Wiener Staatsballet: February 19th, Premiére "Le Pavillon d'Armide" & "Le Sacre"

Wiener Staatsballet: February 19th, Premiére "Le Pavillon d'Armide" & "Le Sacre"

A première is always exciting.

This one was not supposed to be really very exciting for me:
I am not really a great fan of Neumeier’s work and I had the seen the general rehearsal last Friday.
But still…
I was very surprised.

Le Pavillon d’Armide

Before I start writing about what I have witnessed last night, I will break a rule.
Well, rules are made to be broken, at least mine are… by me: I always write about the main roles at the very end of a review but this time I must start with the words MIHAIL SOSNOVSCHI BRILLIANT!

Yes and even this adjective is still not really expressing what we witnessed yesterday with his interpretation of the tortured Nijinsky's soul.
This evening will be remembered because of him.

We all know dancers that are good actors but Mr. Sosnovschi’s performance was just “a notch above that”.

All of a sudden I realized that tears were running down my face with his interpretation.
Emotions… who could ask for anything more?
At a sort of career “top moment” (the moment in which a person reaches maturity but is still young enough to perform) he gave us a very sensible portrait of a tortured soul. Mr. Sosnovschi, an intelligent dancer that uses technique just as a tool for his artistry, he faced without fears the technical difficulties of the role (am I right that I witnessed twice triple tour-en-lairs?) and concentrated more in the character, telling the audience a “story”, making us eager to learn more about it.
A very intelligent reading of Nijinky's personality and character. The highest peak of this evening.
I dedicate this review to this most touching performance. I am glad that I could take part on it! Thank you.

Viennese audiences may be a bit over challenged by a piece that requires so much information and knowledge about ballet:
in the mad scenes there are many references to the original Nijinsky’s choreographies of “Faun”, “Petrouschka” and “Sacre”. But does the audience realize this?
If someone does not understand which roles Romola and Sergey Diaghilew (strangely mentioned in the programme as “Serge”) played in Nijinsky’s life, they'll miss a lot of the plot.
If someone does not know who Tamara Karsavina and Alexandra Baldina were and what “la danse siamoise”, the one movement from the Ballet Suite “Les orientales” represented for Nijinsky’s own sexuality, they are in troube.
If someone is not informed about his bipolarity. Then they’ll have a problem watching this show.

Neumeier’s language in Pavillon (which I had never seen before) reminded me of the same “formula” that he used in his “Dame aux Camelias”.
In “Dame” he uses fictional characters (Manon and Des Grieux) in pas de trois (with Marguerite) and even pas de quatres (including Des Grieux).

In “Pavillon” he does not use only fictional characters like the dancer from “dance siamoise”
(majestically played by Davide Dato – a dancer that never stops to surprise me… the thrill of the sensuality of this dance shivered the whole audience. I had to be sure about that, so I looked up in the dictionary: Shiver: a shudder felt down one's back, due to either fear, anticipation, nervousness, or excitement)
and Armide, played very securely by Nina Polakova.

But also Nijinsky himself as a dancer (Denny Cherevychlo’s first entrance is a moment of pure poetry. Later he once more amazed the audience with his technique and stamina),
Tamara Karsavina (very well played “in the character” by Maria Yakovleva although a bit insecure technically),
Alexandra Baldina (danced with a certain emotional aloofness but with great technical certainty by Nina Tonoli),
Sergey Diaghliew (wonderfully danced and well interpreted by Roman Lazik, that also played the doctor - a fact that seems to have confused many people. A very sensible dancer).

Nijinky and Diaghilew the PDD: Perhaps the most beautiful and openly homoreotic pas de deux in Neumeier’s repertoire. The kiss that Diaghlew places in his hand and puts on Nijinsky’s lips is a moment of pure emotion.

In the “present” Nijinsky is in company oh his wife Romola, very dramatically played by the very sensible and talented Nina Polakova that not only wore the most elegant gown of the evening but displayed emotions on stage that are not so usual in dancing. A beautiful, touching performance!

