A critique on a critique (or „how important" it is to accept criticism!)

A few days ago I received an eMail that somehow made me happy – not because of its content but it made me once more aware that I have a very healthy relationship to criticism: to be aware of its existence is a sign of intelligence.

For a long time or better said, since the beginning of this new administration period at the Vienna State Opera, my critiques have not been hung anymore there for the company. As if their existence is being denied.

You may be asking why do I know this? Very simple. Because many dancers, who follow my work, have written to me about that and asked me constantly to send them my articles as they cannot read them anymore on the “Blackboard”. But my nearly 100.000 Newsletter subscribers all over the world read them. And that counts.

But why aren't they hung at the Opera anymore? To be honest with you, I do not know and can only guess...

Perhaps I am wrong but I think that because their content is not „as pleasant" as other ones. Fear? A distorted acceptance of reality? Image? Pride? Vanity? I don’t know. One thing for sure: I am not a boot-licker and will not write what I don’t feel. I’d have no respect for myself as a Critic if I would do that.

Unfortunately, there are not many Dance Critics in Austria and Germany with a profound Knowledge and Study of Ballet and Dance in its different forms. I am not going to be coy about it, but this is the difference in the way I write compared to many others. Not all but many.

But this is not the point of this article today. The point today is to focus on this „criticism" on my last critique (I will not mention who wrote it, you just have to trust me: it is rea! and has been written by a personality on the World of Dance, as you will surely note while reading it).

I am extremely thankful for receiving it. It is always VERY good to get this kind of feedback and reflect a bit more about one's work, one's way of expressing himself, one's acceptance of other opinions about oneself. That’s also what Artists should do when reading a critique.

Well, this is my message today for you and right here, the eMail I got:

Dear Ricardo

How are you?

I´m disappointed to read the critique of the last Viennese premiere.

I´m shocked and also honestly disappointed that nobody would speak the truth of what every one has seen and commented right after the last premiere, despite being an audience of mostly invited friends with reduced tickets.

To put a ballet in relation to the time it was created is kind enough and correct from your part, but not to pull the conclusion afterwards… Why was this ballet chosen to be displayed again if it does not survive the test of time? Why was not mentioned that the Balanchine Symphony in C is more minimalist clean, inventive, aesthetically beautiful and MUSICAL in comparison with the new pieces?

Also: should one talk of a bad casting decision OR about new acquisitions not belonging to a European capital´s ballet company?

Allow me these criticisms to you as you can see and judge usually with a sharp eye.

Greetings

xxx

And I say: Thank you, you know who you are, for this “wake-up call”!

And to finish this self-evaluation, just a last thought for today, expressed by Elon Musk:

“Constantly seek criticism. A well thought out critique of what you’re going is as valuable as gold”

I’ll leave you with that.