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A Viennese Dance Extravaganza Vienna
Staatsoper
06/29/2024 -
La Ventana: Pas de trois [1]
August Bournonville (choreography), Hans Christian Lumbye (music)
Ramifications [2]
Martin Schläpfer (choreography), Győrgy Ligeti (music)
Four Pieces [3]
Hans van Manen (choreography), Robert Schumann/Martin Yates (music)
Wiener Blut Walzer [4]
Martin Schläpfer (choreography), J. Strauss II (music)
Grand Pas Classique [5]
Victor Gsovsky (choreography), Daniel-François-Esprit Auber (music)
The Lady of the Camellias: Black Pas de deux from Act III [6]
John Neumeier (choreography), Frédéric Chopin (music)
The Sleeping Beauty: Pas de deux from Act II [7]
Martin Schläpfer (choreography), Pyotr Ilyich Tchaikovsky (music)
Etudes: Finale [8]
Harald Lander (choreography), Carl Czerny (music)
Don Quixote: Fandango and Grand pas de deux from Act III [9]
Rudolf Nurejew (choreography), Ludwig Minkus (music)
Swan Lake: Act I & Pas de deux from Act II [10]
Rudolf Nurejew (choreography), Pyotr Ilyich Tchaikovsky (music)
Ioanna Avraam [1, 4, 9], Kiyoka Hashimoto [1, 4, 9], Alexey Popov [1, 8, 9], Sonia Dvorák [2], Davide Dato [3, 8], Olga Elsina [4], Marcos Menha [4, 7], Valentine Colasante [5, 10], Marc Moreau [5, 10], Ketevan Papava [4, 6, 9], Timoor Afshar [6, 10], Hyo‑Jung Kang [4, 7], Eno Peci [9], Arne Vandervelde [4, 9, 10], Masayu Kimoto [4, 10], Alice Firenze [3, 10], Aleksandra Liashenko [10], Wiener Staatsballett
Shino Takizawa [6] (piano), Volkhard Steude [7] (violin), Orchester der Wiener Staatsoper, Wolfgang Heinz (conductor)
Hans van Manen [3], Jürgen Rose [6], Luisa Spinatelli [10] (sets), Kathrin Böge [1], Thomas Ziegler [2], Jean‑Paul Vroom [3], Susanne Biskovsky [4], Chanel [5], Jürgen Rose [6], Catherine Voefray [7], Nicholas Georgiadis [9], Franca Squarciapino [10] (costumes), Stefan Bolliger [2], Bert Dalhuysen [3], Robert Eisenstein [4], Ralf Merkel [6], Thomas Diek [7], Marc Anrochte [9], Marion Hewlett [10] (lighting)
M. Moreau, V. Colasante (© Ann Ray/Opéra national de Paris)
The last days of June signal the end of the season for Vienna’s prestigious Wiener Staatsoper, which produces both opera and ballet. For fans of the latter, these are eagerly awaited days, as the annual Nureyev Gala is a huge celebration. Many in the audience were dancers (active, in training, retirees), as could be discerned from their svelte figures, elegant posture and chatter overheard at intermission.
Nureyev’s name has long had a particular significance in Vienna. It was in Paris that the Soviet dancer defected in 1961, and it was there that he worked extensively with l’Opéra de Paris. He also created lasting associations with Milan’s La Scala, London’s Royal Ballet and Vienna’s Wiener Staatsoper Ballet. However, it was in Vienna that he worked most extensively, and it was Austria that he chose as his country of citizenship in 1987, six years prior to his death.
With fervent ballet aficionados in the audience, there was great interest in the principal dancers, especially those from other companies. Most admired were two guests from the Ballet de l’Opéra de Paris, where Nureyev was artistic director from 1983 to 1989, danseurs étoiles Valentine Colasante and Marc Moreau. They elicited the most enthusiastic applause of all who performed in this extravaganza.
The generous excerpts, eleven in total, lasted just over three hours, including one intermission. The pieces were choreographed by Nureyev, as well as by Denmark’s August Bournonville (1805‑1879) and Harald Lander (1905‑1971); Switzerland’s Martin Schläpfer (b.1959); Holland’s Hans van Manen (b.1932); Russia’s Victor Gsovsky (1902‑1974), and the American choreographer John Neumeier (b.1939).
Excerpts were not chosen haphazardly; two were closely associated with Nureyev. In 1975, he danced Bournonville’s “Pas de trois” from La Ventana, with Cynthia Gregory and Erik Bruhn in New York. The other was Gsovsky’s choreography for Auber’s Grand Pas Classique, which Nureyev danced with Yvette Chauviré in Stuttgart in 1962. Bournonville’s work opened the gala and featured Ioanna Avraam, Kiyoka Hashimoto and Alexey Popov. The stylized Spanish-inspired ballet is a joyous work and an excellent choice to start the evening’s extravaganza.
