A Suite of Dances: Vienna State Ballet, part Première, May 20th, 2021 - a pot-pourri of reinventions!

A Foreword: apart from the ballet critiques, interviews, researches etc. one of the main purposes of “attitude”, as a Dance platform is to register facts, to take care that some important facts, sometimes just little ones - be they moments, interesting curiosities, technical issues, stylish questions or simple, plain attitudes towards dance - are not forgotten. To register and put down on paper (a matter of habit!) our thoughts about certain times is an invaluable action. Even more when it comes to what is happening at these uncertain times and how these facts are changing our behaviour and lives as well as affecting our attitudes towards everything. And this is what is happening today. The pandemic has ALSO changed the Ballet World, the same way it has turned upside down many different areas of entertainment, business etc. worldwide. But changes keep us alive and that is what we are witnessing now. To change has never hurt anyone, much on the contrary. And we must adapt ourselves to new times although we do not know yet how they are going to look like. But one thing is quite certain. Whatever happens, it will not be the same again. And as “Harsh times call for harsh methods”, sometimes either instinctively or on purpose we have to “reinvent” ourselves along the way.

To those wonderful “reinventions”, that I could witness yesterday, at the State Opera - which is, by the way, also reinventing itself - I dedicate these thoughts from today’s critique.

__________________________________________________________________________________________

There is a wide difference between „excitement" and „pleasantness". Yesterday's „reopening" of the Ballet Season, which was practically non-existent for a year, fell more into the second category. Such a good feeling to go back to the Opera, to what used to be called „normality". Even though we still have to find out what „normality" will be like in the future and how long this phase of Freedom of movement and action, which we are experiencing right now, will take place. But one thing is more than certain: we will have to let it go and change to be able to move on.

The evening is quite well planned into a compact „Robbins/Balanchine Programme” consisting of four short pieces. My attention was focused on „Duo concertant" and „A Suite of Dances" - which, strangely, are often presented together – although so different in their essence... Or do people judge the „frame" of these pieces just by the reduced number of dancers on stage and the fact that Musicians are playing live and on stage as well? By their outwardness instead of differences? Let us begin with the music – could there be a much stronger dissimilarity between Stravinsky and Bach, especially in the enchanting formality of the four Bach pieces used in „Suite"?

BUT apart from the chosen programme, the most pleasant part of the evening was the possibility to observe and witness how much this last year and the long months of lockdown brought to the company. We will analyze some “reinventions”.

Naturally, „uncertainness" was an element that to had to be bravely fought against – one could definitely feel insecurity in the air added to the fact that new dancers have not yet completely adapted to the „old company", have not yet been absorbed by it (due to very few performances that were given since march last year, a fact that is quite obvious on stage). But what I mean are the changes that have happened within some dancers, rediscovering, even reinventing themselves after this long period – which gave us all time enough to think and reflect.

"Glass pieces" is a favourite Robbins of mine.

The „showcase" (Yes, I really mean a kind of container with glass sides) in which the dancers are set during the first part is not a very big one.

I personally do not like very much the predictability of repetition – it bores me - especially „the rule of three" which does not work for me outside comedy and seemed to be a favourite of Robbins' also in the musicals he directed and/or choreographed. This is the way that the three couples are introduced to us. But this is a question of personal taste which I will not discuss.

Ioanna Avraam, very changed, with a radiance, never seen before and looking extremely good, healthy and balanced, gave a well-balanced, consistent performance even though her partner, Calogero Failla, an elegant dancer with a strong presence, seemed tense – a fact that was clearly to be seen on the shoulder's area especially while partnering her. Miss Avraam reinvented. Beautiful.

Solid performances by “Miss versatility itself” Alice Firenze, multi-talented Fiona McGee and Arne Vandervelde. Lourenço Ferreira did well in the company of these most experienced dancers. I am looking forward to watching more of him and following his development as a member of the company. There is a lot of potential in him.

