Sonja

Reid Anderson yesterday advised details for next season of Stuttgart Ballet - sounds very exciting, I think: Lots of interesting mixed programmes, from Cranko to Forsythe, a thrilling festive week celebrating 40 years of Stuttgart Ballet, many narrative works (opening the season with Ashton's "La Fille" - this is also the perfect Christmas treat, I would say!) - and I am especially looking forward to Cranko's "Pineapple Poll" which I have never seen before (but love the music)! Details: www.stuttgart-ballet.de

...There's a very comprehensive (and very expensive) double CD available with I believe most if not all of the music (it is by German composer Henze, that's true). I couldn't resist to buy it after two overwhelming performances on one day (both danced by Sarah Wildor, due to injury of Miyako Yoshida), but it's the kind of music I still find difficult to listen to without watching the ballet....

Hi Colleen, glad you caught such a great leading couple for your first "Onegin"! It's one of my very favourite ballets, and definitely my favourite one of Cranko. I also adore the "bedroom/dream pdd" (isn't that "mirror" incredible?!) and the final pdd moves me to tears if danced and acted well... In regards to Olga and Lenski - well, they are probably not as deeply portrayed as Tatiana and Onegin, but I feel there is a lot in them as well - a lot I have only discovered with very few casts. In fact, I believe these two roles are highly under-estimated. If Olga is well portrayed, she is the one who causes all the trouble... I don't think of her as an innocent nice one - bit similar to Bianca in "Taming of the Shrew". And Lenski reminds me always a bit of Hilarion in Giselle - but maybe because my favourite dancer here in Munich is so good in both roles... Lenski really loves Olga but does not know how to cope with her flirting way. And his solo before the duel can be one of the most sad moments in the whole ballet if danced with the right feeling. It's as if he feels that he will die and says good-bye to life in his dance. Another note to "Onegin": It's one of those ballets I don't get tired of watching as there are so many details... Take for example the "formal" dance in Act II, when the "old" people try to join the young ones, how embarrassed the old ladies become when their husbands ask young girls to dance - and how they then suffer from backaches etc... Hope more of you will enjoy this masterpiece - and I can't wait for RB to perform it!

How about getting the CD ordered via Internet? Suppose it should be available there?? (I had no problems finding it - although some years ago... - in Germany...) - Just checked the web, and although I am not sure if it is ok to post this here (I don't get a cent from amazon!), try www.amazon.co.uk, search for "La Fille mal gardee" in Classical Music, there you will find it! I hope there's still enough time for you to get the CD - no doubt the quality will be better than taken from the video.. [ 05-29-2001: Message edited by: Sonja ]

Hi Wendy, FINALLY I have had time to check the web - thank you so much for sharing your memories. Reading your review made me feel almost as if I was there... Sob. Thanks also to everyone else for contributing to a comprehensive picture - such a shame this gala obviously was not filmed... Will ever regret this!

Interesting discussion! We have quite a lot of Neumeier ballets here in Munich (what surprise - with Ivan Liska as AD... ;)), but I haven't seen any of those performed by Kirov now. Personally, I prefer Neumeier's older ballets (I ADORE his "Nutcracker"!) - I have found it a bit difficult to follow his recently sometimes quite mystique approaches to themes and music...(lots of running and walking, as you said, Alexandra) I have been wondering if the "born to dance Neumeier" was meant as a compliment, as his style is so different now from pure classical ballet - but in general, I believe it is something that cannot be judged objectivly but is an expression of personal taste...? Just similar as calling someone "too classical"...

I've seen Sir Peter Wright's both in London (RB) and Munich (Bavarian State Ballet) and also love it - it's so logical. Plus I adore the costumes by John MacFarlane (sp?). Then, as a contrast, Mats Ek's "Giselle" - but this is probably not the place to discuss about this production...

The production is from Vienna (1993, if I am not wrong) - see also my reviews of the premiere, around 20 December 2000, in balletalert, for general impressions. Sorry that I forgot to mention supporting roles previously: Kirill Melnikov danced Lescaut better than usual (probably he wanted to show off what he is able to do) - he's just too brutal for my personal taste. Kusha Alexi, one of Munich's young first soloists, was his mistress - beautifully danced, but quite pale, I must say. I loved the rivalry of the two courtesans (Sherelle Charge and Irina Dimova) - as I love the whole ballet. NO7, I would not put too high hopes on seeing this cast as Kirov often changes cast in last minute - but if you do, I am sure it will be interesting. PS: Interesting, too, some opinions I found on Munich ballet blackboard: Those who posted anything there were stunned by Svetlana's technique (personally, I don't go for Manon for technique only!) - but also by her ACTING ABILITIES. Again, it's obvious that there are different tastes and opinions!

