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Neumeier's Nijinsky, Hamburg Ballet, 30th/31st May 2017


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On a day when it was just been announced that the musical Bat Out of Hell has had its run at the Coliseum extended even before it goes into previews, it becomes clear that no noted ballet company will be appearing at that address this season.  Thus any London balletomane who wishes to follow significant developments in the balletic world/language will – short of watching the very fine British and the occasional Russian companies as/when they appear – is forced to travel or be content with ever increasingly more expensive (well, in London at any rate) film relays or Youtube and its like.  Blessedly my work allows me to do the former and it is an asset that is keenly appreciated.  For me, nothing takes the place of live experience.   Indeed, I now often plan projects in advance around an interesting ballet schedule.  I have, for example, just been asked to do a project in Queensland in Australia and am setting that around the ballet company’s input.  


This week I have been in Hamburg for work and was really quite pressed for time.  I realise now all too clearly that my time for writing long and detailed reviews on BcoF are, I fear (for I have always enjoyed the doing of such) over or will most certainly be restricted.  I scribble – or type this – on the plane back to London.  I have – for what will probably be the last chance in my now long life – an opportunity to try to make another historical precedent stick (having been lucky enough to have had a few do so in the past both here and elsewhere) and I have decided – as this is a last shot go – to indulge this attempt with both hands – so to speak.  It is, after all, a privilege that time – and, I suppose, fate now affords.  Of course it may be a disaster.  That’s all part of the adventure.  I’d actually hate to know.  It’s that sense of the gamble when you get out of bed that is most enervating.  Still I now know that my time will be strictly limited.  I will, of course, still attend more than anyone’s fair share of ballet performances – and certainly maintain my keen interest.  I just won’t write about them so often.  As it is there are now just so many fine writers here – like FOSS – who write such gloriously detailed and ever more lengthy accounts that I’m sure the lack of my own sorry dyslexic inputs really won’t be noticed at all.  


But back to Hamburg.


I just want to mention that I was able to see two performances of Neumeier’s NIJINSKY this week (30th and 31st May) in the beautiful  Hamburg Opera House with its sleek detail and generous sightlines.  (Lest we forget Neumeier is the apple of Cojocau’s eye – and she understandably is oft his muse.  Her dedication is, I think, well placed.)  Both performances I saw of Neumeier’s NIJINSKY were fine ones.  Very fine indeed.  


There have been a goodly number of people hereabouts who only recently were calling MAYERLING, the ‘balletic HAMLET’.  I, myself, struggle with that definition – always have done - and think now it would, in fact, be much better applied to NIJINSKY.  After all, Nijinsky was, himself, closer I think to the Dane the Bard celebrated – and certainly was as notable in Balletic circles.  (Well, he is even today being discussed.)  Neumeier’s NIJINSKY is a fantasy embedded in the situations of this character’s very real mind.  At one point you actually briefly hear the principal character scream out an exact quotation – a tiny shard - from one of the real Nijinsky’s diaries.  Still, the fantastical element is never forgotten.  This ballet is not setting out - at ANY point - with the pretension that it is presenting history in any sort of linear fashion.  It works, in fact, much more akin to most people’s minds.  (Well, mine at any rate.)  Certainly it quotes all of the extraordinary historic performance pinnacles and choreographic highlights that Nijinsky enjoyed – but it does so in an entertaining fashion in relation to his own life and this vivid character’s own personal relationships.  


That Neumeier does so – in a piece firmly rooted in a balletic language - in such a very real and sympathetic way – proves a real boon.  There is very little what I would call ‘filler’ here.  In addition to seeing originating pinnacles from Nijinksy’s own towering performance career, e.g., the Harlequin, the Rose, the Golden Slave, the tennis player from ‘Jeux’, the Faun and Petrushka we see the title character’s own direct interaction with the major figures from his personal/professional life including Ramola Nijinsky, Bronisalava Nijinska, his brother, Stanislav, (who was himself mentally challenged), his parents, Karsavina, Massine and, of course, Diaghilev.  It runs two and three quarter hours with a (bless the Germans) VERY strict 20 minute SINGLE interval.  Whatever else this may be it is most defiantly a cornucopia of balletic dance with refreshingly no whores, costume parades, drug injections, coffins beings plied from carriages or even rape in sight.  (I should note that the vast number of costumes here on display are wonderfully vivid and were too part of Neumeier’s own overall vision.)


The ballet opens and closes on the eve of Nijinsky’s last public performance in the ballroom of the Suvetta House Hotel on January 19,1919 .....  The entire Petruschka solo – is here directly quoted in the second  act but it is here set amidst a WWI world which itself has gone mad ... much more so than Nijinsky it seems himself could perhaps ever be persuaded to  realise.  The performances in that vivid Petruscka solo by Thomas Stuhrmann and Konstantin Tselikov (who the night before had brilliantly danced Stanislav) were acutely violet in their pain.  I have never seen this particular solo rendered more movingly and I have seen some great interpreters in my day, Nureyev and Baryishnikov included.  