Copyright: Ashley Taylor / Vienna State Ballet

The second part relies completely on the sensuality of the main couple – please don't misunderstand sensuality with something like the physicality of sexual pleasure. I refer to it as „the condition of being pleasing or fulfilling to the senses". The long stage relationship and partnership of Nina Poláková and Roman Lazik is proof that even though many years have passed since they first danced together, they continue perfecting their togetherness as if one would simply prolong the other. Naturally and instinctively.

Once more I was captivated by the marvellous lines of both dancers, by their simplicity and clean movements. Miss Poláková and Mr Lazik always give me the feeling of being able to „sit back, relax and put my feet up" just to enjoy another beautifully told story by those two elegant, sensible Dancers. Quality at its best!

The third and last part is surely exciting. The choreography is dynamic – once more showing to us that Robbins could contradict himself and was not afraid of it. He could use – very „showbusiness like" different elements, even styles – not being so keen on having a style called his own – to achieve a certain effect. Sometimes very manipulative with the audience he would not economize in anything to „milk applause". But who cares? His work is alive and so full of life. Many new faces which are not yet very known to this critic.

In the middle of the “Boys’ Section”, another reinvention caught my eye and attention. Marian Furnica. The Boy is gone, the Man is onstage; more present, alert, a part of it all.

„Duo Concertant", Mr B. At his very best and „A notch above" in comparison to many of the 25 pieces of his made in collaboration with Stravinsky (including the 8, which were either reworked or newly choreographed for the second Stravinsky Festival in 1972, “Duo” being one of them). I had the privilege of watching this for the first time with Kay Mazzo and Peter Martins – and it is very difficult, in this particular case, to be set free from such memories.

Liudmila Konovalova and Masayu Kimoto did a very good job but there was no chemistry at all between them. Their interaction while not dancing was reduced to a few glances and unmotivated, unreal smiles – I won't say that there was nothing behind those smiles. Maybe there was but whatever it was, it did not come through to the audience, it never „broke the fourth wall". And that is not what it is meant in such an intimate piece.

I won't question the „presence" of „The George Balanchine Trust" in supervising this production and its „Service Standards" (as written in the programme) but I do question its efficacy. Obviously, the performance of those gifted Dancers, whose work I respect and admire immensely, having not been properly prepared “emotionally” for this staging leaves us with an uncomfortable feeling of emptiness and meaninglessness.

The particular case of a „Trust" to administrate Mr B.'s work is quite a thankless task. It will always attract critique. It is simple to explain: the most important fact of Balanchine's works is the way that they were always in constant movement. Not only choreographically. I also mean to say that he never stopped working on any of them, changing them, perfecting them, even “reinventing” them (Think of “Balustrade” giving place to “Stravinsky Violin Concerto”) – this was told me personally by a dancer and friend I much respect, Carol Sumner, who worked for many, many years with the Master himself. After his death his work was „frozen" and we can all hope that it was at least correctly frozen. But the element „change" is gone. Forever. In this consideration, the work of Robbins is not so complicated, making the goals of The Robbins Rights Trust somehow „easier" to preserve.

On top of it, many people seem to be writing their own biographies using Mr B.'s experience – (and quoting Anna Russell) „as some great experts for the edification of other great experts". But this is another Story - more of it some other day.

„A Suite of Dances" is a ballet that, in my mind, is always related to changes, discoveries, new periods, reinventions.

Last Night I was, once more, given the chance to witness some of these onstage of the Vienna State Opera. But before we come to that, let's not forget that Jerome Robbins, also reinventing himself after “changing” his relationship with The New York City Ballet, choreographed this piece for Baryshnikov, who was reinventing himself, leaving behind the years of technical Bravura and jumping into new waters.

After nearly 1 ½ years lockdown, it was a pleasure to watch Davide Dato, one of the few Vienna's „Darlings", reinventing himself.

In a steady and very consequent dialogue not only with Cellist Ditta Rohman but with and to the audience, Mr Dato gave a sovereign performance – one of that kind given in that beautiful particular moment in life when a dancer reaches maturity while still being young, flexible and dynamic. That moment that happily could wait until after the lockdown to be shown to the audience. A „moment" is just a way of metaphorically speaking about this new phase that is just beginning. Glad that we are witnessing that. Davide Dato and a new aura. Star!