Choreographically speaking I found the connections from Nijinsky at the present to Nijinsky as a dance pupil quite difficult to follow.
If you’d not know that this dancer (Richard Szabó) was supposed to be Nijinsky as a young boy, you would not understand it. Perhaps the very different looks of Mr. Szabó compared to the classical fairness of Mr. Sosnovschi don’t give us the hint. A matter of wrong casting. A younger dancer like Mr. Wielick, that looks much more alike to Mr. Sosnovchi, would have suited the role much better.

Another interesting point that reminded me extremely of “La dame aux camelias”: the walkers in the park… It is so interesting to follow the phases in a choreographer’s career and find the similarities in works that they have done within the same period of creativy.
More to that later.

Le Sacre,
is not one my favourite pieces. Having been choreographed in 1972 it has become “dated” with all those endless repetitions of queues and rows and endless “passing through” back and forth, between each other’s legs. Over and under each other. It is so “dated” in its resolutions (unlike Cranko’s pas de deux, for example) and not an easy piece to dance.
And I am glad that I had never to learn how to “count” the music (although I love it!).
It is really not a very comfortable piece for the dancers. Especially for the corps de Ballet. That is why I start this piece of my review (again breaking an own rule) by writing of my biggest admiration and respect to dancers like Suzan Oppermann, Alaia Rogers, Céline Janou Weder, Laura Nistor, Leonardo Basilio, Marcin Dempc, Marian Furnica, Greig Matthews, Tristan Ridel, Dumitru Taran, Alexandru Tcacenco, Zsolt Törok, Géraud Wielick and other members of the cast. This piece is harder to play than to do a “Jane Fonda’s aerobic class” of the 80’s!

For me personally there are no “main roles” in “Sacre”. Sometimes I think that the last solo (danced, by the way, beautifully and with the stamina of a bull by Rebecca Horner) was just an excuse to pick “a name” as a “marquee name” to attract audiences back in the 70's. I am glad that Miss Horner is getting such roles - not an easy dancer to cast - she is neither the lyrical nor the classical "on you toe type" Ballerina. Quite difficult to imagine her in more "formal" productions but she seems to exceed in such productions, like the two Neumeier's choreographies in which she has been casted in the last two last years. But they are, unfortunately, very selden in the Opera's repertoire.

Back to the solo (is she going to be sacrificed or is she killing herself? That was never, since the 70's, clear to me!): We cannot forget that we are talking about 1972 and Neumeier was not so known at those times (later that solo would even be played by a dancer that was complete naked, I think her name was Beatriz Cordua).
But, also here, these are athe similarities during a choreographer’s period, which I wrote about while commenting on “Pavillon” and “La Dame aux Camelias”. This endless display of “power”, the repetitious hard movement solutions, the constant strength required for this last solo (that amazes audiences) reminds me of the last “Wife’s solo” in "Joseph’s legend".
It has the same language line, except for the endless running.
Funny how choreographer’s stick to something for such a long while.
Although I sometimes thing that the “young choreographer’s vocabulary” (he was young at the time) was perhaps too short.
And this brings a sort of inarticulateness at the end of the creative process.

Nevertheless it was wonderful to witness once more the versatility of dancers that can do anything: Ioana Avraam, Alice Firenze and Eszter Ledan – wild, ferocious in fact, with their hair open, as well as the strength of Masayu Kimoto, Eno Peci and especially Francesco Costa, a young dancer that is turning into a very fine dancer – in such a short time.
A dancer with an extremely masculine presence and charisma on stage.

To add to all that we cannot leave unmentioned Michael Boder’s conducting. Always a pleasure.
A very enjoyable night.

All pictures, except Nijinsky's "Dance Siamoise": Copyright Ashley Taylor / Wiener Staatsballet. With my kindest Thanks.

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!!!!!!!

Jerome Robbins "Concerto" - Wiener Staatsballet, 2011

I won't say many words about it... the dancing, the timing, the humour of these tallented, beautiful six girls say it all:

Laura Nistor, Anita Manolova, lovely Ezter Ledan, Franziska Wallner-Hollinek, Marta Drastíková & Ludmila Trayan
(Vienna State Opera, Monte Carlo, Dec. 2011).

