At the end of the Christa Ludwig’s talk, Vienn State Opera principal dancer Simona Noja danced a short solo a five minute excerpt from Maria Callus’s famous performance of Violetta (Verdi’s La Traviata)…. I shot vertically as I find the horizontal frame of a television extremely unattractive for a dance solo, particularly in a room like the Eroica Sall in the Austrian Theatre Museum.
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I shot vertically as I find the horizontal frame of a television extremely unattractive for a dance solo, particularly in a room like the Eroica Sall in the Austrian Theatre Museum…. For more pictures of Simona Noja as Maria Callas, please visit my friend photographer Anton Hoellersberger who took some wonderful photographs during the filming.
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To his and the Vienna dance world’s astonishment, the new director forbid Mr. Adler from doing any choreography outside the Staatsoper this season…. It was presented as part of Choreo.lab 04 and included much of the same cast, notably in the two leads Alena Vaskova and Wolfgang Grascher.
1 CommentChoreographer Karina Sarkissova of Moscow is just twenty three years old and is the youngest of the choreographers presenting work at Choreo.lab 06 by nine years…. In any case, in their silly wigs and their flesh colored jerseys and badly draped skirts, the three sisters looked like anything but children of nature.
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A pop star (Franziska Hollinek), her bodyguard, a cleaning lady (Rafaella Sant’anna), two angels, a bank robber, a call girl, an impassioned young lover…
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The second piece of the evening was a clear dramatic story by first time choreographer Vesna Orlic, originally from Belgrad and with the Volksopera since 1987 where she has been a first soloist since since 1995.
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The weather really picked up last week and we had some glorious days. Happily enough my office is very close to Schönbrunn and I can go out there for a nice long walk even on a busy day.
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In Act II where Onegin and Tatyana meet at a Petersburg ball and Onegin tears up Tatyana’s letter to him in front of her eyes, Sue Jin Kang again went through the motions of lovesick madness well enough – it’s a scene which reminds the viewer of Giselle’s dance of death in front of the Royal party at the end of Act I of Giselle – as she flees the ballroom…. Alas, as I noted earlier Jelinek is not at his best as the older broken Onegin – maybe in a few short years (balletic life is every so short) when he is holding onto Onegin as one of his last principal roles at the Stuttgart Ballet, he will be ready to interpret the regrets of the old roué playing his final unsuccessful card.
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