Première - Adagio Hammerklavier/Cacti/Bella Figura - May 9th, 2015
Wiener Staatsballet: Premièr, May 9th, 2015 - Adagio Hammerklavier/ Cacti/ Bella Figura
What to expect of such an eclectic programme? van Manen, Ekman and Kylián mixed up in an evening? The “cocktail” results could not have been better…
…even if I have to start saying that van Manen’s “Adagio Hammerklavier” left a certain “emptiness” within me. Perhaps I was expecting too much and was sort of disappointed. “Kammerklavier” is definitely not one of Mr. Van Manen’s “best”. I first got in touch with his work during the 70’s as “Nederlands Dans Theater” was doing some guest appearances in Rio – since then I have been fascinated by his work and very specially by his musicality.
Like it always happens with such great talents, his choice of music, his motivation in fact (Beethoven’s Adagio aus der Sonate für Hammerklavier op. 106) may be a bit too highbrow for simple ballet audiences. Yes.
(copyright: Wiener Staatsoper/Ashley Taylor)
Not strangely (and according 100% to the music) he used in his choreography some very unusual resources to the movements. The all seem to “come”, to be “projected” from a very, very low back… causing some dancers to look very stiff and tense. This was made quite clear to me while watching Nina Polakova – who tends, sometimes to be very tense on the shoulder region – and Roman Lazik - who normally does not have this problem but was, during this premiere, so tense that his chin seemed to be ahead of him. Ketevan Papava and Eno Peçi were more relaxed even though they were the right choices to the roles.
The choreography is sort of “ungrateful” to dancer’s bodies. It is not “easy” technically but audiences with less ballet experience will not “see” that.
Vladimir Shishov and Olga Esina were the “icing on the cake” of the piece. Mr. Shishov and his well-known stage presence, Miss Esina delighting the audiences with a certain new approach to her roles, which is not passing unnoticed to them.
Even at the risk of being snubbed on as being “superficial”, I must point that Miss Esina’s high “chignon” is most becoming to her, giving “the special touch” to her anyways long, very well balanced, proportioned neck-line... Beautiful!
Costumes that reminded me of nightgowns and old-fashioned men underwear, and some terrible “gold chains” for the men, were definitely a negative point…
“Cacti”
A lovely, funny, exciting surprise. I must be very honest and say that I had only “heard” of Mr. Ekman’s work but had never ever seen it. I am more than delighted! The choice of dancers is a very special one: the crème-de-la-crème of expression of today’s company:
Nikisha Forgo, Kiyoka Hashimoto, Rebecca Horner, Clara Soley, Céline Janou Weder, Franziska Wallenr-Hollinek, Marcon Demp. Alexis Forabosco, Andrey Kaydanovsky, Masayu Kimoto – more than wonderful, by the way – Greig Matthews, Richard Szabó and Dumitru Taran.
(copyright: Wiener Staatsoper/Ashley taylor)
The company seems to have FUN while performing it – yes, an exciting, excited performance (on the first part Greig Matthews, center stage, dominating the scene. Good!): musicality, joy, happiness blessed by a beautiful musical choice and incredible light design by Doef Beernink.
Many dancers expressed their Thanks for the wonderful coaching by Miss Nina Botkay – brazilian-born dancer with whom I had the joy to chat a lot… but that is another Story… But still, somehow, I keep repeating Mr. Ekman’s words within me. - How come someone may have this conceited behaviour to criticize someone’s work? And “who are we” to write critics anyways?How come we can take such liberties?
I prefer to think that I am just opening a discussion about art, a “tertúlia” as it is said in Portuguese and Spanish, which means just a space, just a short time to exchange and discuss opinions, thoughts about art…
A night to remember... so much talent onstage at once...
“Bella Figura”
Just at the beginning of the after Premiere-Party I had the chance to exchange some words with Manuel Legris. Speaking about “Bella Figura” I had the possibility to express my thoughts about a “new reading” of Kyllián’s work… and to add that I thought that “age” had given me the opportunity to once more make other interpretations in my own reading of the piece… adapting it to my own experience… It may be so…Maria Yakovleva was the biggest surprise of the evening – she brought so much emotion to a role that was danced in a sort of “je n'est sais quoi way“ by Marie Claire D’Lyse many years ago. Masha Yakovleva gave flesh and blood to this otherwise “technical” role, on the contrary of some not so gifted dancers that just try to understand it…
Ketevan Papava in a show-stopper performance – but the role is a show-stoppen anyhow.
(copyright: Wiener Staatsoper/2011)
Irina Tsymbal, Eno Peci and Vladimir Shishov simply perfect. And Alice Firenze and Davide Dato… yes Alice Firenze and Davide Dato…
Miss Firenze: a certain sweetness around her eyes, never any sort of tension around her mouth and neck… all this involved in such an atmosphere that contains, shows, proves so much awareness on stage…
Miss Firenze and Davide Dato made me very emotional. And that had not happened in quite a while. I must say…
(Video's Copyright: Balàzs Delbo/Delbeaufilms)
