Revisited: Junge Talente des Wiener Staatsballets II / Young Talents from the Vienna's State Ballet (Volksoper, January 22nd 2016)

It surely is a privilege to be a direct eye-witness to what has been going on in Vienna for the last years during the so-called „Legris era“. Not only that but also to be able to follow closely the indivudual progress of so many careers… This includes, of course, our young dancers…

“Junge Talente des Wiener Staatsballets” (Vienna's State Ballet’s Young Talents) is a „small“ Gala that has a certain charm, therefore attracting a completely different audience to the “Volksoper”. Side by side with the customary (elder) Volksoper’s spectators you could find “Balletomanes”, young students from the Ballet school (screaming “Bravo” to their friends while not applauding other good dancers - politcally VERY incorrect - and this just one row behind me), an international choreographer, ex-dancers and many foreigners, attracted by Mr. Legris’ name in the auditorium.
Such “Galas” are refreshing and I must point that it is most important to invest in our young talents.
It is specially touching to witness the great progress of some dancers over just three, two years…

Since I have last seen this programme there have been minor cast changes.

After a mild beginning (Petit’s “Die Fledermaus” and “Pas des Odalisques” from "Le Corsaire”) the programme began to “warm-up” with “The Fall (Attila Bakó).
But the first true surprise of the evening was Laura Nistor in Bejárt’s “Arepo”: known as a very ethereal dancer, Miss Nistor displayed another side of her personality. Her magnificent lines were extremely well showcased in this choreography, specially underlined by the marvelous blue costume. But the point is: Miss Nistor had the chance to prove her versatility not being typecast as a “fairy” and dancing against type, she gave the clear impression of feeling very comfortable in this role. A joy.
James Stephens, from whom we’d see much more during the evening, proved once more to be a reliable, strong partner – something that cannot be said about other members of the company yet, either dancing with a girl or a boy.
I never forgot this: Rule #1 for partnering: Take care of your partner and just then (try to) look god. The other way around does not work – and is mostly disastrous. No place for vanity while on stage.
Mr. Basílio’s persona suits “Arepo” very well. But I have commented that last year.

Greig Matthews and Anita Manolova, two very promising dancers, once more delightful in “Spring and Fall”. This piece suits Mr. Matthews and his technique very well. His jumps improved but most of all, he was at ease, not only with the beautiful use of his arms but also with pirouettes and tours en l’air (finishing in a precise 5th position – something that became quite rare on stage nowadays).

Balanchine’s “Tarantella” – a beautiful tour de force for lovely Nikisha Fogo who finally found the perfect partner for this quick piece that is filled with stamina. Even though for a while musically a bit lost during the first part (she recovered quickly from this sudden lapse) she managed to enchant the audience. The “spring quality” of the grand pliés en pointe à la seconde is still not there – the way Balanchine intended them to be – but it does not matter.
Last year I have written very positively of her and I can only repeat every time that her progress as an artist is immense.
Géraud Wielick, simply powerful, strong, at ease with the technical challenges of the part and not looking for a single moment, as a peasant (Think of the original cast with Edward Vilella). Mr. Wielick passed the impression to the audience of having big fun while dancing. I especially enjoy the way Monsieur Legris has been investing and investing on Mr. Wielick since sometime. A gifted dancer that is beginning to flourish beautifully.

Photo: copyright Thomas Schulz

Not much to tell about Balanchine's “Valse Fantaisie” except that James Stephens was last year a much more reliable partner to Miss Tonoli.
Mr. Basílio did well on his solos, very well indeed – but perhaps the pressure of appearing in three ballets in one single evening was beginning to show.
Miss Tonoli’s exquisite arms, clean technique, lovely lines and very special charisma are something that her into a balletomane’s darling.
The classical dancer per se.
I am positive that we will hear and be seeing even more of Miss Tonoli in the near future.

Chroreographically speaking “Creatures” is my favourite piece of this programme.
A programme that was carefully put together by Monsieur Legris to lighten up hs young dancers.
Patrick de Bana’s incomparable "magical" touch/style (which is so rich i its use of different languages) comes wonderfully to life when danced by dancers like Nikisha Fogo, Francesco Costa, Marian Furnica & Géraud Wielick. Three boys with amazing physiques.
Miss Fogo, a dancer without affectations, grew up even more in this role since last year: the intense richness of her performance, her remarkable technique and musicality – all three combined - enthralled the audience once more (I love the effect of her pas-de-bourrées in comparison to the more “earthy”, round, sometimes pelvis-centered movements of the boys).
That “magic moment” in which the “love affair” between the public and the artist came true once more.
“Creatures” is one of the best rehearsed pieces of the show and one can feel how much accurateness the dancers dedicate to it and the full understanding, full awareness that they have about what they are doing.

Francesco Costa once more a show-stopper in “Le Bourgeois”. Incredible energy.
Not one of my favourite pieces - but still... audiences love it - its humour, its (sometimes) circus-like line...

