Wiener Staatsballet: April 6th, 2017, "Giselle rouge" - revisited.

When I heard that Robert Gabdullin was in the revival of „Giselle rouge” as “the partner” (Serge Lifar), I felt very tempted to watch this show again.

Adding to my curiosity was the “new cast”: Nina Poláková as “the ballerina” (Olga Alexandrovna Spessivtseva), James Stephens as “the friend” (Serge Lifar’s lover) and the fact that on April 6th Vladimir Shishov would be playing the police inspector (Olga’s mad, sexual, insane love affair).

Copyright: Ashley Taylor/ Wiener Staatsballet.

But I had decided not to concentrate only on the main characters (like during the last times I was in the audience watching this wonderful piece) but on the corps-de-ballet. I always have the feeling that Boris Eifman’s work is constructed through “bridges” – those lead us from one “group scene” to the next letting the main characters play “in between” – but never letting us forget that the whole environment around those is the explanation of their behavior. Their “Alibi” to put it plainly. Think of hos “Ana Karenina” for example…


Copyright: Ashley Taylor / Wiener Staatsballet.

Of course I could not do “just” that – I mean, not concentrate on the main characters. There was a lot of emotion and art’s “finesse” going on the stage of the Volksoper last night.

First of all it must be said that Andreas Schüller conducting skills are much more than you can expect at this house. Brilliant. “Giselle rouge” covers a wide range from Tchaikowsky to Adam, from Schnittke to Bizet and than from popular music (Yes, sir that’s my baby) back to Tchaikowsky and Adam back again… amazing!

Kamil Pavelka gave us a god portrait of the “teacher” – not so dramatic like Peci’s portrayal but extremely human, believable, honest. I liked this understatement. Daring and very effectfull.

James Stephen’s “friend” was good and correct. Somehow a little bit tense for me. I admire this dancer’s clean technique and long arms and legs, which will surely be a kind of asset in his future life.

Copyright: Ashley Taylor / Wiener Staatsballet

Robert Gabdullin gave another “reading” of “Serge Lifar”: not so affected like the ones I had seen before. He made us believe in Serge’s “duality”, “ambiguity” and (in his way) “honest” feelings for Olga. He was also a man of flesh and blood. Needless to say that Mr. Gabdullin’s presence on stage is growing stronger and stronger every day. An artist. Sensibility is the key word.

Copyright: Ashley Taylor / Wiener Staatsballet

Vladimir Shishov feeling “at home” in his role as the “Inspector”. Impressive. This was the first time I have seen him in this role. And it was extremely threatening. I felt afraid sometimes… Just after a few seconds on stage – in his first intense “meeting” with Olga –he lifts her and holds her with one arm two and half meters above the stage. At this he showed her (and us) who was “the boss ‘round here”. Mr. Shishov’s presence on stage has always been a great one. He usually dominates the whole house. But this police inspector is surely a “notch above”. Not only a perfect partner but exploding within himself in a craze of feelings. Applause.

Copyright: Ashley Taylor / Wiener Staatsballet

Nina Poláková’s Olga is a very special creation. Miss Poláková, a prima ballerina at the height of her career, presented the audience with such a fine performance and this is not easy to put into words… I am not discussing technique – this “tool” she is in complete command of – but about the emotional aspects of an artist’s performance. In an awesome way she gave an extremely pin-pointed performance. Growing up, being abused, leaving her country and an abusive relationship, finding no love, falling into despair, becoming mad…

For the first time ever I was really touched when she was put into the straight jacket in order to leave the stage during “Giselle”. The once “beautiful Olga” turns into the “mad Olga”. An amazing performance. I like to honour talent.
Tonight, after the performance – I almost never do this anymore – I HAD to wait for Miss Poláková to salute her.
And congratulate her for waking so many emotions!
Such an emotional portrait!

But I do not wish to finish this critic before mentioning the corps-de-ballet. As I have written before – I have paid much more attention to those bridges and began more and fascinated by them. All group scenes are fantastic – and require sometimes quite quick costume changes. I congratulate the corps-de-ballet for such an exquisite, finely rehearsed, precise performance… Bravo Elena Bottaro, Gala Jovanovic, Eszter Ledán, Anita Manolova, Laura Nistor, Alaia Rogers, Francesco Costa, Marat Davletshin (great posture), Marian Furnica, Igor Milos, Dumitru Tiran, Jaimy van Overeem to name just a few…

Great evening!

Swan Lake, Wiener Staatsoper, April 6th: Svetlana Zakharova & Vladimir Shishov

There is always a certain feeling of expectation at a première…
But yesterday’s “Swan Lake” was not a “première” in the real sense of the word.
It was “just” Svetlana Zakharova’s first show in Vienna, ever,
and a great chance to many persons to watch her for the first time on stage, including me!

Having already written about another performance of SL, I will not repeat all that I have already put here… just read my other critic (from March 19th).

Oh, well, only perhaps to remind you of the incredible synchronity, timing and chemistry between Greig Matthews and Dumitru Taran. Both did not dance in the pas de cinq yesterday.
But I must say that Alexandru Tcacenco did a great job.
A wonderful stage presence and such a "clean" technique. A dancer we should look more carefully at.

