Category: Vienna

In what seems to be an endless tour at Wiener Staatsoper of masterworks from great choreographers of the 1970’s, the latest premiere brings us Die Fledermaus, a.k.a. La Chauve-souris from maestro Roland Petit.

Roland Petit brings his Chauvre Souris to Staatsoper:
85 years old and hard at work and happy
Early retirement is heavily overrated

La Chauve-souris is a particularly amusing example of how cultural cross-pollination can go full circle.

Mr. Petit’s inspiration for La Chauve-souris was an operetta by Johann Straus (Jr.), the famous waltz king. Die Fledermaus is part of Austrian folklore, televised every year at New Year’s on the national television station. Mr. Petit transposed Die Fledermaus’s scenes at the ball to Paris’s own Maxim’s. This production is the first visit of the ballet version of Die Fledermaus to Vienna.

At the heart, the story remains the same. A man with a beautiful wife has grown too accustomed to her, as men do, even bored. Johann’s wife Bella solicits her husband’s attention to no avail. He prefers even the newspaper to her company. In evening however Johann has other plans. He likes to slip out to Maxim’s to dance, flirt and even seduce.

Kirill Kourlaev Olga Esenina

While Johann is ignoring her, Bella – as attractive women, married or not, always do – has an admirer. In this case, the admirer is their children’s tutor Ulrich.

Rafaella Sant Anna Olga Esina

When Johann has disappeared to Maxim’s, Bella calls Ulrich to the house. Ulrich sees his chance and goes in for the kill, hoping to seduce Bella the same evening. But for the moment, Bella cannot bring herself to betray her husband. Ulrich has a backup plan – to disguise Bella and take her out to Maxim’s where she can see Johann’s womanizing for herself.

Eno Peci Olga Esina Chauvre Souris

Eno Peci Olga Esina fledermaus

Eno Peci Olga Esina faints

Eno Peci Olga Esina

Olga Esina Odile

Ulrich’s hidden agenda is that when Bella has seen Johann’s infidelity, she will be easy prey for Ulrich himself.

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The Vienna State Opera ballet has a new Artistic Director.

He is a familiar name to connaisseurs of European ballet, Manuel Legris. Manuel Legris has been one of the top men at the Paris Opéra since the 1980’s.

Manuel Legris at the Opéra de Paris by Shinoyama
The Paris Opéra is sending us on of her best

He has danced everything from all the classics, through George Balanchine, John Cranko (Onegin), Sir Kenneth MacMillan (Manon’s Story), Twyla Tharp, John Neumeier (La Dame aux Camélias), William Forsythe Juri Kylian (Il ne faut q’une porte), Trisha Brown (O zlozony / O composite: Legris came to Vienna’s ImPulsTanz with this), Angelin Preljocaj (Le Parc) even to Vienna Statsoper’s own Renato Zanella (Angel, Alles Waltz).

I cite all these choreographers names – most of them worked with Manuel Legris at the Paris Opéra – as this amazing cross-section of dance makers is exactly what Monsieur Legris brings to the Staatsoper: a first hand familiarity with the best choreographers of the last forty years.

As a classically trained dancer in a classical company, Monsieur Legris knows how to integrate contemporary choreography into the heart of a classical company. The Paris Opéra should be the model for all classical companies today: a vibrant classical repertoire combined with the very pinnacle of contemporary choreographry.

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This was my fourth choreolab in Vienna. Except it wasn’t in Vienna. For some reason, the Vienna Ballet Club moved their marquee event to St Polten. Now St Polten is fine but it’s over an hour from Vienna. I missed the Friday night premiere so I can’t tell what attendance was like for that night, but on Sunday the crowd was very, very ballet, apart from the Hungarian ambassador to Austria and a few other political luminaries.

Una Zubovic – Lisa Cano in Vesna Orlic’s Parfum

Nothing against St Polten, but please bring choreolab back to Vienna, to the Odeon or Museumsquartier and to a wider public. choreolab should not be a private event for the Staatsoper inner circle and dancers.

The evening was very short running just over an hour with six choreographies. Gone were the past years of incredible forty five minute works from Vanessa Tamburi or Patricia Sollak. We were treated with only miniatures in this year’s choreolab.

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