When Kenneth's Friends Came to Dance

When I first found out about Finnish National Ballet's end-of-season ballet gala "Kenneth & Friends," I was over the moon... Tamara Rojo would dance in Helsinki! Oh my goddess! Friedemann Vogel from Stuttgart Ballet! Maria Kochetkova! Not to mention the divine Isabelle Ciaravola! As well as FNB's own beautiful dancers. I was doing a happy dance in my living room - until I realised that my studio's spring show was going to be on the same weekend. Imagine my disappointment... I had missed Tamara Rojo once before, when she guest danced in Manon. I did not want to miss her again, not Ciaravola, not any of it. But I had committed myself to our group, choreography and performance. You don't desert your company, and you don't skip a show just because. Even if it means missing the most glamorous ballet event of the season. Then, just as I had come to terms with the unfortunate timing, I got lucky. Our performance was scheduled to Sunday evening. I got an invite for the gala on Saturday. I was back doing my happy dance!

It was the most amazing weekend. We had the warmest May since ever, with temperatures well into heat wave degrees. Every tree and bush blooming. The scent of lilacs drifting in the summer breeze... I was walking towards the theatre, Saturday morning, when it hit me just how lucky I am. This is the real life! Sweating in a dance studio, getting ready for our one and only stage/dress rehearsal, cues and lights, two run-throughs... Then, sitting outside, having coffee with friends, enjoying the warm sun and conversation. I got home just in time to change; a vintage-feel black-and-bronze cocktail dress, bare legs and high-heeled sandals. It's very casual here in Finland, even at gala events, but I do enjoy getting all dressed up.

The Gala

Edita Rauserova and Wilfried Jacobs in Sherezade. Choreography by Kenneth Greve.
The Finnish National Ballet. Photography (c) Jack Devant.

I have a seat in eighth row, not quite in the middle, but close enough. It's hot, summer has made its way into the theatre. Many are using their program leaflets as impromptu fans, myself included. Then, lights dimming, and guest conductor Graham Bond takes his place in front of the orchestra. Applause. The evening begins with Kenneth Greve's ballet Sherezade, to the music by Rimsi-Korsakov. The stage is filled with a glittering pas de deux corps, dressed in tutu & harem-pant costumes, as is tradition for oriental-themed ballets. The principal ballerina looks glorious in her glitzy golden outfit. Edita Rauserova and Wilfried Jacobs (her dangerously dashing suitor) spare nothing in their passionate performances. Their pas de deux is full of high jumps and even higher above-head lifts. Some of the elements make me think of ice pair skating.


Three Princes and One Swan

You know it's going to be a special night when the artistic director welcomes the audience, then rushes backstage to quick-change into a prince's costume. What makes it so interesting: Kenneth Greve retired from the stage six years ago. I was told he worked very hard to get back into performing shape. And I've seen Mr. Greve once or twice in class, practicing or leading rehearsal - and he always seemed to be in good shape. But performing on stage, with invited world-class dancers, in front of an audience that has never seen you dance live... That must have been unnerving. I certainly felt a bit nervous. I am familiar with Kenneth Greve, The Artistic Director, not Greve, The Principal Dancer. But that he is, with every step, saut and expression.

Friedemann Vogel (with Kenneth Greve in the back) in Swan Lake.
Choreography by Kenneth Greve (based on Petipa). The Finnish National Ballet.
Photography (c) Jack Devant.

Desislava Stoeva and Kenneth Greve in Swan Lake.
Choreography by Kenneth Greve. Photography (c) Jack Devant.

