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Angela

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  1. A strange thing that they won't show their ensemble. I'm still bewildered by Cherkaoui's move - he IS Belgian, his Eastman Company is in Belgium, so why move to a smaller company and leave what he has built in Flanders? Well, we will see.
  2. That's how Mr. Forsythe wanted it - a single camera. Isn't Blake Works simply spectacular? Watch it while it's online, everybody, such a wonderful piece!
  3. Ideally, this would also be a job for the critics, and in former times we had authors who could write beautifully about such things. But somehow ballet has become a thing of scandals, "Bad Boys", MeToo, Diversity. Of course it is important to have more female choreographers and directors, of course we need to work against mobbing or harassment in companies and schools - but somehow the essence got lost on the way, I think sometimes.
  4. Four premieres plus an extensive fringe programme Season 2021/22: Ballet for all! Berlin, 18 June 2021 --- This morning, the Staatsballett Berlin released its 2021/22 season programme. In addition to four premieres by established and up-and-coming choreographers, new fringe events as well as a mentorship programme for Berlin dancers were announced. The first premiere of the season, DAWSON, boasts two works by the renowned choreographer David Dawson at the Deutsche Oper Berlin on 26 September 2021. Created during the pandemic, VOICES comprises 14 dancers who explore the universal quality of human existence, accompanied by Max Richter’s eponymous music. The solo piece CITIZEN NOWHERE completes the double bill. With SYM-PHONIE 2020 at the Staatsoper Unter den Linden on 13 March 2022, Sasha Waltz premieres a new work for dance and music with the Staatsballett Berlin, featuring original ballet music by contemporary composer Georg Friedrich Haas. Marcia Haydee's SLEEPING BEAUTY revels in fairytale opulence including new costume and stage designs by Jordi Roig at the Deutsche Oper Berlin on 13 May 2022. Finally, LAB_WORKS 2022 features the young Fellows of the Mentorship Programme together with the ensemble at the Komische Oper on 26 May 2022. Víctor Ullate's version of DON QUIXOTE marks one of this year's major revivals with complete stage set for the first time and a variety of different casts at the Deutsche Oper Berlin on 3 December 2021. John Cranko's ONEGIN, George Balanchine's JEWELS, Patrice Bart's SCHWANENSEE and the double bill FORSYTHE | EYAL including THE SECOND DETAIL and STRONG is also part of next season's programme, a wide-ranging arc of great stylistic diversity; an invitation to examine established ballet tradition. In order to bring the art form of ballet even closer to the audience, the company offers insights into the work behind the scenes through a variety of fringe events. At the Deutsche Oper Berlin and the Staatsoper Unter den Linden, the curtain rises for BALLET CLASSES UP CLOSE, so everyone can catch a glimpse behind the scenes of everyday life at the Staatsballett studios; the essential foundation of the dancers' art which they master so skilfully. INTRODUCTORY MATINEES before premieres, for which the entire artistic team gathers, provide audiences with unique insights which are normally unveiled through personal exchange with the entire team only. In addition, the Staatsballett Berlin opens up the debate and questions historic ballet performance practices with BALLET FOR FUTURE? WE HAVE TO TALK!, together with the audience, dancers, critics, activists and academics alike. On top, the Staatsballett Berlin offers 12 alumni of the Staatliche Ballett- und Artistikschule Berlin to participate in the Enhance Mentorship Programme. Based on their completed training, the programme is a bridge between school life and professional life, including morning classes, cognition, health aspects and one-on-one mentoring sessions. Dr. Christiane Theobald, acting artistic director of the Staatsballett Berlin, is looking forward to a varied season: "A season full of new impulses lies ahead of us! We want to make ballet accessible to as many people as possible which is why we have significantly expanded our fringe programme on top of our long-awaited premieres. I am particularly pleased with the overwhelming female force, not only manifesting through our premiere choreographers Sasha Waltz and Marcia Haydée, but also through Alondra de la Parra and Alevtina Ioffe at the baton."
  5. Do you know how big the company is now? I can't find the number on their website.
  6. The Belgian choreographer will succeed Phillippe Cohen at Geneva: https://www.gtg.ch/actualites/sidi-larbi-cherkaoui-futur-directeur-du-ballet/ I'm bit confused, as Ballet de Genève has currently 22 dancers - I remember when Flanders did Sleeping Beauty or Onegin, the company must be so much bigger than Geneva. What a strange move.
  7. I don't understand where Acosta's problem is: It's all there! He just needs to see it, take it and put it on his stage, like other directors do. Back in the 1980s, William Forsythe changed ballet aesthetics by making dancers look like the young people they were in real life - cool, fast, athletic. In the 1990s, Maurice Béjart created works like his "Ballet for Life" (or "Le presbytére...") with modern, young people in very hip Versace costumes dancing classical ballet about Aids to music by Queen. Matthew Bourne brought all the classics in a modern setting. Watch modern relationships and self-confident women in Hans van Manen's pieces, watch Hofesh Shechter's hordes of young rebels in the streets dancing to rock music, watch Akram Khan's pieces that care about environment, world peace, diversity, watch Cherkaoui - you will say it's modern or contemporary dance, but they all went to ballet companies and worked with ballet dancers. Like it or not, ballet had always modern choreographers with modern themes and modern looks. Could it be that this is an British problem of ignoring what's happening in modern ballet? Asking from a continental point of view...