Não vou dizer muitas palavras... a dança, o "timing", o humor destas seis talentosas, bonitas meninas dizem tudo:

Laura Nistor, Anita Manolova, maravilhosa Ezter Ledan, Franziska Wallner-Hollinek, Marta Drastíková & Ludmila Trayan
(Vienna State Opera, Monte Carlo, Dezembro 2011).

Blue Beard's Secret / Blaubarts Geheimnis / O Segredo do Barba Azul (Volksoper, Nov. 2013)

("Tertúlia" in three languages / in drei Sprachen / em tres idiomas)


--------------- ENGLISH ---------------


Some days ago I realized once more how so very important (and nearly essential) it is to watch certain shows a long time after the have been performed for the first time. Performers, especially dancers, who have been present during the most of the run don’t have to care anymore about “technicalities” and can concentrate on what is really important. The character. They attain qualities and nuances that could not have been there before, when the show premiered. A simple matter if time –it can take some long time to fully discover the inner qualities of a part. Many tiny particles that compound the characters become alive – and nearly palpable.

During the performance of “Bluebeard’s Secret” at the “Volksoper” last week I was witness of another one of these special occasions that I am referring to during the run of a Ballet: Kirill Kourlaev’s daring performance after nearly one year performing the part, has achieved that certain point when the character is “simply there”, that turns his performance into a “visceral one”. Mr. Kourlaev’s very confident stage presence, his height, strength, especially jumping, turned his Bluebeard into someone of flesh and blood, a bit mental, bestial, desperately desiring his beautiful wife but not quite in the same wavelength like her…

Eszter Ledan presented us with a beautiful, very strong and determined Judith. Even tough she did not have long rehearsals, the audience simply had not the impression that she may have been preoccupied with trivialities – like for example the music… she was at ease, in full command of the role and its technical challenges (light years from classical ballet) and in a complete symbiosis with the aggressive, controlled portrayal given by Mr. Kourlaev. Amazing.
I had seen this role before, danced by the exquisite Alice Firenze… Unforgettable… But I must say that also Miss Ledan’s performance was a revelation.

One of the Highlights of the evening was Rafaella Sant’Anna’s “Mother”. Total commitment on stage. Having seen Miss Sant’Anna on many other occasions I can definitely say that she happens to be a friendly, beautiful, sweet performer with lots of humour (Who can forget her on Roland Petit’s “Die Fledermaus”????).

But as “Mother” she turns herself into a dangerous, possessive, commanding, ugly woman. I was honestly afraid.
But that is exactly what I said at the beginning of this short critic: if you are a Balletomane it is more than essential to watch performances during the run of the show…

Chapeau to Andrey Kaydanovskiy, who for the first time caught my full attention. And he did really caught it. Mr. Kaydanovskiy’s best dancing performance which I have seen up to now.
A contemporary language seems to suit him better.

The rest of the cast should be mentioned. Great performances by talented dancers like Greig Matthews doing just bits, lovely Flavia Soares in full command of her two roles (Yes!) after just one rehearsal, Dumitru Taran, Alexandru Tcacenco and Clara Soley! Also Misha Sosnovschi in a role that I do not consider quite appropriate for him and his partner, beautiful Maria Alati (She partnered him in “La Sylpide”): not only a beautiful woman, also a beautiful dancer.

Stephan Thoss’ choreography is no piece of cake. Extremely difficult and tiring for the dancers without reaching visual effects and with a certain tendency to repetitiveness. One that does not really appeal completely to audiences. Added to the gloomy music of Henryk Górecki (other parts are from Philip Glass) its effect on one’s soul tends to be one of anguish, depression and emotional unbalance. By the end of the performance one could really feel that all efforts to milk applause were worthless – if the Russian fan club sitting on the box near to mine would not have been there, the applause would have died much sooner. One should not forget that Volksopera’s Audience is not an international one, used to Ballet as a language.

The costumes were simply awful. Cheap. Some boys, especially Mr. Sosnovschi, looked like they were wearing evening pajamas!

