MacMillan / McGregor / Ashton revisited: Vienna State Ballet, February 22nd, 2020.

Feb 24

Feb 24 MacMillan / McGregor / Ashton revisited: Vienna State Ballet, February 22nd, 2020.

As already mentioned once, one of the best cases of „putting it together" in years. I adore the combination of these three British Choreographies because each is a statement on its own with (obvious) characteristics of each Choreographer– and, on top of so much Artistry, they underline the versatility and the flexibility of the Company. Perhaps my favourite Evening with short Ballets – but if you follow my work, you will surely know that I am a big fan of British Choreographers. For their, sometimes, very simple solutions to certain issues that, at the same time cause incredible effects – much on the contrary of Nureyev's work (and Choreographers which were influenced by him) that staged extremely complicated combinations of (sometimes very little) steps in too many groups – even for a stage like the Vienna State Opera's – and which are kind of „ungrateful" because they don't „sell the ballet" and the average Viennese audience – not a connoisseur one like in New York, London and Paris – simply does not understand what it should be all about. That is not the case with thee three gifted choreographers.

MacMillan's „Concerto" started with two marvellous dancers on Stage: Kiyoka Hashimoto and Davide Dato (looking very slim – or is it only my impression? I was quite surprised by another dancer from Corps de Ballet – that has enjoyed a formation at the Royal Ballet School, this time better in the „style department" but incredibly stiff.

Much work was done: His time, Miss Shibamoto, Miss Manolova and Miss Bottaro were much more in unison than last year. Developés, grand battements were brought to the same level.

Also, some musical work should be made for the three Gentlemen: Mr Dumitru Taran and Mr Richard Szábo have the same understanding of music. Unfortunately, Mr Teterin continues his tendency of being ahead of the beat – a tendency of his that I have commented before. A talented dancer with lots of potentials but much work on „musicality" should be done with him.

Cppyright: Vienna State Ballet / Ashley Taylor

Olga Esina and Roman Lazik once more on stage to catch immediately the whole attention of the big Opera House. A partnership which I dearly cherish. This is something indescribable. How much-experienced Artists have the gift to „filter the whole air" and with emotion and greatness (not only technically but also in what interpretation is all about) capture the audience's concentration to focus on them. This not to mention her majestic appearance and clear, clean lines but also his skills, our only „Danseur Noble" in Vienna, as a great and very reliable partner. There is so much in Dance that is all about feelings and emotions... not only technicality like some tend to think nowadays.

And lovely Alice Firenze in the „solo", which originally was not a solo.- I have told you this before but it is such an interesting one: Originally there should be three different pair of soloists for each of the three movements (for the première in 1966 the third movement had to be hastily rechoreographed for a solo woman, Silvia Kesselheim – her partner broke his foot days beforehand). In the background are three subsidiary couples and a corps of sixteen women and eight men.

Copyright: Vienna State Ballet / Ashley Taylor

Miss Firenze delights audiences – and I am personally glad that the kind of typecasting she „suffered" for some seasons (always the „gipsy ", the „fiery, temperamental woman" and always „the Mizzi") was eliminated and she can enjoy a wide range of roles – also more „lyrical" ones. Precision, Balance and inner balance as well, „Conditio Sine qua non" for every Artist.

Last but not least: Special mention to Mr Igor Zapravdin's beautiful interpretation of Schostakowitsch's Piano Concert #2.

McGregor's „Eden/Eden": although this fantastic is very visceral it did not affect me this time very much. Perhaps it is the kind of composition that should not be seen too often... Surely not a „typical" piece to amuse Viennese „traditional" audiences, I consider it a beautiful work of art. Even though it becomes more and more transparent to me that the choreographer wanted to embrace an „aura" of intellectuality. Its light effects transform bodies into something very „plastical" but also the display them in a very grotesque way. Nikisha Fogo, Natascha Mair, Madison Young, Rebecca Horner, Andrés Garcia Torres, Masayu Kimoto, Tristan Ridel, Dumitru Taran and Zolt Török. All nearly perfect.

I do not know if there was less time for rehearsals because of the Opera Ball but there were moments in which the dancers were not in unison – culminating with the uncoordinated Fouettes of Mr Kimoto and Miss Horner.

Ashton's „Marguerite and Armand". One of my favourite Ballets because of its combination of „Genius vs. Understatement", sensibility and fragility (And musicality: Liszt played to perfection by Miss Shino Takizawa! What a talent). It is not an easy task to dance this piece in its precise style. Not if you did not have an English Formation in Ballet with the special „British ingredients" like arabesques, hands and arms, épaulements and use of the upper-body.

Robert Gabdullin as Armand gave once more a perfect, very correct interpretation – Pin-pointed, the same as last year. His „understatement" in the role – Mr Gabdullin was the young, starry-eyed Armand – is beautiful. But his attitude towards the exactness of the way a performance should be played turns to be quite questionable to me. Much on the contrary to Miss Poláková, who keeps working on the finest emotions ever, the littlest details, developing the character constantly, his is a „frozen performance". It is like this since his première in this role, it will be like this in the future. Thinking that dancing is „motion" I am not sure if I like this intellectual approach to a role.

Just at the beginning of the piece, she took the whole Opera by storm as we could all witness her despair, fragility and vulnerability as Armand „rescues" her from her Chaise-Longe. So aesthetically alluring. And she kept this (probably very tiring) „state of mind" throughout the performance.

We cannot forget to mention her precise – ENGLISH – arms, which I had not seen before here at the Vienna State Ballet and since a long time... That is it. Ashton's Precision, Style, Understatement at their very best.

Ever since „M. and A." started last Sunday I was so caught in my emotions that I forgot all about technique, just lied back on my chair and enjoyed this (sad) story being told to me... Something happened again that had not happened in quite a while: I got so emotional that tears filled my eyes. This is the second time that Miss Poláková does this to me, in this particular Ballet

This can only happen when stage personalities are in full control of their work (and emotions). And to prove this point, here a picture made by a young and very talented colleague dancer from Miss Poláková: Marie Breuilles, who caught Marguerite in all her distress and vulnerability. The “essence” of this role. A perfect moment. Sensibility at its best. Not only a beautiful dancer but also a gifted photographer. How was that song from the musical “Damm Yankees”? Yes, “You’ve gotta have heart”. That’s it!

How beautiful it was to enjoy Ashton again with his „all-time Understatement" instead of Bravura and Technicallity and Marguerite's strength and vulnerability masterly played by Miss Poláková.

Last but not least, we cannot forget to mention Roman Lazik, as Monsieur Duvall: what a mature Daner/ Actor. He gives such a display of professionality while giving us an ocean of Feelings and Emotions. Overwhelming. Especially after having seen him in MacMillan's „Concerto" that opened the evening.

Evenings like this are a real joy

Ricardo Leitner