I could not wait for the first act to finish even tough I was caught by Vladimir Shishov’s incredible sensibility at the last variation of it – we are, of course, talking about Nureyev’s version of which I have written on last March 18th. This slow variation is a very difficult piece of magic: but perhaps due to Rudi’s egocentrism, focusing the ballet around the male dancer, I had never enjoyed it. At yesterday’s performance Mr. Shishov gave us a new “reading” of this role. He was full of despair, questions, hopes, emotion… He was not “showing off” technically like Nureyev tried to do. He was simply completely inside his role. Simply being Siegfried! And with such precise technique: a marvelous, special moment, indeed!

The second act… Well, it started (at last) and I could not wait to see Miss Zakharova’s entrance as the white Swan.

She came in and just after three or four seconds of her presence on stage, just after her first grand-jéte, I felt the first tear (of many) rolls down my cheek. There she was. A Swan…

Nobody should make the mistake of comparing one dancer to another. So many Odettes and Odilles left such an impression inside me: Makarova, Park, Martinelli just to mention a few. But each one was a single Odette, a single Odille. Some were stronger as the white swan, some were the black one personified. Some were both. Few were none...

Miss Zakharova was definitely Odette. The use of her arms are pure poetry. They are so fascinating that you forget to look at those wonderful legs, gorgeous feet and glorious neck.
I felt simply connected to that torsothat was simply framed by those expressive arms, “broken” wrists, fingers: bird-like ones…

The third act: Flavia Soares gave us a beautiful, impressive performance in the Spanish Dance. And such Cambrés!!!!!!! Simply amazing.
Her “Muchacha” (very becoming, in red, with a lovely hairdo) was not the cliché spanish “chica”, so often misunderstood.
She was just a latin girl, filled with hot blood, chillies, temperament and charm. Great!

Zakharova’s Odille was a bit too friendly like.
I missed somehow the evilness of this black, dangerous bird.
Amazing was the use (again) of her arms while doing the Piqués en tournant: Placing them a bit backwards than her torso (a challenging thing because of the sense of balance) she created, to the front audience, the most pure impression of “wings”. What an effect!

While all this was happening, I was amazed by Mr. Shishov’s performance!
The chemistry between Miss Zakharova and him could not be missed by anyone – and it is 100 percent right to affirm that it is so important to have both principals in the same “state of mind” while on stage.
Makarova would never have been “that” swan without Anthony Dowell and Ivan Nagy.
Mr. Shishov and Miss Zakharova would not have been Siegfried and Odette/Odille last evening without each other.

Many, many curtain calls, incredible applause from an excited "ballet audience" (so many people from all over Europe and abroad simply flew to Vienna to watch that performance last night) and lots of talk with a friend sitting next to me: Davide Dato – “Liebling” with a broken foot - made this evening an unforgettable one.

I am so glad to have been able to watch last evening's performance.

ALL PICTURES: copyright Thomas Schulz (Thank you for your kind permission, perception and incredible sensibility!)

Swan Lake’s second show of the Season: March 18th 2014

What to expect? Nureyev’s 1964 Version of Lake is not one of my favorites… even though it was modified in 1984 into a new Version for the Paris Opera, it was never changed for the State Opera in Vienna, the very city in which it had its world premiere in 1964 (with Fonteyn and Nureyev getting a record of 89 curtain calls).
Tradition plays a big role in this country even when it is questionable and prevents improvements…

In 1964, having danced already in different versions of “Lake” (including Royal Ballet’s , masterly done by Ashton) Nureyev decided to move the main focus of the story from the Swan(s) to Siegfried. Also a very questionable decision…

To my opinion, Nureyev’s ego was so big that he committed the mistake of turning a “woman’s ballet” into one in which the danseur is the center of attractions… a very egocentric reaction.

For instance, one of the most beautiful and lyrical moments in ballet history is the very end of the 2nd act-pas de deux (in which Odette slowly turns one pirouette, makes a developée, turns then two pirouettes to make another developée and finish her 3 or 4 turns, falling to the side into the arms of Siegfried - take a look at the programme's cover, it's there - and then “falls” into an arabesque penchée in which her hand falls slowly at the very last note of music). But this does not exist for Nureyev… He simply moved the limelight away from the ballerina in one of her most significative moments and made Siegfried perform a short solo instead – to some other music! Ghastly!

On the following video you can see exactly what I mean, about the End of the 2nd act-pas de deux:
Vladimir Shishov & Liudmila Kononalova in a Gala, last year! And the end of the Adagio just like I described above...



But back to March 18th... Nureyev's use of music is also very questionable – we are not accustomed to it especially in the Black Swan’s pas de Deux. I have read once that this was supposedly so in the original score by Tchaikowsky. But I could never found real evidence of that…

It is definitely interesting to compare yesterday’s performance with the 1966 video… How technique and physical ideals have changed… strange: I don’t remember Fonteyn doing the 32 Fouettés EVER in the third act – I believe she never could do them… I’ll have to watch that video again

Yesterday the curtain went up and nothing really happened. Not at first. Even if the stage was full of people. The same way it would later happen during the Opening of the third act. There was some walking around but no acting, no energy, no feeling. As in many parts of the show yesterday, it seemed to take quite a long time before dancers could “enter” their roles, “warm-up” inside them. But there were exceptions.

One of the greatest exceptions of the above mentioned phenomenon is Vladimir Shishov. Really feeling “at home” within Siegfried’s soul, he showed us that this is HIS role.

No question about it.

A grown-up man performing a grown-up man. In complete command of the character, Mr. Shishov showed to us how right he is for this role. Without any phoney sentimentality or pretense he didn’t attitudinized the character. Much on the contrary: in certain moments (known to me from the 1966 film that was made in Vienna) even Nureyev exaggerates in his right to be a central figure. He is simply too often on stage (in comparison to other versions). Mr. Shishov’s more human incarnation of the Siegfried-persona turns him into a more believable character.

