The evening opens with Forsythe’s The Second Detail. When we see works like this, it’s clear Forsythe is such a great choreographer and his current strange experiments become even less comprehensible and more astonishing. But few people cared for Stravinski’s music in the 1920 so perhaps it’s we who just don’t understand.
Horecna Contra Clockwise Witness 1
The Second Detail opens up with a huge bright grey rehearsal space with just the words THE at the front. Thin white horizontal lines dividge the strange into precise grids. The dancers are in the same grey as the floor. I’m not quite sure why Apple is getting away with suing Samsung for packaging as Forsythe had the iPhone and MacBook Air boxing under control back in 1991 in Frankfurt. This is an early great work.
Vienna State Ballet company looks great dancing Forsythe these days. Under Legris, they’ve acquired both the élan necessary and the discipline necessary to put it all together. Strangely, the men have improved more than the women (who have been excellent as along as I’ve been in Vienna). Particularly notable is strongman Vladimir Shiskov but Mihail Sosnovichi also delivers an imposing performance while Eno Peci and Alexis Forbasco look good too. All of the men have developed powerful lower bodies and are a joy to watch.
Review: Ballett-Hommage Forsythe | Horecna | Lander at Vienna Staatsoper Continues »
Rarely has the stage of the Staatsoper appeared so impressive. The curtain opens to reveal on three levels, a full complement of dozens of dancers, the women in gleaming white tutus, the men in black leggings and handsome white shirts. First impressions are often misleading. So it is with Serge Lifar’s Suite en Blanc.
The audience collectively takes a breath, expecting the full stage to explode in dance. No dice. All but two dancers slowly slink off to the wings. Over the course of the next half hour deserted stage is gradually built back up to full, but never does Suite en Blanc manage to equal the thunder of its opening salvo.
Quickly Suite en Blanc turns into a battle of the ballerinas, the ballerinas parade out one by one to show their dressage qualities.
Highly rated Ludmila Konovalova has finally found some costume designers who understand her figure and for once her kit doesn’t make her powerful body look like a female hockey player. She acquits herself well with Alexis Forabosco and Shane A. Wuerthner providing steady support.
Legris' Masterworks of the 20th Century at Vienna Staatsoper: Serge Lifar, Nils Christie, Roland Petit Continues »