It's Swan Lake's iconic pas de deux, or in this case pas de trois. Rothbart is showing off Odile, luring Siegfried into their seductive web. There's is back and forth, Siegfried doubting, almost resisiting, but then succumbing. Men... How could he not distinguish his beloved Odette from Odile? FNB's newcomer Desislava Stoeva danced the part of Odile. She has got the long legs and lines (when you're partnered by 1.96 cm tall Greve, you can't be short), but I was not all that impressed. Although Stoeva did send off some Odile-vibes, I feel that this kind of evening would have called for a ballerina with more sensuality and star quality. Of course, a dancer is always a work in progress. Stoeva has both time and talent, and I'm very interested to see what future performances will reveal. Meanwhile, big stars were lining up behind curtains... And one of them made an early surprise appearance as Greve's double: Friedemann Vogel. Oh my god. That man's last name (German for bird) really suits his ballon and elevation! It's also what I love about galas: Unexpected fun. Why have just one prince when you can have two? Or three, as the Russian Aleksei Timofejev joined the princely team. Jumps, leaps, turns! And dare I say, I was very impressed by Greve's big a pirouette à la seconde.

Diana and Actaeon

Maria Baranova and Aleksey Timofejev in Diana and Acteon. Choreography: Agrippina Vaganova.
Photography (c) Jack Devant.

Agrippina Vaganova's choreography is classic competition fare, and I have seen my share. It's an extremely difficult pas de deux, where audiences have come to expect bravura technique. We Double, even triple fouetté pirouettes, and jumps that make you gasp... Aleksei Timofejev from the Mariinsky Ballet certainly delivered. FNB's young principal Maria Baranova is perhaps not in her best form this evening. Her technique is secure, she makes no mistakes, but her dancing feels a bit restrained. I have seen Baranova shine and sparkle before, and I expected more bravura skill from her. Still, a solid performance and a fine pairing.

The Golden Cherry

Artists of the Finnish National Ballet taking their bows. In the Middle, Somewhat Elevated.
Choreography by William Forsythe. Photography (c) Jack Devant.

Next up: A thrilling excerpt from one of my favorite ballets, Forsythe's In the Middle, Somewhat Elevated. I've seen it danced many times by FNB's dancers, but tonight's energy was incredible. Maybe it was the combined magic of early summer, end-of-season, and all those visiting stars in class... Whatever it was, it blew me out of my seat. The angular and sharp, yet sensual movement. What I love about Forsythe's choreography is that you cannot just focus on the soloist or pas de deux. Something is always happening, in the side lines and shadows. Dancers coming in, posing, showing off their mad skill (as the piece calls for it), leaving, coming back again. If you're in luck, you might catch a member of the corps out-dancing the principals - even if it's just a moment. Tonight was Kailey Kaba's turn. Her perfectly aligned, fearless quintuple was awesome - and not missed by the audience. I have noticed her before, she has long, luxurious lines... And a kind of movement quality that suits Forsythe's piece very well. Kailey Kaba definitely goes on my list of Dancers to Watch.

Oh Romeo..

Petia Ilieva and Friedemann Vogel in Romeo and Juliet. Choreography by John Cranko. Photography (c) Jack Devant.

After Thom Willem's thunderous electronic score, classical music to our ears: Sergei Prokovief's Romeo and Juliet. The famous balcony pas de deux, choreographed by John Cranko. And who better to portray Romeo's boyish charm than Friedemann Vogel? Oh my... He is utterly convincing, in every tender gesture and adoring smile. Vogel leaps like a cat, flies like a bird and has every woman (and probably quite a few men) sighing... But on stage, he has eyes only for his Juliet, danced by FNB's own étoile Petia Ilieva. The beautiful Ilieva is equally believable in her portrayal of a lovestruck teenager. Together, they produce some truly dreamy dancing. Magic.


La Rojo!