One of the fine things about this role is also his very supportive ways concerning Odette/Odille. The Danseur has also to be a great partner and Mr. Shishov is definitely one (and of course exactly the same way like he is a "danseur noble")!
Just the kind of dancer that leaves us calm and relaxed while he is partnering because we know that the ballerina is in very good hands.

After some months of sick leave Liudmila Konovalova (Elle est mignon!!!!) had to jump into yesterday’s performance because Olga Esina unfortunately hurt herself during the premiere on the 16th: after not having seen her on stage for a long while I felt unease during her first moments as Odette.

Wasn’t she, Odette, supposed to feel afraid during her first meeting with Siegfried?
She wasn’t so… but I had just forgotten that Miss Kononalova is NOT the fearful type of dancer. Her interpretation was cleverly adapted by her to her own personality without losing any of its assets.

During the second act I felt that she sometimes hurried a bit, that she was a bit ahead of the music and that small nuances of the role were not being completely used to the end. This feeling passed with time… perhaps it was due to some nervousness after being for so long away from the stage. But fact is that she gave us a marvelous portrayal of Odette and especially Odille. The audience was static.

At the End of the performance Miss Kononalova and Mr. Shishov received a long, standing ovation.
Very well-deserved indeed.

The Corps de Ballet disappointed me a bit during the second act. Especially during the crucial long parts in which the dancers have to stay still, not looking stiff, for a long time one could see that there is still a lot of work to be done: different head positions, arms that were too much high bent. But most of all I missed the lack of discipline during those long moments: many dancers were following the principals with their eyes and some even with their heads.

This should have been noticed during rehearsals, but… were there enough rehearsals?

Paying long attention to lovely Swan, Miss Flavia Soares, I caught myself wishing that there would be more discipline, like hers. She shows insight, beauty in her performance... but of course she is much more experienced than some of the teen-agers that are having their first season with the ballet. Experience cannot be replaced.

Siegfried’s “friends” Ioanna Avraam, Kiyoka Hashimoto, Greig Matthews and Dumitru Taran were the next thing closer to perfection - Synchrony, clean techniques, joy, personality, interpretation. Dancers that entered the stage and had no need to warm-up into their characters! Beautiful!

The little swans (even if for some there should be a "pas de chat urgent rehearsal") brought down the house: Maria Alati, Ioanna Avraam, Rui Tamai and lovely Eszter Ledán performed beautifully. Miss Ledán’s stage presence with her charm and lovely looks that are combined with a strong technique becomes clearer every day. She was also a delight as one of the noble young ladies that are presented to the prince: contrary to others she never left her role, even during the long “waiting” while The Black Swan and the Prince are performing.

The big Swans were beautifully performed, especially by Prisca Zeisel, a talented and very versatile young Ballerina who not only represents all the sweetness of a swan but also gave to the audience a very spirited performance as the Spanish Dancer (bellow) on Act III.

The hungarian dance was a delight – like a firework. But what else could you expect from the lively combination between Alice Firenze and Mihail Sosnovschi? (above) Both remind me somehow of tigers ... feline, strong, elegant… One can feel the joy and fun that both are having while performing. But wasn’t Callas, with all her strength, also called “La Tigresa”?
Oh, by the way; there is another expression that was once said by Fred Astaire about Cyd Charisse that would apply very well to Miss Firenze and Mr. Sosnovschi: beautiful dynamite!!!!!!!!

The polish dance was masterly performed by athletic Alexis Forabosco (bellow), using his legs to the very best even though the choreography is a bit boring – but definitely not so tedious like the neapolitan dance.
But what could one expect? The music belongs to the more tediously uninteresting pieces that Tchaikowsky ever composed! And so is the choreography: not worth mentioning.

Costumes by Luisa Spinatelli have not caused such an impact on me. In fact I think that the tutus in the second act could have been a bit fuller – and the tops more harmonically cut. Also Odette’s Headdress left much to be desired – it simply did not “caress” enough Miss Konovalova’s face.

Except perhaps for The Queen Mother’s (Dagmar Kronberger) exquisite headdresses on both the 1st and the 3rd Acts.

Rotbart’s (Eno Peci) costume that was so often mentioned was OK (but the headdress made him look more like a cock). Unfortunately Rotbart’s performance is resumed to a bit more than running around in a sort of frenzy… but let us be honest: would Nureyev create rivalry for himself on stage? He was much more preoccupied in creating his Siegfried than choreographing many parts and other roles of “Swan Lake”…

Resuming last evening: it was a very rewarding experience… experiencing so many talents that at the same time made me try to analyze more and more the complexity if this work and Nureyev’s motives.

But there was one most disturbing fact that was quite clear to me: Dancers are looking tired… and it is still too early in the Season for that. What is happening? Olga Esina injured herself, Davide Dato broke his foot... This is something to think about...

P.S. all pictures except Miss Soares' taken from the Wiener Staatsballet's programme.
Miss Soares' picture kindly permmited by Mr.Thomas Schulz. Thank you!

P.S.2 and just now, kindly sent by Davide Dato, this lovely picture. When Mr. Shishov went on his knees to give Miss Konovalova these flowers, the audience went mad!!!!!!!

Ballet-Hommage (December 15th, 2013)

A Premiere’s evening has always a certain trace in the air… a certain feeling of excitement… an unsual smell...

