Sabine0308

I saw that on instagram, I'm happy they got to work with the wonderful Stephane Lambiel❤️❤️. Hope to see this soon.

What a loss for Stuttgart and the Cranko world. May he rest in peace.

So Reid Anderson is now the only owner of the Cranko rights?

On April 18, I was finally able to see this live in Munich. It was a very special night, because I had brought my parents to see this performance, it was my gift to their 60. Wedding Anniversary (go figure...the Diamond Wedding).

The main cast was the same as for the livestream, beginning with "Elegy" - the entrance of "Tchaikovsky's spirit" Shale Wagman - he was spiritual indeed, reflecting the different pieces we were about to see with such a depth and wonderful lyrical musicality.

"Hamlet" was danced by an impressive and demanding Osiel Gouneo but I had difficulties to follow "the story" - I know it's not a story ballet but when you give the child a name...you search for some hints, in my opinion. Aside from 2 females (Elvina Ibraimova,  Bianca Teixeira) and the death scenes I couldn't make out more of the story. So it actually didn't touch me.

"The Tempest" was indeed much better recognizable, although the focus is very much on the main characters (former Duke and his daughter, future husband for the daughter, and the 2 spirits Ariel and Caliban). We saw a lovely daughter Madison Young and a strong Prospero Jinhao Zhang, with some humorous scenes when future husband Ariel Merkuri was involved 😃. Caliban (Y. Acosta) and Ariel (A. Casalinho) fought with each other, and while I had enjoyed the whirlwind Casalinho during the livestream, he seemed to be a bit laid back that night. (Maybe he was in his thoughts already on the plane to New York for the YAGP gala the next day🙈).

The female corps had some wonderful scenes in the beautiful costumes (dark blue for the upper body, white tutu below). I smiled about their entrance, with  seductive shrugs of the shoulders (very non-classical but entertaining).

Last piece was "Romeo and Juliet", in 2 different settings. At first, we see a dead Julia (Maria Baranova) lying on the floor, the corps arrives, and a mourning Romeo (Julian McKay) is at her side, then they "switch sides", and "Tchaikovsky" (Wagman) appears again together with a Soprano and a Tenor. All other dancers disappear. For the following 15 minutes, the singers tell the hopeless love story of R&J in enchanting duets. Shale Wagman's artistry was perfect for expressing the love, dreams, hopes and desperation of the so very famous lovers. He was telling this timeless lovestory in lyrical, joyful, charming but in the end very desperate movements, and touched us deeply. The physical interaction between dancer and singers was choreographed very carefully, tender and deep, for example when the singers supported the dancer by holdings his hands before he lifted his leg into an arabesque. It was pure beauty. The singers than parted their ways by leaving the stage on opposite sides, leaving the dancer alone, he was lost in revery.

Personally I would have been happy when this would have been the final scene, because the story had been told. But then the dancers R&J and corps returned to the stage to dance some more. I cannot say if this added to the ballet or was just a neccessary "filler" to show a dancing couple R&J, and then finish the piece with them on the shoulders of their peers, to show that their eternal love survived, but ok. Aside from some flaws in turns/going into arabesque,  Mckay was a reliable partner for a charming Baranova. But like I wrote after the livestream, there are no special PDDs for them, so it was rather an ensemble piece.

I am very grateful to Shale Wagman for taking the time and having a lenghty talk with my parents at stage door, it made them so happy (and him too🙂).

We wish him all the best.

It's been the UK people who voted for Brexit. It's now their turn (after experiences of desaster) to demand changes from their government. You can do that!❤️

To give proof that it was clearly advertised, who would perform, I attach here a Screenshot of an email I got from YAGP on March 9!

It's a shame. They flew over to NY only to learn last minute that their performance had been cancelled by the Koch Theatre (not by YAGP). It's either lack of communication between YAGP and the Koch theatre, or ignorance and then a sudden shock by Koch when they were criticized. From Maria Khoreva's IG account: "...Art will always find a way to human soul."

❤️❤️❤️

Thanks for the link @Roberta. I'm still confused about the "25th Anniversary" because last year, they did the promotion for the Gala at Lincoln Center New York with exactly that label.🤔

Also, for the gala this year,  3 dancers from Mariinsky had been invited to perform. I subscribed to YAGP newsletter last year, so I do know that their names have been on the Gala announcement for quite some time. So today, I found a letter which states that their names had been kept secret until 2 days ago, which is clearly not true. I attach the letter here. While I understand the anger of the author, I still think a lie is still a lie and does the author no good.

7 hours ago, Neverdancedjustamum said:

The winners have chosen their schools/company. So glad to see Paloma joining ABT Studio Co. 
 

https://www.prixdelausanne.org/schools-companies2024/

Good choice!

This ballet is my favorite and I have high expectations especially OF COURSE because it makes you sob when the magic really happens. From your enthusiastic reports I see that the cast did just that. How wonderful that you got to have this experience. ❤️

2 hours ago, Roberta said:

That's all probably the case. However my understanding is he wasn't offered a contract with the Royal Ballet to dance, he was offered a year training as an apprentice (as with the Aud Jebson dancers) which is the PdL prize.   I don't know how the funding works for that one totally, it won't be a huge amount to live on I'm sure, or indeed the accommodation provided.   I seem to recall he did think it was or should have been a contract to dance which it wasn't, it's all rather technical!

 

It certainly wouldn't have enabled his partner to come here with him for a year.  She'd have not had any job or training place. They were very fortunate with Munich. 

 

 

It wasn't only fortune but a certain support, and Zelensky took it and made contracts for both possible. M. Fernandez said in an interview for ZDF (German TV) that in the beginning it wasn't easy for her within the company because she joined on level demi-soloist. I think some female dancers were not amused, she had not even finished her ballet school in Portugal when she joined.

