News from Germany, Austria, Switzerland

[capybara]

In the end, most of the dancers will try to find new jobs in the next half year so they can quit after this season. 

 

One feels for Ksenia Ovsyanick who has only just arrived in Berlin.

[Ellie]

I just came across this article regarding the situation in Berlin.

 

http://ballett-journal.de/schneewittchen-immer-wieder-ein-klassiker/

[MAB]

I understand from listening to the news this morning that there has been some kind of political upheaval in the Berlin State elections.  Is this likely to change the civic administration in the city, a new mayor perhaps?

[Angela]

Michael Müller's (the mayor's) party won the elections with some losses, but he has to build a new coalition, as the old one has no majority any more. As the mayor himself is responsible for cultural affairs (together with his secretary for cultural affairs, who might change in the process), it is very likely that nothing will change in culture politics. I would not call it an upheaval, all big parties lost votes and the new right-wing party gained votes, but not so much as in other German states before.

As the mayor wanted to go public with the news before the elections, not supposing he might cause such a mess, everything about this appointment is now in limbo until the new government in Berlin will be fit for work. Great.

[Vanartus]

It really is an absolute mess. The open letter would not have helped either. The recent article in the dance magazine blistered with anger. Well, at least it's something else to talk about than the airport debacle...

[FLOSS]

I think that it is difficult for us to get used to the idea that an elected politician would be responsible for the artistic direction taken by a theatrical institution but it is what Rojo was talking about when she explained why she did not have ambitions to run a Spanish ballet company. So far we have seen the POB debacle where Mr Millepied was selected to run the company not because of his proven managerial and artistic abilities but because he was perceived to be culturally chic for a number of reasons  which may well have included his film star wife. It will be interesting to see how that one plays out and how long Dupont lasts in the hot seat. Now we are watching a potentially much bigger crisis play out in slow motion in Berlin.  I can't see how the proposed 50:50  split between classical and contemporary will succeed with a company which is essentially classically based. 

[SwissBalletFan]

 I can't see how the proposed 50:50  split between classical and contemporary will succeed with a company which is essentially classically based. 

 

 

This is very much what is happening at the moment at Berlin with Nacho Duato. I think the problem is that Sasha Waltz is very much more 'Dance Theatre' which is big departure from 'Modern choreography'

[MAB]

So far we have seen the POB debacle where Mr Millepied was selected to run the company not because of his proven managerial and artistic abilities but because he was perceived to be culturally chic for a number of reasons  which may well have included his film star wife. It will be interesting to see how that one plays out and how long Dupont lasts in the hot seat.

 

I was led to believe Millepied was selected to avoid a civil war between the competing factions chasing the job.  POB doesn't have a predominately classical rep any more and many new works during Lefevre's tenure were of negligible merit.  Dupont needs to turn things around.

[annamk]

something new about munich giselle casting

 

 

Giselle

Natalia Osipova (09-23-2016)

Maria Shirinkina (09-25-2016) - afternoon

Ksenia Ryzhkova (09-25-2016) - evening

Svetlana Zakharova (09-29-2016)

N.N. (10-02-2016, 10-02-2016, 11-24-2016, 11-25-2016)

Albrecht, Herzog in Franken

Sergei Polunin (09-23-2016)

Vladimir Shklyarov (09-25-2016 - afternoon, 09-29-2016)

Osiel Gouneo (09-25-2016) - evening

N.N. (10-02-2016, 10-02-2016, 11-24-2016, 11-25-2016)

 

 

There are some casting changes ..... 

 

The matinee performance on 25/9 will be danced by Osipova/Gouneo and the evening performance by Shirinkina/Sklyarov. 

[assoluta]

So far we have seen the POB debacle where Mr Millepied was selected to run the company not because of his proven managerial and artistic abilities but because he was perceived to be culturally chic for a number of reasons  which may well have included his film star wife. It will be interesting to see how that one plays out and how long Dupont lasts in the hot seat.