...originally this post should have been titled: "Manon in Munich with Svetlana Zakharova and Igor Zelensky"... But I could not help but change this... It was an enjoyable evening: Both are technically accomplished dancers, Svetlana's 6 o'clock extensions are amazing, she's incredibly young and she got along very well with Munich corps de ballet dancers. Igor Zelensky showed some beautiful arabesques and was "on", really caring for his partner. The only (big) thing I have to criticize: Svetlana Zakharova was not Manon. I missed the coquettish (?) way - she was very young and very naive and one could not believe she realized how attractive she was to the men. Most of the time she showed her (beautiful!) princess smile - but something was missing. Her dispair was credible, but somehow not the logic consequence of her behaviour. This Manon was only a victim of unfortunate circumstances. She wore her own costumes - very nice and flattering in act I (light green or blue - could not see it from the distance) and quite short in last act. Very interesting I found the curtain calls when Igor Zelensky presented her to the audience - to me it felt like: "Look, this beautiful and talented dancer I have brought to Munich!" There were lots of applause, and both seemed to have a good time. Will be interesting to see how Svetlana develops her acting abilities! (Probably my "fault" that it was almost exactly one year ago when I saw Igor Zelensky dancing with Darcey Bussell in Manon and could not help compare their performances. Plus we had a memorable one with him guesting and partnering Lisa-Maree Cullum.)

Youri Vamos (ballet director and chef choreographer of the Ballett der Deutschen Oper am Rhein) made a ballet to music by Sibelius, called "Shannon Rose". It was first performed by Bavarian State Ballet but is now in the repertory of his company. I haven't seen it for a while, but major parts are set to his violin concerto and a symphony - have to check back home... If you are interested in details, please let me know! (I am not sure if this is listed in the Oxford Dictionary... sorry if dupe!) [ 04-10-2001: Message edited by: Sonja ]

Thanks for posting this link, Kevin!!

Great one - any chance to drag links to such previous April jokes from the archives for relative newcomers like me??

Enterachilles, thanks for this review! How did you like Anna Seidl?? I am curious because she trained at Munich Heinz Bosl Stiftung, but I haven't seen her except in my very first Sleeping Beauty (at ENB in 1994 with very vague memories) and guesting as Myrtha in a school performance of Heinz Bosl Stiftung last summer. I never thought of her as the "typically etheral" ballerina - but this might have changed!?

Just a quick note on what I found in today's newspaper: 1) there will be an entire (new) production of RAYMONDA, staged by Ray Barra 2) p- no, no Japan Tour - one shouls read more carefully. The OPERA will tour Japan - sorry! 3) PLUS - could not believe my eyes - Kirov will present "Jewels" from 28-30 September! 4) Cranko's "Taming of the Shrew" will be back more soon! [This message has been edited by Sonja (edited March 23, 2001).]

...an interesting example of how different views of one and the same performance can be...!

Sorry to drag this from the archives, but for those who haven't seen it yet - there's a small report on ballet.co: http://www.danze.co.uk/dcforum/happening/1473.html

Just a quick note to add we seem to have been REALLY lucky in Munich - Friday's performance of "Manon" was again totally different from Tuesday. Zelensky was "there" from the first step he set on stage, and he seemed to enjoy himself! There was a rapport between him and Lisa-Maree Cullum, they got along well togethre - and he showed those beautiful arabeques I had been looking for...! I realized (maybe only with this cast?) I have a new favourite pdd - the second bedroom pdd! There was so much acting, such a tension - different from first bedroom pdd where it is all happiness and passion and different from final pdd where it's all despair. Another detail (that may have added to my happiness) was a cast change of Lescaut - Kirill Melnikov was injured, and Alen Bottaini took over. (Those who read this board regularly will know he's one of my favourites in Munich...) He was a better "team" with Lisa-Maree Cullum - and when drunk, he acted so much that he almost fell from his chair - so Zelensky in last second caught him. I felt that after that moment, they had a good laugh together! I feel sorry we won't see this cast here in Munich any more - it was a very pleasant and memorable evening!

Marc, what do you mean by Zakharova recovering??? Do you think she'll be able to dance Manon in four weeks????? (Thanks for report - felt as if I was there - but I hope you will have some more rewarding performances to come!)

