Holland's Masters (Hollands Meister) - a revival of three pieces by van Manen, Kyllián and León & Lightfoot. Vienna State Ballet, September 20th, 2020.

Sep 22

Sep 22 Holland's Masters (Hollands Meister) - a revival of three pieces by van Manen, Kyllián and León & Lightfoot. Vienna State Ballet, September 20th, 2020.

Even though people were talking about this „première“, I cannot consider it one as such.

All three pieces are „old acquaintances“ from the Viennese audiences: „Skew-whiff“ since 2011, „Adagio Hammerklavier“ since 1977 and „Symphony of Psalms“, perhaps not such an „old acquaintance“, since last year, when it closed the evening in a programme combination with Forsythe's „Artifact Suite“, Van Manen's „Trois Gnossiennes“ and Van Manen's „Solo“. I distinctly remember having criticized the fact that „Symphony“ had been used to finish the evening. I thought it not correctly placed. This time, I must say that in the new „Mélange“ in which the programme last Sunday was conceived, it is a perfect closing piece.

The evening is not a long one but perfect for those uncertain times during which we are (or should be) conscious of safety, social distancing and care/caution. But that is meant just as a statement about the times in which I am writing this review and the sensibility connected with it after so many months of reflection - this is the mood in which this review is being written! This is „the frame of the picture“, so to say.

Apart from that, it was a perfect idea to put these three pieces together (And for those who complain that the evening was too short, just remember our last première on March 5th - Lukács/Lidberg/Duato. Exactly the same thing - I personally think it better to enjoy more quality than quantity)

Three works which cannot be called recent ones. „Adagio Hammerklavier“ had its première in 1973, „Symphony of Psalms“ in 1978 and „Skew-Whiff“ in 1996. You may say „But what are just 24 years?“. My answer not only refers to the piece itself but to its music, using them to explain my point of view: Think of the time in which Rossini lived or better, think of the year in which „La Gazza Ladra“ premiered. It was1817. And now think of all that happened about this particular time in a period of 20 years. Now think of today and remember how life was 20 years ago. Think of all changes and the rapidness in which they happened and are happening. Time gaps are becoming bigger with the passing of the years. Because changes are faster. And much more frequent than earlier. That makes even „Skew-Whiff“ old enough for me.

Waiting outside of the Opera, I was quite surprised to overhear a conversation just going behind me about the evening's programme. I know that one should not listen to other people's discussions but they were unusually loud and also quite upset because Mr Martin Schläpfer was not showing one of his own choreographies. What amazed me more is that these three people, who are quite frequent Ballet-goers, should have a better understanding of the needs of a company: More than 30 new dancers in the ensemble. „Old and new“ dancers getting to know and understand each other, learning to dance together, adjusting to each other - and that covers a wide range from sharing a dressing-room, finding your place at the bar till rehearsing together. And they wish a new choreography with probably a new style, a new language on top of all that? And in less than three weeks for rehearsals? Time is a necessity for good work. That much should be understood and respected.

Three works and so much has been written about them – anyone who would try to write more about them, about their essence or would copy any passages from a programme, that by the way is extremely well-written and informative, would be subsequently terribly redundant.

Copyright: Vienna State Ballet / Ashley Taylor

„Skew-Whiff“ (Sol León & Paul Lightfoot)

Always a delight to watch. In my own „archive of thoughts and feelings for dance”, I would file it under „Fun, craziness and precision“.

It has an admirable language on its own – a disappearing requirement in many contemporary works. Yes, I mean the need for an own language, so well represented here. Lucky is the choreographer that finds his own movement language. León and Lightfoot certainly have.

A light, dynamic, fun, quick piece. And surely exhausting to dance. Difficult. Demanding.

Masayu Kimoto, Denys Cherevychko, Davide Dato filled the stage with great energy and stamina – pure electricity.

Lovely, fleet-footed, humorous Fiona McGee gave us not only electricity but a real, true taste of naughtiness. As the song said: „Let's misbehave“. I like that. And so did the audience, as we could hear during the tremendous applause.

