Effy

At Yesterdays intro-matine we got a lot of talk and very little dancing. As Anne Marie Vesel think the ballet needs spiking she had done one (or several) insert one focusing on the Don Juan caracter of Eduard du Puy and choreographed a dream scenario of him and four ladies in pink. Is that what we expects of a revival of the Life Guards? I would rather see the ballet produced by someone who has confidence in the material rather than someone who is working out from a theory that the ballet needs to be saved.

yesterday saw the annual Ballet gala at Kastellet, an old fortres in Copenhagen harbour. In spite of bad weather some 5000 -8000 people (my estimate) attended this years preview show, hosted by Frank Andersen himself in an amimated effort to sell tickets and arise awreness. This year it was rumoured we will even get a television version and I was indeed interviewed in a vox pop regarding th event. Was it any good? Well you can make the case that ballet does not fair well under the harsh conditions of a outofdoors impromptu scene. Ballet needs a defined room and space and it is difficult to get an uninterrupted and ideal viewline under the circumstances. I can usualy adapt to the conditions but I must say that compared to the royal Tjeatre very few ballet snippets won by being transported to Castellet and it is my opinion that the choice of ballets was not optimal. Ballet slike Etudes' Sylph scene needs a proper stage and although the galop from Anna Karenina is masterful on stage it does not really function as well out of contects. Taken from the top: Harald Landers Old Fest Polonaise pas de deux danced by Gudrun Bojesen and Thomas Lund was partly delightful and partly underreherached. She is a sunny performer and can sell most choreography well. Thomas Lund is less of a classical partner, than what I prefer and had some serious troble in the partnereing aspects but jumped well. Next up was Anna Karenina with Gitte Lindstrøm and Mads Blangstrup, followed by the galop. Again this was out of context , danced well - without given the full connection of the piece. The Kings Guard at Amager was respresented by the sailors dances with Peter Bo Bendixen at Eduard. The new costumes lokks extreamly lively and bright. Nicolaj Hansen and Cecilie Lassen danced a pas de deux by Louise Midjord, he passive, she aggressive. Later in the programme another piece by Midjord to live music of local pop sensation Swan Lee and starring Silja Schandorf with Lassen and Byron Mildvater gained the highest applause (probably to the band). Frank promised us more cooperation with current popstars. Otherwise we saw a scne from Abdallah, the Etudes pas de deux with Cavallo and Kenneth Greve, the mouse dance from nutcracker and off course Napoli Tarantella and Finale. Before the show the final accolades where carefully reheaaarsed, but I some how wondered if it had not been better if the dancing was rehearsed rather than the applause. In short - no one shined particularly - but it would also have been difficult under the circumstances. I can understanmd the need to match the Operas annually succesfull free concerts - but in order to do so, repetoire should be considered better and more rehearsal time allowed.

The daily paper Jyllandsposten has printed the program for the Kastellet performance: Louise Midjord ballet to Swan Leer music (popular Danish pop) Except from Abdallah, The King Guard at Amager, Anna Karenina, Napoli Nutcracker, Etudes and Fest Polonaise pas de deux by Harald Lander

I agree with you on most matters. To save A Folks Tale the foollowing measures will be necessary: A new director: Hubbe/Englund/Villumsen/Ib Andersen A new decor or a return to Lars Juhl 1979 version Good characters dancers as the trolls Restoring the choreography to the 1979 version and quality Getting the pas de sept back on track But I am afraid neither would happen, because when can you graciously dump a Royal decor (maybe they accidently loose it on tour or something)

It was the constant focus of the not very artistic tv-commentators. Sorry we could not see the ballet for the cuttings. We do have a wonderful crown prince with a beautiful bride, but I do not need to see them when I am watching the Count and countess (Greve meaning count in Danish). I would have given them a bit more privacy to not cut to the roal box every 10 seconds. We prpbably would have gotten the point of the Danish(austrialian Romeo and Juliet pas de deux as well without the cutting.