A note on what I found in the newspaper today (but had forgotten to report!): The performance started about 20 minutes late, and I was already wondering as I did not consider neither Cullum nor Zelensky the type of partner who would go through lifts again and again just before the performance... Today I read in the newspaper that Zelensky had to be back in Moscow on Monday, and that his return flight on Tuesday was that much delayed that it became unsure if he would make it at all for the performance!! Chapeau, Mr Zelensky - for that even the first act was really good - and chapeau also to Lisa-Maree Cullum who has shown no nervs at all!!

Hi Ed, thanks for your encouraging words - sometimes I am worried I may not hit the right tone - but (referring to an earlier discussion) I simply love to share my memories. Plus writing helps me to "get over" the evening and to be open again for new impressions. If anyone reads it or even enjoys reading - the better! Thanks again! Sonja

Last night Igor Zelensky guested in Munich as Des Grieux, partnered by Munich principal Lisa-Maree Cullum - some thoughts on this performance: Personally, I have seen him better before (no comparison to the "Manon" with Darcey Bussell! - but still a lot of people around me were simply seduced by his charm - yes, there was charm, at least in some moments of the ballet. I thought first variation could have been danced better - it was just routine, where we have been spoiled in the past by Robert Tewsley's Des Grieux who was present and in love with Manon from the first second. First pdd was ok - but first bedroom pdd I found a bit dissappointing. Both dancers are not that emotional, and there was no real rapport (at least I missed it in this pdd), so it was technically ok, but this is not what it's about, is it?? From 2nd act, either my opinion had changed or Zelensky's mood - I found it a totally different preformance. It was funny to see how the girls tried to get hold on him, how he was almost upset about Lescaut's behaviour, how he took a glass of wine away from Lescaut, saying: You have had enough! BUT this Des Grieux would have been drunk, too, so many glasses of wine/champagne? were given to him! Very good was the second bedroom pdd, where Zelensky was again and again seduced by Lisa Cullum's charm, he switched between angry and terribly hurt. Third act - sorry, I could not help but laughing when he tried to get past the gaoler after they had lead away Manon - Norbert Graf was obviously not expecting such energy and had to step quite a few steps forward to avoid being run over! Final pdd again was good, although I missed that special rapport - both were lost and desperate, but not so much about each other... But on the other hand, it was first time they danced together, and at the curtain calls they looked as if they enjoyed it (or they looked at least professional!)... Friday will be another performance, and I am looking forward to it! One note to the costumes - maybe someone can help me there: First and second act Des Grieux wore costumes of the Viennese production (which we have in Munich). But in third act, he came on stage with brown vest, light brown trousers and brown boots, the final pdd without the vest. This was definitely different from what we normally have in Munich, but I cannot remember if this is London costume, or....? Any hints would be greatly appreciated!

I know this leads us a bit far from where you started, Alexandra, but your last comment reminds me of Germany's most famous soccer team, Bayern München - there is the official website, some fan websites - plus an "anti-Bayern website"... Let's hope ballet won't polarize that much (as I think much stuff on the "anti" sites is really not funny and certainly not fair!

Mr Leigh Witchel, I agree with you on most points. Sorry, but I feel I have to come back on one of my "favourite" topics, that is if someone is "miscast". I may not have expressed myself clearly - and I am not neutral as critics here in Munich have recently greatly upset me (maybe more than the dancer concerned...). Here in Munich we have some critics who like some dancers and can't stand others. Well, this is already widely known and should not affect me - but sorry, it still does. So those people tend to damn whatever X does, stating he or she is "miscast" in a role as they would prefer to see Y. In that case I consider it unfair (and, in a way, unprofessional). As for dancers bodies, I totally agree as I have been worried about some painfully thin looking dancers... (And, despite of I was never going to be a professional dancer, I remember how much it hurt when some people called me too stubby...)

I think it's unfair when critics post their very personal opinions and tastes as definite statements, such as "dancer X is completely miscast in that role" or "cannot do it". I don't think this will help anyone. Personally I believe there are VERY few "obvious" miscasts (if there are any) - I have noted that there is always someone in the audience who likes him or her.

If I had a sponsor to finance my trip plus tickets plus overnight stay, I would have loved to go... But I spent a fortune in London last week, so I decided not to go (again)... This may sound nuts as for many of you Baden Baden is just round the corner from Munich, but in fact it is not, trains are awfully expensive in Germany and so is accommodation in Baden Baden... SORRY!