Even so I was not quite sure of what to expect...

You see, I have a big problem in understanding Forsythe’s “language” and I knew that the first ballet I was going to be confronted with was one oh his’. Anyways…
After leaving my coat at the checkroom I took my seat – a lovely one by the way – on the 7th row… just to find out that the lady beside me did not much care about washing herself.

Simply unbelievable. Unacceptable.

To make a (very) long story short: Forsythe’s dance language and the odeurs that this woman exhaled made it quite impossible for me to enjoy the first part of the show.

Miss Esina did not leave a lasting impression, a fact that has been quite common during this last season. Aloofness at its height!

Even so I could concentrate on very exact, precise performances full of joy and professionality given by Alice Firenze, Rafaella Sant’Anna and adorable Prisca Zeisel.

Alexis Forabosco’s confident stage presence as well as Vladimir Shishov’s and Mihail Sosnovschi’s “know-how” under/around the limelight made the first part of the show a pleasure.

Odeurs or not…

God...

I changed places after the intermission...

Second part:

At the beginning of the evening I have had the pleasure of meeting Natalia Horecna (and her Mother and a friend) and wish her personally a big “Merde".
She did not need it really – Miss Horecna’s choreography is a joy! It “tells a story”, it is made of flesh and blood… and it "stole the evening"!

I love her complete lack of hierarchy respect, simply mixing members of the corps de ballet with soloists (like Lazik, Peci, Papava, Sosnovschi) and tossing and mixing ingredients to get a better result… like in a very good organic-oriented kitchen. Miss Horecna’s “vision” is a very healthy one, combined with lots of joy… Even though the costumes by Christiane Devos were unimaginative and boring, “Contra Clockwise Witness” was the Star of the evening!

Impressive: the Death Angels played by Attila Bakó, and terribly talented Ryan Booth and Greig Matthews…

Third part of the show:

Études… what shall I say? Show-off? Circus? You name it… but we love it anyways….

Lovely Corps de Ballet, great Sylphides played by talented Eszter Ledán, Flavia Soares and Maria Tolstunova.

Kiyoka Hashimoto gave a very competent, correct performance. She unfortunately does not seem to be able to break the “fourth wall” on stage and “come through” to the audience…

Denys Cherevychko and Davide Dato “brought the house down” with their brilliant performances.
Roman Lazik was quite “out of place” in such company.

Lovely party after the show - and the chance to talk to some personalities of the world of dance that mean a lot to me: Dagmar Kronberger, Renato Zanella... lovely...

Manon "revisited": 2013, Nov. 28th

Another critic about „Manon”? Just after a few weeks of having written one? Sure?

Yes…

On November 28th I got two (marvelous) tickets for the State Opera, just by the orchestra pit, on the fourth row. This “casualty” made it much easier for me to compare the performance with the one I had seen last October 22nd, which impressed me immensely.

Outra crítica sobre “Manon”? Só poucas semanas depois te ter escrito uma ? Tem certeza ?

Sim…

No dia 28 de Novembro recebi dois (maravilhosos) ingressos para a Ópera de Viena, na área da orquestra , na quarta fila. Esta “casualidade” fez-me mais fácilmente poder comparar esta apresentação com a que tinha assistido dia 22 de Outubro, que muito me impressionou.

It was a great pleasure to see again performances which I had so very liked. For instance Leonardo Basílio’s – a dancer with a brilliant future ahead of him- and Alexandru Tcacenco’s (even though I became suddenly aware that the casting was slightly different: there were four dancers for three roles... but that meant that, even if I’ve missed seeing more of Mr. Basilio, I was compensated by watching a lot of Mr. Dumitru Taran, a very gifted dancer that I very much admire!).

Others that went on delighting me and making me wonder why such supporting roles can sometimes leave a longer, more lasting impression on you than “main roles”, were four of the five courtesans that again gave very witty, intelligent performances: Reina Sawai, Prisca Zeisel, Maria Alati and lovely Eszter Ledán!

Foi um grande prazer rever apresentações da quais tinha muito gostado. Por exemplo as de Leonardo Basílio – um bailarino com um brilhante futuro à sua frente – e a de Alexandru Tcacenco (apesar de dar-me conta que a distribuição de papéis foi levemente alterada: haviam no programa 4 bailarinos para tres papéis… o que significou que, mesmo que eu tenha sentido falta de ver mais de Mr. Basílio, fui compensado por ver bastante de Mr. Dumitru Taran, bailarino muito talentoso e que muito admiro).

Outros que continuaram a me deleitar e fazer pensar porque papéis secundários podem deixar uma impressão tão mais longa e duradoura do que papéis principais, foram quatro das cinco cortesãs que mais uma vez deram interpretações muito espirituoas, inteligentes: Reina Sawai, Prisca Zeisel, Maria Alati e a encantadora Eszter Ledán!

Misha Sosnovschi was again (I wrote a lot about him last time) “the” perfect Lescaut. Chapeau, Monsieur Sosnovschi!

On the other hand magnificent roles like the Beggar’s King and the Warden were not “completely used”, as played by Mr. Marcin Dempc and Mr. Gabor Oberegger. It is, in the particular case of the Warden, very difficult to top Alexis Forabosco’s performance last October.

Misha Sosnovschi foi de novo (Escrevi muito sobre ele na última vez) “o” perfeito Lecaut. Chapeau, Monsieur Sosnovschi!