The second excerpt was the entire first act of Swan Lake, as choreographed by Nureyev. Seen earlier in the week at the same venue, Nureyev’s choreography is legendary, and the Wiener Staatsballett was right to show it off. Possibly the least dramatic act of the ballet, it is nonetheless an appropriate choice, offering the corps de ballet an occasion to shine.
The third offering was a contemporary ballet, Ramifications, choreographed by Martin Schläpfer, set to the intriguing music of the Hungarian-Austrian composer Győrgy Ligeti. This is a demanding work for one soloist, and was brilliantly executed by Sonia Dvorák. Her masterful technique succeeded in conveying a certain frenzy through movements. Certain contortions conjured demonic possession, while others made her limbs look like rapidly moving knives.
Four Schumann Pieces featured superstar Davide Dato with five couples. As expected, Dato dazzled with his brilliant technique and high jumps. Though Hans van Manen’s choreography doesn’t give the work’s soloist overwhelming prominence, Dato managed to elicit intense applause from the audience, and deservedly so.
The famous Strauss waltz Wiener Blut, choreographed by Martin Schläpfer, was an appropriate choice, given Vienna’s association with the waltz. Schläpfer’s stylized conception was a paragon of elegance. Principal dancers Olga Esina and Marcos Menha blended with the other fifteen dancers in this dazzling choreography of elegantly rearranged geometries of waltzing couples. The languorous movements enhanced its sensuality. Susanne Biskovsky’s beautiful costumes were a perfect hybrid of the aristocratic and the folkloric, revealing the rustic origins of the waltz.
Auber’s Grand Pas Classique was a revelation. Created in 1949 by Russian choreographer Victor Gsovsky for French superstar Yvette Chauviré, the music is appealing, memorable, dramatic and most of all ballabile. Guest dancers from L’Opéra de Paris, danseurs étoiles Valentine Colasante and Marc Moreau, dazzled with their elegance and brilliant technique. The two reappeared toward the end of the gala in another excerpt from Nureyev’s Swan Lake, the “Pas de deux” from Act II. One of the art form’s most glorious pas de deux, it was gorgeously lyrical. German conductor Wolfgang Heinz showed his expertise as a ballet conductor in this piece, ably showcasing the extraordinary orchestra.
The “Pas de deux” from John Neumeier’s The Lady of the Camellias was the most dramatic choice of the evening. The brilliant soloists were Ketevan Papava and Timoor Afshar, seen earlier in the week as Prince Siegfried in Swan Lake. Technically, this is one of the most demanding pas de deux of all twentieth century repertoire. Papava and Afshar were certainly up to the task. Moreover, their interpretation was utterly spellbinding.
The “Pas de deux” from Sleeping Beauty choreographed by Martin Schläpfer was beautifully interpreted by Hyo‑Jung Kang and Marcos Menha. The pair danced with brio as well as expressivity and exuded euphoria. They were perhaps mismatched, as Kang was too short for her companion, so much so that at times they appeared more like father and daughter than an amorous couple.
Nureyev’s choreography of Don Quixote is legendary, and the gala featured the entire third act. Seen earlier in the season at the same venue, this is one of the most lavish ballet productions ever. In addition to ensemble dances by the corps de ballet, a dramatic interpretation of the “Fandango” was given by Ketevan Papava and Eno Peci. There was palpable excitement in the crowd, as Act III featured arguably the most technically demanding pièce de bravoure of all ballet, the “Grand Pas de deux.” The audience weren’t disappointed, as soloists Ioanna Avraam and Arne Vandervelde were up to the task. Vanderverlde’s high leaps were spectacular, and the public were accordingly thrilled.
The last offering was, appropriately, “Finale,” by Carl Czerny (1791‑1857), from his work, Etudes, choreographed by Harald Lander. This was such a revelation that I hope one day to see it in its entirety. Who’d have thought Czerny’s music would be perfect to choreograph? For this performance, it was another appropriate choice, as Czerny, a student of Beethoven, was Viennese. Three soloists, Kiyoka Hashimoto, Davide Dato and Alexey Popov, were the stars of this choreography, which also featured the corps de ballet. Dato and Popov dazzled with their virile athleticism. Lander’s choreography was exuberant, and managed to convey grace as well as grandeur.
At the evening’s memorable conclusion, the satisfied audience applauded generously. They were indeed fortunate to attend such an evening of first‑rate ballet. Nureyev would have approved.
Ossama el Naggar
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