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On 19/08/2020 at 18:11, Don Q Fan said:

I see Mikhail Kaniskin is leaving SS Berlin shortly.  I will be sad not to see him dance again, I liked him in Onegin especially.

He and his wife Elisa in Onegin...they were brilliant. They will perform a Pas de Deux from this ballet as part of the farewell gala for him, can't wait o see this again on Aug 29.

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21 hours ago, FionaE said:


yes Iana Salenko’s white Swan was my favourite too.  She is sublime.  Worth watching for this alone.  
 

Lucky you with audience participation re-starting.  Enjoy!

Thank you! Can't wait.

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Bavarian State Ballet announced the first performances back after the summer.  The company starts on 9. September with Swan Lake: With the consent of Ray Barra, whose version they dance, balletmaster Thomas Mayr has adapted the choreography in a one-act version with a reduced number of dancers and social distancing in the corps de ballet scenes. They promise a "slight shortening" and say that the spirit of Barra's version will be kept alive.

Cast: Prisca Zeisel and Laurretta Summerscales as Odette/Odile, Jinhao Zhang and Emilio Pavan as Siegfried, Matteo Dilaghi as Rotbart.

 

On 19. September, Giselle will follow – 30 years ago, this classic was the first work of the newly founded Bavarian State Ballet under Konstanze Vernon. This season should have been their anniversary season, but the galas and dance nights have been postponed to 2021.

Cast: Laurretta Summerscales, Ksenia Ryzhkova, Madison Young as Giselle

 

200 visitors will be allowed in the National Theatre at Munich (normal capacity: 2100 seats).

 

New dancers: Vladislav Kozlov from San Francisco Ballet as demi-soloist, Melissa Chapski and Rhiannon Fairless for the corps de ballet.

Principal Dancer Virna Toppi has gone back to La Scala. Henry Grey will go to the Finnish National Ballet as soloist.

 

Here's a picture of the socially distanced swans:

 

Schwanensee Bühnenprobe März 2020

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Berlin State Ballet announces "LAB_WORKS COVID_19: Choreographies from isolation" - 8 world premieres by dancers of the company

 

Berlin, August 25, 2020 --- During the lockdown, dancers of the Staatsballett Berlin created choreographies that premiere on 03, 04 and 05 September 2020 at the Komische Oper Berlin.

 

The Staatsballett Berlin's first new stage production after the lockdown was created by choreographers from the ensemble: Alexander Abdukarimov, Arshak Ghalumyan, Andreas Heise (for Yolanda Correa), Vivian Koohnavard, Olaf Kollmannsperger, Ross Martinson, Johnny McMillan, Dana Pajarillaga and Tara Samaya developed choreographies for themselves and/or dancers sharing the same household during the quarantine with regulations suggested by the Robert-Koch-Institut not only applying in the auditorium but on stage as well.

 

All eight premieres range from solos to pas de deux to a work comprising seven performers, offering a wide spectrum of movement languages and approaches, from playing with oversized plastic balls in which the dancers move in their own cosmos to making use of digital devices "composing" the music and control lighting effects.

Music by Franz Schubert, Radiohead, Frank Ocean as well as self-composed music and speech is used, sometimes slowed down 800 percent, played backwards and forwards. In their choreographies, the dancers reflect on issues such as the necessity of physical contact, close relationships and various forms of personal and social support. Futuristic visions of our world dealing with the virus share the stage with group choreographies engaging our collective consciousness.

 

When the lockdown began, Dr. Christiane Theobald, provisional artistic director of the Staatsballett Berlin, asked dancers to develop their own choreographies:

"Experiments - Discoveries - Variety: artistically examining the elementary experience of isolation during the lockdown through dance is central to LAB_WORKS COVID_19. The circumstances that deeply affected the Staatsballett Berlin dancers, often far away from their families, become a choreographic statement which despite limiting factors is quite moving.

 

LAB_WORKS COVID_19

Choreographies from Isolation

03., 04., 05. September 2020 | 7:30 pm | Komische Oper Berlin

 

Choreographers in alphabetical order

 

World premiere

CONTROL SHIFT

Choreography: Alexander Abdukarimov

Music: Johann Sebastian Bach

 

World premiere

C020

Choreography: Arshak Ghalumyan

Music: Ezio Bosso

 

DU BIST DIE RUH‘

Choreography: Andreas Heise

Music: Franz Schubert

 

World premiere

DISTANT LOVE

Choreography: Vivian Koohnavard

Music: Ali Reza Ostowar feat. Hami

 

World premiere

91_DIVOC

Choreography: Olaf Kollmannsperger

Music: Radio Head

 

World premiere

THE ZERO (Working Title)

Choreography: Ross Martinson

 

World premiere

PARLIAMENT

Choreography: Johnny McMillan

Music: Pink Floyd

 

World premiere

WAVES OF FLESH (Working title)

Choreography: Dana Pajarillaga & Lukas Malkowski

Music: Frank Ocean

 

World premiere

I'M HERE NOW

Choreography: Tara Samaya

Music: B.E.N.

