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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wiener Staatsoper: a talk with Igor Zapravdin

A talk with Igor Zapravdin: April 5th, 2017



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

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

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

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

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

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

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

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

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

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

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

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

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

Many thanks!

Some facts about Mr. Zapravdin:

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

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



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

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

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

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

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

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

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

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

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

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

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

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


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

Maria Yakovleva and Roman Lazik were on their element.

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

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

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

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

Wiener Staatsballet: 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: 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”!

Wiener Staatsoper: Josephs Legende (Davide Dato & Ketevan Papava)

Sometimes the power of Marketing and Advertisement can be quite underestimated... History shows us many examples, art history even more. It takes just that certain, precise and (very) lucky moment to be on the right spot at the right time…

Just a few weeks ago marvellous Denys Cherevychko had one of the biggest hits of his career with Neumeier’s “Joseph’s Legend”. Definitely a very well-deserved success. No question about that.

But everything can be interpreted from different points of view and to my particular taste, I feel that the marketing Machinery of the State Opera performed perhaps a “bit too well” with him and overlooked a lot another precious performance.

The whole (ballet) media work concentrated on both Mr. Cherevychko’s and Miss Horner’s performances (culminating at their presence at the Opera Ball, which was quite unusual, especially if considering that Miss Horner is not a soloist), neglecting a bit the “other cast” - no expressions like "second cast" here - that was also performing.
Performing splendidly, by the way, as you’ll be able to witness in the following video – a new, beautiful work from Balàzs Delbo (© Delbeau Film).

The splendid performances from dancers like Davide Dato, Ketevan Papava and Eno Peci were not as talked about and discussed as they would have deserved.
One thing is more than clear: their rendition is of another sort. One cannot talk about “a notch above” but surely of subtleness. Intelligent subtleness. Another “reading” of the same theme.

In order to avoid any misunderstandings, I am just ALSO trying to highlight Mr. Dato’s and Miss Ketevan’s performances. I surely loved Mr. Cherevychko and Miss Horner but I still believe that there is place enough in the Media to accommodate different, marvellous interpretations of the same role, even if given by other performers. Think about the ABT, New York City Ballet, Covent Garden and the Paris Opera and the different Auroras, Giselles and Albrechts, Odettes and Odilles, Basils and Kitris from each and every Season…
This “richness” of choice teaches the audiences to think more compare, learn, ponder, develop healthy criticism… and not take anything for granted!
Audiences here are in quite a desperate need of learning that.

Unfortunately our “Austrian way of thinking” is quite “passé” specially concerning the contemplation of different talents.
Our world nowadays offers us so many talents and unlimited possibilities – it is quite normal to have different interpretations and “readings” of a same role at the same time… but we do not seem to adapt to that.

Passed and gone are the times in which only existed a “Nureyev”, or just one “Baryshnikov or perhaps a “Makarova”.
Unfortunately austrian audiences (and Press) tend to keep attached to this old-fashioned idea that there only exists one talent at the time…
and the media work, in this particular case of "Joseph`s Legend, reflected just that.
Times have changed, audiences all over the world too and so should we…

Let’s think about that…

P.S. I would like very much to point to the wonderful rehearsal pictures. © Ashley Taylor – you will surely hear this name quite frequently in the future.

DAVIDE DATO AS JOSEPH from DelbeauFilm on Vimeo.

"Ein Reigen" (Volksoper, April 29th 2014): Premiere and repetitiveness...

At first, after watching yesterday’s performance and talking to many dancers, in and out of the cast, during the after-Premiere party, I thought of not writing a review about the Show. It seemed utterly unfair.

Today I have decided otherwise. My “dilemma” in relation to “Ein Reigen” lies not on the talent of so many young dancers but somewhere else… I will try to explain why.

“Der Reigen” was one of the biggest theatre scandals in the 20th Century and was, after the “Schnitzler’s Trial”, forbidden on Austrian stages until 1982 (even though Films and Records were produced).

“Ein Reigen” , loosely based on “Der Reigen” from Arthur Schnitzler, differs primarily from the original in the story-telling’s main line… In the play all characters “meet” in “pre- and post-coital” situations. In yesterday’s ballet all characters have obvious “love/sex” scenes – unfortunately most of them extremely repetitious. After the second there was no more “surprise” (nor thrill) for the audience.

Monsieur Manuel Legris said in his speech after the show that it is very hard to find someone who’d accept to stage a full-length Ballet.

He is absolutely right.