Mas, ao contrário, magníficos papéis como o Rei dos Mendigos e o administrador da prisão não foram completamente “usados” com a interpretação de Mr. Marcin Dempc e Mr. Gabor Oberegger. É, no caso particular do administrador, muito difícil superar a apresentação de Alexis Forabosco de outubro deste ano.

Alice Firenze… belíssima danzatrice… I use the word “danzatrice” on purpose. Miss Firenze is not only a beautiful, gifted, sensitive dancer but also a very good actress… Miss Firenze gave life to a role that can be very tricky… If not perfectly interpreted it can become dull and boring. But no fear about that when Alice Firenze is on stage. There is always a certain “fire in the air” every time she performs.

She is also the sort of dancer that never leaves a movement unfinished. With a great sense of musicality she even extends certain movements to a maximum length, which I had not seen before… And that is not easy at all during the “drunken Pas de Deux” with Lescaut. A slow one… The fact of appointing Miss Firenze to the soloist category was one of the most well deserved acts during Manuel Legris’ direction period.
I love this kind of talent – not easy to describe in simple, ephemeral words.

Alice Firenze… belíssima danzatrice… Uso a palvra “danzatrice” propositalmente. Miss Firenze não é só uma bonita, talentosa, sensível bailarina mas também uma muito boa atriz… Miss Firnze deu vida a um papel que pode ser muito complicado… Senão perfeitamente interpretado ele pode tornar-se tedioso e maçante. Mas não há perigo disso quando Miss Firenze está no palco. Sempre existe um certo «fogo no ar» quando ela se apresenta.

Ela é também uma daquelas bailarinas que nunca deixam um movimento inacabado. Com seu grande tino musical ela estende certos movimentos ao maximo do comprimento, que eu nunca antes tinha visto… E isto nao é nada fácil durante o “Pas de Deux bebado” com Lescaut. Um que è muito vagaroso… O fato de Miss Firenze ter sido nomeada solista foi um dos mais merecidos durante o período de direcao de Manuel Legris.
Amo esta espécie de talento – nada fácil de ser descrito em simples, efemeras palavras.

Manon and Olga Esina… Difficult to express it in any other way than “they were not meant to each other”. I once read a very clever interpretation of Miss Esina’s stage personality that called her a “Grace Kelly of the Ballet”. It went on to tell us about her remoteness/aloofness and chilly behaviour while performing. That “iceberg condition” in which Grace Kelly mostly existed…

Maria Yakovleva, even totally lacking Miss Esina’s precise technique, was a much more “human” Manon. Not a puppet doing the right things at the right minute.

Sometimes I had the feeling that Olga Esina was just “imitating” feelings… from act to act she went on imitating love, greed, fun, sadness, despair, surrender… That is surely the reason why I prefer her on more contemporary, abstract pieces: they become her much better… She once gave a wonderful performance of “Stravisnky’s Violin Concerto” from Balanchine which I have not forgotten until today – even if that part was immortalized by the great Carol Summer.

Manon e Olga Esina… difícil de expressar isso em outro modo que não seja “elas não foram feitas um a para a outra”. Uma vez li uma inteligente interpretação sobre a personalidade de Miss Esina no palco que a descreveu como um espécie de “Grace Kelly do Ballet”. A crítica continuou a nos contar sobre seu desinteresse, distancia e forma fria quando no palco. Aquele “estado de iceberg” no qual Grace kelly existiu…

Maria Yakovleva, mesmo sem nenhuma da precisa técnica de Miss Esina, foi uma Manon muito mais “humana”. Não uma marionete fazendo as coisas certas nos momentos certos.

Algumas vezes tive a sensação que Olga Esina estava só “imitando” sentimentos,,, de ato para ato ela continuou imitando amor, ganancia, divertimento, tristeza, desespero, capitulação… Esta é a razão porque prefiro-a em peças mais contemporaneas, abstratas: Elas lhe caem melhor… Ela deu uma vez uma linda interpretação am “Stravinsky’s Violin Concerto” que não esqueci até hoje - mesmo que aquele papel tenho sido eternizado pela grande Carol Summer.

But she is completely wrong for MacMillan. Her arms, which are still “too Russian”, were mostly far too high during arabesques and attitudes. Light years afar from the british world of dance. The very same arms were the reason why the last pas de deux (Manon’s death scene) was completely ineffective. They did not let the hands “die” (this is the first hint that audiences get that Manon’s end is near). The hands were too full of energy, not “relaxed dead” how they are intended to be in MacMillan’s choreography (the same way Juliet’s arms are dead in the Tomb scene in MacMillan’s “Romeo and Juliet”).

All this, added to the makeup that made her look like an imitation of Natalia Makarova, made me wonder why other strong dancers in the company did not have the chance to perform this incredible variation of a “beast” – one of my ways of describing Manon (during my last critic I described her as a sort of “Lola-Lola”).
But I must say that her interpretation of the Pas de Trois with Lescaut and Monsieur G.M. (marvelous Thomas Mayerhofer) was superb – a great example of dance in which a lot of emotional remoteness is required…

Miss Esina was the first dancer I ever saw taking her fist curtain calls after “Manon” smiling…

Mas ela é completamente errada para MacMillan. Seus braços, que ainda são «muito russos», estavam na maioria das vezes muito altos durante arabesques e attitudes. Anos-Luz em distancia do mundo de dança ingles. Os mesmos braços foram a razão porque o último Pas de Deux (A cena de morte de Manon) perdeu totalmente em efeito. Eles não deixaram as mãos “morrer” (esta é a primeira insinuação que o público recebe que o final de Manon está próximo). As mãos estevam cheias de muita energia, não «relaxadamente mortas» como elas são destinadas a ser na coreografia de MacMillan (da mesma forma como os braços de Julieta estão mortos na cena da tumba no “Romeu e Julieta” de MacMillan).
Tudo isso, adicionado à Maquiagem que a fez parecer uma imitação de Natalia Makarova, me fez pensar porque outras boas bailarinas na compania ainda não tiveram a oportunidade de interpretar esta maravilhosa variação de uma “besta” – uma das minhas formas de descrever Manon (na minha última crítica descrevi-a como uma espécie de “Lola-Lola”) .