I think Gudrun Bojesen is one of the best Irmas, we have ever seen. She is really the Gazelle of Bazra re. jumps and floor coverage Re. Thomas Lund, he dances fine, but he do not sell the role as well as Arne Villumsen nor Kølpin or Riggins coul do. Seing arne in the costumes was an added bonus to his superb dancing. Thomas Lund do not pocess the strong masculinity nor the light comic touch that other Abdallahs have brougt to the part. Gitte Lindström was a good Palmyra, without reaching the high level, we have seen in the part previously. The two solos for the princes was danced by Nicolai Hansen (who is probably our next local soloist with a strong technic, but less in styles and looks) and veteran Vincent von Webber, who still can outdance the younger guys, although he still looks scared on the stage. The girls in the last act Wei and Femke Mølbach Sloth was stylish and in the first act Diana Cuni matched Gudrun Bojesen in style and lightness and Cecilia Lassen did not. She is a beutiful girl to watch, but intricate Bournonville is clearly not her force. Re. the type of the part. Irma is not a Demicaractere dancer. The first Danish Irma was Juliette Price, the creator of Eleonora and Hilda, so Bojesen is probably better casted than demicaracter-dancers like Heidi Ryom and Henriette Muus. What Irma needs and Bojesen delivers is the lightness and beautifull high jumbs. She is really a national treasure and the main reason to see Abdallah. Abdallah is well designed, carefully reconstructed by people who really knows their Bournonville. Yet it is a bit boring, as the dancing and the drama never really comes together. But we must greatfull for what we get, including Kenneth Greve in a non-dancing role

Yes Yao Wei is a stand out and I am very pleased to see her get the Talent award as this year Reumerts. She is a dancer to build on. However, as experience shows not all talented dancers may get to fullfill their promise, so a handfull of talents may not be enough. Looking at past generations, Niels Balle was the most prominent of his generation up to a major injury, from which he never recovered his standing (He was James at I think 20 and was plannedsecond cast to Bendixen in Amled, when the injury occurred. He neber made one performance. Of the same generation Michael Weidinger was also out early. It a good strategy to make more schools, but the quality of the teachers is paramount.

Reviews from Weekendavisen and Politiken agrees that the ballet are to compressed and neither like the decor. Re. dancers they both find first cast a bit subdued, third cast very positive for Greve and disappointed with Nina A. Weekendavisen is very pleased with the second cast (Cavallo/Bowman) but they are not revied by Politiken.

The tradition in the RDB is for a solo dancer to be appointed when approx. 23. A few talents even younger like Peter Martins,Ib Andersen and Nicolaj Hubbe at 20. Some late bloomers like Heidy Ryom at 27, but that is very unusual. So in short when a dancer reached 20 -21 you had a good inclination whether it was a potential solo dancer. During my years as RDB-fan another tendency has been apperant, namely that talents came in bundles. Firstly there was the large group of extreemly talended dancers, Arne Villumsen, Ib Andersen, Mette-Ida Kirk, Annemarie Dybdal, Linda Hindberg, Heidi Ryom, Lis Jeppesen and Frank Andersen all born within a few years (Peter Schaufuss, Adam Lüders,Johnny Eliasen, Eva Kloborg and Anne Marie Vessel just a few years older). And then there was almost none for a period of 10 - 12 years, when the next great generation emerged, Peter Bo Bendixen, Niels Balle, Mette Bødcher, Alexander Kølpin, Aage Thordahl, Henriette Muus, Petruskja Broholm, Rose Gad, Christina Olsson, Silja Schandorff, Kenneth Greve, Michael Weidinger, Ulrik Vivel (Nilas Martins) emerged. With the intake of dancers in the same age bracket like Caroline Cavallo, Lloyd Riggins, Jean Lucien Massot, Marie Pierre Greve tou had a strong generation, followed by a little group consisting of Johan Kobborg, Mads Blangstrup, Thomas Lund, Gitte Lindström, Tina Højlund, Martin Vedel and Gudrun Bojesen and then yet another gap. The Schandorff generation came very early to their staring roles after doing a lot of corps dancing when they were as young as 14 -15. The following period showed very few Danish dancers coming from the school to the company and the company became dependant on intakes from other countries. There have been several good dancers like Bowman coming in but 50% had moved on swifly as they realisted that they may not be solo dancers and decided to ty their luck elsewhere. The challenge nw facing Fran Andersen is to build something for the next ballet master. That will include taking a serious look at the schhool and hopefully concluding that the present teachers need to be supplemented by other teachers and dancers, who have done the whole route to ensure supply. He needs also to come to his conclusion about who are the really talented in the crops and star to nuture and develop the talent, giving each one the ideal roles to grow in. It was not what he did best the last time around - but I hope he may have got the hng of it now.

