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Angela

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    Stuttgart, Germany

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  1. Angela
    The honorable John Neumeier will say farewell with Heavy Metal: For his definitely last Hamburg Ballet Days he invited Birmingham Royal Ballet with the Black Sabbath Ballet. They'll be guesting at Hamburg in July. If you can't get the Bolshoi, take Black Sabbath 🙂
  2. Angela
    Now this is interesting: Ballet Dortmund in Germany announces a new Bayadère for next season, "set in Hollywood in the 1920s" and choreographed by director Xin Peng Wang. Decors by Jerôme Kaplan. https://www.theaterdo.de/produktionen/detail/la-bayadere/ English Translation of the website
  3. Angela
    The German Dance Prize 2024 goes to choreographer Sasha Waltz. Dieter Heitkamp, head of the dance department at the Frankfurt University of Music and Performing Arts for 22 years and an important German dance teacher, is honoured with a lifetime achievement award. “explore dance”, a network for the young audiences, is honoured for outstanding development in dance. The main award is endowed with €20,000, the awards for Dieter Heitkamp and explore dance are endowed with a grant of €5,000 each. The prize ceremony will take place on Saturday, 12 October 2024 with a Gala at the Aalto-Theater in Essen.
  4. Angela
    I guess they already belong to the Cranko Foundation, but I'm not sure. This ist what Anderson said at the press conference for the opening of the new Cranko School in 2020 about the Foundation: “Everything will then go to the school. To protect the school forever.” In another interview, he said that the Cranko Foundation has two important goals: the well-being of the school and the integrity of Cranko's ballets – so it ressembles the trusts that manage the copyrights to Balanchine’s or Jerome Robbins’s ballets. The Cranko Foundation has a board of trustees who not only manage the rights, but also care for coaches and ballet masters who work with the companies that dance Cranko’s works.
  5. Angela
    Dieter Graefe, heir to the rights of John Cranko’s ballets, has died on Saturday, April 20th, at his home in Stuttgart. He was ballet secretary and administrative director at Stuttgart Ballet, first with John Cranko and then with Marcia Haydée. In his will, Cranko had named the long-time friend and collaborator as heir to his estate and the rights to his ballets. Since then, Graefe has licensed Cranko's works outside Stuttgart and Munich. After Cranko's early death in 1973, Graefe was entrusted with the temporary management of the Stuttgart Ballet together with ballet mistress Anne Woolliams, until Glen Tetley became director a year later. Graefe remained ballet secretary and was promoted to deputy ballet director in 1983 and administrative director of the Stuttgart Ballet during Marcia Haydée's time as AD. In 1985 he moved to Canada with his partner Reid Anderson, and in 1996 they both returned to Stuttgart, when Anderson was appointed AD of the company. In 2020, together with Reid Anderson, Graefe founded the John Cranko Trust which already receives all royalties - and in future all the other income - from Cranko's estate with all proceeds going to the John Cranko School. An obituary on Stuttgart Ballet’s website
  6. Angela
    Next season at Ballett on the Rhine, with new directors Bridget Breiner and Raphael Coumes-Marquet: https://www.operamrhein.de/en/schedule/productions/#season-202425 somehow the choice buttons work only on the German website for me, so try this if it doesn't show season 2024/25: https://www.operamrhein.de/spielplan/produktionen/#ballett/spielzeit-202425 Next season at Hannover Ballet https://staatstheater-hannover.de/en_EN/premieren-24-25-staatsballett
  7. Angela
    Ex-RB-dancer and Best Swan Ever Mr. Adam Cooper will continue to work at the Gärtnerplatztheater at Munich, next season he will direct "The Pirates of Penzance", also with his choreography https://www.gaertnerplatztheater.de/de/produktionen/die-piraten-von-penzance.html?m=489
  8. Angela
    Hamburg Ballet, casting for Anna Karenina with guest ballerina Olga Smirnova: Anna Karenina: Anna Laudere (26., 27.4.), Olga Smirnova (8., 10.5.) Alexei Karenin: debuts for Matias Oberlin (26., 27.4.) and Christopher Evans (8., 10.5.) Vronsky: Alexandr Trusch (26., 27.4.), Jacopo Bellussi ((8., 10.5.)
