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Angela

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  1. Marco Goecke, still house choreographer at Stuttgart Ballet until the end of this season, but more and more successful on an international level with a commission by Paris Opera Ballet next season and a premiere at the Stanislavsky in April, was appointed director of the ballet company at Hannover, Germany, from 2019 on. Since 13 years, the Hannover company of 30 dancers is directed by Jörg Mannes, an Austrian choreographer who creates modern story ballets. Goecke's work, though very modern and unusual, is very popular in Germany, his older works are staged in many companies.
  2. Thank you! Malakhov was a wonderful Lensky, too - but yes, Vogel is the benchmark. I liked Popov's dancing in the first scene, but he never really managed to look like a poet or somewhat romantic, the solo before the duel was almost disappointing. Chudin is wonderful, no question, but he was almost too Onegin-like when I saw him - intellectual instead of impulsive. His musicality was beyond belief.
  3. Marcia Haydée, then director of Stuttgart Ballet, invited Makarova to dance the role in November 1978 (ten days after the creation of Neumeier's Lady of the Camellias with Haydée, by the way - what a great time to be a Stuttgart...). Her partner was Richard Cragun, but she also danced the role several times with Reid Anderson.
  4. It's not about the hair colour , Guillem was "too famous" at the time - the ballet is supposed to be the star, not the ballerina, as far as I understand the Cranko casting rules. But Munich had and has the opportunity to cast the Cranko roles as they want, so they could have given the role to Guillem. It's interesting they put whole pdds online now, other companies are not allowed to do so (at least I've never seeen official videos). For Kondaurova, I was thinking about Neumeier's Marguerite, I would have loved to see her and she would have been perfect. Yes, I know she did the Ashton role.
  5. Oh yes, he is! Kondaurova is another dramatic dancer who should go abroad for roles like Tatiana or Marguerite. I thought it was a great debut: thoughful, sensitive, with a great respect for the role that maybe only the Russians have, because they have read the book many times. I loved his first solo, all danseur noble, but the wide jumps looked almost yearning - he was clearly lost in himself, not arrogant like so many other Onegins. I loved how he developed the scene at Tatiana's birthday, starting almost friendly but getting more and more irritated by her demeanor, until he was shocked about Lensky's reaction and how far he himself had gone in provoking it. (It was a bit odd to see an Olga so much taller on pointe than Lensky and Onegin - Prisca Zeisel is a nice dancer, but this was an unfortunate combination). I loved Shklyarov's scenes in front of the curtain - how concerned he was already before the duel, for example. So many Onegins play these scenes too haughty. The last pdd was very passionate, even sensual sometimes. My only small objection was the mirror pdd where Onegin is supposed to be Tatiana's hero: radiant, bold and just a little demonic - here Shklyarov was still self-absorbed and sinister like in the opening scene. No smile, no love for her - but wow, his exit through the mirror looked great. Let's hope he will dance the role again, with some more performances he could be one of the great Onegins - a dancer who wants to understand the soul of Pushkin's hero, not demonstrate what kind of dandy this person is.
  6. Bavarian State Ballet has uploaded the mirror pdd from Cranko's Onegin with Vladimir Shklyarov and Ivy Amista from last Sunday:
  7. stucha, the press conference at Vienna last year was in April, but for this year, the date has not even been announced yet. So we have to be patient. Stuttgart's early press conference was an exception, normally the German and Austrian theatres start in March, April with the news about next season.
  8. Alison, I have not seen it at Munich, but according to this video, they leave it in English:
  9. I guess I forgot Cranko's Romeo, but then that's all. They normally do 10 to 12 evenings/matinees of each production, so this makes around 80 performances, plus the annual Noverre/Young choreographers evenings. Munich sometimes does only four to six performances of one production. They do more repertoire productions, Stuttgart has more new productions next season. But it changes, sometimes they have more classics and fewer new works. It all depends on money, I suppose, and how often you can sell a certain piece. Wheeldon's Alice must have been very expensive for Munich, so more older productions in that season. A new full-length ballet or a ballet festival costs very much, so more Swan Lake next year, that's what Reid Anderson once said. I guess it's the same with every ballet company...
