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

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

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

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.)

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.

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 🙂

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.

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.

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...

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.

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.

In Dumas' novel, Armand gives Marguerite Abbé Prévost's book about Manon Lescaut, so this was not Neumeier's invention. Also in the novel, Armand and Marguerite meet at the theatre for the first time, so Neumeier makes them meet at a ballet about Manon. You see her in white in act II in the country, without camellia, where white suggest summer, love and bliss. You see her in a deep red velvet dress at the end, with a white camellia, when she goes to the theatre for the last time. I think Rose wrote in his memoires that Marguerite has 15 different costumes in the ballet. Only one piece of music is repeated, the Largo from Chopin's Piano Sonata in b minor - it is Marguerite's leitmotif. We hear it at the very beginning at the auction, when the pianists tries out the piano and unknowingly evokes the woman whose belongings are sold. We hear the full Largo for the white pdd in act II where Marguerite and Armand are happy and blissful, and we hear the beginning of the Largo as the last music of the ballet, when Marguerite dies. Then, it is not played in the orchestra pit, but from behind the stage, very far away, already making her a memory - for me, that is one of Neumeier's most heartwrenching ideas of the whole ballet.

Zurich Ballet season 2024/2025: https://www.opernhaus.ch/en/spielplan/ballett/#154051

Berlin State Ballet Season 2024/2025 SEASON 2024/25 Reflection spaces between love troubles, climate change, and the madness of the individual Berlin, March 27, 2024 --- On this Wednesday morning, the Staatsballett Berlin has released the program for the 2024/25 season. Artistic Director Christian Spuck and his team presented four premieres including one world premiere, five revivals, a guest performance by the Nederlands Dans Theater, and a broad framework and education program that will be integrated into the Staatsballett starting next season. In his second season, Artistic Director Christian Spuck will present four premieres including one world premiere. The evening Minus 16 (October 25, 2024, Deutsche Oper Berlin) brings together works by Sharon Eyal and Ohad Naharin, two strong voices of the present. Choreographer Edward Clug is creating A Midsummer Night's Dream after William Shakespeare (February 21, 2025, Deutsche Oper Berlin), a full-length creation set to commissioned music by Milko Lazar. The ballet Winterreise, set to Franz Schubert's song cycle of the same name in the musical arrangement by Hans Zender (May 11, 2025, Staatsoper Unter den Linden), will be reworked by Christian Spuck with the ensemble. In the final premiere, Gods and Dogs (June 28, 2025, Staatsoper Unter den Linden), Jiří Kylián explores the madness of the individual, while Crystal Pite uses the dancing bodies to symbolize human transience and vitality. The Nederlands Dans Theater, one of the most prestigious dance companies worldwide, will be a guest at the Staatsballett Berlin (July 2025, Deutsche Oper Berlin) presenting the trilogy Figures in Extinction, a four-year project by choreographer Crystal Pite and theater maker Simon McBurney on the theme of climate change. At the end of the season, the Ballet Week will offer eight days of full programming with three productions from the repertoire, two gala evenings, two education formats, and two panel discussions. Returning to the repertoire is Swan Lake by Patrice Bart at the Staatsoper Unter den Linden. Also remaining there is Giselle by Patrice Bart, another major classical narrative ballet, as well as 2 Chapters Love with works by Sol León and Sharon Eyal. At the Deutsche Oper Berlin, Bovary by Christian Spuck and the triple bill evening William Forsythe will also be performed. In the ensemble, nine dancers are pleased with promotions. Weronika Frodyma, Martin ten Kortenaar, and Haruka Sassa will become Principal Dancers from the upcoming season, while Danielle Muir and Kalle Wigle will become Soloists. Marina Duarte, Gregor Glocke, Leroy Mokgatle, and Clotide Tran will be promoted from the corps de ballet to Demi-Soloists. Structural changes are taking place for Tanz ist KLASSE!, the education program of the Staatsballett, which will become its own department of the Staatsballett after 17 years as an association. A wide range