Austria Vienna State Opera’s Nureyev Gala: Dancers of Vienna State Ballet and friends, Orchestra of Vienna State Opera / Wolfgang Heinz (conductor). Broadcast dwell (directed by Balázs Delbó) from the Vienna State Opera, 29.6.2024. (JPr)
On the web site of the Vienna State Opera you could possibly learn an amazing deal in regards to the legendary dancer and choreographer Rudolf Nureyev and the Nureyev Gala, first staged there in 2003 and subsequently – aside from a few missed years – from 2011 to right this moment.
From 1964 to 1988 Nureyev danced 22 roles in a complete of 167 performances with the corporate on the Vienna State Opera, at Vienna’s Volksoper and at worldwide visitor performances. In 1964, he staged his celebrated Vienna manufacturing of Swan Lake (after Petipa and Ivanov) which remains to be seen virtually there each season. (I noticed him dance in it myself within the early Nineteen Eighties.) Nureyev clearly had an in depth affinity with Austria and it was in January 1982 when he turned an Austrian citizen having famously defected from the Soviet Union in 1961.
Sadly, after all, Nureyev died prematurely in 1992 however as the web site continues; ‘Nureyev was a visionary: As a dancer charismatic, emotional and clever, athletic and engaging like no different within the second half of the 20th century and never solely an amazing performer of his roles, but additionally a breaker of the boundaries between classical ballet and up to date dance; as a choreographer an artist who condensed the classics via virtuosity; as a ballet director [Paris Opera Ballet] a facilitator of recent works which have continued to write down dance historical past.’ We have been promised how ‘The programme of the Nureyev Gala 2024 follows in these footsteps and presents the dancers of the Vienna State Ballet in a stylistic spectrum from the nineteenth century to the current’. That it achieved splendidly in a showcase of works, a few of which have been very acquainted to me and others I used to be seeing for the primary time.
With little fuss or introduction, the gala started with the pas de trois from August Bournonville’s La Ventana, a one-act ballet that appears not often carried out lately and has a Spanish setting. Apparently, Nureyev danced this pas de trois in 1975 in New York. There was the standard speedy footwork and bouncy jumps we recognise from Bournonville’s La Slyphide, as an illustration, via there have been additionally hints of Giselle. With the ballerinas in crimson and white dirndls Ioanna Avraam, Kiyoka Hashimoto and Alexey Popov danced with a satisfying vitality. Reminiscences of that Swan Lake I noticed in Vienna got here flooding again with the Waltz and Pas de cinq from Nureyev’s Swan Lake Act I and later the pas de deux from Act II. Towards the blueish background with the trace of a citadel Masayu Kimoto was a noble prince principally sitting on the again while the corps de ballet swirled away attractively of their silver-grey costumes. Then within the pas de cinq Kimoto danced with some panache, and it introduced again vivid recollections of seeing Nureyev carry out it and – although in his mid-40s then – he nonetheless outdanced the opposite, undoubtedly youthful, male colleagues in some sometimes show-offy choreography. Within the moonlit scene in Act II an atmospheric cello solo ushered in friends from Paris Opera Ballet, Valentine Colasante (Odette) and Marc Moreau (Siegfried) for his or her pas de deux. It was tender and heartfelt although Colasante did not sufficiently counsel Odette is an enchanted princess.
Martin Schläpfer has been ballet director and chief choreographer of the Vienna State Ballet for the reason that 2020/21 season however has lately introduced his departure and he might be changed by the world-renowned dancer Alessandra Ferri from September 2025. Schläpfer supplied the primary of the up to date choreographies along with his Ramifications, an prolonged solo for Sonia Dvořák. In sparkly high fashion she started in silence by crossing the ground with swan-like arms then throughout some sometimes avant-garde music from Ligeti there was a lot crouching, balances, jerkiness, spinning and – at one level – silent screaming in a highlight. But it surely was a tour de pressure from Dvořák and quite compelling, though I used to be undecided – on a primary viewing – what to make of it.
Hans van Manen’s 4 Schumann Items is a extra recognisable work and one other to have been danced by Nureyev. It was created in 1975 for The Royal Ballet and principal dancer Anthony Dowell, and is clearly about relationships, typical and unconventional, and subsequently I discovered how we’re alleged to ‘witness the emotional states of a person – his needs, fears and passions, that are repeatedly thwarted by a gaggle of 5 {couples}’. Davide Dato was distinctive within the exhausting function of the main man. Nevertheless, it’s in essence an ensemble piece and the dancers rose to the event; though van Manen’s choreography to Robert Schumann’s principally lyrical, typically agitated, music turned a bit of wearying in its hands-up nature.
One other comparatively new work started the second half, Schläpfer’s Vienna Blood Waltz; the musicians of the Vienna State Opera Orchestra can, and possibly do, play this music of their sleep. Right here, as with all of the dwell music, they performed it fantastically for knowledgeable conductor – although new to Vienna – Wolfgang Heinz (everlasting visitor conductor of the Birmingham Royal Ballet since 2009). Varied {couples} whirled away romantically in embellished black costumes glittering within the lights. What they wore was trumped by these from Chanel for Victor Gsovsky’s extraordinarily well-liked Grand Pas Classique danced by Valentine Colasante and Marc Moreau. We noticed the primary fouettés of the gala with Colsante revealing all through her unbelievable method and vivacious persona and he or she was ably partnered by Moreau.