 

Yes, FLOSS, yet the hurry Mr Millepied was sacked was not at all due to what was given as an official reason -- that easily could wait if that was the case, it was to avert a scandal of catastrophic proportions for the image of that venerable public French institution. Whatever Dupont does and in whatever manner she governs l’Opéra, she is simply incapable of causing the crisis Millepied did.

[Bruce Wall]

Yes, FLOSS, yet the hurry Mr Millepied was sacked was not at all due to what was given as an official reason -- that easily could wait if that was the case, it was to avert a scandal of catastrophic proportions for the image of that venerable public French institution. Whatever Dupont does and in whatever manner she governs l’Opéra, she is simply incapable of causing the crisis Millepied did.

 

How interesting, Assoluta.  Can you please be specific vis a vis the 'scandal of catastrophic proportions' you refer to and your source for that information.  I'm sure many here will be in intrigued to learn.  Also how do you know that Millipied was 'sacked' Assoulta?  Grateful to know.  The New York Times reported that he had 'quit'.  I refer to this article here.  In this specific regard bless you for the public service you are providing and giving us all the truth as you see it.  I feel you should send a correction in to the NYT with your sources so that the record can be put straight.  One simply has to be so careful nowadays.  Truth it seems is ever more fluid. 

Edited September 22, 2016 by Bruce Wall

[John Mallinson]

How interesting, Assoluta.  Can you please be specific vis a vis the 'scandal of catastrophic proportions' you refer to and your source for that information.  I'm sure many here will be in intrigued to learn.  In this specific regard bless you for the public service you are providing.  

 

Just remember that unsubstantiated or scurrilous rumour will not be tolerated.

[assoluta]

How interesting, Assoluta.  Can you please be specific vis a vis the 'scandal of catastrophic proportions' you refer to and your source for that information.

 

I will not say anything beyond what I said (I weighed my words carefully). The source is the dancers within the company themselves, some really frustrated with how Mr Millepied has been portrayed in English language media as some kind of Prometheus "punished for his desire to bring Light to the humankind".

[assoluta]

This political interference is beyond belief.

 

The problem is not with what you call "political interference", I don't see any, in fact. It has been an established custom that supervision of national cultural institutions is a prerogative and duty of the state. The problem lies elsewhere and we are observing it in several countries in Europe now. Incompetent, cowardly, gutless state functionaries who primarily care about being elected/reelected are bowing to all kinds of pressures from the demagogues of "progress". The result is that now a number of national ballet companies have been, or are in the process of being transformed into author's theatres which is ruinous to the state of ballet in those countries. The dancers in the national ballet companies became hostages of cowardly state bureaucrats. Children in state ballet schools, some with a pedigree spanning centuries, are horrified by the perspectives lying ahead of them in the future. I know many dancers in those companies and practically all of them are unhappy about the situation, until recently however, they were so afraid of their bosses that they would speak about it only in a hushed voice. The current situation in Berlin sets up a precedent and I am very glad that now certain fundamental questions can be discussed in open. Duato, Bigonzetti, Waltz, Pastor, and so on, have right to run their own companies where they can experiment as much as they want, where they can build their artistic vision, but they have no right to experiment with national institutions that in those countries are the focal point of ballet education and transmission of the balletic art. Vladimir Malakhov addressed precisely this point in his recent public statement about the crisis at Staatsballett Berlin.

[Bruce Wall]

I will not say anything beyond what I said (I weighed my words carefully). The source is the dancers within the company themselves, some really frustrated with how Mr Millepied has been portrayed in English language media as some kind of Prometheus "punished for his desire to bring Light to the humankind".

 

Dear Assoluta, IF IT WAS ME - and I realise many here may well think me a strange bird - I would not have mentioned ANYTHING were I not able to to expressly back up what I said - especially when such is expressed as a matter of fact - and be fulsome.  The charge you made/make - while it may well at various levels be true - I have no idea - is surely HERE - by your own admission above - unable to be substantiated - or more accurately WON'T be substantiated here - and should - I personally feel - for the good name of BcoF - be withheld.  Indeed I am somewhat surprised that BcoF moderators had not already removed it.  Moreover the content of this specific item has - again as I understand it - no specific bearing on this particular strand as titled.  

