Gala Evening with Stars of the Bayerisches Staatsballett
If there’s any benefit to come out of this global pandemic, it’s being able to watch a variety of dance and ballet from companies that we don’t often get to see. Bayerisches Staatsballett, or Bavarian State Ballet, are based in Munich and they have been delivering some of the greatest ballet content throughout this crisis. I was fortunate enough to see them live on stage in Munich a while ago, where they performed an impeccable Onegin, and I hope to return one day soon when this is all over. They don’t have the same global recognition that companies in the UK and elsewhere have, which I think is a huge shame. They have some of the best dancers performing on their stage and their repertoire is varied and diverse, making them rival a lot of other ballet companies that we all know and love. I think it’s great how they have been pushing content and delivering regular ‘Monday Concerts’ throughout this period and they recently uploaded a recording of a gala that took place in 2017. It’s definitely worth a watch and gives you a flavour of what they offer in their repertoire. Below are my thoughts…
The Nutcracker – starring Tatiana Tiliguzova and Dmitrii Vyskubenko
The choreography for this pas de deux is quite different from the classical version and the Sir Peter Wright versions that we know in the UK. I have to say it isn’t my favourite. Firstly, I don’t like how there are four dancers that accompany the couple on stage, who assist with partnering. It’s not as intimate as other versions and feels a bit like the Sugar Plum Fairy is being shared, like the famous scene in Kenneth MacMillan’s Manon. Perhaps it makes more sense within the production, rather than in the gala. The music is also one of the best ballet scores and I don’t think the choreography quite lives up to it. With all of this being said, it was all danced beautifully and gracefully. Tatiana Tiliguzova and Dmitrii Vyskubenko dance the roles of the Sugar Plum Fairy and The Prince and both perform lovely solos and an elegant coda. I think it’s a shame about the choreography, because these dancers are capable of something with more technical prowess.
Parting – starring Maria Shirinkina and Vladimir Shklyarov
I haven’t seen this piece before and it was a fun interlude to put into the gala. It’s short but sweet and great to see Shklyarov doing something a bit different, as I have only ever seen him dance in more classical works. The music to this piece is a tango by John Powell and so the dancing definitely has the fire and heat that one would expect from a classical tango, yet the ballet element remains, making this a really nice fusion of dance. It’s also pretty sexy, and Shirinkina and Shklyarov have wonderful chemistry which packs the fire.
Swan Lake – starring Prisca Zeisel and Erik Murzagaliyev
I think it’s difficult to build up any emotion or chemistry for this pas de deux when it’s pulled out of the full production. Galas are a bit funny that way, and so I don’t think that connection was quite there during this performance. However, I think that Zeisel and Murzagaliyev were able to create something quite moving and left me wanting more which is certainly a good thing. Zeisel makes a lovely Odette, and her beautiful lithe stature was elegant and refined. She was partnered very well by Murzagaliyev; I just wish I could see the whole performance!
Raymonda – starring Ksenia Ryzhkova and Alexander Omelchenko
This is a wonderful performance of the famous Raymonda wedding pas de deux. The grandeur and style is all there from the cast, and Ryzhkova in particular commands the room with her regal energy. She is fierce and confident, often seductively eyeing up the audience, and her solo is pretty near perfect. She oozes confidence and strength and has a lot of presence on stage. She reminded me a lot of Nadezhda Batoeva, one of the stars of the Mariinsky who I’ve seen perform an explosive interpretation of Gamzatti. The two dancers are very similar in style. Omelchenko is also superb and doesn’t put a foot wrong in his solo. When the two come together, they have good chemistry and really control the stage. Pair this with the other lovely couples on stage, and I found myself naming this segment the highlight of the gala.
Spartacus – starring Prisca Zeisel and Erik Murzagaliyev
Spartacus is one of those ballets that is very of its time and so at times it feels quite styalised and even comical. There’s much to love in it though, and this pas de deux says it all about lust and power. It was great to watch Zeisel and Murzagaliyev return to the stage after dancing their White Swan pas de deux, as this was so different and in a way gave them a chance to show what their Black Swan pas de deux would be like! Zeisel is technically very good and extremely sensual, wrapping her body around Murzagaliyev’s strong frame. The two understand the nature of the pas de deux perfectly, and, even though it’s been pulled out of the production and slotted into a gala, we can get that sense of power play and seduction.
Voices of Spring – starring Mai Kono and Javier Amo
I already love this piece by Frederick Ashton but it was lovely to see it danced by Mai Kono and Javier Amo. The two breezed through like petals in the wind and put a big smile on my face. Kono is like a ray of sunshine as she lightly dances across the stage and Amo is her perfect partner, full of life and bounce.
Le Corsaire – starring Maria Shirinkina and Vladimir Shklyarov
This is one of those pas de deux that we see over and over again at galas, but it never tires of exciting an audience. It’s danced beautifully here, with Shirinkina and Shklyarov demonstrating really strong technical ability and a strong partnership. It’s a shame that the male solo isn’t included in the recording; I’m not sure if this was intentional or not, but I would have loved to have seen Shklyarov command the stage during it. Shirinkina’s solo is lovely though, and she makes a very hard piece of choreography look easy. She’s graceful with lovely classical lines and when she reunites with Shklyarov for the coda, she is equally fast paced and full of pizazz. Shklyarov has always been a special dancer: having him guest at The Royal Ballet was always a highlight to see, and his technique here is superb with hanging leaps and wonderful jumps.
Romeo and Juliet – starring Ksenia Ryzhkova and Jonah Cook
This balcony scene is taken from John Cranko’s version of the ballet. I don’t find it as moving because it isn’t as fluid as Kenneth MacMillan’s and feels a bit stagnant in places; however, some of choreography is exquisite and you can see clearly where MacMillan got some of his ideas. It’s great here to see Ryzhkova come back after dancing in Raymonda, to show us something more dramatic. She was very animated and bursting with love and emotion. I first saw her dance when she made her debut as Tatiana in Onegin and Jonah Cook danced the role of Lensky. Within a few minutes, I could tell he was a promising dancer and looked to me like a graduate from the Royal Ballet Upper School. My hunches were correct and he continued to make the role of Lensky his own. In this balcony pas de deux, he shows that he has all of the makings of a great Romeo and together they are passionate and very connected. I was surprised at how well they managed to spark such passion, considering how difficult it is to dance dramatic ballet excerpts in a gala. Impressive stuff.
Don Quixote – starring Ivy Amista and Osiel Gouneo
It wouldn’t be a gala without the inclusion of this famous pas de deux and who better to dance it than Amista and Gouneo. This piece needs to be explosive and full of ‘wow’ moments and the two don’t disappoint. There is a wonderful long lift in the opening section, which I always find very impressive, and they end with a fabulous jump lift at the end. Their partnership is full of ego and they both tease the audience with playful and seductive glances. Gouneo is full of bravado, which is needed here, and his solo is wondrous. I would argue that his turns have become his signature move, and I love the way he plays around with different paces when turning. You never know what to expect. Amista matches this with superb technique in her solo and she demonstrates the kind of confidence needed to make the audience feel impressed. Their coda is explosive and it’s a wonderful way to end this vibrant gala.
A link to the gala can be found below, and expires on the 27th June 2020.