John Neumeier’s The Woman of the Camellias (Die Kameliendame) first danced by Stuttgart Ballet in 1978 was additionally new to me, although I’ve seen Frederick Ashton’s 1963 Marguerite and Armand a number of instances. Neumerier apparently juxtaposes the one set of doomed lovers in opposition to the story of one other pair, Manon Lescaut and Des Grieux, who equally don’t dwell fortunately ever after. Lately premiered by Vienna State Ballet we noticed the anguished pas de deux from the ultimate act. At first Armand seems to be dreaming and Marguerite seems already shrouded in black. Ketevan Papava and Timoor Afshar confirmed the tempestuous nature of their relationship throughout some compelling storytelling which included some passionate lovemaking. Papava’s Marguerite was clearly ailing, and it turned clear this was a pair who can’t be collectively however can’t be aside both. Chopin’s music was virtually as (melo)dramatic because the dancing however kudos to Shino Takizawa’s virtuosic piano accompaniment.
One other pas de deux adopted after one other of the frequent pauses which interrupted this gala. This time it was from Act II of Schläpfer’s 2022 reimagining of The Sleeping Magnificence which I perceive was not a hit. What we noticed was a playfully tender duet exploring the bourgeoning past love of the prince (Marcos Menha) for Aurora (Hyo-Jung Kang) with a passing nod to the unique choreography. Diverting however insubstantial. Extra prefer it was the extract we noticed from Nureyev’s 1966 Don Quixote; firstly, the footstamping Fandango with the spirited corps de ballet led by Ketevan Papava’s equally feisty Avenue Dancer and Eno Peci’s macho Espada. The bravura grand pas de deux adopted with among the greatest dancing of the night time from the animated Ioanna Avraam’s Kitri, all large smiles, flashing eyes and spot-on fouettés. She was successfully partnered by Arne Vandervelde’s Basil who was an environment friendly dancer however nothing extra.
The gala concluded with the finale from Harald Lander’s Études, first danced by Copenhagen’s Royal Danish Ballet in 1948. We noticed the purity of classical ballet but additionally basically a exercise – an supposed, prolonged ballet class – for the massive variety of dancers concerned set to an exuberant association of Carl Czerny piano research. It assessments the stamina of all involved as it’s virtually a perpetuum cellular ballet of advanced patterns with essentially the most exhilarating conclusion because the leaping dancers crisscross the stage. The elegant Kiyoka Hashimoto caught the attention because the featured tiaraed ballerina while the main males, Davide Dato and Alexey Popov, supplied sturdy assist (once more). With all the corporate dancing so stylishly it was a becoming finish to the gala.
Jim Pritchard
Characteristic Picture: Rudolf Nureyev’s Swan Lake Act I © Ashley Taylor/Vienna State Ballet
Programme:
Pas de trois from La Ventana
Music – Christian Lumbye
Choreography – August Bournonville
Rehearsed by Johnny Eliasen
Dancers – Ioanna Avraam, Kiyoka Hashimoto, Alexey Popov
Waltz and Pas de cinq from Swan Lake Act I
Music – Tchaikovsky
Choreography – Rudolf Nureyev
Dancers – Masayu Kimoto (Prince Siegfried), Aleksandra Liashenko, Alice Firenze, Arne Vandervelde, Timoor Afshar, corps de ballet
Ramifications
Music – György Ligeti
Choreography – Martin Schläpfer
Costume – Thomas Ziegler
Lighting – Stefan Bolliger
Rehearsed by Louisa Rachedi
Dancer – Sonia Dvořák
4 Schumann Items
Music – Robert Schumann (arr. Martin Yates)
Choreography and Staging: Hans van Manen
Costume – Jean-Paul Vroom
Lighting – Bert Dalhuysen
Dancers – Davide Dato, Hyo-Jung Kang, Arne Vandervelde, Liudmila Konovalova, Alexey Popov, Elena Bottaro, Igor Milos, Alice Firenze, Andrey Teterin, Aleksandra Liashenko, Géraud Wielick
Vienna Blood Waltz
Music – Johann Strauss II
Choreography – Martin Schläpfer
Costume – Susanne Bisovsky
Lighting – Robert Eisenstein
Dancers – Olga Esina, Marcos Menha, Hyo-Jung Kang, Masayu Kimoto, Kiyoka Hashimoto, Géraud Wielick, Ketevan Papava, Calogero Failla, Sinthia Liz, Duccio Tariello, Ioanna Avraam, Arne Vandervelde, Elena Bottaro, Zsolt Török, Daniel Vizcayo
Grand Pas Classique
Music – Daniel François Auber
Choreography – Victor Gsovsky
Costume – Chanel
Dancers – Valentine Colasante and Marc Moreau (from Paris Opera Ballet)
Black Pas de deux from Woman of the Camellias Act III
Music – Fréderic Chopin
Choreography – John Neumeier
Piano – Shino Takizawa
Dancers – Ketevan Papava (Marguerite) and Timoor Afshar (Armand)
Pas de deux from The Sleeping Magnificence Act II
Music – Tchaikovsky
Choreography – Martin Schläpfer
Csotume – Catherine Voeffray
Dancers – Hyo-Jung Kang and Marcos Menha
Fandango and Grand Pas de deux from Don Quixote Act III
Music – Ludwig Minkus
Choreography – Rudolf Nureyev
Costume- Nicholas Georgiadis
Dancers – Ketevan Papava (A Avenue Dancer), Eno Peci (Espada), Ioanna Avraam (Kitri), Arne Vandervelde (Basil), Corps de ballet
Pas de deux from Swan Lake Act II
Music – Tchaikovsky
Choreography – Rudolf Nureyev
Costume – Franca Squarciapino
Dancers – Valentine Colasante (Odette) and Marc Moreau (Prince Siegfried)
Finale from Etudes
Music – Carl Czerny (arr. Knudåge Riisager)
Choreography – Harald Lander
Rehearsed by Johnny Eliasen
Dancers – Kiyoka Hashimoto, Davide Dato, Alexey Popov, Corps de ballet