Mas tenho que dizer que sua interpretação do Pas de Trois com Lescaut e Monsieur G.M. (magnífico Thomas Mayerhofer) foi soberba – um grande exemplo de dança na qual distancia emocional é requerida.

Miss Esina foi a primeira bailarina que vi sorrindo durante as primeiras cortinas depois de “Manon”…

Vladimir Shishov… what can I say unless “Premier Danseur”? Mr. Shishov showed us once more this beautiful, rare quality called “right” to be named premier danseur… I have seen many interesting “Chevalier Des Grieux” during my long “love affair” years with the ballet: Dowell, Wall, Legris, Malakhov… more recently here in Vienna Friedmann Vogel and even Roman Lazik…
Strangely enough I understood, at last and after so many years, much more of the character through Mr. Shishov’s interpretation – he gave Des Grieux a special “shine” that had not been there before, especially on the last performances which I had seen here in Vienna:
Youth…

Yes, his Des Grieux is a young man – exactly like he was written by Antoine-François Prévost – and this unique quality brought me to tears at the end of the evening.
Not Manon’s death but Des Grieux’s honest grief. I had never seen such a portrayal…

Vladimir Shishov… o que posso dizer senão “Premier Danseur”? Mr. Shishov nos mostrou mais uma vez esta rara, bonita qualidade chamada “direito” de ser mencionado como um premier Danseur… Já assisti muito interessantes “Chevalier Des Grieux” durante os longos anos do meu “love affair” com o ballet: Dowell, Wall, Legris, Malakhov… mais recentemente aqui em Viena Friedmann Vogel e até Roman Lazik…
Estranhamente eu entendi, finalmente depois de tantos anos, muito mais do personagem através da interpretação de Mr. Shishov – ele «poliu» especialmente seu Des Grieux de uma forma que não tinha sido visto anteriormente, especialmente nas últimas apresentações que assisti em Viena:
Juventude…

Sim, seu Des Grieux é um jovem – exatamente como escrito por Antoine-François Prévost – e esta única qualidade me levou as lágrimas no final da noite.
Não a morte de Manon mas sim o sincero pesar de Des Grieux. Nunca havia assitido-o assim…

Don Quixote, 31.5.2013: Maria Yakovleva & Vladimir Shishov

Such a special evening... The Opera was full, the audience seemed to “understand” what it was all about and the performance on stage was fantastic.

I cannot use to many words to describe the greatness of the dancers on stage… It would seem profane… like an irreverence to what is sacred and, yes, ballet is sacred for many of us…

Que noite mais especial… A Ópera estava cheia, o público parecia “entender” o que estava acontecendo e a apresentação no palco foi fantástica.

Não posso usar muitas palavras para descrever a grandeza dos bailarinos no palco… Pareceria profano… como uma irreverência ao que é sagrado e, sim, Ballet é sagrado para muitos de nós…



Orchestra, Costumes, Lighting, Stage settings everything in full harmony…
Energy – lots of energy – flowing from the Stage of the State opera last night…

Demi-soloists like Greig Matthews making a terrific job at the Cops-de-Ballet, strong, muscular dancers like Alice Firenze “fighting” on stage (and looking very much like Bo Derek), Kirill Kourlaev as the great, imposing Torero, Misha Sosnosvschi catching the audience’s attention and milking applause with all his tricks as the gypsy… and, most importantly, each single element of the perfect Corps-de-Ballet involved in this happy staging… Rafaella D’albuquerque, Flavia Shishov! Energy, yes, lots of energy…

Orquestra, guarda-roupa, iluminação, cenários em total harmonia…
Energia – muita energia – fluíndo do palco da ópera na noite passada…



Demi-solistas como Greig Matthews fazendo um maravilhoso trabalho no corpo de baile, fortes, musculosas bailarinas como Alice Firenze “lutando” no palco (e relembrando demasiadamente Bo Derek), Kirill Lourlaev como o grande, imponente toureiro, Misha Sosnovschi captando toda a atenção da platéia e provocando aplausos como o Cigano com todos seus truques… e, o mais importante, cada único elemento do perfeito corpo-de-baile envolvido nesta feliz encenação... Rafaella D’albuquerque, Flavia Shishov! Energia, sim, muita energia…

Maria Yakovleva was simply divine. Her Kitri (Quitéria, by the way… I think this is funny because this was my great-Grandmother’s christian name!) was more than completely perfect. Funny, lovely, emotional, wild… and her Dulcinea on the second act… no words… like a piece of expensive china that should be treasured inside a vitrine… I felt some tears streaming down my face.
Yes, she touched me…
Thank you, Maria!

Maria Yakovleva estava simplesmente divina. Sua Kitri (Quitéria por sinal… Acho isto engraçado porque este era o pre-Nome da minha bisavó!) foi mais do que completamente perfeita. Engraçada, adorável, emocional, enfurecida… e sua Dulcinéa no segundo ato… sem palavras… como uma peça de cara porcelana que deveria ser apreciada dentro de uma vitrine… valiosa. Senti algumas lágrimas descendo pelo meu rosto.
Sim, ela me tocou…
Obrigado, Maria!