  9. Angela
    And then there are the top academies that think they can profit from having one PdL winner after the other, like the Académie Princesse Grace at Monte-Carlo. I think the schools directly attached to companies send their students rather rarely to Lausanne, as they want to keep them for the company when they are fine dancers. Instead of having lots of talent scouts running after them at Lausanne and luring them away. Students who already have contracts are not allowed to the competition. It's always the question: do you want to tout your academy by sending your best pupil from whom you know he will get a contract at home, or do you go to Lausanne as a academy director to pick up students who are already good to put them in your school for another year and then say: look, we made him. The PdL winners are not necessarily the best dancers of their generation.
  10. Angela
    This never happened to me. But Swiss people do speak many languages, maybe not perfectly, but they switch easily. Everyone who speaks Swiss German speaks "normal" German too, don't worry, and they switch because they know no one can understand them. Whatever normal German may be... I have heard from dancers at Stuttgart who came with well-prepared German words and then people here spoke Swabian and they were lost. We all have a common standard German that we try to use with strangers, but as soon as Swiss people or Saxonians or Bavarians are among themselves, the language gets imcomprehensible. It's like me hearing Scottish or Australian for the first time 🙂
  11. Angela
    You will always find someone who speaks English to help you, just ask the younger people. Not necessarily at the box office or with the ushers, but normally they know somebody they can ask to help you. Zurich is a very international town, so don't worry. And don't try to understand Swiss German, it's impossible 🥴 We know how hard it is to learn German, we don't laugh or get offended if anyone makes the effort. On the contrary, we admire you! Most websites of German theatres have an English version to help you with the basics.
  12. Angela
    At Stuttgart Ballet, after the debut of Swedish dancer Henrik Erikson as Siegfried tonight, director Tamas Detrich announced that he will be promoted from soloist to principal dancer next season. It was a nice debut, but I hope he can show in the rest of the season he really deserves this promotion which I find comes surprisingly early.
  13. Angela
    The Munich standing room is quite cosy, places are numbered, you have much room and a friendly railing at the perfect height to put your arms on. But yes, the Nationaltheater is way too big for ballet, you need good binoculars to see the details. In the first rows of the stalls, I have a feeling like I need to look up to see the stage, as the seats are under the level of the stage, and the rake is not really steep. Another theatre where I can't find the perfect seat for ballet...
  14. Angela
    Second Balcony in the middle is excellent for standing room, but third balcony is already too far away for my taste. And I would only take the more expensive standing room tickets, not the cheaper ones, you always miss a part of the stage.
  15. Angela
    Myrtle, I did not check for the Zurich casting so often, but as far as I remember, it comes rather short before the performance. Maybe you could check when they put it online for the next performances; right now, it's just for the next week. The Zurich Opera House is lovely, next to the lake - but it has the worst sightlines I know for the highest prices. You're safe when you are in the orchestra level - the rake is not steep, but it is there, and I never had problems. If you can get the first row in the Parkett Galerie, that would be perfect, everything is near enough to the stage, as it is a rather small theatre. For every other seat in the house you have to sit in the middle part of the theatre if you want to see the whole stage - don't got further out than boxes 8 or 7, even there the second row is already bad. Never go in the third row of a box, it's standing room only, even if you have a seat (the fourth row are barstools - maybe you can see if you stand on them 🤪). In the second balcony, you see very well in the middle section (very steep rake) and maybe in the first three seats from the middle in the side sections, don't go further outside. They have seats with slightly restricted views behind columns, "slightly" means restricted, not slightly restricted. Getting a cheap seat with good sightlines at Zurich is really hard work! As it is so small, the acoustics are great, but what does that help if you don't see the dancers. A great house for opera... My theatre with the best sightlines, by the way, is the Badisches Staatstheater at Karlsruhe, a modern and a little ugly building, but you can see the whole stage from literally every single seat in the house. And it has a huge stage, so much room for the dancers.
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