The moment we have all been waiting for. In a night filled with stars, Rojo's shines perhaps the brightest. English National Ballet's Artistic Director is here to dance Kitri, and I was expecting a quick solo variation, to a standard blue backdrop. Instead we are treated to a long excerpt from Kitri's & Basilio's wedding, completed by FNB's corps de ballet and soloist dancers. This version of Don Quixote has been staged by POB's Patrice Bart (after Petipa), and it has been in FNB's rep for ages (can't remember the exact run, so I'm going with ages). I like that it has real Spanish flavour, fandangos and boleros (choreographed by José de Udaeta), even though they seem strangely at odds with the classic Bridemaids variations. But that is ballet for you. Tutus show off legs and technique, never mind about dress-historical accuracy. Ballet is fantasy, and we are all ready and willing to escape. As Tamara Rojo steps onto the stage, there is electricity... And immediate welcome applause. She owns the stage, and the audience.

Frans Valkama and Tamara Rojo in Don Quixote.
Photography (c) Jack Devant / Finnish National Ballet.

Tamara Rojo as Kitri. Photography (c) Jack Devant. The Finnish National Ballet.

Frans Valkama and Tamara Rojo in Don Quixote.
Photography (c) Jack Devant / Finnish National Ballet.

It's not just Rojo's bravura technique, the insane fouetté pirouettes or breathtaking balances, which make her irresistible to watch. She has a warmth about her that encompasses all. Including her partner/Basilio of the evening, Finnish National Ballet's principal dancer Frans Valkama. Valkama looks like he's won the ballet jackpot, and his joy is contagious. He may not be the most typical casting for Basilio, but he is an attentive partner, suitable in stature and height, and happy to let his ballerina shine. Rojo is no diva, she gives equal attention to her Basilio, and it's a happy pairing. Valkama is in fine form, Rojo is absolutely stunning and the audience loves it. I'm applauding so hard, my hands burn.

Black Milk and Colours

Rachele Buriassi and Friedemann Vogel in Kazimir's Colours.
Choreography by Maurio Bigonzetti. Photography (c) Jack Devant.
The Finnish National Ballet.

Rachele Buriassi and Friedemann Vogel in Kazimir's Colours.
Choreography by Maurio Bigonzetti. Photography (c) Jack Devant.
The Finnish National Ballet.

Deca Dance Helsinki: Black Milk. Choreography by Ohad Naharin.
The Finnish National Ballet. Photography (c) Jack Devant.

After the intermission, there are two contemporary numbers. Ohad Naharin's "Black Milk" (from the full-length DecaDance Helsinki), and "Kazimir's Colours", choreographed by Maurio Bigonzetti. I had seen Naharin's intense, ritualistic "Black Milk" before (and I'm not going to review it here), but "Kazimir's Colours" was a new experience. Friedemann Vogel, in his third appearance of the gala, which I'm thrilled about.. But this time, it's more of a showcase for his partner Rachele Buriassi. The choreography takes every advantage of the dancers' über-flexible and athletic bodies. It's very impressive, but I'm not jumping out of my seat. I would like to see more of Buriassi though, and Vogel you cannot see enough of.


Manon and Maria

Maria Kochetkova and Johan Kobborg in Manon. Choreography: John Cranko
Photography: (c) Jack Devant / The Finnish National Ballet.

There's one downside to gala evenings: So many interesting and wonderful performances, but you never get the full plate, only tastings... It's also a bit of a challenge to immerse yourself into a story ballet that begins mid-story. Even if you know it well, the mind and senses need time to pick up mood and rhythm. When we get to see Maria Kochetkova as Manon, she has already met des Grieux (danced by Johan Kobborg), fallen in love and escaped with him to Paris. We are inside their bedroom, Manon is luring des Grieux away from his letter-writing... It's a happy lovers' pas de deux, playful and passionate. I love Massenet's music, it carries you away. For Manon, literally. Kochetkova is absolutely lovely, Kobborg noble and strong. I've never seen these two paired, I don't know if they ever have danced together before, but what's not to like? The one thing that I would like: to see the full ballet.

Kenneth & Isabelle, or the story of Tatiana and Onegin

Isabelle Ciaravola as Tatiana, Nicholas Ziegler as Prince Gremin in Onegin.
Choreography: John Cranko. The Finnish National Ballet. Photo: (c) Jack Devant.

