Beyond Sin – The Karamazov Brothers, SND, Slovakian National Theatre Ballet, March 25th, 2022

Mar 26

Mar 26 Beyond Sin – The Karamazov Brothers, SND, Slovakian National Theatre Ballet, March 25th, 2022

More good News from the Slovenské národné divadlo.

“Some nights are better than others, so are some cities” (Emma, The turning point).

This is becoming more and more the case while just „crossing" the border to Slovakia's capital to enjoy Dance on an international level. Literally.

Not having been confronted during the past two years with the best, most innovative contemporary works ever, to put it mildly, it is „refreshing" to be present at a performance from Eifman's „Beyond Sin" - even it does not deal with light, „refreshing" issues. Much on the contrary. But it does awake our senses in a way that only Boris Eifman's choreography can. Viscerally and Psychologically.

Just a quote:

“If there is no God, is everything allowed?

There is no God! No! Everything is allowed.”

His pursuit, among other subjects, of the Russian „soul" is fascinating and his „studies" of this same theme are not to be missed: „The Firebird", „The idiot"; „Tchaikovsky: the mystery of life and death", „Giselle Rouge", „Anna Karenina" and probably the ones I have not yet seen (and wish to): „The seagull" and „Onegin".

In times like these in which once more an „Eastern Block" is being revived and artificially (and stupidly) recreated, also where Art is concerned, it is nearly a wonder to be able to view the work of a Russian over a Russian Theme by a Russian Writer and with Russian Music by Musorgsky and (most notably) Rachmaninoff.

Very clever sets and costumes which enable the most incredible effects for the Mise en Scéne by Viačeslav Okunev, careful Lighting which leads through moods and emotions and the precise, inventive choreography and direction by Boris Eifman: Inventiveness and Sensibility „custom-made" to each character, down to the last detail, describing it perfectly – and also the interactions between the characters. There is no need to have read the book… the story, the essential is right there, in front of us!

How could one describe the fight between Dmitrij and Fiodor Pavlovič, the father? Are two stubborn goats hitting each other hard with their foreheads? Brilliant.

Interestingly, three of the six main roles are danced by demi-soloists. Very careful, intelligent casting.

Expressive Viola Mariner, even if in the quite „short" role of the mother, impresses the audience through her Madonna-like presentness.

Viacheslav Krut's „Father", greatly interpreted, is an amazing, hard, strong, beastly creature that even dead can cause affliction (His image inside the coffin looking down at tormented Ivan is in itself a work of Art – Beautifully haunting and cleverly conceived).

Ilinca Ducin carries splendidly the quite exhausting, sinful, sensual role of the multifacial Grushenka. There is no pause for the dancer interpreting this role. It is simply „full power" every second she is on stage. Miss Ducin commanded the role not only emotionally but with technical brilliance and exactitude.

The „Brothers" are so well constructed with each other and in their interactions that it is nearly impossible to describe each one separately. They are, if they want it or not, constantly in unison with their emotions flowing constantly. On edge. Raw.

Three completely different dancers physically (and extremely gifted) impress not only when together, prolonging each other but also by themselves, individually.

Adrian Szelle as Alexej is a pleasure to look at: precision, presence – very impressive and unforgettable is his apparition as „Christ" at the beginning of Act II in fully togetherness with imposing, tall Andrej Szabo as the grand Inquisitor whose pin-pointed presence on stage is „a notch above".

As Dmitriji, Kristian Achberger gives the strongest, fullest performance of the whole evening. An intelligent „reading" of perhaps the most tormented of the Three Brothers. The one who is haunted through reality, injustice, loneliness. I am looking forward to following more closely the career of this dancer.

Not to be forgotten, the great, professional, enthusiastic work of Kevin Rhodes with the Orchestra and his always brilliant 100% abandonment while conducting. I have always admired his work and was missing his careful empathic way with the dancers since a long time. He has that very rare quality, that is becoming much rarer nowadays, which added to his vast Dance Knowledge, is more than admirable: The capacity of feeling the dancer's biorhythm. Empathy.

As we have heard, much to our joy we are going to see much more of Mr Rhodes, one of the best Ballet conductors presently, in Bratislava in the near future. Vienna State Opera's loss for lack of Knowledge, Slovakia's gain. All this seems quite logical for me: Apparently, SND is on the way to establishing its Ballet company as one of the main ones in Central Europe and Miss Nina Poláková has not only the exact, necessary experience after so many years working with Manuel Legris and his high standards, to lead the Company (which is technically also very well prepared) into a new era but also the talent, the discipline and the necessary “pouvoir”. This is an exciting moment.

Excitement – yes, this is the keyword to finish this review: from this performance's first minute up to the moment when the curtain came down, there was excitement in the air, bubbling just like a good Champagne. Choreography, Music, Direction, Lighting Design, Sets, Costumes, effects, Orchestra, Conductor, Dance Company...

A highly recommendable „Night at the Opera" to witness a choreography that is simply a MUST to every Balletomane, to every dancing enthusiast.

Next and final performance this Season: March 29th, 2022

Ricardo Leitner

March 26th, 2022