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Final / End

Caros amigos,

Obrigado pelos anos acompanhando meu trabalho mas...

... as "Tertúlias" chegaram ao final... o formato ficou antiqado, passée...
E como tudo na vida, uma mudanca é necessitada!

Acompanhem-me no futuro na plataforma internacional

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ou

https://www.facebook.com/danceisanattitude/

Tenho muitas estórias para contar para voce sobre ballet!

Ricardo

________________________________________________________________________

Dear Friends,

many Thanks for all the years following my work but...

... the "Tertúlias" are going to be finished... the format is outdated, passée...
And everything in life, a change is needed!

Follow me in the future on the international platform

https://www.attitude-devant.com

or

https://www.facebook.com/danceisanattitude/

I have many stories to tell you about Ballet!

Ricardo

Julie Andrews

Online on May 31st...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wiener Staatsballet: May 5th, 2017, “Giselle Rouge” - revisited

This time I am not going to write about the piece itself and the ensemble, as I have done this twice before; the last time just on April 6th past (see my last review). I am going to write just about two dancers.

Yes, this “Giselle Rouge”, the last one of the season by the way, was for me “the icing on the cake” on a long run of different interpretations during the past two years.

Alexis Forabosco, one of the most expressive dancers in the Wiener Staatsballet, gave life to “The Comissioner”. I use the wording “gave life” on purpose because that is really what happened on stage last May 5th. Very far away from an interpretation that would only leave place to brutality, violence and meanness, Mr. Forabosco really gave life to a character that was far more calculating in a sort of Machiavellian way. And perhaps because of this psychological contemplation, much more frightening – and therefore human. Mr. Forabosco and his personality and great presence on stage – better put it this way: he “fills” the stage – supported by a great dynamic, great jumps, technical precision and very masculine identity – are simply what this role asks for. A dancer is his very best years. Maturity and youth at the same time. Definitely.

Copyright: Wiener Staatsballet/ Ashley Taylor

Ioanna Avraam was for me the perfect “Ballerina” (Olga Spessivtesva), tormented by her passions, destiny… not being quite able to cope with it.
Miss Avraam gave a very strong reading of this role and of the tragedy included in it. Not afraid of not “looking at her best”. Her Olga when compared in scenes in which she is thrown on the floor like a parcel to scenes in which she exceeds in elegance are simply amazing.

A very fine and gifted dancer, Miss Avraam is an incredibly precious asset to the ensemble of the Wiener Staatsballet.
Surely one of Manuel Legris’ best decisions ever was to turn her into a soloist.

Copyright: Wiener Staatsballet/ Ashley Taylor

Possessing an exquisite technique: beautiful extensions – but never “over extended” in a vulgar way- that turn into amazing Développés, magical pas-de-bourrés (YES!) and those wonderful, sensitive, fragile looking arms and hands (for me still THE factor in recognizing a great dancer) she, once more, made me aware of her talent. And how I enjoy witnessing real talent on stage. A dancer that really uses her technique as a TOOL on stage and not as the main “drive” to perform a part. All this added to her Mediterranean way of “feeling a tragedy” and portraying it in a very smooth, human, nearly touchable way made her interpretation an unique one. As Jane Fonda once said about Meryl Streep during a gala performance: She was right there. Yes, Miss Avraam was right there. Her emotions, her presence, her intelligence as a dancer.

Copyright: Wiener Staatsballet / Ashley Taylor

The chemistry between Mr. Forabosco and Miss Avraam was perfect. In a stage relation that might lead to overdoing the roles, they gave the audience just the right portion of feelings and emotions. And everything was there: the sexuality of the Comissioner and the sex dominance he exercised over Olga and her submission to him… and the mad Olga. So sad..

Great interpretations in this last “Giselle Rouge” of the season. I am glad I watched THIS show.

Happy Easter everyone: on the fifth Avenue with Judy and Fred!

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: 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!