Isabelle Ciaravola as Tatiana, Nicholas Ziegler as Prince Gremin in Onegin.
Choreography: John Cranko. The Finnish National Ballet. Photo: (c) Jack Devant.

Nicholas Ziegler, FNB's principal dancer étoile, is a perfect choice for Prince Gremin. He has handsome looks, with long and elegant lines - and very fine technique. His Gremin is noble and chivalrous - and it's easy to see that he is Tatiana's Mr. Right. 

Isabelle Ciaravola as Tatiana, Kenneth Greve as Onegin in Onegin.
Choreography: John Cranko. The Finnish National Ballet. Photo: (c) Jack Devant.

Isabelle Ciaravola as Tatiana, Kenneth Greve as Onegin in Onegin.
Choreography: John Cranko. The Finnish National Ballet. Photo: (c) Jack Devant.

When Kenneth Greve retired from the stage six years ago, he gave his farewell performance in John Cranko's ballet "Onegin". When Isabelle Ciaravola retired from the Paris Opera Ballet earlier this year, she danced the role of Onegin's love, Tatiana. Tonight, they are both making a comeback in the ballet's third act - as Onegin and Tatiana. It's a positively poetic pairing. For Greve, a one-off performance, and when he makes his first appearance as Onegin, I feel again a bit unnerved... Then it happens. I'm looking at Kenneth dance, but all I see is Onegin. His desire and love for Tatiana, and his despair when he realises that he's lost, that it's too late. Then there is Isabelle Ciaravola. I have seen her only on the small screen, but I could recognize her from her incredible feet alone. Arches and insteps to die for, almost too much of a good thing, but it's her thing - and she speaks volumes with those feet. But what strikes me most is her presence. When she sits behind her desk, waiting for Onegin to come, she does not move... And yet she fills the stage. You can feel and see Tatiana's pained resolve, her remnant and rekindled feelings for Onegin. It's not a pas de deux with a happy ending. A past lover who is desperate in his longing, and a beloved who denies their love. It is a beautiful and impassioned performance by Greve & Ciaravola, and I feel blessed to have witnessed it.

Finnish ballet audiences rarely give standing ovations, we (as a nation) tend to be a tad too reserved, too shy to be the first to rise. But this evening, there was no stopping us. When all the dancers, guests and friends, returned to give their final bows and receive their well-earned thanks, I stood up. I applauded their skill and passion, their artistry, the emotions they shared with us. It was a wonderful, magical evening. And what an amazing feeling to take home with me, on the night before my own show.


Photography courtesy of Jack Devant: www.jackdevant.com. Like on facebook: Jack Devant Ballet Photography

From Boston to Helsinki, with Love

Misa Kuranaga in William Forsythe's The Second Detail.
Photo by Liza Voll-Photography

Mind-blowing, breathtaking and beyond awesome - Boston Ballet came and brought the house down in Helsinki! For real, it was so good I wanted to cry. Jorma Elo is a genius, his Plan to B possibly the best contemporary piece I've ever seen. The choreography is as hard as it gets, and then some - but his dancers deliver - and then some! I'm now officially a fan of the gorgeous Whitney Jensen, and of both Cirios (Jeffrey and Lia). Heck, everyone who came to Finland and danced blew me away. The men were dazzling and strong, crazy with the jumps and turns. The women were powerful, limber and elegant - and equally crazy with the jumps and turns. What also impressed me was how well they all danced together. Such a fantastic ensemble!

