programme conception of Manuel Legris’ era. And we must thank him for that.

A special evening at the Institut français de Vienne: September 17th, 2014

Normally „As Tertúlias“ is a space dedicated to culture itself, not to social notes connected with it…

But this time I must talk about an irresistible “Happening” to which I also had the pleasure to be invited to: On September, 17th a very special event took place at the Institut français de Vienne .

Mrs. Ingeborg Tichy-Luger, president of the “Ballet Club of the Wiener Staatsoper & Volksoper” welcomed Monsieur Manuel Legris, many of his dancers of the Wiener Staatsballet as well as some selected, distinguished guests, at the Institut français de Vienne, part of the cultural department of the French Embassy in Vienna.

The reason? A very happy one: an Opening Party for the Ballet Season as well as a celebration of the 15th Anniversary of the Ballet Club. A lovely Party!

Among the (many) dancers were (alphabetically) Rafaella Albuquerque S’Antanna, Leonardo Basílio, Davide Dato, Tainá Ferreira, Alice Firenze, Nikisha Fogo, Maria Iakovleva, Rebecca Horner, Liudmila Konovalova, Eszter Ledan, Igor Milos, Suzan Opperman, Eno Peçi, Flavia Soares, Richard Szabo, Dima Taran & Géraud Wielick present at the Party!

The beginning of a new Season that promises to be very exciting and in which “Swan Lake”, “Mayerling” (MacMillan), “Meistersignaturen” with works by Jiří Bubeníček, John Neumeier, George Balanchine and Rudi van Dantzig, “Romeo and Juliet” (Cranko), “BALLETT-HOMMAGE“ with works from William Forsythe, Natalia Horecna and Harald Lander, „The Nutcracker“ among others will be presented to Viennese Audiences!