  8. This is the German press release by the Berlin Senat: https://www.berlin.de/sen/kulteu/aktuelles/pressemitteilungen/2021/pressemitteilung.1095732.php As there seems to be no English version available, this is a rough translation: PRESS RELEASE OF THE SENATE ADMINISTRATION FOR CULTURE AND EUROPE OF 15 JUNE 2021 Christian Spuck will be the new artistic director of the Staatsballett Berlin beginning with the season 2023/2024. In order to to approach his directorship responsibly with the appropriate preparatory time, he will already be assisting the Acting Artistic Director Christiane Theobald as artistic advisor during the 2022/2023 season. After the resignation of the co-directors Waltz/Öhman in January 2020, we sought the best possible solution for the Staatsballett and its further development under the umbrella of the Berlin Opera Foundation in terms of content and personnel. Our focus was on modern leadership that creates stability, continuity and unity in the ensemble, has diversity skills, is a team player and bears in mind the individual development of the dancers of the ensemble and the staff. At the same time, we wanted to ensure the further development of the ensemble's profile from classical to neo-classical to contemporary ballet as well as a national and international profile and positioning of the ensemble. The future artistic director should also have a broad network at his or her disposal in order to establish collaborations between the ensemble and both leading international choreographers and promising young talents. He should be able to select a programme for three different opera stages with different profiles and audiences. The Senator for Culture and Europe, Dr. Klaus Lederer: "Christian Spuck is an internationally successful choreographer who has great experience in directing a ballet company and is aware of his responsibility towards the ensemble and the staff. I am very pleased that I have succeeded in winning him for the direction of the Staatsballett. He will put his full concentration on the development of the Staatsballett Berlin and its profile, and further develop its already established profile from classical to neoclassical to contemporary ballet across the board. I am convinced that his election is a great gain for Berlin and for the Staatsballett. I would like to take this opportunity to thank the international and multi-perspective panel of experts with Janine Dijkmejer, Dr. Dorion Weickmann, Ted Brandsen and Ivan Liška for their immensely thoughtful and experienced advice throughout the entire appointment process. I would also like to extend my heartfelt thanks to the interim Artistic Director, Dr Christiane Theobald." Christian Spuck: "I am very much looking forward to the new task of leading the Staatsballett Berlin as artistic director from the 23/24 season. I have always been a great admirer of the company with its great dancers and diverse repertoire. With great respect for this new responsibility, I would like to give the Staatsballett Berlin a future in which both classical ballet and contemporary dance are further developed. This will happen together with the most important choreographers and artists of our time. With top-class classical and contemporary dance, for which the Staatsballett Berlin will stand, I would like to inspire a large audience for this beautiful and unique art form together with the company. Berlin stands for diversity and it is a great concern of mine to further develop this diversity in the ensemble and in the repertoire of the Staatsballett together and to consolidate the excellent, international reputation of the company." Christian Spuck (*1969) comes from Marburg and received his training at the John Cranko School in Stuttgart. He began his dance career in Jan Lauwer's Needcompany and Anne Teresa de Keersmaeker's ensemble ROSAS. In 1995 he became a member of the Stuttgart Ballet. His first world premiere for the company was the choreography "Passacaglia" in 1998. In 2001 Christian Spuck was appointed house choreographer of the Stuttgart Ballet. He has choreographed a total of 15 world premieres for the company. In 2006, Spuck was appointed resident choreographer of the Hubbard Street Dance 2 Chicago company for one season and received the German Dance Prize "Future" for choreography. Since 2005 Christian Spuck has also worked in film and opera. Since the beginning of the 2012/13 season, Christian Spuck has been director of Zurich Ballet. In 2020, the magazine tanz named Ballett Zürich "Company of the Year". In 2020, Spuck’s choreography "The Little Match Girl" was chosen as "Production of the Year" by tanz magazine. In March 2021, his ballet production of the Virginia Woolf classic "Orlando" had its world premiere at the Bolshoi Theatre in Moscow. _________ In the press conference, Spuck said he wants an easy, friendly transition from Theobald's direction and that he wants to get to know the dancers before (not) kicking anybody out. He will keep most of the classical repertoire and plans to have a half classical, half modern/contemporary schedule. He may import one or two of his previous productions, by his contract demands to create new full-length ballets. He will not focus on his own works, but invite other choreographers and keep a classical repertoire. He was introduced to the dancers today and Christiane Theobald said they applauded.
  9. https://www.seeingdance.com/cathy-marston-ballett-zurich-210615/
  10. Choreographer Christian Spuck will direct Berlin State Ballet from season 2023/24. More info to follow
  11. Well, there was a time before, when Neumeier had Ivan Liska and the Bubenicek twins and Ivan Urban and Heather Jurgensen, he created so many beautiful roles on them. Yes, Riabko, Azzoni and Bordin were the second golden generation, but honestly, I can't see a single dancer nowadays whom I really love, who would make me go and see any performance just for her or him. I don't know when Neumeier lost his good eye for dramatic dancers, must have been some ten years ago. Cojocaru is the only light.
  12. here is the link for Munich - new opera director, new website design 🤨 🤷‍♀️ https://next.staatsoper.de/en/
  13. Wolfgang Stollwitzer is back at Stuttgart Ballet now, working as Assistant to the Director of Production and Ballet Master. He was gone for 25 years, and yet everybody in the audience seems to remember him - a great joy!
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