Gabriele Haslinger - Soloist Vienna State Opera: An Interview (Part 1)

Jan 16

Jan 16 Gabriele Haslinger - Soloist Vienna State Opera: An Interview (Part 1)

How do the famous (and corny) Alan and Marilyn Bergman song goes? „Mem'ries light the corners of my mind... „

This time I felt that this was a great chance to „go down memory lane" and share treasured memories of an extremely gifted and very special dancer from whom I have so many fond memories. Memories of something that is disappearing nowadays with this generation that is practically just preoccupied with the technical „gymnastic" aspect of dance, neglecting the other technical side (style for example) and what dance is really all about...

Sometimes, how I would wish that „Danser sa vie" by Roger Garaudy (including the foreword by Maurice Béjart) had been translated into more languages than just Portuguese and that this book should be obligatory for all dance pupils as part of their education. But that is another Story.

Sitting in a Café in Vienna's 1st District I could observe closely how Gabriele went into the room, walked past the waiters in my direction, greeted me warmly, sat down, and looked at me as if saying: I arrived, I am here.

Apart from this kind of direct, impactful presentness, which I absolutely love, these simple few seconds – from entering the Café, with her elegant walk and movements, until sitting down, were involved in what I could plainly call „an aura of Dance", the best Dance I expect. Yes. She could of course say; „I am a Philosopher", „I am a Psychologist", or „I am a Writer" but she would not deceive us. She is a Dancer. All the way.

Gabriele Haslinger, whose huge repertoire included „classics"such as „Les Sylphides", „La Valse", „Symphony in C", „Firebird", „Daphnis and Chloë", „Apollo", „5 Tangos", „Vier letzte Lieder/Letzte Lieder" and so on, remained throughout her life „down to earth". This simple attitude, which should be normal, is becoming more and more of a rarity nowadays. This is the difference that I cherish. This is also part of real talents: They are persons who do not have to prove anything. Neither to them nor to anyone else. They simply ARE.

„Dear Gabi, so nice that you could take this time to chat with me!", I say.

„Ricardo, let's see where we'll get at... what is it that you so much want to know?", she adds with her broad smile, jokingly.

„In fact, I am not intending to do a „monumental biographical tribute" to you, no. I just want to go down memory lane, uncomplicatedly, talking perhaps about things that are unknown to Balletomanes... I have my reasons for wanting to preserve such valuable information; this is more or less what I do all the time with my „attitude platform"!" I add „Let's start but at the very beginning: how did it all start for you?"

Perhaps for one or two seconds, I can see in her huge eyes that she is selecting a moment, getting it back from the past „You see, I come from a very normal background, my family was simple people and I landed at The Opera by pure chance, if not by accident... „

„How that?" I ask curiously.

„You see, I had been around three years in a little Ballet school in Penzing (Editor's note: the XIV. District in Vienna), danced practically for fun for my parents and their friends once in a while to the music of a jukebox... One day my uncle saw an Announcement that the Ballet Academy was looking for children!" she says and you can see in her eyes that she is getting her words from very concrete memories in the back of her mind. Very „touchable", nearly as concrete evidence of something that has happened quite a while ago.

„Then your Mother took you for an audition?"

Gabriele Haslinger at the Ballet School of the Vienna State Opera /On the bar, second from right)

„No! It was my father – a very, very important Friend in my life", she says in a way that you could feel tenderness in her voice „Can you imagine? There were all these girls with the most beautiful leotards and pink ballet shoes and I was wearing TENNIS SHOES and a Bathing Suit!" she laughs loudly and I see that she is enjoying remembering this. A good memory. „But they liked me and I was taken into the School!"

Gabriele Haslinger (Right) & Ludwig Karl

„And how was the beginning of the „Nureyev episode" in your life?" I ask, not wanting to wait any longer for this question.

„Well, after many years, I was in the Corps de Ballet of the State Opera and we were rehearsing Don Quixote. Strenuous, tiring D.Q. One day, at the end of the rehearsal, Rudi came into the Studio and without asking anyone and not caring about the strict rules of the worker's council, did not send us home but just said „Again from the Beginning". This was the very day that he somehow noticed me and, so to say, took me out of the Corps de Ballet"

Rudolph Nureyev & Gabriele Haslinger: Flower Festival in Genzano

„How did it happen?"

„One day, sometime later, I was reading the rehearsal plan in the corridor. A colleague turned to me and said quite casually: You have to go to the small Studio... And I did. And Nureyev was waiting for me and rehearsals began immediately. „Flower Festival in Genzano" by Bournonville. I have no words to describe my feelings, to describe him. He was so helpful, every inch of the way – and so full of understanding for me. You see I was a young girl from the Corps... and he was, I mean he was Nureyev! „Just" a world Star of the first magnitude" she laughs.

„My God, what a story... Remembering many members of the Company on those days, I can well imagine that it must not have been quite „easy" for you... you know. Ill feelings, jealousy, envy, and all that jazz!" I say, quite openly.

„Not only that, Ricardo. Can you imagine that Birgit Keil (Editor's note: Stuttgarter Ballet) was in Vienna to dance with him – was it Swan Lake? I don't know... and she came to ME to ask for advice. She asked, „And how is it to dance with him?". She came to me!"

„Incredible... „