Edited September 22, 2016 by Bruce Wall

[MAB]

The problem is not with what you call "political interference", I don't see any, in fact. It has been an established custom that supervision of national cultural institutions is a prerogative and duty of the state.

 

Not here it isn't, there's not much interest in the arts at all.  The last PM I saw at ROH was Edward Heath.

[MAB]

Dear Assoluta, IF IT WAS ME - and I realise many here may well think me a strange bird -

 

Not at all, at your best you're a wise old owl and at least you don't peck.

[SwissBalletFan]

Just remember that unsubstantiated or scurrilous rumour will not be tolerated.

 

 

 But anyone with some really juicy gossip...please feel free to send it to me by PM

On an administrative note, is this thread now including France? (fine by me, just a name change may be needed)

Edited September 22, 2016 by SwissBalletFan

[Bruce Wall]

Not at all, at your best you're a wise old owl and at least you don't peck.

 

 

Bless you, MAB.  You are most kind.  

[capybara]

Not here it isn't, there's not much interest in the arts at all.  The last PM I saw at ROH was Edward Heath.

 

I saw both Margaret Thatcher (at the ballet) and John Major (at the opera).

[billboyd]

Last Christmas Sadiq Khan enjoyed The Nutcracker at the Coliseum. He posted photos on social media. - However he thought he was at the ROH watching the Royal Ballet.

[Bruce Wall]

However he thought he was at the ROH watching the Royal Ballet.

 

All the more reason why there is a HUGE need throughout the country - and not just in London - for much more fiscal support for mental health care.  

[FLOSS]

The comment about the English speaking press writing about Millepied's departure from the directorship of the POB as if he was being punished for doing the balletic equivalent of giving mankind the gift of fire, is I suspect, spot on as far as the US media is concerned. But then, however hard we try, we tend to see things from our own indigenous cultural standpoint. Americans have come to see Balanchine's preeminence as a choreographer as an endorsement of the superiority of the American system. Much of Balanchine's prestige has rubbed off onto the company he founded. I suspect that the prestige of the NYCB makes it difficult for American journalists to imagine that any company would not benefit from having an eminent former member of NYCB as its director.Very few specialist journalists writing about events in foreign ballet companies know enough about them to be able to put the events which they are writing about into a context which locals would recognise.. When it comes to non specialists they fall back on preconceptions about the institution concerned their prejudices and what seems plausible. 

Edited September 23, 2016 by FLOSS

[toursenlair]

Contributors and Moderators, can we please keep this thread about ballet in Germany, Austria, and Switzerland.

[Amelia]

I saw both Margaret Thatcher (at the ballet) and John Major (at the opera).

 

Yes, I remember that Mrs. Thatcher attended a Mariinsky's performance of "Le Corsaire" with Zakharova. She came backstage afterwards and made a very short speech to the tune of "You are the best”.

 

Sorry, toursenlair, that I continued the dialogue.

Edited September 24, 2016 by Amelia

[Angela]

Osipova/Polunin at Munich: rather underwhelming. His entrechats in the second act were truly wonderful, but acting-wise it's just the usual pantomime, no regrets after her death, belated reactions. His jumps were high, but loud.

Osipova is just not my cup of tea in this role, no comparison to Cojocaru's purity and innocence. Too nervous, too virtuoso for a shy girl. She flies with her feet, but, alas, not with her arms. Great corps de ballet, nice pas de six, but it was all rather promising and still developping, not the brillant new start you'd expect. Sir Peter Wright was on stage and received huge acclamations.

[annamk]

Thank you for reporting on the performance Angela. Will you go to Shirinkina/Shklyarov on Sunday ?

[Angela]

NO, I'm on my way to a gala at Dortmund... They published the casting for Giselle much too late, but I'll try to catch Shklyarov some other time.