The entire Hamburg Ballet Company is ablaze at the moment – much like it’s British counterpart – the Royal Ballet.  What makes them stand out - so much so – is because they are all such clear and comfortable experts – and so entirely vested - in one choreographer’s remit; in Neumeier’s language.   (This too is very much akin, say, to the Royal Ballet in McGregor’s Woof Works or Obsidean Tear or the wonderful NB Company with Kenneth Tindall’s  Casanova).  And what a vivid and diverse reward the Germans have here.  Neumeier’s balletic tongue proves electric throughout and all is rendered on a magnificent scale.  This is the house that Neumeier has built and its potency can be felt too in the vivid dedication of its audience.   The length of the applause at the end of the first act – even after the curtain went down – was an act of of unmitigated respect.  No one here was dashing out to be first at the bar.  The music of Neumeier’s choreography was obviously the food of their love. Deservedly so.  

 

This time round (having only even seen the wonderful Alexandre Riabko in the title role previously) the two leading performers in this mammoth assignment – one of of gargantuan balletic proportion – indeed, akin in that regard to the ultimate Shakespearean demands – were taken by in-house dancers.  First up was Spaniard Aleix Martinex who was entirely filled with vivid theatricality – much as he was the next night playing Stanislav.  The second night, however, was TRULY a astounding affair in the hands of the 27 year old Ukrainian, Alexandr Trusch.   How far he has come since winning that Prix de Lausanne.  His placement as much as his eyes cut through as much as they cried out in the overall arc of this piece.  He WAS the tale and it wagged with a simple magnificence I’m sure that Nijinsky, himself, might have applauded.  The two Diaghilevs – both Neumeier stalwarts – first Carsten Jung – a dancer now much akin to a Dowell at the sunset of his balletic magnificence - and then towering Edvin Revazov – gave breathtaking renditions.  Neumeier’s writing in the two PDD for the two men is simply towering and here it rightly towered.  


Sitting there I thought how wonderful it would be if we could see that title role done in the hands – and through the glorious feet - of James Hay or Calvin Richardson or Brandon Lawrence aside Gary Avis’s or Jonathan Payn’s Diaghilev.  I can just see them blaze a trail – much as I could with Anna Rose O’Sullivan or Kirsten McNally or Delia Mathews as Romola.  They would have every bit the theatrical wherewithall – and, boy, did it glow – as that exemplary artist that IS Silvia Azzoni brought vividly to her part.  


Perhaps Brexit – now that it’s definitely coming – will bring great gifts amongst the losses (and inevitable artistic tariffs) that so many are quick to denounce.  Not having the chance on UK shores to see such extraordinary works in the hands of their creators – or, at least, the companies of their creators – may well – or might - see such works brought alive by our own – oft indigenous – and certainly brilliant talents.  That would be a result worth fighting for I think.  Meanwhile, if this is not possible I will still determinedly be hitting that travelling trail – and setting up professional projects to attend.  ‘Priorities, dear boy … Priorities’  


Here endeth my own last LONG outing.  (Well, that's the aim.) May they too rest in peace.  

 

 

    

Edited by Bruce Wall
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Bruce, please continue with your own LONG outings!  I've really enjoyed this piece about Hamburg.

 

I want, hopefully in the not too distant future, to see Kiel Ballet and would like to fit Hamburg in at the same time.  The easiest way to get to Kiel seems to be to fly to Hamburg and then coach or train to Kiel.

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Bruce Wall I really do hope you can fit in the odd long post from time to time.

sometimes it's not JUST  facts and knowledge we need but the wonderful use of Language that your posts have offered.

I know it must be time consuming to write such good posts but they are much appreciated by me anyway.

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1 hour ago, Bruce Wall said:

Here endeth my own last LONG outing.  (Well, that's the aim.) May they too rest in peace.     

 

Please do continue if you can find the time every now and then. Reading about companies and some of their performances that most of us would not be able to see allows for new insights and in some cases maybe even the decision to go and see them, too.

 

 

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Bruce, whilst we shall miss your long and eloquent posts and reports, I really do wish you all the best with your new project.  Please continue to write in short bursts, at least!!  xx

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About time we saw a Neumeier ballet at the RB, when was the last ?  1980's?

 

Slightly off topic, I'd advise avoiding Brisbane in Australia's summer months, the combination of heat and humidity is a killer.  When you do go, don't miss the famous Dutch Girl by Picasso in Queensland art gallery.  They prudishly cover it over during school visits but if you ask they will take the sheet off when the kids have gone.

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  • 3 weeks later...

Bruce, thank you for that perspective on the performance of Nijinsky I also saw (31 May). This production, entirely Neumeier's (scenario, sets, and costumes as well as the choreography), is one that enthralled me last year in Australia.

 

I too was mesmerised by Alexandr Trusch, also Aleix Martinez' Stanislav. Silvia Azzoni was also excellent, as was Edvin Revazov. Unfortunately I do not share your enthusiasm for the company as a whole. The men generally treated their partners like sacks of potatoes, and the thumps were clearly hefty ones, from row G en face as I was :blink: The only two who seemed to understand how to partner were Trusch and Revazov (Martinez didn't really get to show whether he could or not). The Golden Slave/Faune was not oozing sensuality at all, just "I'm so pretty look at me"! :rolleyes: Tselikov's Petrouchka was outstanding.