“Proust” was a disappointment for me: Mr. Stephens was (like Jacopo Tissi in the past) perfectly cast but Mr. Basílio was wrong for the role.
He seemed tired and not at ease (already having danced “Arepo” and “Valse Fantaisie”). His grands Battements jetés balancés (backwards) were notably skew - and that was very obvious from the audience's angle of view. Another dancer, not so “strong”, would have suited this role better. But do not misunderstand me: Mr. Basílio is a gifted dancer. There is only some more work to be done.
Mr. Stephens and his fine lines, gave a very good and clean display of technique and emotions.

The “finale” ( “Grand Pas classique”) was a curious piece to watch.
Both dancers (Adele Fiocchi and Marian Furnica) performed well – when NOT dancing with each other.
Together their chemistry simply did not work, did not match. That happens sometimes.
Appart? They were nice.
Another case of partnering.

Resumée: a most enjoyable “revisted” evening - especially what progress is concerned.
Most enjoyable indeed.
Congratulations Vienna's State Ballet for such a wonderful new generation!

Vienna State Opera: Premiere "Thoss / Wheeldon / Robbins". October 29th, 2015

A „special“ première at the Opera… “special” due to the fact that “Blaubarts Geheimnis” (“Bluebeard’s Secret”) is already well-known to viennese audiences in its full-length version. But the combination of such different choreographers like Stephan Thoss, Christopher Wheeldon and Jerome Robbins seemed quite promising even though I was not quite sure of what to expect.
But from one thing I was sure; of the privilege to be able to witness again Alexander Ingram conducting!

Stephan Thoss’s “Blaubarts Geheimnis”: not being a favourite of mine, even if quite well rehearsed, I must admit that the shorter version was much pleasant to watch than the artificially constructed whole evening programme, as I have already mentioned last year.

Kirill Kourlaev/Alice Firenze (Copyright: Wiener Staatsoper/Michael Pöhn)

The plot line is opressive. Nearly depressing. A fact that is constantly helped by Philip Glass’s music. The constant sexuality is sometimes exaggerated, in an excessive repetitious way.

Kirill Kourlaev – a dancer that understands what dramaturgy is all about, possesses a very unique presence on stage. He dominates this difficult character in all its small details even if, in his own words, he is sometimes scared of it.

Kirill Kourlaev/Alice Firenze (Copyright: Wiener Staatsoper/Michael Pöhn)

Alice Firenze’s “Judith” is, for me, the narrator of this story. She reminds me of a curious “Alice” (in Wonderland) going through all the doors. Very attentive, learning, understanding - or not... Miss Firenze possesses a fine dramatic artistry that is strongly involved by the cellophane of theatricality. Controlled theatricality underlined by an endearing sincerity. Not to mentioned grace and technique.

Andrey Kaydanovskiy’s strong presence on stage at what he can do best, should be mentioned. I wonder how this dancer would grow as an artist in a more contemporary environment than the Vienna’s State Opera.

Rebecca Horner, a dancer with a strong tendency to one-dimensional characterizations, compensated this lack with aggressiveness while interpretating the character, just to overact it - too much. This posture intensifies the “cliché” of the “contemporary dancer” that many dancers of traditional Companies, when confronted (for various, different reasons) with a more modern repertoire tend to adhere. Her “Bluebeard’s mother” was too threatening, too much. This is a fact that reminded me strongly of two of the most horrendous literary characters ever written: “La Cousine Bette” (Balzac) and “Juliana” from “Cousin Basilio” (Eça de Queirós).
And that is definitely too much.
Even though I can understand that it is too difficult to follow into the more experienced footsteps of Rafaella Albuquerque Sant'Anna and Dagmar Kronberger in a role like this.

Flavia Soares (Copyright:Ashley Taylor)

Special “visions”: Ioanna Avraam (that performed in all three ballets of the evening), Gala Jovanovic, Eszter Ledán, Flavia Soraes (very strong and in full-command of the choreographer’s language), Céline Janou Weder, Kamil Pavelka, András Lukács and Jaimy van Overeem.

Christopher Wheeldon’s “Fool’s Paradise” – the surprise of the evening even if Joby Thalbot’s music tend to portray a very strong pathos. In quite an epic quality that could be misinterpreted (as americans would say) as “tacky”.

Ioanna Avraam/Eno Peci (Copyright: Wiener Staatsoper/Michael Pöhn)

Gala Jovanovic/Greig Matthews/Richard Szabo (Copyright: Wiener Staatsoper/Michael Pöhn

The choreography is so well idealized that it is nearly impossible to concentrate on single performances instead of on the group. Simply pure harmony. Even so I could glimpse at amazing performances: Davide Dato, stronger than ever, Ioanna Avraam in an exquisite display of emotions, charming countenace and lovely lines, Kiyoka Hashimoto, Eno Peçi, Greig Matthews. It should but be said that the boy’s costumes by Narciso Rodriguez, were not ideal in this particular case due to the fact that some of them should take more care of their waist line.