„The concert" made once more, the audience laugh. And one thing is sure: we are all in need of that at the present. Clumsily said, the audiences in Vienna seem to love this piece, one of many in which Robbins used his „show-biz" experience combined with Ballet to „entertain". And that proves how much more „universal" Choreographers were in those days. Not „fixed" on „the legitimate Art" like many obsessed, strict “Representatives” either of classical Ballet or Contemporary Dance nowadays (who would not consider jumping into another Art form for just a second) but much more open. Think of that!

Not only about Robbins' „West Side Story" but „The King and I", „On the Town", „High Button Shoes", „Miss Liberty", „Gypsy" (to mention just a few), his work as a Director in „Fiddler on the Roof", in „The Pajama Game" (in which he gave a dancer who was trying to be a choreographer called Bob Fosse his first „big chance") but also of Balanchine's work in Hollywood („On your Toes") and on Broadway and Ballets like, for example, „Slaughter on 10th Avenue".

What I mean is: to try to understand Robbins' and Balanchine's work – Note: I really mean „TRY to understand" - one must assimilate more of their whole work spectrum: not only the „Ballets" which are in the Repertoire of many companies. That may lead to a misunderstanding of their work, reducing their charisma to a simple clichée.

Wonderful, sophisticated performances by Eno Peçi (only serious, earnest, intelligent dancers can be so humorous and comic like this!), Ketevan Papava who, very cleverly does not bring the wife's role anywhere near a caricature (Miss Papava somehow brilliantly and subtly reinventing this role to suit her own Persona) and „naughty" Fiona MacGee and Igor Zapravdin and his sensibility, presence, humour and mastery on the grand piano. Great Stage Personalities - I had not expected anything else and I want to underline the word „sophisticated" making it clear that „The Concert" was choreographed in times when Sophistication was still related to the Artists, their acting, dancing skills and CHARM. Not to machinery, equipment and appliances as used nowadays.

Elena Bottaro, a lovely dancer whose career I have been following very closely since her days in the Corps-de-Ballet (I remember watching a class from Albert Mirzoyan some years ago and asking him about her, the "enchanting dancer still filled with baby fat"), not yet ripe enough for the role of the „Ballerina". In her „story", as the character should be constructed, she has „Star allures” (Thinking of Tanaquil LeClercq for whom the role was created and great “Divas” from those days in the 50s, people like Tallulah Bankhead! for instance) - A quality that, once understood and although not perceptible, is essential to this role and that Maria Yakovleva and, especially, Iryna Tsymbal know how to master!

I am quite sure that in some years if the direction keeps „investing" in her, she will be wonderful in this part.

Pure fun and joy: As usual, the girls in The Waltz in E minor stole the show. An ever-green favourite number that audiences simply love. We are used to that - and, as I have already said before, once more one of Robbins’ strongest attributes come into the spotlight: the Know-How of milking applause.

Résumé: a most enjoyable, light Ballet evening very well suited to lift our spirits.

Next performances: May 25th & 30th, June 4th, 5th, 7th & 11th

Ricardo Leitner

a t t I t u d e

Vienna, May 21st, 2021

Post Scriptum: For some decades I have been following quite close how Theatre programmes in our Neighbour Country, Germany, are structured when in a written format.

Outside of the bigger cultural Centres (I am talking neither of Berlin and Munich, which naturally profits culturally much from the nearness of Salzburg), they are curiously different.

Observing them (not the design or layout but their content), one can plainly see that they, generally, tend to „teach" far too much. Even though I think it funny and somehow „very unworldly", I see this custom as a sure approach to the audiences based on the necessity to explaining (?) to them what they are about to see (Is this necessary? Is it not obvious?) Or is it really a will to adjust, upgrade the level of knowledge, culturally speaking of the general public?

It amazes me how the construction style of the programmes at the Vienna State Opera turned out to be so „informative", so „instructive" - in other words as „didactic" as a school book “from the Third Grade”. (Whose conception is this?)

The „target" of a written programme should be to intellectually „awake senses", „excite", „motivate" and even compare. Not to repeat what can be read everywhere, telling us (for example) WHO Jerome Robbins was. It is nearly insulting.