of workshops for families, schools, daycares, as well as dance classes and holiday courses for various age groups and populations will continue to be offered. New offerings include 3D classes for teenagers, STEPahead, a training series for educators, and (K)nie zu spät, an event offering for seniors. The behind-the-scenes look is further facilitated by the program of premieres conversations and training sessions for spectators. Opportunities for exchange are offered through ballet conversations, where ensemble members and artists invite the audience for more personal discussions. Or at the forum, where social issues related to dance on stage are discussed. The upcoming season will be visually characterized by the photographic work of South African artist Caroline Mackintosh. The Berlin-based artist embarked on a colorful exploration of the Deutsche Oper Berlin with nine dancers for this project. Artistic director Christian Spuck is setting accents with the program: "Ballet, as well as dance as a living art form, creates spaces that reflect our present in a very special way, offer a look into the past, but also capture our current experiences in a deeply turbulent and torn world. The Staatsballett Berlin is for me a place of creative creation, networking, and mutual exchange that explores and enables these spaces." Regular ticket sales begin on June 10, 2024, with members of the Friends Circle and holders of the Danceticket being able to purchase tickets in advance starting on June 3, 2024. STAATSBALLETT BERLIN Season 2024/25 Productions 2024/2025 Premieres Minus 16 SAABA Choreography by Sharon Eyal Minus 16 Choreography by Ohad Naharin 25, 28, 29 October, 7, 8, 21, 24 (double performance), 29 November 2024 Deutsche Oper Berlin World Premiere Ein Sommernachtstraum Ballet by Edward Clug after William Shakespeare Music by Milko Lazar 21, 23, 26 February, 1, 9, 10, 30 (double performance) March, 21, 28 May 2025 Deutsche Oper Berlin Winterreise Choreography by Christian Spuck Music by Hans Zender after Franz Schuberts Winterreise 11, 14, 17, 23, 29 May, 7, 9, 14 June 2025 Staatsoper Unter den Linden Gods and Dogs Gods and Dogs Choreography by Jiří Kylián Angels´ Atlas Choreography by Crystal Pite 28, 29 June, 2, 6, 13, 18 July 2025 Staatsoper Unter den Linden Revivals Bovary Choreography by Christian Spuck after the novel by Gustave Flaubert Music by Camille Saint-Saëns, Thierry Pécou, György Ligeti u.a. 7, 8, 13, 22, 26 September, 3 (double performance) October, 21, 25 December 2024 Deutsche Oper Berlin Giselle Choreography by Patrice Bart after Jean Coralli and Jules Perrot Music by Adolphe Adam 20, 24, 29 (double performance) September, 10 October, 1, 2 November, 4 December 2024 Staatsoper Unter den Linden 2 Chapters Love Stars Like Moths Choreography by Sol León 2 Chapters Love Choreography by Sharon Eyal 15, 17, 23, 26, 30 November, 6 December 2024, 14, 17, 19, 22 April, 30 May 2025 Staatsoper Unter den Linden Schwanensee Choreography by Patrice Bart after Lew Iwanow and Marius Petipa Music by Peter I. Tschaikowsky 14, 19, 26, 28, 30 December, 16, 18 January, 15, 19, 22, 28 March, 5, 6 April 2025 Staatsoper Unter den Linden William Forsythe Blake Works I Choreography by William Forsythe Approximate Sonata 2016 Choreography by William Forsythe One Flat Thing, Reproduced Choreography by William Forsythe 24, 29, 31 January 2025, 27 February 2025, 6, 12 March 2025, 2, 10, 18, 25 April 2025 Deutsche Oper Berlin Special Events Ballet Week 25 May TanzTanz Spezial Staatsballett Berlin, Studio 26 May TiK Workshop Staatsballett Berlin, Studio 27 May Forum Deutsche Oper Berlin, Rangfoyer 28 May Ein Sommernachtstraum Deutsche Oper Berlin 29 May Winterreise Staatsoper Unter den Linden 30 May 2 Chapters Love Staatsoper Unter den Linden 31 May Ballet Gala Staatsoper Unter den Linden 1 June Ballet Talk Staatsoper Unter den Linden, Appollosaal 1 June Ballet Gala Staatsoper Unter den Linden Guests Nederlands Dans Theatre & Complicité 4, 5, 6 (double performance) July 2025 Deutsche Oper Berlin Staatliche Ballett- und Artistikschule 25, 29 June 2025 Deutsche Oper Berlin Conversations Pre-premiere Conversation Talk before the premiere 13 October 2024, 9 February, 27 April, 15 June 2025 Ballet Talk Artists and guests of the Staatsballett Berlin in conversation 3 November 2024, 2 February, 23 March, 1 June 2025 Staatsoper Unter den Linden, Appollosaal Forum Discussion Event Event series discussing socio-political topics related to dance and ballet 12 November 2024, 14 January, 27 May 2025 Deutsche Oper Berlin, Rangfoyer Backstage Ballet Class Up Close 17 November 2024 Staatsoper Unter den Linden Season Opening Festivities Stage rehearsal „Bovary“ 31 August 2024 Deutsche Oper Berlin

Just a reminder that Kameliendame will be live-streamed in 10 minutes - VOD for three days, no fee