[SwissBalletFan]

Osipova/Polunin at Munich: rather underwhelming. His entrechats in the second act were truly wonderful, but acting-wise it's just the usual pantomime, no regrets after her death, belated reactions. His jumps were high, but loud.

Osipova is just not my cup of tea in this role, no comparison to Cojocaru's purity and innocence. Too nervous, too virtuoso for a shy girl. She flies with her feet, but, alas, not with her arms. Great corps de ballet, nice pas de six, but it was all rather promising and still developping, not the brillant new start you'd expect. Sir Peter Wright was on stage and received huge acclamations.

 

 

I agree with Angela, especially Osipova's arms not being in any way from the romantic style. The audience did not seem to be the typical Munich crowd, as there were lots of Russians and some whooping from a single Polunin fan. I hardly felt there was any emotional dialogue, and high emotional points, and the 'mad-scene' was very much too controlled. It was great to see Osipova feeling free and being herself, but she is not my Gislle, however technically good in the second Act. Polunin was not really noticeable in his performance up until his jumping enchants in the second act.

 

There were also a few hiccups that may have been due to lack of rehearsal: Osipova's veil had some difficulty being removed, she ended a variation dancing into the side of the stage rather than off into the wings. She also poured her flowers all over Polunin's head and back which maybe looked like a deliberate show that their relationship is not at one of its highest moments....talking of which, it was my first time seeing them dance together, and I could hardly have guessed that it was the same 'in love' couple I heave read so much about in their interviews.

 

The scenery was great, the costumes had a feeling of being cheap, and not of real quality. Myrtha was technically if a bit mechanical and also low on emotion. The corps also looked technically well rehearsed and very much together, if also missing a bit of emotion.

 

In summary 3 stars.... If I didn't know the leads were 'huge stars' I would say that it was a nice production, but lacking emotion, and that Giselle needs a more classically romantic training for her arms and a deeper understanding of the story. Natalia is however very charming as herself in the first act.

 

Also, it might just be me...but the orchestra sounded very iffy in the horn section and throughout and I was surprised that the Munich orchestra has such a strong reputation. (but I am very much not a classical musical expert at all)

Edited September 24, 2016 by SwissBalletFan

[Angela]

Yes, yes, yes, yes and yes.

Except for the Orchestra, I thought they were fine - a bit slow, but I guess that's how they wanted it on stage. Coming from Stuttgart, I don't expect too much from the orchestra in a ballet performance...

Myrtha was Prisca Zeisel, by the way, who came to Munich from Vienna State Ballet.

What I did not like about Osipova's Giselle in the first act: she often touches Albrecht's face and cheeks very intimately like they have known each other for a long time - would a shy girl, who backed away from his touch just minutes before, really do that?

[SwissBalletFan]

 

Myrtha was Prisca Zeisel, by the way, who came to Munich from Vienna State Ballet.

 

What I did not like about Osipova's Giselle in the first act: she often touches Albrecht's face and cheeks very intimately like they have known each other for a long time - would a shy girl, who backed away from his touch just minutes before, really do that?

 

 Thank you for the Mytha casting Angela. I think what thats what I mean about Osipova being herself and very charming, I didn't really believe that it was Giselle, for reasons that she didn't really seem frail or unwell, or very shy, as one might expect. However, very loving, sunny, and well, how I could imagine natalia herself being in that situation with sergei in the story line. 

 

To be fair, Peter Wright does speak very highly of Osipova in his autobiography and he looked very happy on stage last night, so I can imagine he allowed her to have her own interpretation of the role.

[capybara]

I have just picked up the following (unattributed but seemingly from Osipova's timeline) comment on Facebook: "Yesterday, they danced for each other, Audience just followed the big love story".  [Osipova-Polunin in Giselle, Munich 23.9.2016.]

 

I would rather that that had been left unsaid but would be interested to know how others feel about it.

[Angela]

Yesterday, they danced for each other

 

I hope Mr. Polunin shows more passion in his private love life, that's all I can say.

Edited September 24, 2016 by Angela