"Iolanta and the Nutcracker" ("Jolanthe und der Nussknacker"): Volksoper, Vienna, October 17th 2022

Oct 18

Oct 18 "Iolanta and the Nutcracker" ("Jolanthe und der Nussknacker"): Volksoper, Vienna, October 17th 2022

Iolanta Op. 69 by Tchaikovsky has shared already in its Première, back in 1892 a double bill with the composer's last Ballet: The Nutcracker.

Strangely enough, the spelling of the title role in German (Jolanthe) reminds the same one as the otherwise unrelated Gilbert & Sullivan Operetta „Iolanthe", a fact that here and there may cause some confusion.

Both pieces were not originally dramaturgically integrated into one another but were performed separately. Miss de Beer's idea of fusing both pieces to immediately prolong/complete the „plot" of Iolanta appealed to me. The results but of „Iolanta and the Nutcracker" („Jolanthe und der Nussknacker) were somehow disappointing and to use an expression that comes automatically in German to my mind, I can only point to the fact that the whole concept is „Einfach gestrickt" (editor's note: simply knitted).

For personal reasons, I could not attend the première – which was held at 4:30 pm, a matinée time for children. But is this a piece for children? Not really. For adults? Perhaps also not. All this indicates a not discussed conception problem. Most of all dramaturgically. A very delicate point that has been taken good care of since some years. And “just” the use of dolls on stage does not justify the „label" of a performance that is supposedly dedicated to children.

Copyright: Vienna State Ballet / Ashley Taylor

Mr. Kaydanovskiys staging – intentionally I won’t use the word „choreography" as it is my opinion that it will still take a long time until he can be seriously considered a choreographer – including his attempts, solutions, and ideas indicate quite a trial with the creative side of the production. The movements' execution by the dancers from the Volksopera Vienna is poor, lacking „finalization". The „costumes" (including the papier maché dolls, which evoke more a Mexican Carnival than a story that is based on a danish play) with their huge heads make it even more difficult for the cast to try to „dance".

Olesya Golovneva has a pinpointed presentness in the main role that catches the audience. Also Stefan Cerny. But unfortunately, there were some members of the audience that did quite get that – some, sitting around me, were sleeping.

Surely a performance that is interesting for the fact that this piece is relatively unknown, that there are just a few recordings from it, and, that it is selden played and performed. Once I had a long talk with a lady, who will remain „nameless" here: her opinion was that Tchaikovsky's problem was that he lacked creativity, ingeniousness, and musical „pouvoir". Something to think about.