A short Talk with Jakob Feyferlik (principal, Vienna State Ballet): March 03rd, 2020

If you are lucky enough to be able to watch and rewatch performances with the same dancers over and over again and if you have that certain „perception" and „sensitiveness" to analyze movements and body language openly without any „pre-concept", (as I always say: isn't it all about „looking at things differently"?), you'll understand what I am saying. You'll know immediately that I am referring to the Dancer's characters emerging through the Persona that they are creating. Think of Anthony Dowell's born elegance as well as his „meanness" (I was just thinking of his „Lescaut"), of Michaël Denard's „danseur noble" attitudes, of Nureyev's animality – never a gentleman in his dance but a wild, primitive animal, of Richard Cragun's humour and wit, of Baryshnikov's analytical ways, of Jorge Donn's and Robert Hellpman's egocentric portrayals, of every good dancer in a Corps-de-Ballet and of so many others who do not (carbon) copy other performances and have an own understanding of the roles they are playing – because of an analysis process that may be either spontaneous or hard work... Yes, all of them would build a very long list.

It is the same thing that happens to Jakob Feyferlik - It is definitely not a casualty that his princes and characters are filled with a noble humbleness that reveals so much dignity, truth and honesty. His own soul emerging through the complexities of the „persons" he is portraying (I use this word – PERSONS – on purpose), through his own special „reading" of the characters and situations. A phenomenon in complete symbiotic, spontaneous unison with his own person. Fascinating.

It all becomes quite obvious when you start talking to him on a more personal level. It all comes together as various pieces of a puzzle that fit each other. His natural gentleness, his good manners and very good breeding, his humbleness concerning his own talents and „meteoric" career. This „Finesse of character" is something very special. This is not the kind of attitude that one can “pick up”. Either you have it or not...

When I arrived at the Café in which we were supposed to meet (some days later, because of the Coronavirus and the Quarantine we would not have been able to make this Interview), he was already there and we got one of my favourite tables. A quiet one. We had the right atmosphere and place to talk.

We chatted for a while, kind of „updating information" about rehearsals, casts etc. It was good that we did not know that life would change so drastically in less than two weeks. We would not have managed to have such a „happy and relaxed time". In a way, Mr Feyferlik and I had known each other for quite a long time, had always met and talked during the „after Première" Parties but somehow we had never managed to sit for a long while, to discuss more important things than just trivialities and after Première „impressions". We never had enough time to do it.

„Jakob, I am sure that this will sound strange but... how long have you been at the Opera now? How long is it since we met for the first time?" I said, starting a light chat.

He smiles and says „I started at the Opera in 2013".

„And when was your first promotion? As far as I know, I cannot remember anyone else being promoted directly from the Corps de Ballet to a soloist position... „

„It was 2016" he added very humbly. Others would jump at the chance to talk more about such a „career step". But not Mr Feyerlik. He commented, quite matter of fact, that he became a principal during the 2018/19 Season. Quite an unusual reaction – especially in times during which people tend to „create their own biographies". I was thinking of the difference between him and a girl from the company – who is probably 1,60m or shorter – that always describes herself as „a fashion".

„My dear, you are of the few tall dancers in the company... Perhaps the tallest one. It is such a pleasure to see you partnering Olga Esina. You see, I was thinking about height and the many Ballerinas who have already described you as an excellent partner... How tall are you actually?" „1.85m" he says, while I conclude „You probably won't grow more now!". He answers whole-heartedly before he starts laughing „I hope not!!!"

„Jakob, we have known each other for many years and whenever we can, we talk a lot and change opinions. But there is never enough time to do that – I am honestly glad that we found this chance today, to sit and talk at last... Vienna's ballet audience has taken you into its heart and you became in quite a short time a kind of „Everybody's darling" but more than that I have noticed that you are a very important role model for dancers who are still at the school, dancers from a younger generation. I would also like to somehow address them in this interview – they are also part of my target group - so let's start with your creative process and how you face it when rehearsals for a new piece begin!" I say, definitely starting with our interview after "light" chatting about dates, promotions and height.