At last I am going to mention something that so many people think – and never dare to utter: I have the feeling that the first and second acts of the piece that we (nowadays) watch as “Bluebeard’s Secret” were choreographed separately. Perhaps the fact of having a “full evening credit” made both become one piece…

I left the theatre tired and sort of worn out… once again that was the impact that this Ballet had left on me. I even thought of taking some vitamin D, thanks to Mr. Thoss’ work. I had forgotten all about his constant use of turned-in dévelopés, his use of the floor and other clichés… they did not matter anymore.

All of a sudden on the way home I realized what had been bothering me all the time…
It came to me as clear as water: What does Mr. Thoss think about human relationships? A game about Dominance and Submission? What a sad, pathetic, complicated way of looking at things… I do not share these feelings with him.

--------------- DEUTSCH ---------------

Vor einigen Tagen habe ich noch einmal festgestellt wie wichtig (und fast unerlässlich) es ist gewisse Vorstellungen anzuschauen, lange nachdem sie zum ersten Mal gespielt wurden. Darsteller, vor allem Tänzer, die während der meisten Spielzeit aktiv waren, müssen sie sich nicht mehr um den technischen Aspekt kümmern und können sich auf das Wesentliche konzentrieren. Die Rolle. Sie erreichen Qualitäten und Schattierungen, die hätten vorher nicht sein können, als das Stück Premiere feierte. Eine einfache Frage der Zeit – es kann wirklich lange dauern bis man die inneren Facetten einer Rolle wirklich entdeckt hat. Viele kleine Partikel, die die Rolle zusammensetzen werden lebendig – und fast greifbar.

Letze Woche, während einer Vorstellung von „Blaubarts Geheimnis“ war ich Zeuge eines dieser besonderen Momente, auf welche ich mich beziehe, während der Spielzeit eines Ballets: Kirill Kourlaevs wagemutige Darstellung, nach fast einem Jahr in der Rolle, hat den richtigen „Punkt“ erreicht in welchem die Figur der Rolle einfach „da ist“ und der seine Darbietung in eine viszerale Darbietung verwandelt. Herrn Kourlaevs selbstbewusste Bühnenpräsenz, seine Größe, Kraft, vor allem bei den Sprüngen, haben aus seinem Blaubart eine Person aus Fleisch und Blut gemacht, ein wenig psychisch übergeschnappt, bestialisch, in extremen Verlangen für seine Frau aber nicht wirklich in der gleichen Wellenlänge wie sie...

Eszter Ledan schenkte uns eine schöne, sehr starke und entschlossene Judith. Obwohl sie nicht wirklich genügend Probezeit hatte, hatte das Publikum auf keinen Fall den Eindruck sie sei mit Trivialitäten besorgt – wir zum Beispiel die Musik... Sie war entspannt, in voller Kontrolle der Rolle und ihren technischen Herausforderungen ( Lichtjahre vom klassischen Ballet entfernt) und in einer vollkommenen Symbiose mit der Darstellung von Herrn Kourlaev. Verblüffend.
Zuvor hatte ich diese Rolle, von der exquisiten Alice Firenze getanzt, gesehen... Unvergesslich... Aber ich sage, dass auch Frau Ledans Darbietung eine Offenbarung war.

Einer der Höhenpunkte des Abends war Rafaella Sant’Annas „Mutter“. Totale Hingabe auf der Bühne. Da ich Frau Sant’Anna in vielen anderen Stücken gesehen habe, kann ich durchaus sagen, dass sie eine freundliche, schöne, süße Darstellerin mit viel Humor ist (Wer kann sie in Roland Petits „Die Fledermaus“ vergessen?).

Aber als „Mutter“ verwandelt sie sich in eine gefährliche, besitzergreifende, beherrschende, hässliche Frau. Ich war ernsthaft verängstigt.
Aber das ist ganz genau was ich am Anfang dieser Kritik sagte: wenn Sie ein „Balletomane“ sind, es ist mehr als notwendig Vorstellungen während der Spielzeit anzuschauen.

Hut ab für Andrey Kaydanovskiy, der zum ersten Mal meine volle Aufmerksamkeit geweckt hat. Und er hat sie wirklich geweckt. Diese war Herrn Kaydanovskiys beste Tanzdarbietung, die ich bis zum heutigen Tag gesehen habe. Die „contemporary“ Sprache passt ihm besser.