A short look at the bios of the RDB Solo Dancers and Soloist shows that the company posess great talents, but not particulary young talents: As far the solo dancers goes 12 out of 15 are +30 years old, 9 is past 35 and the 3 not yet 30 is respectively 26, 28 and 29 If you include the soloists you have a similar pattern 2 is past 35, 2 are past 30 and the 3 under 30 is 29, 26 and 23 With a pension age of 40, the company will loose 60% of their solo dancers within the nex 3 -5 years and half of the soloists as well. Of the present soloists only Tina Højlund dances leading roles regulary. Re. the corps only Kristoffer Sakurai and Nicolaj Hansen (and to a lesser degree) Julien Ringdahl are getting soloists part with some regularity. Yao Wei have had a few leading roles, Sacha Haugland a few Bouronville leads and Femke Mølbach a few soloists parts but otherwise the young corps do not really counts experienced soloists. So who will we look at in a few years time?

There can only be one answer The late great Henning Kronstam. he could do anything or anybody. His acting gift also was used for his long career as a classical dancer.

A friend of mine said when Margot Fonteyn was created Prima Ballerina Assoluta: How could she get an appointment, that was specific to the Imperial Russian Ballet? and I think she is right. In Denmark the term First Solo Dancer have been used on and off, but the way most major ballet companies are run today no single dancer carries as the repetoire, nor is it made for one in particular. Susanne Farrell is probably the most important dancer at NYCB for a long period. Margot Fonteyn is synonomous with the rise of the Royal Ballet.(It always confuse me to call the British Ballet for Royal Ballet and the Royal Ballet in Denmark for Royal Danish Ballet. The later being the oldest and truly Royal in its origin) At present it would say tha Silja Schandorff is the leading RDB ballerina, still she do not get leading roles she is suited for. In short the term assoluta belongs to a era long gone and should be left there.

I have seen Nina A, but not yet Cavallo, so I cannot compere the two, but I would say, allthough not a bad Anna, she did not bring anything to the role that Marie Pierre Greve had not shown us allready and she did seem a bit out of focus. Greve was great. The look on his face in the first scene, was proof eneough how well he is suited for the role. Nina A, did some fine performances here in the early 90ties in La Sylph and Don Q. I think although Anna K is a taxing role, it will not necessaryly be better by casting a star. I look forward to more casts and more performances with the onces I have seen. It has been a long time since I have been this thriled about a new original ballet for RDB

Sorry I have not answereed before - I only happened on this thread by chance. The strengh of Gudrun Bojesens dancing is firstly that she is suited for the Danish inherited repetoire, La Sylphide, Hilda, Kermesse and also Etudes and that her teqnique thoug maybe not as strong as say Gitte Lindstrom, is stronger than what you usually see in a Danish Ingenue. Shre is probably the best technician in that fgield since Mette-Ida Kirk. This allows her to fly and be light when needed and it also makes it possible for her to strech both into modern, Russian and neoclassical roles. Because she is so suited to the Daninsh core repetoire, she is a very important dancer in the company. A Gitte Lindstrom could be replaced by any good traditional ballerina, but Bojesen is a true Danish ballerina and therefore cannot easily be replaced. Another question is will the company let her grow. Yes she has tacled more mature roles, but she is in general used as a juvinile dancer. I find it difficult to talk about her technic as separate from her dancer personality - and I think it reflects one of her major qoulities. They cannot be seperated and that is why she is "a full packet" dancer, and most importantly a ntional tressure.