„Well, Ricardo it all depends on the role – if abstract/contemporary or classical! Of course in a classical role, that tells a story it is vital not only to rehearse it but to study it in all its minimal details – this dedication to the role is essential: "what is happening all the time?", Think of „Marguerite and Armand”: “how is my (the role's) relation to the character being played by my partner?", for example. I read and I watch videos (you can always learn so much from other „predecessors"), I work intensely with the coaches and then I bring my own interpretation into the role. In more contemporary pieces, this process is different from role to role and entirely related to the ideas and allusions created by the choreograph – these must be thoroughly understood!"

„Which were your three favourite roles up to now, Jakob?"

„ Oh, definitely „Peer Gynt" because it is 100% emotion (I described Peer Gynt in my review as an onion. Just like a fruit without any stone. Some people copied this and wrote just the same), „Swan Lake" - it had always been my dream to dance it and EVERYTHING from Balanchine that I was in: "Diamonds", "Symphony in C", "Theme and Variations"!" he says not quite being able to hide his excitement while talking about these roles.

„Yes," I venture „the fascination of dancing Mr B's work!".

And thinking to myself I catch myself wondering, not about Balanchine but about how wonderful it'd be to see Mr Feyferlik as Siegfried in another version of Swan Lake than Nureyev's 1986 one – which I personally dislike intensely and which, unfortunately, has been used here since decades…

„Where do you feel more „at home"? In narrative Ballets or in abstract ones?", I ask.

„Oh, Ricardo, I simply love Story Ballets but abstract Ballets make me dream more as if I was telling my own version of a story! Let's say that they play more with my imagination and creativity!"

„If I could give you three magic wishes and give you any role to dance – which would those be? In other words: which are the roles you dream of?"

Without reflecting for a single instant he answered immediately „Des Grieux in „Manon", Romeo in McMillan's version and Onegin – yes, when I am older Onegin. The wonderful John Cranko's choreography!"

I can understand that. I can understand this very well! Especially thinking of what these three characters have in common when contemplated from the dancer's side...

„Nowadays, in comparison to earlier times, there is less and less time to prepare for a performance – sometimes I criticize very much the lack of preparation in what „style" is concerned – how do you see that?"

„Style is extremely important. The right style for the right piece is essential – apart from the fact that it shows the right and deserved respect for the choreographer's work! Of course, every dancer has his „own style". We are all not alike (and we all come from different schools) but it is necessary to occupy one's mind with the correct style – be it Balanchine, Nureyev, Ashton or contemporary!"

„Just the other day I have seen a picture of a girl, on pointe doing an extreme attitude – in fact, she looked more like a contortionist in a circus. The caption of the photograph read „Remember that some great dancers cannot do that!" What is your opinion about this „craze" with the technique that includes over-extension, juggling, contortionism and absurd Pirouettes and Fouettés (one of these days I watched a video of a very known Principal from the Royal Ballet – which is not a favourite of mine – doing 34 Fouettés as Odile, instead of the „customary" 32... Awful! How do you see that?"

„Not „my cup of tea", no", he says. „This is not me at all. Yes, it may be interesting but a dancer does not need it to convince the audience of what he is playing. For me, this is more a question of the Artist vs. the Athlete. I do not consider myself an athlete!"

Yes, the world goes around, as the song says. A young dancer with good looks and the cleanest technique. Others, less gifted, would speak of themselves as great technicians. But Mr Feyferlik cannot hide his humbleness and this is one of the most positive points in his Persona. Exactly this humbleness is the „stuff", if I may say so, of which great careers are built. This quality that nearly borders „humilité". Yes, you read it right: humility – this particular freedom from pride and arrogance – which was never particularly fashionable in France – is a great gift.

I am particularly glad to have had once more the chance to visit the soul of a young Artist from whom we will surely hear a lot more during the next years. Even though Vienna will be losing this beautiful, talented dancer at the end of this season, I sure hope that he’ll come back as a guest.

For me, I am sure that I will keep following his career.

Thank you, Jakob!

“A picture says more than 1000 words”

©️Marian Furnică (with Masha Tolstunova and Alaia Rogers)