Weitere Darsteller sollten erwähnt werden. Großartige Darbietungen von Tänzern wie Greig Matthews, in winzigen Teilen der Choreografie, entzückende Flavia Soares in voller Beherrschung von zwei (JA!) Rollen nach einer einzigen Probe, Dumitru Taran, Alexandru Tcacenco and Clara Soley! Auch Misha Sosnovschi, in einer Rolle die ihm nicht sehr gut passt und seine Partnerin, schöne Maria Alati (Sie tanzte mit ihm in „La Sylphide“): nicht nur eine schöne Frau, eine schöne Tänzerin.

Die Choreografie von Stephan Thoss is kein Honiglecken. Extrem schwierig und ermüdend für die Tänzer ohne visuelle Effekte zu erreichen und einer gewissen Tendenz zur Wiederholung. Eine Chroreografie ohne Anreiz für das Publikum, die hingefügt zu der düsteren Musik von Henryk Górecki (andere Teile sind von Philip Glass) ihre Wirkung auf unser Gemüt mit Kummer, Depression und emotionaler Unausgewogenheit tendieren lässt. Am Ende der Vorstellung konnte man wirklich fühlen wie alle Anstrengungen um Applaus zu gewinnen wertlos waren – wenn nicht der russische Fan Club in der Loge neben an gewesen wäre, hätte der Applaus viel früher geendet. Man sollte nicht vergessen, dass das Publikum der Volksoper kein internationales Publikum ist, das zum Ballet als „Sprache“ gewohnt ist.

Die Köstume sind einfach schrecklch. Billig. Einge Tänzer, vorallem Herr Sosnovschi, scheinen Pyjamas zu tragen!

Zum Schluss werde ich etwas erwähnen, das viele denken – und sich niemals zu sagen trauen: Ich habe das Gefühl, dass beide Akte, die wir als „Blaubarts Geheimnis“ kennen, getrennt choreografiert wurden. Vielleicht war es wichtig ein „Vollabend-Ballet“ zu vermarkten...

Ich habe das Theater müde und ausgepowert verlassen... Noch einmal wiederholte sich die Auswirkung, die dieses Ballet auf mich ausgeübt hat. Ich dachte sogar an Vitamin D, Danke zur Arbeit von Herrn Thoss. Ich hatte alles vergessen über seine konstante andedant dévelopés, seine Benutzung des Bodens und weitere clichés... sie waren nicht mehr wichtig.

Aber ganz plötzlich, auf dem Weg nach Hause, habe ich begriffen, was mich die ganze Zeit gestört hatte... Es war so klar wie Wasser: was denkt Herr Thoss über menschliche Beziehungen? Ein Spiel von Dominanz und Unterwürfigkeit? Was für eine pathetische, komplizierte Art um Dinge zu betrachten... Ich teile nicht seine Meinung.

--------------- PORTUGUES ---------------

Alguns dias atrás eu mais uma vez me dei conta do quão importante (e quase ssencial) é rever certos espetáculos depois de bastante tempo passado desde sua primeira apresentação. Artistas, principalmente bailarinos, que estiveram atuando durante a maior parte duma temporada não tem mais que se preocupar com questões técnicas e podem concentrar-se no que é realmente importante. O papel. Eles atingem qualidades e nuances que não poderiam ter estado lá antes, quando o espetáculo abriu. Uma simples questão de tempo – e, para um artista, pode realmente demorar muito até ser capaz de descobrir todas as qualidades interiores de um papel. Muitas mínimas partículas que compoem o personagem tornam-se vivas – e quase palpáveis.

