Ioanna Avraam triumphs in “Lac”.

Nearly closing what I could call „my Swan Lake cycle" (Results from that and many other research will be done online in the future), I visited yesterday's most gratifying performance. One I was inquisitive about and very eager to watch – Not Ioanna Avraam's dèbut but the second performance in the main roles in„Lac" (Nureyev would not agree with me about the „main role" mention, as he staged the whole ballet, very egocentrically, more like a „Siegfried's Lake", nevertheless, I stock to my opinion).

It is a fact that the Company is not in very good shape at present – something that I truly believe will start changing as soon as the new direction starts its work thoroughly.

However, to be very sincere and just, there was some improvement in what I saw when compared to the performances last June. And this is a good sign.

Nonetheless one cannot close one's eye to quite a number of grave faults that should not have happened during a performance in an Opera House of such stature and with an internationally acclaimed repertory company.

Calogero Failla played Rothbart and it is not his fault that this is practically a non-dancing role. In the last re-staging that Nureyev did for the Paris Opera, Rothbart was given another dimension as a character and, most importantly, dancing (in the third act). But Nureyev was not dancing anymore and thought then, perhaps, more of „the show" instead of himself (and being the only male principal dancer on stage when he first staged it). But, here in Vienna, we are "stuck" with the 1966 version. I wonder if there would be a possibility of getting the actual Paris Opera version into the repertoire in Vienna – a so much fairer version concerning the Ballerina – who is, contradicting Mr Nureyev - the real main character of the Ballet.

But to carry a role like this, in the case of Mr Failla, and the role of the Prince's tutor, played by Mr Rashaen Arts, there is the necessity of understanding (classic) mimic and pantomime, which is normally learned while at school. Mr Arts, especially, „disappeared" inexpressively on stage neither adding nor contributing to the story-telling. Unskilled.

The Prince's „Friends" in the first act played very unevenly the long „pas de Cinq": Géraud Wielick, danced his part a bit uncoordinated and out of control, with a kind of aloofness that did not suit the group dynamic (he repeatedly jumped so extremely out axis, that one could only wonder how he could finish every tour en l'air), Gaia Fredianelli, a young dancer who joined the company three years ago, directly from school, and, in my opinion, who was promoted to demi-soloist much too soon, seemed stiff and very tense, what was quite visible on her neck and jawline. She is talented, no question, but there's much work to do (there always is, for a dancer).

In contrast, delicate and confident Cinthia Liz and vivacious Vácav Lamparter seemed relaxed, and very integrated into the group and delivered a delicate, and at the same time very dynamic, joyful and vivid performance.

Ella Persson is a beautiful Queen. Noble, present, aristocratic, professional. Miss Persson, was a second soloist at the Michailowski Theatre in St. Petersburg from 2015 to 2022. She came the first time to my attention, and I watched her closely during the 2nd and 4th acts and believe that more work should be done with her. There is much potential there.

About the „Corps", I can only say that this is the main point of my „not in very good shape" criticism.

But there were some surprises: I was very pleased to be able to see Miss Céline Janou Weder as one of the cygnets – a soloist role, one which I know, that she had to jump in on September 27th- after some dancer called in sick – with only 1 or 2 rehearsals. This is the point I repeat and repeat constantly. Proper schooling: She is not only a versatile member of the cast (doing modern, contemporary and classic in the same dimension of depth, execution and professionalism) but managed, although the role is new for her, to be the best Cygnet (together with Eszter Lédan) of the four, making the whole picture much clearer, exacter. And faithful to its style. Just as it should be – at last! These are the surprise moments that are so beautiful on stage. They are worth it all – although the audience sometimes is not even aware of casting troubles and the short notice they have to be made on.

The character parts in the Third act are quite „decompensated". Some soloists and Corps de Ballet members execute their parts very well, as (again) Céline Janou Weder, Trevor Hayden (Neapolitan Dancers), Marie Breuilles and Zsolt Török (The Spanish Dancers). Some don't. Character Dancing is something „sensible" and precise. One has to learn carefully how to do it. It is not just „jumping in" and „doing something easy". Respect and Knowledge are much in need – to every single piece of choreography that was written, regardless of its status of „Solo", „Demi-Solo" or „Corps". When I look at a dancer using the wrong position of placing hands on the hips, as (again) Mr Rashaen Arts in the Hungarian Scene, the appreciation and the joy are justifiably gone. Technique: Knowledge is power, as some say...

Perhaps the audience members won't even realize that but such details are conditio sine qua non for a good general result (even if one does not see them: they are there), for the „whole picture" one is witnessing on stage. Even if the average members of the audience do not „see"these details, the way the average „everyday Ballet-goer" (!) does, they are paying for it and therefore entitled to the best. And such details, even if not perceived individually, are part of the whole composition, the choreography that was written. And they should be respected. Think of that.

There was much expectation for Arne Vandervelde's Prince Siegfried. Mr Vandervelde is not only an extremely gifted but a very serious dancer (Sometimes a bit too serious, as I told him about the composition of his Lensky in Cranko's „Onegin", a character whose youthfulness, lightness and light spirit lead him to tragedy and seal his destiny).

I was extremely curious about his reading and interpretation of the character of the prince.