  10. Oh well, they might need guests, they already bring Daniel Camargo back for "Initials R.B.M.E." because no one is left to do the R part...
  11. Stuttgart was always more modern than the other German ballet companies (except for Schläpfer's Ballet on the Rhine of course) - remember, it was Stuttgart where Forsythe and Kylián made their first works, where Marco Goecke worked for ten years. Reid Anderson commissioned almost 100 new creations in his 22 years. The audience here loves modern choreography, they are hungry for new works, triple bills are sold out, like the classics. It started with Cranko who, as Londoners may or may not remember, welcomed Kenneth MacMillan when the Royal Opera House did not want his "Song of the Earth" because you don't dance to Mahler music. Cranko always invited other contemporary choreographers, and he gave young choreographers opportunities to work. I think it's an interesting programm, I'm looking forward to the Akram Khan piece, to the Kylián full-length, to a new Jürgen Rose stage design. As I am a huge fan of Goecke, I cannot understand why Detrich did not keep him as house choreographer, but Goecke will go his way, you may have read that Aurelie Dupont commissioned a new piece from him for next season at Paris. For Stuttgart, I think it's a great idea to replace the usual classic like Sleeping Beauty or Giselle with that classic/classicist/neoclassical triple bill, I'm looking forward to it! Why are you disappointed, are you only watching the classics (live most people here, I suppose)?
  12. Long before the usual press conference in June, Stuttgart Ballett has published the programme of next season. Designated Artistic Director Tamas Detrich announced the following premieres: Triple Bill "Shades of White" (Autumn 2018) - Concert for Flute and Harp (Cranko/Mozart) - Kingdom of the Shades, La Bayadère (Makarova version) - Symphonie in C (Balanchine/Bizet) A cooperation with the Art Museum Stuttgart about "Extasy in Art, Music and Dance" The Lady of the Camellias (Neumeier/Chopin), created for Stuttgart in 1978 (Winter 2018) One of a Kind (Kylián/Brett Dean, Gesualdo, Hykes, Britten et. al) A "Bauhaus" triple bill with creations by Katarzyna Kozielska, Edward Clug and Nanine Linning, a cooperation with the German National Theatre at Weimar for the centenary of the founding of the Bauhaus in 2019 Mayerling by Kenneth MacMillan/Franz Liszt with new sets and costumes by Jürgen Rose, the designer of Cranko’s Onegin and Romeo or Neumeier’s Lady of the Camellias – Detrich said it would be "much darker" than the Georgiadis version (May 2019) Triple Bill "Breath-Taking" - Out of Breath by Johan Inger/Jacob ter Veldhuis+Lajko Felix - Kaash by Akram Khan/Nitin Sawhney; Detrich intends to work with Akram Khan more often in the future - Hikarizatto by Itzik Galili/Percossa The exact dates and changes in the company roster will be announced in the joint press conference with opera and playhouse later this year.
  13. Austrian and French newspapers report that Manuel Legris will not renew his contract for Vienna Opera Ballet, so he won't stay after the year 2020. Comment in English here A new ballet director for the company at the Austrian city of Graz: Beate Vollack, now director at the small company at St. Gallen, Switzerland, and a former dancer with Bavarian State Ballet, will join director Jörg Weinöhl, who leaves after three years.
  14. Just to clear this up once again: all three Cranko story ballets - Onegin, Romeo and Taming - were recorded for German Television in den 1970s, all with Marcia Haydée. There were reruns in German television until the 1990s, but no videos or DVDs of these recordings were published. If you find DVDs of them, these are TV recordings made from video cassettes, but not officially released DVDs. I can't remember reruns of the ballets in a time where DVD recorders were available. It's not that German television did not want to show them, the Cranko Estate did not allow it.
  15. I don't think the Royal Ballet could film a Balanchine or Robbins ballet without a special contract (why is there no recording at all of Dances at a Gathering???). Every trust or estate of a dead choreographer (or composer or author) owns the rights to filming or further adaptations of the works of the artist. You make contracts for a certain amount of performances of a work, you are allowed to film it for rehearsal purposes and for a three or four minute trailer, but not to publish a DVD.
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