Vladimir Shishov… great, dear friend Vladi… what a naughty Basil…
He keeps on surprising me:
his Basil was really a young man… of 18 or 19… how come that a dancer can transform himself so much on stage?
Well, people say that Sarah Bernhard, while she was performing Jean D’Arc with more than 70 years old, turned to the audience, while she was asked about her age and said: I am sixteen… and everyone believed that. These great mysteries of the performing arts, of talent…

Well, even tough Nureyev’s choreography is the hell for the principal male dancer, Vladimir Shishov did a marvellous job. Even tough those endless, unnecessary Ronde-de-Jambes en l’air - which were “natural” for Rudolph and that were the reason why he added so many of them the choreography – and even if the solutions for the male part in the Coda of the third act are questionable, Mr. Shishov gave one of the greatest performances which I have ever seen of this choreography.

The audience simply loved him!



Vladimir Shishov… grande, querido amigo Vladi… que Basil endiabrado…
Ele continua a me surpreender:
seu Basil foi realmente um jovem… de 18 ou 19… como um bailarino pode transformar-se assim no palco?
Bem, diz-se que Sarah Bernhard, quando fazia Joana D’Arc com mais de 70, voltava-se para o público, enquanto era perguntada sobre sua idade e dizia: Tenho dezesseis anos… e todos acreditavam. Estes grandes mistérios da Arte cenica, do talento.. .

Bem, mesmo que a coreografia de Nureyev seja o inferno para o bailarino principal, Vladimir fez um grande trabalho. Mesmo que aqueles intermináveis, desnecessários Ronde-de-Jambes en l’air – que eram muito «naturais» para Rudolph e que foram a razão dele ter adicionado tantos à coreografia – e mesmo que as soluções para a parte masculina na Coda do terceiro ato sejam questionáveis, Sr. Shishov deu uma das melhores apresentações que eu já vi desta coreografia.

O público simplesmente o amou!



Chapeau, Mme. Yakovleva e Monsieur Shishov…. Great performance.

And then... a glass of wine, just the three of us, Flavia & Vladi Sishov and I, at "Sacher"! What a pleasure!

Tiro meu chapéu, Mme. Yakovleva et Monsieur Shishov. Grande apresentação. E aí... um copo de vinho, só nós tres, Flavia & Vladi Shishov e eu, no "Sacher"! Que prazer!



P.S. A funny fact happened during one of the intermissions. While I was having a glass of wine and eating some crayfish hors-d’œuvres I heard some people just beside me, criticizing Kirill Kourlave’s blond hair (because he was playing a Spanish man). Specially a couple that was quite loud… they seemed to belong to a viennese “ballet club” (or something like: that sort of “Fan stuff”).
I had to “get into this conversation” to remind them that Ingrid Bergman also played “Maria” in “For whom the bell tolls” (Hemingway’s great novel placed during the spanish civil War) and that she was a blue-eyed blond… like thousands of Spanish men and women that come from the Sierra Nevada! I don’t think this couple is going to talk to me again!

P.S. Um a coisa engraçada aconteceu durante uma das pausas. Enquanto eu estava tomando um copo de vinho e comendo uns hors-d’œuvres de caranguejo ouvi um casal, ao meu lado, criticando o cabelo louro de Kirill Kourlaev (porque estava fazendo um homem espanhol). Tive que “entrar nesta conversa” para lhes relembrar que Ingrid Bergman também interpretou “Maria” em “Por quem os sinos tocam” (A grande novela de Hemingway que ocorre durante a guerra civil espanhola) e que ela era uma loura de olhos azul… assim como milhares de homens e mulheres que vem da Sierra Nevada! Não acho que este casal falará comigo de novo!

Midsummer's Night Dream/ Sonho de uma Noite de Verão (Volksoper, 18.04.2013) p.s. William S. would have liked that very much…

A delicious performance, a delightful evening...

“Midsummer’s Night Dream” seem to be one piece of ballet which agrees very much with the atmosphere (and audience) from the “Volksoper”.
Funny, witty…
The whole ensemble surprised me, much more than three years ago…
Jorma Elo’s choreography is inventive, dynamic, ful of surprises… and very, very musical!



Uma deliciosa apresentação, uma noite prazerosa…
“Sonho de uma Noite de Verão” parece ser uma peça de Ballet que está muito de acordo com a atmosfera (e público) da “Volksoper”.
Engraçada, espirituosa…
Toda a companhia me surpreendeu, muito mais do que há tres anos atrás…
A coreografia de Jorma Elo é inventiva, dinamica, cheia de surpresas… e muito, muito musical!

Olga Esina, perfect as Titania (I don’t know why but I always “think” of Titania as a blonde): her far-away looks and her distant manner suit this role perfectly.


(above Olga Esina, programme picture)

Roman Lazik, a sensual Oberon, very much in the Rupert Everett-manner (who played the role n the last film version). I would have liked very much to have seen my friend Vladimir Shishov again in this role…




(above Vladimir Shishov as Oberon, programme picture)

Prisca Zeisel, Greig Matthews ( Hermia & Lysander), Rui Tamai and Dumitru Taran ( Helena & Demetrius) as the two couples that in fact “move” the play forwards, strong key roles, showed lots of humour, sense of timing and, although this was the first time that Miss Zeisel danced the role with Mr. Matthews, in full command of the roles… Greig Matthews was lst year’s “boy-sensation”, now with 19 years old he turned into a man and a very fine dancer…
I am sure that we will be hearing/seeing a lot of Prisca Zeisel and Greig Matthew in the near future!
(By the way: Congratulations to Greig Matthews and Dumitru Taran’s perfect Arabesques. Such lines…).