The evening started when the Artistic Director of the Finnish National Ballet, Kenneth Greve, stepped in front of the curtain and introduced Mikko Nissinen of Boston Ballet. And here's a curious fact from my life: I have once been in the same ballet class as Greve and in the same class as Nissinen! I kid you not. The latter came to my old school's morning class sometime in the nineties (can't remember the exact year). It was summer, and Nissinen on vacation (he's Finnish, you know). Our 10 am morning classes used to attract a myriad of professional dancers who at the time didn't have access to company class. Anyway, I was fairly new to dance and blissfully ignorant. But I could tell the pro from the amateur, and when Mikko Nissinen took to the floor, you just knew. He was still turning when everybody else had already finished. Amazing control, and handsome too. ;) As for Greve, he once came to our advanced class at my current school. Usually you wouldn't expect the AD of the National Ballet to venture out of his company for class, but his wife Marie-Pierre happens to be our teacher. I have to say, for someone supposedly retired, K. Greve has serious skill! It was a bit distracting to be in the same class, but in a cool way. And he was very unassuming and friendly. Looking at the two directors on stage, it made me wonder how ballet is such a small world that even I could be connected by less than six degrees!

Still have all my old DMs. Should have gotten this signed!

I can only imagine how proud Mikko Nissinen must have felt yesterday. It was the first time that he presented his company Boston Ballet in Finland. You know, Mr. Nissinen was once considered for the AD's position at the Finnish National Ballet. In the end, I think that his management style and strategy came across as bit too tough for local likings. I don't know/remember for sure, except that company dancers have a say in the manner. But I'm glad he found his place in Boston, and he sure has made a success of it. As a fellow Finn, I admit to being a bit proud of his achievements! But there's no company without dancers and no dances without choreographers. And Boston Ballet's program delivered real treats.

First we got to see Christopher Wheeldon's Polyphonia, which struck me as an exciting hommage to Balanchine - whilst coming across as new and inventive. There were acrobatic elements which demanded extreme flexibility and strength, and instantly recognizable classical vocabulary. Both came together like they had never been seperate before. The music by Ligeti was challenging, but the various moods were beautifully illustraded in the dancing. Especially one pas de deux with blue back-light was so intense it made my arm hair stand up. Elo's Plan to B was next, and I already gushed about that. Let me say it again: wow.

Whitney Jensen and Jeffrey Cirio in Jorma Elo's Plan to B.
Photo by Liza Voll-Photography

Among the ensemble pieces we got to see a sole pas de deux choreographed by Helen Pickett, called Tsukiyo. The music was one of my favorite pieces: Spiegel im Spiegel from Arvo Pärt. Coincidentally, Wheeldon has choreographed his ballet After Rain to the same music. It was a lovely and delicate number, but somewhat overshadowed by the rest. The final piece was from Forsythe: Second Detail. Again, very powerful dancing and superb ensemble work, but the music was a bit taxing. Even so, it was one of the best dance nights I have ever experienced. It lifted my spirits and made me want to soar with those amazing dancers on the stage. This is why I love dance so much.

Good Morning Class!

I'm not a morning person. But I do love ballet, and the prospect of starting my day with dance is enough to turn me into a morning-class person! Which is where I was headed this past Thursday. Sadly, not to dance myself - but when you get to watch the pros instead, I sure am not complaining! Yup, I had gotten another pass to observe The Finnish National Ballet's company class. Last time I saw most of the women in pointe-action, this time I was looking forward to a regular mixed class. Actually, the prospect of seeing hunky danseurs leap through the air is enough to turn any girl into a morning person.. ;)

As I crossed the short distance from the tram-stop to the Opera building, I noticed a few dancers walking ahead of me. I couldn't help but check my posture, even exaggerate my almost-not-there duck-walk. It didn't matter that no one was looking, I enjoyed getting into the part. A little make-believe early in the morning.. Of course, I couldn't fool anyone in the know - my hips don't lie (Shakira!). The thing is I've got a little too much in that department, at least where pro ballet is considered. But I do have the poise and the bounce (and a bit of technique)! Anyway, I was going to observe class, not audition for the company. So I picked up my name-tag (cool) from the reception, and Jussi from the Press Office came to escort me to the class.