 

Choreographers: Ghalumyan, Koohnavard, McMillan, Samaya, Pajarillaga, Kollmannsperger, Abdukarimov, Martinson, photo:Yan Revazov

Choreographers: Ghalumyan, Koohnavard, McMillan, Samaya, Pajarillaga, Kollmannsperger, Abdukarimov, Martinson, photo:Yan Revazov

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On 20/08/2020 at 20:07, Sabine0308 said:

He and his wife Elisa in Onegin...they were brilliant. They will perform a Pas de Deux from this ballet as part of the farewell gala for him, can't wait o see this again on Aug 29.

I am so envious you will see his final show....please give an extra round of applause for me 🙏 I will really miss Mikhail.  Enjoy the show👍

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On 26/08/2020 at 20:05, Don Q Fan said:

I am so envious you will see his final show....please give an extra round of applause for me 🙏 I will really miss Mikhail.  Enjoy the show👍

Will do!! I was at the dress rehearsal yesterday (tonight is premiere for the 1st gala programme) and we saw them in "Kazimir's colours", it was brilliant. As was the entire programme. Such a diversity, and superb dancers. Everybody was happy to be back onstage and in the auditorium!!  Looking forward to Saturday and following performances.

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Good news from Munich were the auditorium for September performances was 200, but they are now allowed to sell 300 more, for a total of 500 👏👏👏

 

That will make quite a difference to their performances of Swan Lake and Giselle this month, even though it is still not quite 25% capacity.  Maximum is 2,100 ... but you may remember that a number of rows in the stalls have been removed to allow for a more socially distanced orchestra too.   

 

Both ballets have been adapted with agreement from the choreographers/production rights holders to allow for less dancers on stage and in the wings/backstage.   

It will be very interesting to hear how this goes ... to give hope to other theatres, performers and their audiences.

https://www.instagram.com/p/CEj1uJLloul/?igshid=119y1nz82xsev

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Ballet Dortmund announces the first gala of the season on 12. and 13. September. Guests include Friedemann Vogel, Artur Shesterikov, Iana Salenko and Daniil Simkin, Lucia Lacarra and Matthew Golding, dancers from the National Ballet of Portugal and Royal Ballet of Flanders.

https://www.theaterdo.de/produktionen/detail/internationale-ballettgala-xxxi

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And more from Ballet Dortmund: They announce the creation "Fordlandia" by Lucia Lacarra, who together with Matthew Golding will dance six modern works by Anna Hop, Yuri Possokhov, Juanjo Arqués and Christopher Wheeldon. The title is from a music piece by Jóhan Jóhansson, other music comes from Chopin and Pärt. Lacarra and Golding plan to tour with the production, which also includes film.   Premiere: 19. September.

 

 

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Yes indeed, it took place: 'Schwanensee' at the Munich State Opera at Wednesday! The ensemble had to make some compromises: only 16 swans, one or two scenes deleted, only 500 in the audience. But that means nothing against a full-length ballet presented again in high quality. It was very touching to see the committment and the dedication of the dancers. There was an heartwarming atmosphere of coming back to life. In their Instragam-accounts they speak about a highly emotional experience.

It is remarkable how well the dancers kept in shape. Apparently they used the time to work on their roles. Small traces of tension and over-motivation (little swans nearly too precise!) will likely dissipate soon. In addition to the leading couple, Prisca Zeisel was presenting a very expressive black swan, there were very nice smaller solos (Elvina Ibraimova, Dmitrii Vyskubenko, Maria Baranova, Alexey Popov and others) and above all Emilio Pavan (excellent redbeard, more and more one of the outstanding dancers in Munich ) and the wonderful Laurretta Summerscales, the sunshine oft he company, making a lot out of the small role of Charlotte. On Friday she will be seen in the main role - if the corona situation doesn't get in the way.

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1 hour ago, Oberon said:

Yes indeed, it took place: 'Schwanensee' at the Munich State Opera at Wednesday! The ensemble had to make some compromises: only 16 swans, one or two scenes deleted, only 500 in the audience. But that means nothing against a full-length ballet presented again in high quality. It was very touching to see the committment and the dedication of the dancers. There was an heartwarming atmosphere of coming back to life. In their Instragam-accounts they speak about a highly emotional experience.