(above Natalie Kusch & Greig Matthews – picture „Staatsballet Wien“)

Olga Esina perfeita como Titania (Não sei porque mas sempre “penso” em Titania como uma loira): seus olhares longínquos, sua maneira distante são perfeitas para este papel.


(above Anita Louise in Max Reinhardt’s 1935 film version)

Roman Lazik, um Oberon sensual, muito na mameira de Rupert Everett (que fez este papel na última versão cinematográfica).

Gostaria muito de ter revisto meu amigo Vladimir Shishov neste papel…


(above “Oberon” in the 1935 Max Reinhardt’s film version)

Prisca Zeisel, Greig Matthews ( Hermia & Lysander), Rui Tamai e Dumitru Taran ( Helena & Demetrius) como os dois casais que “movem” a peça adiante, fortes papéis “chave”, mostraram muito humor, noção de tempo, apesar de ter sido a primeira vez que Miss Zeisel dançou este papel com Mr.Matthews, em total controle dos papéis… Greig Matthews foi o “menino sensação” do ano passado, agora com 19 anos ele transformou-se num homem e num refinado bailarino… Tenho certeza que vamos ouvir/ver muito de Prisca zeisel e Greig Matthews no futuro próximo!
(Nota: Meus parabéns para os perfeitos arabesques de Greig Matthews e Dumitru Taran. Que linhas…)


(above Dick Powell & Olivia deHavilland as Lysander & Hermia in Max Reinhardt’s 1935 film version)

Ryan Booth, also due to his height, an impressive Theseus.

Alexis Forabosco, a dancer I admire very much, stayed in the Corps de Ballet, for the most time but had the chance to show his precise French technique and great stage presence, with Gala Jovanovic as one of the “Athenian” couples…

Ryan Booth, também por causa de sua altura, um Theseus imponente.


(above a picture from the 1935 film version which reminded me of Mr. Forabosco’s T-torso)

Alexi Forabosco, um bailarino que muito admiro, ficou quase todo o tempo no corpo de baile mas teve a chance de mostrar sua precisa técnica francesa e grande presença cenica, com Gala Jovanovic como um dos pares de Athenas…


(above Alexis Forabosco by Casanova Sorolla)

But the Star of the evening, the real Star of “Midsummer’s Night Dream” is (and will always be) Mihail (Misha) Sosnovschi: this very gifted dancer from Moldavia is THE perfect incarnation of Puck, a – also technically – very demanding role! His rapport with the audience is incredible and there was not only applause for him yesterday but also screams of joy! A beautiful, exciting performance!
Audiences simply LOVE “Midsummer’s Night Dream”!!!!!!


(above Mihail Sosnovschi as “Puck”, pictures: "Wiener Staatsballet")

Mas a verdadeira estrela da noite de “Sonho de uma Noite de Verão” é (e sempre será) Mihail (Misha) Sosnovischi: este muito dotado bailarino da Moldavia é A perfeita incarnação de Puck , um – também técnicamente – papel muito “exigente”! Seu relacionamento com o público é incrível e não houve só aplauso para ele ontem como também gritos de felicidade!
Uma apresentação linda e excitante!
O público simplesmente AMA “Sonho de uma Noite de Verão”!!!!!!!


(above Mickey Rooney in Max Reinhardt’s 1935 film version)

The choir, the violin soloist ( Bettina Gradinger), the children, the sets and costumes (Sandra Woodall/Jorma Elo) simply perfect. It all reminded me of the old film by Max Reinhardt, austrian… such a magical atmosphere… William S. would have liked that very much…

Bravo!



O coro, a solista do violino (Bettina Gradinger), as crianças, os cenários e figurinos (Sandra Woodall/Jorma Elo) simplesmente perfeitos.
Tudo me lembrou o velho filme de Max Reinhardt, austríaco… que atmosfera mágica… William S. teria gostado muito disso…



How wonderful to be a witness of such a performance… even tough Lorenz C. Aidner conducted Mendelssohn Bartholdy’s music so quickly – making it quite hard for the dancers – as if he was playing for himself… Can you believe that the performance finished nearly twenty minutes earlier? And that the Corps de Ballet Dancers couldn’t nearly close a position? Perhaps he had a date for supper?



Que maravilha poder ser testemunha de tal apresentação… mesmo se Lorenz C. Aidner regeu a música de Mendelssohn Bartholdy tão rápidamente – fazendo a coisa muito difícil para os bailarinos – como se ele estivesse tocando só para si… Podem acreditar que o espetáculo acabou quase 20 minutos antes do previsto? E os bailarinos do Corps de Ballet mal podiam fechar uma posição ? Talvez ele tivesse algum compromisso para jantar?



(above Michelle Pfeiffer as Titania in the last film version)

But… to be honest: It is a nice feeling to go home, still smiling, after a beautiful performance…
I had not enjoyed such a Ballet evening in a long time…

Para ser muito sincero: É uma coisa boa ir para casa, ainda sorrindo, depois de uma linda apresentação…
Eu nao tinha apreciado uma Noite de Ballet assim há muito tempo…