The Reviews are online. Erik Aschengreen Berlingske Tidendeis very positive. Henrik Lyding, Jyllands-Posten less so. So far none in the Politiken. Re. Silja Schandorff I have always that this gifted dancer was also very lucky re. castings. Swanlake and The sleeping beauty produced in her prime etc. However the lists of parts she have not got is getting longer than it should be : Romeo & Juliet, Onegin and now Anna Karenina. Without opening old discussions, I would like to point out that Caroline Cavallo has danced all of those leads, so why not Silja Swith the better lines and stronger projection. She would have been my first choice if I was in charge.

I too attended the opening night and my overall view is that it is a very good ballet, although a bit shorter than I would prefare. Ratmansky do not beat about the bush, the scene are hastely stated. Anna is out of the train almost before it stops. Think how Kenneth McMillan would have dragged that scene around with at leat 20 people leaving the train before Anna. I am very familiar with Tolstoys book, and allthough at lot of important story line (Kitty, Ljovin, the whole Russian society) is cut to a minimum, was is left is very true to the book, and you can see little details showing that they really knows the material, like Kitty dancing with the master of ceremony at the ball, Anna vearing a black dress, the dream about the two Alexeis (Tolstoy have given the same first name to both Vronsky and Karenin ) The costumes are lovely but a Leigh points out hardly see-though, but that is probably because of the projections which means that you cannot light from behind, thereby spoiling the transparant effect, which I do not not miss. I am not to keen on the projections allthough the show a good selection of old Russia they tend to dwarf the dancers. The fycical elements of th decor are very good The train, the gates , the furniture and I think you would have had as good a decor with an open stage. As for the dancing Ratmansky show great talents for moving people around and the de deuxs are many and good. However, as Leigh points out, threy would be more impressive if he had kept the corps at bit more still. Some times Anna and Vronsky are even mirrored by one or two couples toing the same steps. As for the dancers, Marie Pierre Greve is doing a fine Anna, but I think the part would be stronger witha more face-on and less timid ballerina like Silja (I hope she is wrong re. the casting). I also think that a slower start to the ballet where we see Anna as little Mrs. Perfect sorting out her brothers crisis would have helped build the caracter. When someone is going to fall - it will be a greater effect if we know where there are falling from. Mads Blangstrup is great as Vronsky. Readers of this forum will known how highly I regard his talent, and he do not let me down. He has that nag for the drama and can be touching. His dancing is build on the dramatic tradition and he links directly to our great dramatic and romantic dancers. I was too far back in the audience to be able to tell how well he and Marie Pierre Greve acted together, but my oveall impression was very good, although he cleary commands the stage better than she does. She is a lovely dancer with an impressive face, long lines , in short everything you could want from a ballerina, but she does not project as strongly as you would wish, but this could certanly be a turning point. I am also looking forward to Gitte Lindstøm in the part,building on a great Tatiana. I would have loved to see more of the supporting cast, as they are so greaty casted. Gudrun Bojesen a lovely Kitty, Nicolai Hansen a timid Ljovin could easyly have been used more. The mucis is lovely. And in all the ballet resemples both Onegin and Manon. In short I think the RDB have gained a ballet that could be a mainstay in the repetoire and shows that the mission of being the greatest story telling ballet company in the world is the right mission. I am also aware that I and the rest the audience very much wanted it to be a succes and that we therefore pushed the applauses perhabs a little more than what was deserved, but I think we all saw Anna Karenina as a good step in the right direction and wanted to let everybody know that.