Durante uma apresentação de “O segredo do Barba-Azul” na semana passada na Volksoper eu fui testemunha de outra destas ocasiões especiais, as quais me refiro, durante a temporada de um espetáculo: a ousada interpretação de Kirill Kourlaev, depois de quase um ano apresentando-se neste personagem, alcançou aquele ponto no qual o personagem “está aí”, no qual sua atuação torna-se “visceral”. A presença cenica muito segura de Mr. Kourlaev, sua altura, força, especialment nos saltos, transformou seu Barba-Azul em alguém de sangue e carne, um pouco demente, bestial, desesperadamente desejando sua bonita esposa mas não na mesma “onda” que ela…

Eszter Ledan nos presenteou com uma bonita, fortíssima e determinada Judith. Apesar de não ter tido longos ensaios, o público simplesmente não teve a impressão dela estar preocupada com trivialidades – como por exemplo a música… Ela estava relaxada, em total controle do personagem e de seus desafios técnicos (Anos-Luz do Ballet clássico) e numa completa simbiose com o retrato agressivo e controlado dado por mr. Kourlaev. Excelente.
Já tinha assistido este personagem dançado pela encantadora Alice Firenze… Inesquecível… Mas tenho que adicionar que a interpretação de Miss Ledan é também uma revelação.

Um dos auges da noite foi a „Mãe“ de Rafaella Sant’Anna. Total compromisso no palco. Já tendo assistido Miss Sant’Anna em várias outras ocasiões posso afirmar definitivamente que ela é uma simpática, bonita, doce artista com imenso humor (Alguém pode esquecer-se dela no “O Morcego” de Roland Petit????).

Mas como a “Mãe” ela transforma-se numa perigosa, possessiva, dominante, feia mulher. Honestamente, tive medo.
Mas isto é exatamente o que disse no início desta curta crítica: se voce é um Balletomane é mais do que essencial assistir espetáculos durante a temporada…

Tiro chapéu para Andrey Kaydanovskiy, que pela primeira vez me chamou atenção. E ele realmente chamou atenção. A melhor interpretação de Mr. Kaydanovykiy que vi até hoje. A linguagem contemporanea parece lhe cair melhor.

O resto do elenco deve ser mencionado. Ótimas interpretações por talentosos bailarinos como Greig Matthews, fazendo pontinhas, encantadora Flavia Soares em total controle dos seus dois (SIM!) papéis depois de um só ensaio, Dumitru Taran, Alexandru Tcacenco e Clara Soley! Também Misha Sosnovschi num papel que não considero muito apropriado para ele e sua partner, bonita Maria Alati (Ela dançou com ele em “La Sylpide”): não só uma linda mulher, uma linda bailarina.

A coreografia de Stephan Thoss é um “osso duro de roer”. Extremamente difícil e cansativa para os bailarinos sem alcançar grandes efeitos visuais e com uma certa tendencia à repetitividade. Uma que que não agrada realmente o público. Adicionada à nublada musica de Henryk Górecki (outras partes são de Philip Glass) seu efeito sobre nossa “alma” tende a ser um de angústia, depressão e desequiibrio emocional. No final da apresentação podia-se notar que todo esforço para produzir aplausos foi inútil. Se o “fan club” de russos não estivesse sentado no camarote ao lado do meu, o aplauso teria morrido bem mais cedo. Não deve se esquecer que o público da Volksoper não é um público internacional, acostumado à linguagem do ballet.

O guarda-roupa é terrível. Barato. Alguns dos rapazes, principalmente Mr. Sosnovschi, parecem estar usando pijamas…

Para finalizar irei mencionar um fato, que muito pensam – mas não ousam mencionar: Tenho a sensação que os dois atos que conhecemos de „O Segredo de Barba Azul“ foram coreografados separaradamente. Talvez foi melhor em termos de Marketing vender uma «Noite inteira» de Ballet…

Deixei o teatro cansado e sem energia… Mais uma vez repetiu-se o efeito que este Ballet tinha tido sobre mim. Pensei até em Vitamina D, Graças ao Trabalho de Herr Thoss. Tinha já esquecido tudo sobre seus constantes dévelopés andedant, seu uso do chão e outros clichés… Não mais importavam.

Mas, derepente, ao caminho de casa, entendi o que todo o tempo havia me incomodado… Claro como água: o que pensa Herr Thoss sobre relações humanas? Um jogo de Dominancia e Subserviencia? Que forma mais patética de se olhar para coisas… Não divido sua opinião.