 

 

Thanks for the report Oberon.

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Next performances in Munich are Giselle (also adapted somehow with smaller supporting cast) on 19 and 21 September.   Cast is the same for both:

Giselle - Lauretta Summerscales

Albrecht - Osiel Gouneo

Hilarion - Emilio Pavan

Myrtha - Prisca Zeisel

 

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On 10/09/2020 at 11:46, Oberon said:

and the wonderful Laurretta Summerscales, the sunshine oft he company, making a lot out of the small role of Charlotte.


I am not familiar with this version of SwanLake ...can you explain the role of Charlotte please?

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To put it simply: the bride in the human world. The Staatsballett explains the part of Charlotte in the first act as follows: " Charlotte, Siegfried’s intended, is lead in by the Queen. When Siegfried signals to his mother that he is not happy with her choice, the Queen once again reinforces her unrelenting will to seal this engagement. With the very first dance Siegfried lets Charlotte know she cannot win his heart. The Prince, deeply affectedly by his mother’s appearance, sinks into depression, his thoughts confused." In a nice variation she shows her attractiveness and beauty. She appears also in the second act.
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Spontaneous, as we all have become, Bavarian State Ballet announces another premiere for 3. November: Instead of "Jewels", which according to the press release "cannot be adapted to the current hygiene guidelines", they will show a triple bill called "Paradigma" with works by Wayne McGregor, Sharon Eyal/Gai Behar and Liam Scarlett (Igor Zelensky obviously has no problems with his troubled past).

The pieces are "Bedroom Folk" by Sharon Eyal and Gai Behar, created in 2015 for NDT 1 and once, in a far time before the virus, part of the plans for a Munich ballet evening in May 2020. "With a Chance of Rain" will be the European premiere of Liam Scarlett’s piece that he made for ABT in 2014. Wayne McGregor’s "Sunyata" was made for Munich in 2018.

 

As the allowance for 500 visitors is still limited for September 2020, they will sell only 200 tickets for the moment.  The performances of Giselle will continue in October.

 

 

 

 

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@Angela I see Osiel Gouneo has been replaced as Albrecht by Dmitry Vyskubenko to partner Lauretta Summerscales.  Do you know why?  I hope Osiel is not injured.  I was hoping to hear of Osiel’s performance in this role as he is maturing in dramatic sensibilities.

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@AngelaRegarding Liam Scarlett, he was not found guilty, only ‘parted company from the RB’ and so I believe we should let whatever happened (unsubstantiated rumours) be forgotten.  


His choreography and mind is very interesting to me, as was his dancing.  The Royal Ballet themselves have left insights, rehearsals and performances involving Liam on their YouTube channel and in their shop.  We should follow their lead.  Igor Zelensky seems to do whatever he wants regardless of anyone’s opinion!
 

 

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1 hour ago, FionaE said:

 

 The Royal Ballet themselves have left insights, rehearsals and performances involving Liam on their YouTube channel and in their shop. 

 

The insight and "Why the RB love dancing...." from Swan Lake at least were made private (password required) ages ago on the ROH you Tube channel.  You Tube will not even allow me to embed the links. The performances are still there as are rehearsals where Scarlett does not appear.  

 

The NDAs have been signed I'm sure so we'll never know why the RB chose to terminate their association with their heralded choreographer. The public would never even have known about the investigation had the press not outed them five months after he was barred from the opera house.  

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oh!   I didn’t know.  I wish now that I’d recorded the insight & rehearsal for the new Swan Lake ... it was one of the best rehearsals I’ve ever seen.   Thank you for informing me. 

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Fiona, I have no problem with Liam Scarlett's pieces (the few ones I've seen were rather mediocre, but that's just my opinion) - I just wanted to state that the international ban on him seems to be broken. Good for him, because he might earn some royalties. I was wondering on what he will live...

(If I would judge choreographies by the behaviour of their choreographers, I might never see something by Tudor or Robbins again. And I cannot imagine life without Dances at a Gathering.... It's a very difficult, personal decision and I absolutely understand anybody who despises Scarlett's pieces after what seems to have happened.)

 

I'm sorry, I have no idea why Gouneo is out.