My (totally personal) guess is that Zelensky wanted A. Casalinho, and it was fortunate that he already had a tiny partner.

@Angela swiss German is not a language, it's a throat disease 😁

5 hours ago, myrtle said:

 

Are the end of stalls (toward aisles) bad in Deutsche Oper?   In which theaters should non-central stalls be avoided, in your extensive experience?   

 

Also, do a lot of people in Berlin, Munich, Amsterdam and Zurich speak English?    Efforts will be made with phrasebooks, but my pronunciation is usually too horrid for anyone to figure out what I'm trying to say, so a city where the people will laugh rather than get offended, or better yet, answer me in English, would be most encouraging!   

 

Thank you all for the education. 

The view from stalls in Deutsche Oper is good from any seat, as there is no restricted view. I would avoid seats on the side in Staatsoper and (when they are back in their renovated house) in Komische Oper Berlin. Staatsballett Berlin usually performs in 3 Opera Houses except during the renovation of Komische Oper. They might perform in the Schillertheater next year, it's the provisional house for Komische Oper.

Staff in German Opera Houses speaks German, if that is your question. And of course a lot of people in the audience, because either they learned it or are English/American etc and live/work here. Or tourists😉

49 minutes ago, Angela said:

 

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.

I have no experience with standing room, I want to sit😉. So in Munich it's either stalls until row 10 or 1st balcony.

I once had the pleasure to sit in the "King's Lounge" by pure luck, but although the overall view is great it's way too far away from the stage for me.

15 hours ago, Sabine0308 said:

I often take the (not so) high heels to the theatre and change shoes there. And see some people do this as well. The only theatre  where I can get in High Heels to, good weather provided, is in Munich. The Tram literally stops in front of the Opera House, so it's a 2 Minute walk.

Quoting myself because I forgot Deutsche Oper Berlin with its own subway station.🙈 You can go there without umbrella even in pouring rain because you don't get wet, there's a roof between station and Opera entrance👌

I often take the (not so) high heels to the theatre and change shoes there. And see some people do this as well. The only theatre  where I can get in High Heels to, good weather provided, is in Munich. The Tram literally stops in front of the Opera House, so it's a 2 Minute walk.

A friend of mine who lives in Munich always buys tickets for standing room (2nd or 3rd tier) and she's always happy. Not too much on the side though.

50 minutes ago, Sophoife said:

... (I hasten to add it's always clean)!

...

Actually, this is the only MUST BE on my list.😁

30 minutes ago, Silver Capricorn said:

...

The spectators themselves are trying to force their way so that inappropriately dressed people are not allowed into the auditorium.  A visit to the theater is considered a social event here, and people show respect for the theater and the artists by dressing appropriately and behaving appropriately.

While I agree with your previous sentences, I strongly disagree with "trying to force their way...", this certainly does not happen in Berlin. I do like it when people dress up for the Night, as I do myself (Igrew up with going to theatres this way). But in Berlin, you can go as you please. I'd say that seeing people in festive clothes is a good example and gives other people an idea for their next visit.

1 hour ago, Don Q Fan said:

Thank you Sabine and Vanartus for your informed views. It's good to hear. It sounds like things will develop under Spuck. I'll keep an eye on the offerings. As you say there is a wealth of past works that could be used again in future. I think I felt Swan Lake and Giselle were just a bit tame when there is more exciting rep in the company eg Onegin or their lovely Bayadere. I appreciate that they have to earn a living, so if the contemporary stuff sells, so be it. 

I do hope that we will get back Onegin as well as the two beloved La Bayadère and Nutcracker (I miss this so much, it was a tradition to see it, and then Christmas time began❤️). It will take time especially because of the "Black face" discussions and fake Indian culture in Bayadère. I'm sure they know how well Munich handles this topic.

3 hours ago, Don Q Fan said:

I think my "problem" with Berlin is that I loved it so much when Vladimir Makakhov was AD. For me it's been downhill ever since 😬

Before Christian Spuck, we still had a lot of classical ballets. Even during the disappointing and lame Oehman/Waltz "accident". I'm still really mad at Oehman to let an entire company of 90 dancers down for a personal advantage. Christiane Theobald then had the tough job to keep everything together, especially the spirit of the dancers, during Covid Times. She did a great job, and Christian Spuck acknowledged how smooth it was for him to take over. No narcissist behavior, no hassle.

I do think that Spuck has a good hand for the future. Tradition is important, will always be a part of repertoire and is not to be forgotten, but it should not remain "written in stone" for all times. If ballet, or any art form, does not develop, does not search and find new and exciting, strange, controversial ways, it dies, in my humbled opinion.

@Sim yes.

4 hours ago, Don Q Fan said:

I was a bit disappointed with Berlin's 24/5 offering...a lot of newer stuff which isn't my cup of tea. Had hoped for Onegin and La Bayadere. However if they're doing so well as Sabine says, and 98% tickets sold then fair enough! 

It's exactly the newer stuff that sells so well in Berlin, attracting young people (not only of course). And the classical ballets are usually sold out too.

In case someone wants to hop over the channel, I have one ticket for the soldout ONEGIN (Cranko) in Munich on Saturday April 13, 2024, 7.30pm.

The seat is in row 3 in the stalls.

57 minutes ago, Lesley said:

Looks like Vadim and Fumi are no longer appearing at the World Ballet Stars gala in Geneva on June 10th unless they can time travel. They are still being advertised as appearing.

Yes, I was wondering as well. But the cast is subject to change, in both events maybe.

1 hour ago, FionaM said:

98% of tickets sold is VERY impressive.  The  ballet company should get more performances in the next season on this evidence .

They do. 10 more in the new season.