Casting Anna: Marie Pierre Greve/Caroline Cavallo/Nina Anishivilli Vronsky: Mads Blangstrup/Andrew Bowman/Kenneth Greve Karenin: Peter Bo Bendixen/Mogens Boesen Betsy: Tatiana Ratmanska/Tina Højlund Kitty: Gudrun Bojesen/Femke Mølbak Sloth Ljovin: Nicolaj Hansen/Cédric Lambrette Serosha: Andreas Kaas Steva: Alexander Sukonnik/Thomas Flindt Jeppesen Dolly: Claire Still/Josee Howard Very good choises for the caracter parts. Gudrun Bojesen will beb a great Kitty

Last Sunday attending an introduction to Alexei Ratmanskys new ballet Anna Karenina, whiich will premier April 2 with the following cast. Marie Pierre fgreve/Mads Blangstrup, Caroline Cavallo/Andrew Bowman, Nina Anishivilli/Kenneth Greve and Gitte Lindström/Jean Lucien Massot. The part of Karenin will be shared by Peter Bo Bendixen/Mogens Boesen. I expect (but do not know) that Silja Schandorff would join the production at a later date (She is still injured). Based on the to pas de deux thats was shown, it look very beautifull and the costumes by Michael Melbye looks fine. So we keep our fingers crossed? Snippets: Thomas Lund and Gudrun Bojesen is nominated for Dancer of the Year and La Sylphide and the program with 3 modern ballets is norminated for best dance production aty the upcoming Reumert awrds

Luckily some dancers still try keeping the parts from being too one dimentional. Gitte Lindstrom gave a very good Birthe whiout too much farce and showed in her solo why it is important to cast a virtouso dancer in the part. Gudrun Bojesen as Hilda is the best Hilda we can get presently. She loves Bournonville and has the fairy/princess character for the part. But what can she do, when her beautiful solos are put to fast tempi and marred by the fact that anyone can join the show, kitchchen maids and trolls compete doing their dancing during her solos. Kenneth Greve is a handsome Junker Ove, but it must be said, as the greatest Junker Ove I have seen, Arne Villumsen said: Junker Ove is not a role you get - it it a part one accepts Monna Ditmar, the reviewer for Politiken wants Nicolai Hübbe to save the ballet. I totally agree. He has that Brenaa touch understanding the theatre in the ballet and the ballet in the theatre.

How can one ballet be the greatest Danish and then suddenly be plain awful? There is no doubt that A folk tale is a masterpiece, and there is no doubt that the last production has almost killed the ballet. But what excactly has gone so wrong. Here is my diagnosis: Not understanding the plot Folk Tale has never been dramatically coherent. The relationship between the trolls and the elves has always been a bit unclear and so on. This production managed to muddle things even further. For instance the two trolls doing the baby switch should clearly be a younger Diderik and Viderik, not the present little helpers. Not giving sufficent direction and room for the principals The principals look to be left to their own interpretations. Birte was at the premiere played by Lis Jeppesen as slapstick farce. most often it looks like the principals are simply forgotten and some of their solos and defining moments are marred by semisoloists and corps members breaking rank and grabbing the attention, like the fat troll joining Hildas solo, The maid trying to mirror hildas Act 3 solo, etc. Not understanding the functions of the corps A folk tale includes some of the best Bournonville folk dances but this is not enough for Andersen/Vessel. They are hell bent on expanding the merrymaking by letting the corps dominate and ran all over the scene The choice to make the trolls in the second act represent every aspect of supernational beings mars the scene and you cannot focus on where you should focus If something is good, expanding it can kill it. The dancing highlight of A folk tale has always been the glorious pas de sept . Andersen/Wessel has expanded the piece into oblivion and marred the starring parts by sharing the solos. It used to include two male star turns and the wonderful first girl, which is now split between two dancers.Spreading the dancing is not keeping up the quality Else, the Cookery maid, is not the ballerina of the piece Wessels old part is more or less ruling the show, dressed in an obnoctius red and black costume she is dominating every scene she is in with high gearing pranks Do I have to mention the decor?

