Fosca

6 hours ago, volcanohunter said:

Since she was a critic, I don't think other critics will be inclined to view his work favorably.

Ask all the other German dance critics, they still love his work. Dancers love his work, especially the working process. As you don't read German, I suppose, you have no idea how cruel and hurting Mrs Hüster can be in her reviews. Which is absolutely no excuse for what he did, of course not, I'm just trying to explain why certain ballet directors still show his pieces: they are fascinating.

Marcelo Gomes danced Romeo in David Dawsons's version at Dresden recently, he is still dancing at galas in Europe, f.e. at the last Prix de Lausanne. Dresden has found a new AD, the Swiss-Canadian choreographer Kinsun Chan is starting with season 2024/25. I don't know if Gomes will stay at Dresden.

this is the complete recording from 2014 from Austria, available on CD and different streaming editions via a German music store

https://www.jpc.de/jpcng/cpo/detail/-/art/johann-strauss-ii-aschenbroedel/hnum/7089669?lang=en

https://www.amazon.de/Aschenbrödel-Ballettmusik-Orf-Radio-Symphonieorchester-Wien/dp/B07FTNNKFV/

on Amazon Germany, the Bonynge recording is also still available on CD

https://www.amazon.de/Aschenbroedel-Ritter-Pasman-Richard-Bonynge/dp/B000068QRU/

On 5/26/2023 at 1:26 AM, volcanohunter said:

Antonio Pappano does not conduct the Royal Ballet, and Riccardo Chailly does not conduct La Scala's ballet company. There are specialists for that.

Daniel Barenboim once directed a Swan Lake premiere at Berlin, Kent Nagano directed ballet in Munich when he was Music Director at the National Theatre, Simone Young directed John Neumeier's "Purgatorio" with Mahler music, when she was Music Director at Hamburg. Some famous conductors take an interest in ballet music, but it's rare. Gergiev often directed ballet, also abroad. 

8 hours ago, Quiggin said:

and Nutcracker and Coppelia on ETA Hoffman’s short stories. Onegin seems less good to me than its source (though I do like the duel scene very much), conveying little of Pushkin’s ironic/romantic tone

If you compare what the libretti of Nutcracker and Coppélia did to ETA Hoffmann's dark and sinister, psychologically sophisticated stories to what Cranko did to Pushkin, you will know that Cranko is the one who cared much more for literature.

On 4/18/2023 at 11:38 PM, YouOverThere said:

We don't need foreign companies to present the same works that our local companies present,

How else would you learn about the small, but important differences in style, tradition, interpretation of the classics?! Only by comparing.

Burlaka claimed to know the tradition, the history of the Corsaire choreography in Russia/the Soviet Union, and was relying on that. He seemed to have an extensive knowledge about it though.

Reading the documentation of the Munich Petipa symposium, I now realise that this was the early stage of ballet reconstruction, and also the beginning of different opinions about how to do it.

13 hours ago, volcanohunter said:

Ironic, then, that he seems to have no successor in Russia, which hired a scab from the opposite side of the continent

It was not Russia, it was Yuri Fateev - who once had thrown out Vikharev's Sleeping Beauty reconstruction but somehow changed his mind about the old ballets. Does anybody know why he did so?

It was Burlaka who was responsible for the "old Petipa style" of the Corsaire, you're right, Ratmansky was only just starting with the reconstructions. Burlaka mainly relied on the slightly different Russian traditions of dancing the Corsaire variations, if I remember correctly. Both productions, Bolshoi and Munich, cared very much for the music and wanted to reconstruct the original partitura by Adam with the additions by Pugni, Drigo et al. But I remember a public discussion at the time at Munich where Sergei Vikharev demonstrated how different you can read and interprete the Stepanov notations - of course he was convinced that he as a Russian had the ultimate understanding for the execution of the notated steps. The notations are very hard to read and open for different interpretations.

2 hours ago, volcanohunter said:

If the production still claims to a reconstruction of Petipa's original, to which end Bockamp was hired as a notation reader, the ballet could not possibly have been completely re-choreographed as the Mariinsky claims.

In no way I want to defend Bockamp and Candeloro, but remember the Corsaire reconstructions by Ratmansky/Burlaka for the Bolshoi in 2007 and by Doug Fullington/Ivan Liska for Bavarian State Ballet in 2006 - they both relied on the Stepanov notations in the Sergeyev collection at Harvard and had different solutions, different steps for some scenes. It seems the notations are not quite as explicit and unambiguous as one would wish.

The notation for The Pharao's Daughter is digitalized, you can find it here in the Sergeyev Collection online  https://hollisarchives.lib.harvard.edu/repositories/24/resources/3185

Duato directed Berlin State Ballet from 2014 to 2018. Then he went back to St. Petersburg.

