"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)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



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

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

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

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

No question about it.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ballet-Hommage (December 15th, 2013)

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

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

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

Simply unbelievable. Unacceptable.

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

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

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

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

Odeurs or not…

God...

I changed places after the intermission...

Second part:

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

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

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

Third part of the show:

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

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

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

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

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

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.

Wiener Staatsballet: 2012,Nov 30th: MEISTERWERKE DES 20. JAHRHUNDERTS

Before you start reading the text bellow, please notice that I have nearly no pictures of THIS particular performance. That is the reason why I have used other dancers’ in order to illustrate this performance.

One November 30th I had the privilege (and luck) to receive 2 tickets for the Opera from my friend Vladimir Shishov. After a hard week full of problems and hard work, I was really looking forward to a relaxing evening… I had much more than that!

The seats were marvelous, exactly in the fourth row, even though quite unusual for me: I normally choose seats on the first balcony for the Ballet… I like to be a bit “above” the stage. Unfortunately it is not always a pleasure to sit there and be aware of the formations which are usually intended by the choreographer… last March at “Glass pieces” the company hadn’t been properly rehearsed for the 3rd piece (a part of “Echnaton” from Glass) and I nearly regretted to be seated in my favourite box of the Opera…

Anyways, this time I had a completely different experience: not only has the company been “growing and growing” in artistic terms, repertoire and internationality, it has been working a lot… and rehearsing a lot… and DANCING a lot! Monsieur Legris…
The first part of the evening – and main reason of this review - “Suite en Blanc”(Serge Lifar) is one of my all-time favourites. I hadn’t seen this ballet in years until it premiered again in Vienna last February. I was at that time very much impressed with Shane Wuerthner’s performance (bellow with Liudmila Konovalova and Alexis Forabosco). Unforgettable.

When the curtain opened, guess whom I saw first. My dear frined Flavia Soares, her delicate fairy-like figure and inimitable smile. What a pleasure!

Copyright: Wiener Staatsoper

Copyright: Wiener Staatsoper

Copyright: Wiener Staatsoper

Copyright: Wiener Staatsoper

Once more Vladimir Shishov (above) showed us why he is in the Premieur Danseur rank. His stage presence, his “Persona” shines… When he enters on stage, the whole Opera House seems to belong to him. He demands our full concentration… and everything seems to be done at such ease, with incredible naturality and poise:
Premier Danseur. It could not be any othe way.

He and Olga Esina (below) were marvelous at the “Adage”.

Mais uma vez Vladimir Shoshov (acima) nos mostrou o porque do seu Status de Premieur Danseur. Sua presença no palco, sua “persona” brilha… Quando ele entra no palco, toda a Ópera parece lhe pertencer. Ele atrai toda a nossa concentração… e tudo parece ser feito com facilidade, com incrível naturalidade e porte: Premier Danseur. Não poderia ser de outra forma.

Ele e Olga Esina (abaixo) estiveram maravilhosos no “Adage”. "Poise" is the key-word.

Copyright: Wiener Staatsoper

Copyright: Wiener Staatsoper

I was also very impressed with Denys Cherevychko’s (below) strong performance in “La Mazurka” (Denys was a short time ago at the Paris Opera as Basil in “Don Quixote” ).

Always a pleasure to look at, Davide Dato (“Pas de Cinq”), “growing” more and more and everyday as an artist. Every time I see him on stage, he surprises me agin.
Exact, technically stronger every day and a beautiful, dynamic personality on stage.

Enchanting Prisca Zeisel (below), one of the few Austrians in the company, impressed the public with her musicality and lines in “Thème varié”).
Precious Precociousness!

Copyright: Wiener Staatsoper.

Copyright: Wiener Staatsoper

The revelation of the evening for me was Alexis Forabosco (below).
Although I had seen him already many times on stage, this time I sort of “concentrated” more on his performance, he caught my full attention. His French background and technique give him a full understanding of “Suite” – combine these qualities and add presence, musicality and beautiful lines, mix them on a stage while slowly adding the music of Edouard Lalo and you’ll have what just delighted me and the audience on the last November 30th in “Thème varié”.
A beautiful performance by a very gifted and very sensual dancer. Bravo, Monsieur Forabosco.

Copyright: Wiener Staatsoper

After the first intermission another “jewel” by the Swedish choreographer Nils Christe. Inventive work to a very difficult music from Bohuslav Martinu – really VERY difficult.

Two of the dancers which had just only been on stage in “Suite” were again on stage. Much energy required after the technically demanding “