Olga Esina/Roman Lazik (Copyright: Wiener Staatsoper/Michael Pöhn)

Two interpretations should be highlighted: Olga Esina’s precise performance in full-command of her technique. Since quite a long time this strong dancer, that was once ironically called “The Grace Kelly of Dance” (because people thought that she was cold and aloof) has been gaining “a new aura”. She has been creating powerful characters. Her subtle interpretations are filled with such strong energy that she attracts the audience’s attention like a magnet. She is reaching that special moment for an artist – the one in which youth and maturity melt into each other. I am looking forward to all she’ll give to her following in the next years. Gala Jovanovic, was fabulous. I could only describe her in this piece, as beautiful. An exquisite bird of paradise-like quality – with beautiful arms - emerged from her and filled the Opera House.

(Copyright: Wiener Staatsoper/Michael Pöhn)

All in all, pure harmony in a very intelligent piece of work that should be noted for its subtle “re-use” of movements, passages. Touching. Emotional. In perfect balance. A very dangerous and difficult language technique that should be used like a medicine – just in the right dosage. It is either perfect, like in “Fool’s Paradise” or it is simply repetitious and boring, like in “Blaubart”.

Jerome Robbins’s “The four seasons”. I had not seen it since 1979 – and had so much hoped for other costumes than Santo Loquasto’s (which I intensely dislike). This pleasure was not to be granted to me…

(Copyright: Wiener Staatsoper/Michael Pöhn)

Robbin’s choreography is demanding. But definitely not one of his best.

Géraud Wielick, Ioanna Avraam, Dumitru Taran (Copyright: Ashley Taylor)

“Winter” was marvelously danced by Ioanna Avraam, Dumitru Taran and – for the first time (for me) in a soloist role, Géraud Wielick. All three of them excelled in the quickest part of of the show as if they had been dancing this all their lives.

“Spring”, the most boring piece of choreography from “Seasons”, danced by Mihail Sosnovschi and Maria Yakovleva. Mr. Sosnovschi, even if professional as always, danced through it this time quite emotionless, as if he was bored, forcing himself to smile broadly and artificially just to fade again into seriousness. Miss Yakovleva proved once more that she is a clever dancer. Perhaps too clever for my way of thinking and taste. Even though very technically limited, she can hide these flaws and give a good impression because of her looks, “mignon” physique and lively way. Viennese Audiences, still in need of learning much about Ballet, usually welcome her performances overseeing what should not be overseen. I wonder how audience reception would be, for example, in London, where there is real respect for technique (and deep knowledge about it).


Robert Gabdoulin/ Ketevan Papava (Copyright:Ashley Taylor)

“Sommer” danced by Ketevan Papava and Robert Gabdullin, both giving a very touchy, calm, romantic performance. Beautifully rehearsed, in perfect harmony with each other. Mr. Gabdullin sent me to exotic worlds. Miss Papava and her joyful, relaxed smile… Later she told me about the ways she visualized the role, how she motivated herself and thought of how to make something beautiful and interesting to the audience out of this “simple” piece. Emotional intelligence some would say. Yes, but I prefer to refer to it as “real talent and Artistry”. In a world in which the ballet technique changed so much, in which (nearly) every dancer has a great technique, lovely feet, great extensions, turns dozens of pirouettes and jumps higher and higher every day, this “Artistry” is what differentiates dancers from real artists. This “icing on the cake” makes all the difference.

Davide Dato (Copyright: Wiener Staatsoper/Michael Pöhn)

“Autumn”, the “grand Finale” for this Ballet that I consider more a kind of “Divertissement”. A piece of bravura and a perfect vehicle for such “virtuosi” as Liudmilla Konovalova, Denys Cherevychko and Davide Dato. All three brought down the House, had the biggest ovations of the evening and had numerous curtain calls. Mr. Dato was fascinating and humorous as the “faun” – jumping better than ever.

Denys Cherevychko/Liudmilla Konovalova (Copyright: Ashley Taylor)

Denys Cherevychko/Liudmilla Konovalova (Copyright: Wiener Staatsoper/Michael Pöhn)

Denys Cherevychko literally “stopped the show” with his “Tours à la seconde” but it must be said that he, in comparison to many brilliant “Virtuosi”, that shine on their own because of the total technical command they posess, is NOT an egoistical and egocentric dancer. He takes intense care of his partner. Miss Konovalova seemed to be having fun during her variations. Quick, fleet-footed, owner of an unshakable axis, she makes everything seem so simple.

Fact is: “The four seasons” is not a typical Robbin’s work for me. Perhaps, at the end of his career “new ideas” were not being born anymore… and he relied in an elder language than his own... It has that kind of “circus atmosphere” that is so much appreciated by audiences that do not understand much about Ballet and insist to applaud during Codas. Another thing that I intensely dislike.

Even so, the evening presented a nice combination of three very different pieces. Another good, interesting programme conception of Manuel Legris’ era. And we must thank him for that.