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Am rather confused.  This recently in from Culturall, which I thought only dealt with the live streams for the Vienna State Opera, so I assumed it related to streamings and couldn't work out why the dates weren't successive:

 

 

Wiederaufnahme: "JEWELS" - für Sie um 30% ermäßigt:

"Dance is music made visible" ? dieses Bekenntnis des wohl bedeutendsten Choreographen des 20. Jahrhunderts, George Balanchine, gilt besonders für seine "Jewels". Inspiriert durch Schmuckstücke der Maison Van Cleef & Arpels entstand ein dreiteiliges Opus, das mit seinen musikalischen Stationen Frankreich (Fauré, "Emeralds"), USA (Strawinski, "Rubies") und Russland (Tschaikowski, "Diamonds") auf drei Hauptzentren des klassischen Balletts blickt, die auch in Balanchines Lebensgeschichte eine zentrale Rolle spielten.
Do 24.09. 19:30, Fr 25.09. 19:30, Sa 3.10. 20:00, Fr 9.10. 20:00, So 18.10. 19:30, Do 22.10. 19:30, Di 27.10. 19:30, Do 29.10. 19:30, So 1.11. 14:00, So 1.11. 19:30

Dirigent: Paul Connelly

Emeralds 1. Pas de deux Nina Poláková Robert Gabdullin
Emeralds 2. Pas de deux Claudine Schoch Roman Lazik
Emeralds Pas de trois Sonia Dvorák Francesco Costa Alice Firenze
Klavier (Rubies) Igor Zapravdin
Rubies Pas de deux Kiyoka Hashimoto Denys Cherevychko
Rubies Solodame Ketevan Papava

Diamonds Pas de deux Olga Esina Masayu Kimoto  

Auch hier können Sie Ihren FreundInnen zu ermöglichen Karten um 30% ermäßigt zu buchen. Wenn Ihre Freunde Karten buchen erhalten Sie als kleinen Bonus einen Gutschein im Wert von 50% der günstigsten Karte, die Sie im Rahmen dieses Angebots gebucht haben:

Auf diesen Link klicken und "JEWELS" FreundInnen empfehlen.

 

But I clicked on the link and it came up with the seating plan for Jewels.  All seats seem to be/have been available for booking - can that really be right, in the current climate?

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Alison, they have a policy to keep a free seat between groups of people who belong together - check out the regulations here.  I guess if you buy four seats together, they move in an empty seat before someone else buys tickets next to you. They promise 1 m distance between every visitor. Hm.

 

Austria had a tryout with the Salzburg Festival and the so-called "Schachbrett" (=chessboard) seating: one seat full, one seat empty in the whole theatre, which meant 50 per cent of capacity in the Salzburg theatres. So no empty rows in between like in Germany, where capacity is reduced to 25 per cent or even less. There were no reported Corona cases during the whole festival in August, so they seem to go ahead in the other Austrian theatres, even if Vienna was moved to high-risk status by most European countries in the last days because of increasing Covid cases.

 

The season at Vienna State Opera started  with Madame Butterfly, the ballet season started on Sunday at the smaller Volksoper with a triple bill by Lightfoot/Leon, van Manen and Kylián. Jewels is their first piece in the State Opera. It's interesting they will do the whole piece in Balanchine's original choreography, as Bavarian State Ballet dropped Jewels because they cannot adapt it to distancing rules.

 

Not only every European nations has its own rules for the theatres, but even the smaller Länder, the states in nations like Germany or Austria have their own rules. Berlin does it different than Munich than Stuttgart or Hamburg.

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3 hours ago, Angela said:

Alison, they have a policy to keep a free seat between groups of people who belong together - check out the regulations here.  I guess if you buy four seats together, they move in an empty seat before someone else buys tickets next to you. They promise 1 m distance between every visitor. Hm.

 

Hm indeed.  I didn't notice any indication of seats in the row immediately behind being taken out - and I would have thought the risk from someone breathing on you from behind might be greater than someone sitting next to you, if you're all facing in the same direction.

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In Japan the regulations of social distancing in theatres and classical concert halls, cinemas have been loosened on September 19th. Now they allow 100% seating if safety measures have been taken. (such as audience and staff wearing mask are compulsory, temperature measured at the entrance and disinfection of hands)   We still have 300~500 people diagnosed as COVID-19 patients every day, and a couple of months ago, a cluster occurred in a small playhouse where some play had been performed. (many actors and some of the audience got the virus, probably spread at rehearsals and at the stage door) 

 

Practically, very few theatres and concert halls have loosened their regulation at this point, we will see what will happen. In this weekend Tokyo Ballet will do Don Quixote, next month several full length performances such as Sleeping Beauty by Asami Maki Ballet, Le Corsaire by K-BAllet Companyand another Don Quixote from National Ballet of Japan will occur but at this point all of them with 50% capacity. 

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