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Found 19 results

  1. The Stuttgart production with new sets and costumes by Jürgen Rose will be online for 24 hours from April 11th, 18.00 CET to April 12th, 18.00 CET on Stuttgart Ballet's Youtube Chanel https://www.youtube.com/c/dasstuttgarterballett The cast is the premiere cast at Stuttgart, with Friedemann Vogel (Rudolf), Elisa Badenes (Mary), Miriam Kacerova (Elisabeth), Alicia Amatriain (Larisch), Diana Ionescu (Stephanie), Anna Osadcenko (Mizzi), Marcia Haydée (Sophie) and Egon Madsen (Franz Josef).
  2. I suspect the answer to this is going to be "no", but my daughter is reading Pushkin's "Eugene Onegin" and hasn't yet been able to see a performance of Cranko's ballet. She was away when RB last performed it in 2015 (?) and too young for it prior to that. I know the Tchaikovsky opera is widely available on DVD but apart from excerpts of and interviews about the ballet on Youtube, there doesn't seem to be a recording of the full ballet available anywhere. Nor does the RB or any other company seem likely to stage the ballet in the UK this year or next. Am I remembering corr
  3. Its certainly a boon time for Ballet companies putting up on the internet past performances of their ballets, below are a three Stuttgart Ballet's "The Sleeping Beauty" https://www.youtube.com/watch?v=4GDNAN6x-C4 Teatro San Carlo The Nutcracker (with Vadim Muntagirov and Lauren Cuthbertson) - https://www.youtube.com/watch?v=UBVTr1oxbFs&t=14s Cinderella Act 1 https://www.youtube.com/watch?v=DauSAFpSApI Act 2 and 3 https://www.youtube.com/watch?v=tgEHoSIALYU&t=9s We all need a bit of light in such trying t
  4. Fabulous insight event (“Ballet Talk”) this morning about the forthcoming premiere of Mayerling with Stuttgart Ballet. Tamas Detrich spoke about why he chose to add Mayerling to the repertoire in Stuttgart – he’d seen the work performed by the Stanislavsky Ballet and was “blown away” by it, thought that the dramatic narrative would work well in Stuttgart with its history of three-act story ballets by John Cranko, and had been looking to get Juergen Rose involved. Gerald Dowler talked about the creation of the work for the Royal Ballet in 1978 and its reception – in London and elsewhe
  5. Last three performances of the Stuttgart tour: Neumeier's Kameliendame, Kilian's One of a Kind and Macmillan's Mayerling. Let's start with Kameliendame (Marti Fernandez Paixa and Miriam Kacerova). Great dancing, but I really don't know if I like it or not. I found the parallel between Marguerite and Manon initially interesting (Marguerite and Armand meet at a performance of Manon), but finally intrusive. I'd got the point. But the P de D! I need to see the ballet at least once more before I decide like/not like.and heaven only knows when that will be, as I don't think anyone in Australia has i
  6. Well, last week I saw Macmillan's R&J in Karlsruhe. This week it's Cranko's R&J in Stuttgart. Twice. I'll leave comments on the technical apects of the performances to more capable commentators than me. But I am constantly asked which I prefer. I don't. Both are wonderful works, and I love both of them, but I think that Macmillan really gets what it is to be 16, 17, 18 and absolutely, dilariously head over heels in love with a girl who similarly loves you. Think the balcony scene. Cranko is way too restrained. On the other hand, Cranko gets devastation, loss and grief. Act 3 is heart-
  7. A fabulous Wednesday evening with a total of 10 works by “Young Choreographers” (“young” in the sense that they aren’t established choreographers yet i.e., not related to their age), some of whom are dancers with the company while others are based elsewhere. Some of those with the company participated for the first time whereas others had already contributed in previous years. Stuttgart Ballet has taken on the organisation of these annual events from the Noverre Society, and so this year’s event was the first one that was organised by the company. What made this year’s programme special f
  8. This mixed programme premiered last Thursday, inspired by the 100th anniversaries of both the creation of the Bauhaus and the events surrounding the adoption of the Weimar Constitution. Katarzyna Kozielska’s piece IT.Floppy.Rabbit draws on designs created by artists at the Bauhaus. The lamp designed by Wilhelm Wagenfeld is depicted through a white, semi-translucent lamp shade with a dancer in shiny black as lampstand underneath who does lots of bourrees. A dancer crawls along the floor, moving towards the lamp (a metaphor for searching and finding the iconic design?). A PDD makes use a Ba
  9. The festival week in celebration of Reid Anderson’s 22 years as Artistic Director of the company is in full swing, having kicked off with a cinema viewing of Romeo & Juliet last Friday and ending with a gala performance this coming Sunday. Full programme here https://www.stuttgart-ballet.de/schedule/festival-anderson/. Some nights I can’t do, others show works that I’ve seen recently, so last night’s performance of Party Pieces was the first programme that I attended. All works in Party Pieces were created for specific occasions over the last 22 years e.g., birthdays, galas, Young Cho
  10. We don't appear to have an overarching thread for next season's cinema ballet broadcasts, so here it is! Details of the Bolshoi season are here: Do we have the Royal Ballet details anywhere yet? I can't find them.
