Wiener Volksoper: Eifman’s Red Giselle a Triumph

May 6th, 2017 § 0

Giselle-Rouge-Red-Kommissar-with-Giselle-Vladimir-Shishova-Nina-Polakova
Giselle-Rouge-Red-Kommissar-with-Giselle-Vladimir-Shishova-Nina-Polakova

There are few companies in the world who can pull off the first scene of Red Giselle. Boris Eifman puts eight princes on stage in glittering classic princely raimant and eight princesses in exquisite white tutus.

It’s a hallucinigenic and disorienting spectacle to face that many principal dancers at the same time, each dancing his or her grand role. Staatsoper is a particularly beautiful ballet company with the men for the most part fine featured and long limbed. The Staatsoper corps-de-ballet women are slim, soft curved and graceful. Thanks to their pretty faces and fine dancing skills the illusion of eight princes and eight Giselles convinces.

Staatsoper is a better match than Eifman’s own company for Red Giselle as the Staatsoper dancers perform the classics every week and are prettier. Eifman’s own group are a bit shorter and more muscular – primarily modern dancers.

Red Giselle’s story follows a principal ballerina who abandons her choreographer director husband in the early years of the Russian Revolution for a fling with a Red Kommissar. Initially her plans were for a short affair but the black coated kommissar is not prepared to let her go.

Wiener Volksoper: Eifman's Red Giselle a Triumph Continues »

Volksopera Review: Der Feuervogel | Petruschka | Movements to Stravinsky

April 30th, 2017 § 0

Feuervogel
David Dato in a photo by Johannes Ifkovits, the publicity image.
In Movements to Stravinsky costume where Dato does not dance

Volksoper has debuted a full evening of choreography dedicated to Igor Stravinsky’s musical work, Petrushka, Pulcinella Suite and Suite Italienne and The Firebird. What’s especially impressive about the evening is all three pieces are choreographed by Staatsoper born and bred talent. Eno Peci, András Lukács and Andrei Kaydanovsky all have enjoyed long careers as dancers and taken their own first steps as choreographers in the Staatsoper, often at Ballettclub’s Choreolab (coming up soon).

Stravinsky’s compositions for ballet were the core of Sergei Diaghelev’s Ballets Russes. The Firebird premiere took place in Paris Opera in 1910, while Petruschka premiere also took place in Paris but in Théâtre du Châtelet. The original choreographer for both ballets was Michal Fokine. Both of these ballets enjoy a rich tradition around the world, with versions in the repertoire of The Mariinsky Theatre (Kirov), National Ballet of Canada, The Bolshoi Theatre, the Royal Ballet and American Ballet Theatre to name just a few. Ironically enough, the Russian premiere of Fokine’s The Firebird had to wait until perestroika in 1993.

In fairness to Michal Fokine, what we saw this week should probably not bear the name of the original compositions, a while the music is still Stravinsky’s, neither the original choreography or libretto plays any role in Peci or Kaydanovsky’s creations.

Volksopera Review: Der Feuervogel | Petruschka | Movements to Stravinsky Continues »

Legris’ Masterworks of the 20th Century at Vienna Staatsoper: Serge Lifar, Nils Christie, Roland Petit

February 17th, 2012 § 1

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 »