Apperantly 25 Danish dancers are currently injured/sick. That is almost 1/3 of the company.

I have not seen Tina Højlund yet, but I am a great fan and I hope she will get significant parts during the festival. My casting suggestions was probably a bit influenced by getting the balance right between the principal dancers, which she undervedly is not. As both Olsson an Gad are on their second maternity leave and both are getting closer if not close to the retirement age it would be fair to appoint her and appoint a few younger soloist as well

Sorry, Have been travelling and not online. My take on the repetoire is that the selectionis fair, but much will depend on whether the company can top the billing. At the recent US tour they did not and we may expect Frank Andersen will resort to his usual casting practises. I used to say last time Frank was around that he get everything right - by the third try. But fair must be fair. the illustrious 1979 Bournonville Festival had some strange castings as well. Very little Ib Andersen, which could easily have been done by letting him dance or act rather Far from Denmark istead of his alternate cast Tommy Frishøj who was about 40 and no longer totally convincing as the young sea cadet. Last time Ventana was drooped probably due to the fact that it contains two very difficult male parts, which was hard to cast. For this years festival a good cast could be: The Senor Mads Blangstrup The Senorita Gitte Lindström Pas de trois Thomas Lund, Gudrun Bojesen, Sacha Haugland Kermes in Brügge Carelis Thomas Lund Eleonora Gudrun Bojesen Marchen Christina Olsson Johanna Diana Cuni Geert Peter Bo Bendixen Adrian Niels Balle Mme Van Everdingen Rose Gad (she would be great in that part) Pas de deux Kenneth Greve Silja Schandorff Napoli Gennaro Mads Blangstrup Teresina Gitte Lindström La Sylphide Mads Blangstrup/Kenneth Greve Gudrun Bohesen/Silja Schandorff Abdallah Abdallah Thomas Lund/Kristoffer Sakurai Irma Gudrun Bojesen/Tina Højlund Palmyra Caroline Cavallo/Silja Schandorff La Conservatoire Thomas Lund Caroline Cavallo Sascha Haugland Far from Denmark Vilhelm Mads Blangstrup Rosita Gitte Lindstrøm Alvares Kristoffer Sakurai Poul Diana Cuni Edward Femke Mølbak Sloth The kings Volunteers Eduard Kenneth Greve Louise Silja Schandorff Pas de trois Amy Watson, Femke Mølbach Sloth, Thomas Lund Farm girls Tina Højlund Diana Cuni A Folks tale Hilda Gudrun Bojesen Ove Mads Blangstrup Birthe Gitte Lindstöm It shows from my casting suggestion that few of the foreignborn dancers can really do justice to Bournonville and that few dancers can act. Yes I rely much on Mads langstrup and Gudrun Bojsen, but thaat must bethe case as they are the most "Danish" dancers in style and ability. They both have a certain reminicence of the fifties style in their dancing.

I think one reason behind the high amount of injuries in RDB the fact that the ensemble is still smaller than it should be is a contributing factor. Also the fact that fysioteraphy is not available as much as the dancers would prefer. Regarding the size of the company, a bulk of dancers disappeared when the pension age was changed from 48 to 40 a few years back and the school has not been able to produce as many dancers and especially leading dancers as is really needed. As today Gudrun Bojesen is the youngest principal at 27, Gitte Lindström a few years older and the remaining leading ballerinas are in the mid-thirties and several of them are on maternity leave. That would not be a poblem if we had younger ballrinas coming up, but a quick look at the talent base says that several of the possible candidates like Sascha Haugland and Isabella S have been suffering longterm injuries.

Gudrun Bojesen has just together with Opera Director Kasper Bech Holten won the Niels Mathiassen Memorial Award. The award is created to honor the late Minister of Culture Niels Mathiassen (a real balletoman) and is revarded every second year to cultural personalities. I think it is the third or fourth time the honors go to a Danish dancer. Linda Hindberg being the first.