„Signatures of the Masters", SND – Slovenské národné divadlo Balet, April 29th, 2022.

May 2

May 2 „Signatures of the Masters", SND – Slovenské národné divadlo Balet, April 29th, 2022.

Sometimes after leaving a show from all the words in the world just one or two stick to your mind. In my case, this is the sign that the performance which I have just witnessed left a deep impression, not necessarily positive, on me because it was just not „average".

In the case of last Friday's performance, I can only think of one word: Brilliance.

Brilliance because of a young, promising company with endless potential, Brilliance because of some really special Soloists and their interpretations, Brilliance for the choice of the repertoire pieces that constitute this „quadruple" bill, Brilliance for the fact that all four works were being shown for the first time in Slovakia and built a perfect combination of dynamic and timing throughout the evening, so to say, a „quadruple première", Brilliance for the indescribable talent - and joy - and energy - and precision - and „savoir-faire" of the great conductor Kevin Rhodes, who Vienna, ignorantly, simply „let go" (But as mentioned already in my last critique in Bratislava: Vienna's loss, Slovakia's gain) and last, but not least, Brilliance because of the Nina Poláková's tireless attitude with her work, with Art, with her company (Finesse is, in fact, another word that stuck to my mind in connection to her) and with everything around her. Miss Poláková is, from my point of view, the true heiress of Manuel Legris' flair, knowledge, and understanding in directing a company. Simply because, like him, she is not putting herself in the limelight. It is not about her. It is all about Art, dedication, and even Humbleness. She is serving Art instead of, like many others, using Art to serve her.

Admirable.

What a beautiful attitude.

In times like these, times in which many people are trying to be a „Star" - even if for 15 minutes – I can only express my admiration for this continuous work and commitment „packed" in the beautiful cellophane of enthusiasm.

Chapeau.

We have witnessed a very special and significant evening. All of a sudden it felt like (to quote Carmen Lombardo and his eternal song) „seems like old times" when a new world of Ballet and Dance „Connaissance" began to blossom in Vienna as Manuel Legris arrived here back in 2010.

Yes. A good hing to remember.

The evening began with Forsythe's „The vertiginous Thrill of exactitude", perhaps the best fitting title of ballet ever because of what one could call „divine madness". With that I mean the constant play of quickness mixed with ever-changing efacées, croisés. Épaulement at its best. Exactitude at its most. On top of it all the dynamic construction of the choreography, precisely the way we are accustomed to in Forsythe's work.

All five dancers, Olga Chelpanova, Romina Kotodziej, Tatum Shoptaugh (in the beginning a bit insecure while turning – a state she soon recovered from), Konstantin Korotkov, and Adrián Szelle, gave a wonderful display of presence and technique – in a piece that is everything but easy. In a piece in which one must be at the same time „electrified" and „on the guard". I always have to laugh when thinking of this piece: it reminds me of the sensation of eating a watermelon and whistling a tune at the same time.

Edwaard Liang's „Murmuration", one of my favourites because of its clear display of Mr Liang's extensive vocabulary. Sensibility and ingenious creativity (beginning with the temps elevés built so smoothly into the choreography, so contradicting the other movements they are related to, that always fascinate me – especially when so well executed as by the dancers yesterday), musically challenging and in perfect unison with the sets and the precise lighting.

One can feel and see how homogenous the Ensemble looks and how homogeneously they are working. It is not an easy task to dance to a "new" programme like that after two very irregular years during which performances were even sporadic. Keep this in the back of your mind: This is just the beginning of Miss Polákovás' work... Knowing how long it takes „to put a company together" and seeing these results already now, I can only underline the fact that I am looking forward to the next Seasons, Years. You will hear from this company much more in the future because it is rising (just the opposite direction of all that is happening in Vienna).

Great display of professionalism by the four main couples. Veronila Yungová & Damián Simko, Reona Sato & Raphael Schuster, Siina Ailasmaea & Marián Kuchar, and especially the “main” couple Ilinca Ducin and the very imposing Andrej Szabo, whose presence not only fills the stage to capture our full attention but has also the power of being projected up to the last row.

After the first intermission we were given „Entropy" by Craig Davidson, partially a work that is more „square", musically speaking, especially when in contrast to Liang's „Murmuration". „Entropy" is a more „on the beat" kind of work, nevertheless fascinating in itself and surprisingly effective in its nuances.

„Sitting back and putting my feet up" (just a figure of speech) and observing more the company, one must mention that the girls are very at ease with their point work.

Special mention to Gerardo Gonzalez Villaverde, Emily Bromberg, and Kristian Achberger, whose work is not only admirable but also connected with a certain quality that seems to be disappearing from the Dance World: Masculinity. Yes, you have read it correctly. Masculine Dancers, since the Male Dancers' technical „revolution" (think for example of Developées, Arabesques, Lines' definition, Cou-de-Pieds, etc.) has reached us, seem to be a species in extinction. When I think of John Neumeier's „Stanley Kowalski" („A Streetcar named Desire"), a role which would, by the way, suit Mr Achberger very well, I start to realize that continuously fewer and fewer Male Dancers could dance this role.

Olga Shelpanova and Viacheslav Krut completely in „unison", intrinsically connected while not „thrifty" with their emotions.

It is always a joy to watch „The Concert" but this time it was a „double bill" of fun. Realizing that this was also a „première" for the Slovakian audience it was delightful to observe how the audience, at the beginning of the ballet, was not at ease, not quite sure of what was happening on stage and then, slowly, bit by bit, began to relax and enjoy and laugh and even scream. This is a good thing to remember.

One of the reasons why I especially love „The Concert" is the fact that this is one of Robbins' works which reveals so much of his „Show Bizz", „Vaudeville" and even „Burlesque" Knowledge, for these were his real roots, his background. This may sound crazy and very unusual nowadays but it was not an uncommon thing in the States, during the 30s, 40s, and even 50s to find Classical Dancers that were “just” coming to „the legitimate Art" from a „Musical" past. From Broadway to the Met, as so to say.

From A to Z perfectly well cast: From the „Ballerina" Erina Kaminaka (obviously having lots of fun) to hilarious Artemyi Pyzhov & great Anna Vágnerová and the delightful Sarah Millner (and all the other roles as well). Ladislav Fančovič, although totally in his element while with Chopin was not quite at ease while playing the “role” – from his entrance to dusting the piano up to the culmination of the piece when he gets his „butterfly net". Something to work at.

An exceptional Evening, in fact, I would say „THE" Première of the week.

My recommendation to all „Baletomanes" in Vienna: book a seat on the next train and combine a nice afternoon in Bratislava, having a late lunch at the Danube „Promenade" just like I did yesterday, with a Ballett Show at high international level.

Enjoyable, refreshing and Highly recommendable.

Ricardo Leitner

April 30th, 2022