I could not have been more delighted as on stage there was a Prince filled with consistency; one that could be „read" with the development of the story. His clean technical displays were exactly what one needs, as a spectator, to see and understand the character. Especially because he presented the character with all the special danseur-noble features and sophistication that are so natural to him. His long legs and beautifully used arms, a characteristics of such dancers as Erik Bruhn and a Danseur-Noble we had for many years at the Vienna State Opera: Mr Roman Lazik. Evan MacKie and Friedemann Vogel also have this gift. Now at last another elegant, sovereign, noble prince. One that balances elegance and flair, exactly in the same proportion of correspondence of his Yin and Yang features. His feminity/delicacy (Yes, let us not forget that the Prince is a so-called „Mama's boy") contrasts with his daring/masculine ways of defying Rothbart and fighting for the love of his life. Finesse, a necessary part of the Prince’s character, could not be better expressed. And it all came naturally.

His Prince continuously matured in front of our eyes, from act to act, until he met death a the End. A character carefully and intelligently constructed. And executed.

I am looking forward to the development of „his" Siegfried in the following years. Mr Vandervelde's comprehension and interpretation of the role are amazing.

Miss Ioanna Avraam. It is hard for me to begin to try to sort out all the emotions, details, and paths that she took us through yesterday evening.

We were all aware that a dèbut in „Swan Lake" just at the beginning of the Season, with a short period of 4 or 5 weeks to prepare for such a difficult venture and for such „complex personalities" as Odette and Odile, is not an easy thing. I was a bit uneasy about the „Première" and that is the reason, I must confess, why I did not visit the first show, but the second.

The „secret" is finding „your" Swans, and working to adapt them to your body type, is a difficult one. It is not only a question of feeling but knowing how to express the gamut of emotions, from A to Z, through Dance. With Dance. On Dance.

Miss Avraam knew precisely what she was doing.

Note: She not only „found" her „Swan" but conquered the way of expressing her feelings. She was not „imitating" but being a Swan. And that is the difference (Oh, how I wish that some members of the Corps de Ballet – and from the Big and small Swans – would look at her more closely and try to understand and learn what Swan's arms are like (They are wings, actually!), from where the movements are "born", and this in total connection with the rest of the upper body. It is not about „inflating" your chest, as many members of the Corps tend to do at present, but the „attitude" is one that „sits", very simply, just above the collarbone. The inflating of the chest just makes the upper body stiff even more and exactly the back of the upper body is where the arm movements are „born".

Miss Avraam has been intensely coached – as time permitted – by the gifted ex Prima-Ballerina of The Vienna State Ballet (who also possesses not only a profound knowledge of Dance and its motivations but also the gift to „teach and coach", a combination that is not so self-evident as many think), Miss Iryna Tsymbal: I do believe sincerely that this was the right decision. Of course, Coaches tend to pass to their „pupils" their own „ways" that can be wonderful, exquisite and emotional but also mechanical, soulless, and cold (As ex-Dancer Miss Birgit Stadler, not a very emotional dancer in her days, does with Liudmila Konovalova's „Giselle") but not Miss Tsymbal. Her „vision" of the whole picture is, let's say, a more „democratic" one – everyone differs in terms of personality and, as I already mentioned, body type. That's the gimmick. This is the first obligation of a good ballet master. Not to make dancers as good as they (The Ballet masters) were but to find their own way.

I have seen many Swans in the past years that bear no „difference" to each other (I mean the comparison between the white and the black ones):

With that I mean the softness of the movement, the „roundness" of the forms of every single one of Odette's gestures, the „never-stopping" quality, the sincerity and humbleness of her look, the flowing from one movement to the other, never making a stop, a pose, an unnecessary halt (Think of the second Act's pas de deux).

All this in comparison to the sharpness, angularity, and deceitful ways of Odile's (very own) motion, culminating in her ferocious head executions. The singularity of her ways of looking at everybody (and the audience) from down under to above. Falsity. A look that can be compared to the direct, straightforward, humble, sincere look on Odette's eyes.

All this was yesterday on stage to see. Right there, in front of us. Can you imagine a better way of having a story told than the way Miss Avraam intelligently chose for us?

Technically at the height of her career, she delivered a faultless performance. She „commanded" the performance with such certainty and clear assuredness; and this in every single gesture and step, that it'd be a sacrilege to comment on such a matter-of-fact execution and deep preparation for the role.

Particularly, in the 3rd act coda, I would have preferred 32 single fouèttes, as I think they are more effective when single performed, however, to include „doubles" at least every 4th beat seems to be a „must" nowadays, to please the audience.

I can still remember Plissetskaya, Kirkland and Makarova turning 8 fouèttes and then going on Piquets en tournat for the rest of the music piece. Times have changed!

But cut a long story short: The talented Miss Avraam gave us a glimpse of what is yet to come. As I judge her, her continuous intelligent work will continue, carrying its customary depth and sensibility.

It has been years since I have seen Odette/Odile like that.

To finish this critique, I can only say that a Swan is born.

The House came down and the public roared of joy! It “knows” when something of real value was witnessed..

And I am mostly pleased with that. A great show! Applause!

Ricardo Leitner

Vienna, October 9th, 2024