„Onegin“ revisited – Vienna State Ballet, January 13th, 2020.

Jan 15

Jan 15 „Onegin“ revisited – Vienna State Ballet, January 13th, 2020.

Especially this Ballet is always a particular joy for me. Not only because of the carefully constructed dance adaptions created by John Cranko for roles like Tatjana, Onegin, Olga, Lenski and Gremin but because of the choreography itself... To see it over and over again always brings me back memories from long ago when I, a child, had the opportunity to witness Marcia Haydée, Richard Cragun, Birgit Keil, Vladimir Klos – and so many others in this incredible Masterpiece.

Some people may criticize me for saying this but for me, there is no question in wondering if Cranko was the greatest choreographer ever or not. For me, he is (at least until the present moment) and will always be.
His work is such a fine one, like an extremely complicated embroidery that looks „simple“.
His „solutions“ (especially to pas de deux) may seem simple (especially if compared to Nureyev's very complex choreographies) when, and if they are rightly executed. But they surely „sell“ and are effect full (especially if compared to Nureyev's „thousand little steps“ combinations which are effectless and just don't „sell“).

Cranko's work makes me always think of Schumman's compositions. They may seem „simple“ - which they are not – but the secret lies on the execution and on the feelings, to make them seem simple. There is one very good word to describe that and this word also describes Cranko's work most beautifully and precisely: unadorned. Yes, unadorned.

Without knowing what to expect last evening – a lack of information from my side, I must confess – I arrived at the Opera not knowing that Reid Anderson had been here in Vienna coaching the company. And that made the whole difference. What a blessing! Yesterday's performance – from the Corps de Ballet to the Soloists and Principals – had very little to do with the disappointing performance from some three years ago, here in Vienna. Suddenly all the exactness, precision of arms, strict directions, heads, feelings – which are Cranko's presentation card – were back there, where they should be... and also some interpretations were more in unison with the choreographic original intentions - but we'll come to that later!

I can only add: how precious time and precise coaching work can be for companies! And I wish there would always be more time for it. It makes all the difference (I realized the effect of this on a very nice and polite Lady sitting just next to me. She has an „Abonemment“ but just has one Ballet performance every year. “Between” those lines she told me that she does not understand a thing about Ballet but she and her husband were simply ecstatically excited by what they were seeing happening on stage)

The Corps de Ballet was at its very best: Special attention on the first act should be paid to Alaia Rogers-Maman and Eszter Ledáns performances. Just beside each other. Precision, perfect Arabesques in complete unison, pin-pointed directions. Beautiful work. A joy!
But especially in the third act, the whole Corps de Ballet impressed me most: Géraud Wielick, Tristan Riedel, Igor Milos, Zsolt Török, Rikako Shibamoto, Flavia Soares and many others looking their best, as if „reactivated“, “reborn” do dance this ballet properly. Yes, that is what precise, excellent coaching can do... even though, as I have heard, Mr Anderson was not pleasant all the time. He is supposed to have said: „Everyone can do the steps nowadays. But not everyone can dance“, in which he is right, I must say! Completely right!

Funnily, I have observed a certain, very distinct difficulty (and stress) in partnering all over the show for the Corps de Ballet and Principals: When the girls are being guided and held from „above“ (which is a constant thing in „Onegin“), I realized that dancers felt uncomfortable, insecure, shaken... This cannot be something new for the Vienna State Ballet Dancers... or aren't they used to it? What is the reason?

And using that (“Everyone can do the steps”) as a justification to my next sentences, I can only say that, as a rule, there'll be no talk today about technique, pirouettes, extensions, balance, arabesques etc. et al – just about dance. Moving with emotions...

Copyright: Ashley Taylor / Vienna State Ballet

Without neither affectations nor use of prototypes and clichées, Eno Peçi is one of the best Onegin performers whom I have seen in years. Real. And this not only because of his disdain to country nobility – which was incredibly and sarcastically portrayed in his „bore“ in the first and second acts but also because of his understatements and especially because of his fantastic interpretation of the „mirror scene“ - on the contrary of many of his predecessors he did not change Onegin into an extremely „loving boy“ character but kept himself within a healthy distance from Tajana, playing his real self – even though being more touchingly amicable to her than he was (when they first met) and than he would be (when he wants to return the inappropriate letter she wrote to him). A beautiful interpretation and insight of Onegin's character – very accordingly to the original. Who'd say otherwise, does not know the piece... and Cranko's points of view. That is wat an intelligent dancer, who reflects on his interpretation, can do with a role.

Eno Peçi, like Lon Channey and Alec Guinness, a man of Thousand faces.

Nina Poláková is perhaps the best Tatjana which we have seen in many, many years in Vienna. For me specifically one of the best I have ever seen! Perfection.
Once more I will not go into technical issues (because she has it all) but just mention her simple – and yet very dramatic – interpretation. Observing Miss Polálová's career very closely for many years I must describe what I feel like her capacity of absorbing „styles“. Intelligent Dancers do that – Can anyone forget her Marguerite in Ashton's „Marguerite and Armand“? But that has lots do with emotional intelligence “conditio sine qua non” for a Dancer.

Miss Poláková has that rare gift of knowing how to show her emotions. She „undresses her soul“ in front of the audience but knows exactly where to draw the line and never, not for one single moment, exaggerates, overplays.

Nikisha Fogo's persona and musicality are more than appropriate for her portrayal of Olga. She is honest in her portrayal... and her sorrow – after Lenski's death is heartbreaking. Another career I have followed for years, since its beginning, that made her „bloom“ into this beautiful, strong and yet very delicate and also very „actressy“ dancer. Such a joy to observe her division: Love for Lensky or „Flirt“ with Onegin. Beautifully played. Fleet-footed, lovely… And the applause yesterday confirmed it: Miss Fogo is turning to be one of the few “audience’s darlings” here.

Davide Dato as Lenski. This was not the first time I had seen him on this role... the first time was with brilliant Natascha Mair as Olga. What else can one say about such a sensitive dancer? He does not relly on his technical (wonderful) qualities and good looks. One can nearly „touch“ the effort that he takes into bringing his roles to full perfection. And his Lenski is built as if of feelings, emotions AND flesh and blood. No need to say that he also carries the title “audience’s darling” for some years!

Somehow I was a bit disappointed with Alexis Forabosco's Gremin. I missed somehow the extreme seriosity and hardness of this character about whom nobody ever wrote much. A dancer I respect and admire a lot, Mr Forabosco - perhaps one of the last really masculine dancers from the Ensemble - did not give the right „sound“ to this character’s moods. He was more of a „charmeur“ than a prince and a military man, who had spent his life commanding and commanding. To be honest: How could Tajana have ever learned to command (as she does while sending Onegin out of her Boudoir in the third act) if not from him? She was a stupid provincial girl when it all started, now she is a powerful Lady in a Palace. She has undergone a change. And who is the reason for that? Therefore Gremin must be more dominant and authoritarian.

But, let’s be honest: such an extremely rewarding performance and production. A joy! The applause confirmed my expectations.

Special Thanks to Mr Reid Anderson – whom I have seen dancing many times in „younger years“ - for having coached the cast up to this beautiful level. Long live Cranko and his work!