There are two classes each morning, and I chose the one in the main ballet studio, which I know well already. When we arrived, there were a few dancers stretching and limbering up, and I was happy to see a familiar face greeting me with a smile. It is odd, usually I write my blogs from the POW of an insider and not looking in from the outside. Here I was in a ballet studio, which is home away from home, and instead of joining the other dancers on the floor, I sat down on one of the chairs (in front of the mirror, close to the grand piano). Talk about conspicuous behavior! Seriously, I would have been less nervous at the barre! Just as class was about to begin, Jussi introduced as the ballet blogger who's come to observe. Turns out my blog's link was already posted on their announcement-board! Dancers, if you are indeed reading this, thanks again for putting up with me! Especially since I had permission to take pictures, and had to take quite a few.. Taking photos of moving dancers is not easy, you want to do everyone justice.

Guest teacher Piotr Nardelli and artists of the Finnish National Ballet.
Photo: Johanna / PTYD.

"Vamos chicos and chiquitas!" I couldn't help but smile when guest teacher Piotr Nardelli gave out excercises and corrections. At the beginning of class he seemed to have all the energy the dancers were still gathering. Of course, morning class is for warm-up and getting ready for another long and strenuous day. Really, I don't know how the pros manage it day after day. It takes heaps of self-discipline, for sure! And Mr. Nardelli's class was not one for sleepy (bun-)heads.. In center, he chose dancers to demonstrate some of the exercises, making them literally think on their feet. You better be awake and know your ballet-French!

I love to watch dancers in center. You get to see how much work all those seemingly effortless steps, turns and jumps actually take. And you get to see dancers take risks, throw themselves into the music, without restraint. You also get to see them fail, just like us regular recreational dancers. But they always stick to it, until they get it right. I really should remember this, in every class I take. I also wish one could pick up awesome pirouettes from watching alone! The very young and lovely First Soloist Maria Baranova pulled off perfect quadruples like it was no big deal at all. Well, at her level it probably isn't. Maybe she was going for sixtuplets? Jealous much? Baranova wasn't the only one of the ladies who impressed me. Etoile Petia Ilieva has an exquisite quality to her jump (among other), and Ophélie Rodighiero was another fearless turner. But as I had already seen the ballerinas before, I was focusing mostly on the boys/men.

Wow. The men were totally exuberant in their dancing, even boisterous! You can really tell they love to dance, and don't mind showing off their technique! And why should they? The pirouettes were awesome, the multiple tours en l'air seriously cool. I have to say that the over all level of "our" men at the Finnish National Ballet is impressive, even internationally speaking. I strongly suspect that the leadership of Kenneth Greve has been the decisive factor in this fortunate development. Of course there have always been good and wonderful danseurs, but perhaps not as many as presently.. There was one dancer in particular,  he seemed to glide in the air, without any apparent effort. Like walking, only flying. I was excited to make this new discovery - until I found out he is leaving Finland after the summer. Readers in the UK, take note: Nicol Edmonds was offered a contract with the Royal Ballet! Though I'm sad to miss out on his dancing, I know it's a dream come true. Huge congrats to Nicol!

When the class got to grand allegro, I had long since forgotten about being an outsider - I just enjoyed being in the audience! I didn't even notice when the Artistic Director of the company walked in and sat into the chair next to me. When I did, he said something which was probably a greeting, but I was caught off guard, and the words were drowned in the piano music. So I gestured towards my ear, and he repeated (probably wondering whether I was a bit dense): "Hi, I'm Kenneth Greve!" Me, rather star-struck: "Yes, I know.. I'm Johanna". KG: "Yes, I have seen you around." Me: blushing. Then he said something about having read my blog and that he liked it. Me: speechless. The only explanation I can give is this: it was class, and I do not talk in class. Okay, I might on occasion whisper something to a friend, but if a teacher corrects me, I do as I'm told. If there's praise, I nod, maybe smile and then get back to work. You can take the student out of her class, but you can't take the ballet-school out of the student. Should there be a next time, I better write something smart on a post-it and stick it to my forehead. ;)