 

Having seen the Royal Ballet (Mayerling and the Ashton triple bill), Birmingham Royal Ballet (South tour - Jessica Lang's Wink, Ruth Brill's Arcadia, The Moor's Pavane), Staatsballett Berlin (Patrice Bart's Swan Lake), Stuttgarter Ballett (Cranko's Romeo and Juliet), and the Ballet de l'Opéra de Paris (Balanchine's La Valse, Robbins' En Sol, and the Cherkaoui/Jalet Boléro) in just over five weeks, I would have to say that in my opinion Hamburg's men were the weakest I saw in both technique and (apart from four very honourable exceptions) artistry. Possibly due to the relatively large number of students/apprentices in the cast that night? 

 

I saw three performances of this ballet last year - Neumeier himself taught it to The Australian Ballet (have to use capital T, they don't like it if we don't), and he brought Alexandre Riabko with him. Riabko was amazing, the heart quite broke watching him. One of the three locals cast as Vaslav also had the audience in the palm of his hand. 

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On 2. juni 2017 at 11:31, Jan McNulty said:

I want, hopefully in the not too distant future, to see Kiel Ballet and would like to fit Hamburg in at the same time.  The easiest way to get to Kiel seems to be to fly to Hamburg and then coach or train to Kiel.

Dear Jan, could you, please, tell me, why are you interested in Kiel ballet? Do they have any remarkable performances or is it your private interest? The case is, I live not so far from the German border and am always after interesting ballet events, so I'll be very glad to get some tips!

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Thank you, Estreiiita, for coming back to this as it reminds me that I was going to comment about travelling to Kiel in response to Janet's post. 

 

I am not overly familiar with the area north of Hamburg, however from checking on the web, I believe that Hamburg airport will be closest. There is a frequent direct bus from the airport to Kiel, or alternatively there is local public transport into Hamburg and a train back out to Kiel if Hamburg is the first stop. https://www.bahn.com/en/view/index.shtml.   Trains come normally come with a saver fare (with travel bound to specific trains) or a more expensive flexible fare (not restricted to a specific train on the day). For the short distance between Hamburg and Kiel, however, there shouldn't be that much of a difference. There'll probably also be long-distance busses between Hamburg and Kiel, I don't know about their fares. Link to public transport within Hamburg http://www.hvv.de/en/.

 

Estreiiita, feel free to add information (and/ or contest the above) as your location is closer to Hamburg and Kiel than mine. :)

 

 

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1 hour ago, Estreiiita said:

Dear Jan, could you, please, tell me, why are you interested in Kiel ballet? Do they have any remarkable performances or is it your private interest? The case is, I live not so far from the German border and am always after interesting ballet events, so I'll be very glad to get some tips!

 

 

OK - it's out in the open now.  Two of my favourite dancers from Northern Ballet (Lucia Solari and Jeremy Curnier) are joining the Company next season.

 

I have been investigating and Duck is quite right.  For me the easiest way to get there is to fly to Hamburg and get the coach from the airport.

 

The Company looks really interesting.  The AD and Ballet Mistress are ex-Hamburg Ballet and they seem to specialise in cut down versions of the classics and some interesting mixed programmes.  In November they are premiering La Sylphide which is being mounted for them by Peter Bo Bendixen, whom I had the privilege of seeing dance (at the end of his principal career) in the Bournonville Festival of 2005).

 

Unfortunately my German is non-existent and while I can find the first date for the different programmes on the website I cannot seem to find all the dates for them.  I am hoping to get there and, of course, will report back when I do!

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I had a look at the web site - from what I can see, the specific dates for next season are not listed yet (monthly schedule under http://www.theater-kiel.de/monatsplan/ .... click on "Monat" and tick the box for the month that you are interested in) ... so it's not a language thing :-). The 17/18 season brochure http://www.theater-kiel.de/news-archiv/artikel/spielzeitheft-20172018/ shows some of the performances following the various premieres as part of the information about subscriptions (pages 99f) however there will certainly be performances outside any subscription package, too. There are various dates mentioned in the brochure as to ticket sales for next season, though I believe individual tickets will go on sale on 4 September. The current season runs well into July so I'd expect the detailed calendar for next season to appear over the coming weeks, together with precise information as to when tickets are put on sale.

 

Edited by Duck
added information about using the monthly schedule
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Many thanks to Jan and Duck! I'll study their web site as well!

   As to the transport, I mean that it's far better to use the bus/coach if there is a direct connection between Hamburg airport and Kiel.

I myself use to drive by car from Denmark, so I'm not that much acquainted with the German public transport, my almost only experience was missing the connection train because of the rail works once; maybe that's why I don't rely on trains that much.

   I'll try to research the matter further and report if find something worth of mentioning.

Edited by Estreiiita
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The company in Kiel doesn't seem to have an English version of their web site so any questions once the new season is fully up, just ask.

 

Trains ... not always what they used to be re punctuality ... I've experienced a few delays over longer distances myself recently whereas other journeys were perfectly fine ...

 

 

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