October 19th, 2013 §
Volkoper plays an interesting role in the arts life of the Austrian capital. Viennese love both their operetta and their comic ballet and Volksoper must feed this sweet tooth.
Often the works are either historic pieces or imported. This year Volksoper ballet director Vesna Orlic and Staatsoper dancer and choreographer Andrey Kaydanovsky have collaborated on a new program called Marchenwelt or Fairy Tale World. The two parts are unified by dramatic Russian music, first Modest Mussorgski’s Pictures from an Exhibition and then Rimsky-Korsakov’s Scherezade.
Boris Eder’s brilliant turn as the Genie stuck in a lantern in Orlic’s 1001 Nights
Kaydanovsky has contemporised The Ugly Duckling for his fairy tale. His version includes high fives, industrial agriculture and sport hunting with rifles. And why not? Fairy tales should be timeless.
Marchenwelt Ballett at Vienna's Volksoper: A Fairy Tale Evening Continues »
October 12th, 2013 §
As the final show of this summer’s ImPulstantz, Vienna was privileged to welcome the premiere of a new work by underrecognised but brilliant Elio Gervasi. One of the first choreographers to bring modern movement to Vienna, his improvisational influence spread wide. Gervasi, like many creative geniuses, is often a bit gruff. Strong movement is his native idiom not redundant words and empty promises. After blooming at the end of the nineties and start of the noughts, Gervasi’s company was one of the first dance companies to fall victim to the city of Vienna’s heavy arts cuts starting in about 2004. For several years, Gervasi worked in miniature with either principle muse Leonie Wahl or at most a quartet of dancers. Most of the others, including Homunculus are no longer here at all.
Elio Gervasi's Solo with Guests (Part Two) in Vienna's Odeon Theatre Continues »
June 30th, 2013 §
Galas are often long affairs. And this one was no exception. Manuel Legris was fortunate to be mentored in his early dance career by Rudolf Nureyev during his reign at the Paris Opera. There is a Nureyev gala in Paris and now there is one in Vienna. I still question whether it makes sense to so honour someone who recklessly infected others with HIV but I do understand Legris’s attachment to the teacher who gave him so much.
The evening opened with a fine excerpt from La Sylphide with full decorations, with Maria Yakovleva in the eponymous title role and Masayu Kimoto as her partner. While La Sylphide is always easier to watch in its entirety both were very good and the corps-de-ballet looked good too. An auspicious start.
Staatsoper Nureyev Gala: Kourlaev and Tsymbal Shine in Mayerling Continues »
June 22nd, 2013 §
If you've read uncoy before or worked in the offices at Foliovision, you'd know I have a penchant for female singer songwriters and good taste in the same. One day I was looking for Charlie Fink, I needed his profile picture for a project. And ended up with the peculiar frontman from Noah and the Whale on the Guardian.co.uk. I was looking for a different Charlie Fink but read enough of the article to hear that the wrong Charlie Fink had dated an amazing songwriter/singer Laura Marling. Go to the clouds now with some of her tunes off of Once I was an Eagle.
Laura Marling is just the start Continues »
June 2nd, 2013 §
In Graz the 2013 season was dedicated to the work of Nijinsky and the Ballets Russes. The crowning achievement is a three piece full evening of Maurice Ravel, Claude Debussy and Igor Stravinsky with full orchestra.
A sumptuous rendition of Maurice Ravel’s Daphnis & Chloe opens the evening. As substantial a stage as is the Oper Graz, the orchestra pit is full to bursting while the female voices take up the the left upper lodge. The male singers are in the wings backstage. The musical performance is worth the price of admission on its own. Combined with ballet director Toulon’s complex visuals, this is an extraordinary work. Majestic dancer Bostjan Ivanjsic takes centre stage as Daphnis. The role is a complex one, exploring a young man’s sexuality – first timid, then more aggressive. He throws himself into a pool on stage and comes out soaking wet and fully nude, challenging the slightly bourgeois Graz Opera audience with full frontal male nudity.
Celebrating Sacre in Graz Continues »
April 8th, 2013 §
As some of you might know, I recently wrote a long front page article about the struggle to be prima among the ballerinas at Vienna's Staatsoper, started by Ludmila Konavlov (print edition for now, will appear under my profile Alec Kinnear). In that article I wrote about Maria Yakovleva and it occurred to me that I hadn't seen Yakovleva in a leading role in a classical ballet since her first years in Vienna. I'd recommended her as an ideal Sylphide and decided to test my recommendation.
Yakovleva is now in her prime as a ballerina at 27 years of age. It's always a joy to see a dancer with all the strength and beauty of youth, but with solid experience. The non-ballet public often makes the mistake of going to see celebrated dancers when they are past their prime. The time to see Yakovleva is now.
Maria Yakoleva, Masayu Kimoto and Andrey Kaydanovsky in the tragic final scene
of La Sylphide at Vienna State Opera 7 April 2013:
Yakoleva's final moments are truly touching
Returning to the young Yakovleva, her early faults were too much attention to her footwork and not enough attention to her emotions, as well as too strong a reliance on what is indeed a charming smile. In modern works, recently she's overcome her urge to charm with strong expressive dancing. Yet in the title role of La Sylphide, Yakovleva continues to charm but without entirely bewitching. There's some secret part of her which she does not give to the stage. This is not to say Yakovleva is not entirely delightful as she effortlessly dances through even the most challenging sequences.
Review: Maria Yakovleva as La Sylphide Continues »
February 1st, 2013 §
Amazing image from Christos Lamprianidis. Who would have thought in times like this the Greeks would be dancing in the streets?
Christos Lamprianidis - Dexim via 1px
Dance retains the power to make banality go away, to lift us into the air and out of the prose of everyday life. How we've forgotten to move and become glued to our desks and computers never ceases to astonish me.
We just need to step out into the world and into our bodies to really live again.
In Greece, they are dancing in the streets Continues »
January 3rd, 2013 §
A new production of Rudolf Nureyev’s staging of Tchaikovsky’s classic at the Staatsoper with a fin-de-siècle set, a child army, and fake moustaches; plus: a guide to opera etiquette for kids.
The Nutcracker. Author: Piotr Ilyich Tchaikovsky, Staatsoper
At the Vienna State Opera, Liudmila Konavlova as Clara holds the
nutcracker, surrounded by the giant heads of the grown-ups
Photo: Wiener Staatsoper
Every child should see The Nutcracker at least once. But if you want her to remember and him to treasure the occasion, best to be very careful which Nutcracker you choose.
Thus the new Nutcracker at Vienna State Opera is not a bad choice. It’s a Russian version, from Rudolf Nureyev, one of his first grand evening ballets in the West. The costumes are very traditional and very Russian: fancy officers’ uniforms, the grand gowns of the 19th century. The soldiers are Napoleonic and numerous, there are Hussars on horses (well, convincing enough). The decorations are as rich as the costumes, with photorealistic drawing rooms and massive grandfather clocks.
Vienna’s New Nutcracker Continues »