  11. This year’s programme of “Ballet in the Park” included the live broadcast of Maximiliano Guerra’s Don Quixote by Stuttgart Ballet on Saturday evening and a mixed programme performed by the John Cranko School on Sunday morning. This was also the 11th anniversary of such live broadcasts, and it was explained that the inspiration came from a public viewing in Trafalqar Square in 2006! With approximately 7,500 people in attendance on Saturday evening (I’ve also seen a figure of 10,000 though this will maybe include the broadcast on Sunday morning), the area dedicated to the live broadcast was clos
  12. Fabulous premiere of Demis Volpi’s production of Benjamin Britten's Death in Venice last night, a coproduction by Stuttgart Ballet and Stuttgart Opera. .... This being a coproduction, I've been in two minds as to whether I might better post this in the performances or the opera section. I saw the piece last night based on the dance elements so I've gone with the performances thread. No Venetian sights – instead, semi-transparent walls made from plexiglass and in various formations illustrate the labyrinth-like structure of Venice (sets and costumes by Katharina Schlipf). Depending on th
  13. I saw the new triple bill „Night pieces“ on Tuesday evening. It was also a great opportunity to meet Angela before the performance, to put a face to a name and catch up on ballet and things. J Edward Clug’s Ssss… provides the atmosphere of a quiet late-night bar – a pianist playing Nocturnes by Chopin live on stage, lots of empty low chairs, a few guests/ dancers sitting on some of them. All dressed in midnight blue, the dancers in loose smart clothing and the pianist in a beautiful long evening dress. The piece depicts a number of temporary relationships, focussing on (the following all m
  14. Seduction in various guises is the common thread of the current mixed bill at Stuttgart Ballet, and its title. I saw the programme on Friday evening. Katarzyna Kozielska’s Dark Glow explores the negative side of seduction. To new music by Gabriel Prokofiev, the piece includes a lead couple and a female soloist (Hyo-Jung Kang & Pablo von Sternenfels and Ami Morita on Friday, the latter two in debuts), three more couples and a female corps, all in shades of pastel colours. The leads and the three couples illustrate aspects of friendship and love through various PDD with high lifts; the c
  15. A wealth of global talent on the stage tonight. Students of the John-Cranko-School of all ages (The four seasons, A spell on you, Extracts from Etudes), and guests from the Ecole de Danse de L’Opera national de Paris (PDD from the 3rd act of Nureyev’s The Sleeping Beauty), The Royal Ballet School (Sae Maeda and Nicholas Landon in the PDD from MacMillan’s Concerto), Canada’s National Ballet School (I loves you Porgy by Demis Volpi), and the School of the Hamburg Ballet (Extracts from John Neumeier’s Yondering). The Four Seasons has been coordinated by Demis Volpi, and each season is created by
  16. The run of a triple bill at Stuttgart Ballet with choreographies by Hans van Manen, Glen Tetley and Katarzyna Kozielska ended on Saturday. I saw its penultimate performance on Friday evening. Hans van Manen’s Kammerballet was created in 1969 and is new to the repertoire in Stuttgart. Music is by Kara Karayev, Domenico Scarlatti and John Cage. If I needed to summarise the ballet in one sentence, it would be “dancing while others are watching”. One dancer after another comes on stage carrying a side table on which they then sit, and from where they watch, observe - some interested, some with
  17. One of the recent posts in the forum topic "acquisitions" referred to the Cranko mixed programme with Stuttgart Ballet, and this inspired me to write this review. @ Moderators, I wasn't sure whether to post this in "performances seen" or "news from Germany" and went for "performances seen" - please move the post if it better sits elsewhere in the forum. Opus 1 and Initials R.B.M.E. had been on my list of ballets to see for a while so buying a ticket for the run that just finished at Stuttgart Ballet was a given, and the only decision was which date to go for. I settled on Friday 26th
  18. So, Stuttgart Ballet are putting on a very brief run of "The Taming of the Shrew" at Sadler's Wells this weekend. I think it's probably the first time it's been seen in the UK since about 1990 when ENB danced it at the Coliseum. Did anyone go, and what did you think? (Oh, and a message from Sadler's Wells warns that the Northern Line at Angel will be out this weekend due to engineering works, so allow extra time to get there if you're going)
  19. This evening showcased the company's men (and their beautifully toned (bare) upper torsos!). As most of the pieces will be new to the majority of people I won't say more until after tomorrow night's performance. I will say, though, that my favourites (and, I think, the audience's) were 'Fanfare X' and 'Mono Lisa'. I don't know what Luke Jennings will make of the programme.
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