Is it possible that she moved to Ananiashvili's Georgia State Ballet, like choreographer Ilya Jivoy and ex-Stanislavsky dancer Laura Fernandez-Gromova?

Berlin State Ballett will show his piece in June. Gauthier Dance at Stuttgart will keep him as Associate Choreographer.

He was fired in the meantime from Hannover, but they also will continue to show his pieces.  And of course his assault will have legal consequences.

He had been walking his dog in the intermission and brought the bag with him to throw it away, as you have to do in Germany.  Another of her stinging reviews about his pieces had appeared on the very same day, she was at a premiere at NDT two days before. Just for clarification.

https://www.instagram.com/p/CnhQiLMo1gp/

This is a heartbreaking farewell by his wife Coralie Grand, dancer at Stuttgart Ballet.

Thank you so much for posting this!

On 10/27/2022 at 9:50 PM, Helene said:

They play a lot of opera: I'm not sure how much opera ballets the company performs in.

Helene, the big German ballet companies dance in the same theatres as the opera companies, but they don't perform in the operas since many decades; only if they have a cooperation with the opera like for Gluck's Orphée or for modern "choreographic operas". Most modern opera directors cut the dances in the operas, they have other scenic ideas for them or they hire special dancers, not from the ballet company. In smaller opera houses with dance companies of ten or sixteen dancers (of which Germany also has a lot of), they may still have to do the operas or musicals, but not in the big companies. Even many smaller houses hire special performers for musicals or opera dances nowadays.

John Cranko "freed" his Stuttgart dancers from appearing in opera performances in 1970, the other ballet companies like Hamburg, Berlin, Munich followed him some years later.

6 hours ago, volcanohunter said:

I get the uncomfortable feeling that since there was no violent crackdown against central Europeans, people lionize Gorbachev, overlooking what happened further east, because it happened to lesser humans.

By being grateful for a politician from the country of Stalin who made at least one decision to be human and pragmatical instead of chosing violence I'm not declaring other people to be lesser humans.

1 hour ago, volcanohunter said:

Russians despise Gorbachev for "losing" their empire and the economic chaos and lawlessness that followed his rule. Other peoples who lived in the USSR despise him for his clumsy attempts to deny them their independence. 

Germans are eternally grateful for a peaceful reunion of their country. When the protests in the streets grew louder in Eastern Germany in the 1980s, Gorbachev did not send tanks and troups like Brezhnev did in Czechoslovakia in 1968, but he paved the way to a solution without bloodshed. There was no war, 300 000 Soviet Soldiers left the country. Imagine if Putin was like that.

Shouldn't we attribute the opening of the repertoire that happened in the Soviet ballet companies the early 1990s to Gorbachev's glasnost? The premieres of the Ballets Russes pieces like Sheherazade, Spectre de la Rose at the Mariinsky in the 1990s, the first Balanchine pieces in the Mariinsky repertoire (I guess Scotch Symphony was the first)? Would that have been possible without the openness that glasnost brought to the Soviet Union? You may argue that the further opening to Ashton, Neumeier, Forsythe etc. was detrimental to their purity of style, but the Diaghilev ballets were perfect for them, I loved these evenings. And Jewels looks great when danced by the Russians.

9 hours ago, volcanohunter said:

The company in Berlin is the largest in Germany, and its dancers come from diverse backgrounds. It's in a better position than most to stage large evening-length productions

All German ballet companies have dancers from diverse backgrounds, and most of them stage large evening-length productions - Berlin, Dresden, Hamburg, Munich and Stuttgart show the classics in different versions, Munich has the largest Petipa repertoire among them. In most years, Hamburg and Stuttgart can fill their places with students from their own schools; the others not so much, that's why they take in dancers from other schools or companies.

May I add Polina Semionova who dances the role at Berlin State Ballet, a very tall dancer.

Thank you, volcanohunter.

So what happend, is he injured or was it Karen Kain who did not cast him?

Ah, and he was one of the last students of Petr Pestov at Stuttgart's John Cranko School.

On 2/23/2022 at 2:20 AM, naomikage said:

He is still young (in his 20's), very good looking and is currently a freelancer. 

Daniel Camargo is 31. He has a fine technique, quite impressive at times, but far from spectacular. He is a wonderful, natural actor, that's where his real talent lies. And he is a very handsome dancer, who looks more beautiful on stage than up close, a rather bewildering phenomenon...  His latest performances as a freelancer were at Hongkong Ballet and at the Czech National Ballet where he is permanent guest artist.