To fill a whole evening’s programme one’s “choreographical vocabulary” must be extensive, huge in fact. Unfortunately this was not the case. Ashley Page’s choreography is not only repetitious but lacks completely the “ups and downs” that give rhythm to a “script”. After a while the story-telling became boring… not inventive, not challenging, not dynamic. All this added to a very questionable music score: Surely wonderful works from Mahler, Zemlinsky, Korngold, Berg etc. ON THEIR OWN – but all of them - especially put together - extremely gloomy and nearly depressing.

Once more very repetitious.

Perhaps the only “brilliant” use of music was Ravel’s La Valse at the very End of the Show. “La Valse” which, in fact, was never a success when used for a ballet – even though history shows us the many choreographers who envisioned this piece as “dance stuff”.

The concept of using “celebrities” makes it quite confusing and bothered me. I personally would have preferred the use of “fictious” characters (like played by Alice Firenze - see photo above) instead of Freud, Mahler, Kokoschka, Alma Mahler, Schönberg, Schiele etc… Here we are again into that English craze, apart from the big “cliché” which these characters bring along with, of trying to “use” Ballet as a platform for other forms of art, not using the language of dance but simply the “script form” of a play… MacMillan’s “Mayerling” is one of the best examples of how confusing this can be.
History books have their own language – so should Ballet (And do audiences and even the dancers really know all about who is being portrayed? Today's world pace is too quick to assimilate all that we should... )

One positive thing must be said about Mr. Page: His very pointed feeling for casting. Knowing the company, I enjoyed (nearly most) of his casting.

But...

...I still have not revealed the main point about deciding so late about writing a review about yesterday’s show or not.
It can be seasily described in simple three words:

Lack of Rehearsals.

Audience could feel that in many parts of the show the dancers were insecure (never “ending” movements) and very uncertain (especially musically). I was sitting beside another dancer and sometimes we’d look sadly at each other…

I am sure that with some more rehearsal this ballet may turn into a good one – even though I question why it was put on the stage of the Volksopera. Need of a financial magnet for tourists in having a ballet about “Vienna”?
It could be… I wonder if it will survive this season.

Even so I could witness again the lovely stage presence of Suzan Oppermann (on whom I could concentrate a lot!), Clara Soley, Flavia Soares (elegance), Gala Aura Jovanovic (exceptional in a “trouser’s role”), Ioana Avraam, Maria Alati (very daring! I like that), beautiful Denys Chrevychko (unfortunately dressed in a horrible costume) and Kirill Kourlaev.
Surprisingly enough for me was the fact that Mr. Roman Lazik, a dancer that I consider extremely “blasé” on stage, managed to show at last some emotion.

Eno Peçi and Dagmar Kronberger, great professionals who would never, for a single second, let the audience see a glimpse of discomfort or insecurity. I enjoyed especially to witness again their dancing together.

Ketevan Papava had the difficult (and notorious) Alma Mahler to portray. And she did a very good job out of the very ungrateful choreography that was given to her.

But three dancers outshone completely the rest of the company:

Eszter Ledán (Emilie Flöge), that seemed to have arrived directly out of the past and looked like a reincarnation of the famous Klimt’s portrait (so sorry I do not have a picture of Miss Ledán in this role),

Alice Firenze (Mitzi, a prostitute), full of strength, power, interpretation’s understanding.

It is needless to write about both dancer’s splendid technique.

and Misha Sosnovschi (here with Maria Alati as Wally Neuzil) , that gave life to Egon Schiele and had one of the best parts, choreographically and dramatically observed, of the show.

I can well imagine what a creative, construtive and committed “worker” Mr. Sosnovschi is.
Feeling “responsible” for his work (he is the one that has to go on stage and show to the audiences what the choreopgrapher created) he is surely the dream for every choreographer to work with.
Participation. That's the secret of a real artist...
Apart from his splandid technique and stage presence. I like that...

The use of the revolving stage of the Volksopera was no surprise.
Neither for the rest of the audience nor for me.
Once again the factor “repetitiveness” playing a role.

Sceneries were good but the costumes were excellent – even though they could be described as too “Volksopera affine”
(Both by Anthony McDonald.

BUT...

...one last question remains unaswered for me:
hasn’t “Wien, Wien, nur Du allein” (Maurice Béjart) a much greater “insight” into the Viennese gloomy, very depressive moods? Prostitution, Betrayal, Prater, Tarot cards, Murder…
In 1990 I had the privilege to watch this (marvelous) show (Marcia Haydée, Jorge Donn) at the State Opera.
It received very mild applause…

Yesterday’s applause was also lukewarm…
Do Viennese really want to see themselves portrayed?

Copyrights: Pictures from the Volksopera's programme and Thomas Schulz (Many Thanks, dear Thomas)