By the way: Yesterday’s audience did not just applaud the fact that it was happy to be back in a theatre but it also applauded some of their „Darlings“. Yes, this ever-lasting, beautiful “love-affair” between audience and some Artists! What more should I say?

„Adagio Hammerklavier“ (Hans van Manen)

I first saw it either in 1974 or 1975 when NDT visited Rio and ever since then I have loved this piece very dearly as I do particularly enjoy the use of Beethoven's music.

So much has been said about it and one reads constantly that it reflects a kind of delicacy and fragility that is not usually identified with Mr Van Manen's (later) work. A point with which I do not agree the least.

There are many of his other works with these qualities. For instance, I consider his „Vision Fugitives“ (Prokofieff) as delicate and fragile as that – even if much more recent and in a completely different language. More angular, but also emotionally as frail and delicate as “Adagio”, that is perhaps the most neoclassic piece of his neoclassic legacy. We tend to think that this is a much „younger“ work but to make a long story short: „Adagio Hammerklavier“ will be soon 50 years old. And it is just one year younger than Balanchine's „Stravinsky Violin Concerto“, that is sometimes considered „ancient and timeworn“.

Olga Esina and Robert Gabdulin built a very beautiful, symmetric couple – I cannot remember seeing both together on stage – even if some work should be done in the partnering in which he sometimes seemed insecure. For Mr Gabdulin, a dancer who, once he reaches the point which he thinks is ideal for a role, “freezes” his performance never changing it again, it is surely a challenge to handle Miss Esina's Artistry, creative interpretations, Height and unique elegant presence and character on Stage. Perhaps the time has come to “dare” more and not only be a dancer who is considered well-behaved and docile. The potential is there!

Kety Papava and Roman Lazik – such lines and arms combined are a pleasure to watch. Interpretations that give us so many hints of the souls of their characters, that tell us so many stories… Flowing. I was more than glad as I saw Ashley Taylor's pictures: as only a dancer could, he captured the essence of elegance, dedication and refinement that both humbly give to the audience.

The last couple, Liudmila Konovalova and Andrey Teterin was a revelation for me. I did not know what to expect of their partnership and was positively surprised by the result. Lovely Miss Konovalova, who I had already seen in this role gave us a beautiful performance – even if she had to „fight“ with an ill-fitting dress (I cannot explain why but during lifts, it kept going up, way over her waist, distorting her slim figure). Andrey Teterin, a dancer who, for some reason, has not been constantly used in more demanding parts, impressed not only as a reliable, strong, careful partner but also due to his presence and masculine posture. Musically he seems to have conquered the habit of always being „a thousandth of a second“ too early. He gave us a great performance.

Shino Takizawa, as always a joy to listen to. Unfortunately, as in The State Opera, a better instrument should be acquired. I have been saying this for years.

„Symphony of Psalms“ (Jiři Kylián)

Remember Bette Davis in „All about Eve“ as she says „Fasten your seat-belts, it's gonna be a bumpy night!“? Well, I always say that this Masterpiece could be described as a storm of emotion. The sort of work that throws you back on your seat, „fastens your seat-belts“ and holds your attention from Beginning to End. Making you feel on the verge of an abyss. Beautiful and frightening, alluring and repulsive at the same time. Like being religious and profane simultaneously.

Most of the cast reprising the roles that they have danced last Season but a special mention to Nina Poláková, Masayu Kimoto, Denys Cherevychko, Marian Furnica for the way in which they have grown inside their roles and to Gala Jovanovic and Tristan Ridel. An eye-catching couple on stage!

Résumé: a highly recommendable evening with an extremely professional company in top form (something not so obvious after such a long lock-down period). Chapeau!

P.S. Also a special mention to the new „programmes“. It is extremely good to see those important things such as Lay-out, Photography Language, colours, character types etc. in Programmes, posters, Outdoors etc. are not being neglected anymore and are starting to look more contemporary than during the last direction period. I like that. This is a good start that should be optimized, especially in the photographic sector.