A Midsummer Night's Dream at the Finnish National Ballet

A Midsummer Night's Dream, choreography by Jorma Elo. Pictured: Samuli Poutanen as Puck, with students of the
Finnish National Ballet School. Photography by Sakari Viika, courtesy of Finnish National Ballet.

Stars sliding down from the sky, moonlit fairies, a secret forest, magic love potion, confused lovers, dreams and awakenings, mirth and happy endings... It was a wonderful evening, set to Mendelssohn's music, sparkly like the cava I had during intermission, sensual like a midsummer breeze, a breath of fresh air into the world of ballet. I had seen Jorma Elo's work before, so I knew to expect innovative and exciting choreography - but Midsummer Night's Dream is his first full-length story ballet... How do you even translate a play into dance? Seated in the audience of the second cast dress rehearsal, I tried to recall what Shakespeare's play was about... I had not done my homework on purpose, because a choreography should be able to stand and dance on its own.

The curtains open, and Puck appears. Bare-chested, green tights, with devil's horns on his head. He is holding a big red folder, marked "PLAY", and goes about contorting his body, sniffing and tasting the air. One wicked half-grin, and the entire audience is sold. I was lucky enough to see both casts, at the rehearsal and premiere, and I have to say this: both Pucks are fantastic. Frans Valkama is a natural choice, in appearance (that grin!) and personality. Samuli Poutanen (first cast, premiere) was equally marvellous. Some facial expressions were perhaps more pronounced (compared to Valkama), but I was seated closer that time. As a dancer, you have to project into last row - subtle does not show. In movement, Poutanen appeared more forceful, especially when he hurtled himself across the stage in breath-taking grand sauts I don't even know the names of. Both Poutanen and Valkama are technically very strong dancers, but it's always been their expressive personalities that have appealed to me the most. Hint to the Artistic Director: Put these two Pucks into a gala dance-off!

After Puck's introduction, a free-standing stone wall with ancient Greek drawings comes to life - we literally see characters stepping onto stage. It's far more traditional than what I expect. Dancers are posing, walking. A marriage proposal is mimed by pointing to the ring finger of the extended hand, just like it has been in every other story ballet. All very elegant and beautifully presented, including a refined pas de deux, but to me it lacked Elo's trademark innovativity. Prologues should set the mood and give background information, but personally I'm weary of anything involving mime. I talked with a few audience members and they shared my initial bewilderment. That's when a very old gentleman told us to "always do our homework!" But is it really necessary to be well versed in Shakespeare before you can view a ballet based on his play? One lady told me that she soon gave up trying to understand every twist, turn and motive. She simply sat back and enjoyed the dancing.

Nicholas Ziegler as Theseus and Daria Makhateli as Hippolyta, with artists of FNB. Photo by Sakari Viika, courtesy of FNB.

After the premiere (my 2nd viewing), I thought about it some more. The duke of Athens (Theseus) and the queen of Amazons (Hippolyta) are supposed to represent order, in contrast to the dream-like world of Puck and the fairy queen Titania. What could be more orderly than purely classical ballet? When the stone wall turns again, the ballet comes back to live. This time, the narrative is carried by the dancing: a young couple (Hermia and Lysander) is in love and wishes to marry. But Hermia's father wants her to marry another man (Demetrius) instead, which she refuses. Then there's Helena who is in love with Demetrius, but he wants Hermia... The father asks for the king's (Theseus, Duke of Athens) support and Hermia is commanded to obey. I like how the characters have distinct choreography. Demetrius (Johan Pakkanen and Tuukka Piitulainen) especially stands out, an angular contrast to the softness of Hermia and Lysander. Ilja Bolotov and Eun-Ji Ha, a couple in real life as well, bring their young love sweetly to life. Elo takes full advantage of Eun-Ji Ha's fearless and secure technique (her balances are breathtaking), and she delivers. Petia Ilieva (2nd cast) is a beautiful Helena, her dancing effortless and lush... She is a woman in love. How could Demetrius be so blind? Linda Haakana's Helena feels younger, a sweet but silly teenager compared to Ilieva's more mature Helena. I'm happy with both interpretations. Ballet needs personalities, not clones!

Eun-Ji Ha as Hermia, with Ilja Bolotov as Lysander. Photo by Sakari Viika / Finnish National Ballet.

The scenery so far has been sparse: a black background with single illuminated stone wall. But as we enter the forest, stars descend from the sky like leaves on a tree. It is a beautiful vision. Fairies come alive, moving as multicellular organisms, framing their queen Titania in odd and wonderful patterns. Jorma Elo recycles and repurposes time-honored steps, then adds is his own movement: organic, angular, witty, ingenious. Port de bras and port de têtes are intricate, rich in texture. As a result, everything feels revitalized, lush and joyful. There are whimsical details you could almost miss: the stars sliding from the sky, literally. Those stars (or fairies) are small ballet students wearing illuminated pouffy skirts and hats. It is not entirely clear what their function is, but they are adorable. The one thing that I do miss: more light. The corps de ballet appears as if it were lit only by moonlight, which makes dancers' faces almost disappear. By comparison, Queen Titania stands out (as she should).

Tiina Myllymäki as Titania, with artists of the Finnish National Ballet. Photo by Sakari Viika, courtesy of FNB.

Tiina Myllymäki as queen Titania is everything you could ask for, and more. Expressive, musical, tender, yet fierce. She takes Elo's choreography and makes it her own. Sergey Popov and Michal Krcmar are perfectly cast as Oberon, impossible to decide which one I liked better. Popov is tall, elegant and blond... Krcmar boyishly handsome, athletic, charming. Both have beautiful lines and mad technical skills, in leaps and turns, and partnering. Popov danced the premiere with Tiina Myllymäki, Krcmar partnered Rebecca King in the dress rehearsal. Rebecca King did well, rising from understudy to leading role. That's ballet for you: one dancer's injury is another's opportunity. King definitely rose to the occasion, her dancing strong and secure. But my award for "Dream Team" has to go to the first cast, because of the beautifully expressive Tiina Myllymäki.

Wilfried Jacobs and Tiina Myllymäki. Photo by Sakari Viika, courtesy of FNB.

One character is still missing: Bottom. Wilfried Jacobs prances around with his folksy theatre ensemble, in preparation of the royal wedding (as alluded to in the prologue). It's a merry group, providing comic relief amidst the love-sick. It liked that Elo uses dancers' indivdual strengths. Instead of both casts dancing the exact same choreography, he lets two men do their own thing: Xiaoyu He pulls of acrobatic breakdance moves (and I lack that particular dance vocabulary to describe it), while Alfio Drago fouettées like there's no tomorrow. In Elo's dream, the entire corps - men and women - gets to dance at their maximum ability. There is no standing in lines and formations, only dancing. I love it! But back to Bottom. When Puck bestows him with the head of an ass, I could not help but fall a little in love - even without magic potion. Jacob's ass is heartbreakingly funny (and I bet that's a sentence he never expected to read). He partners the enchanted Titania with an endearing and hilarious mix of bewilderement and how-lucky-am-I. Their pas de deux is one of the ballet's highlights.

Meanwhile, love-lorn lovers are bewitched and bewildered - Puck confuses the young athenians and sprinkles the magic onto Lysander, who falls in love with the first woman he sees: Helena. Things get even more confusing when in attempt to fix things, Demetrius is also enchanted - and now falls for Helena. It would seem that affections and lust are easily interchangeable. In the end, the spell is lifted, and lovers reunited. Order is restored. The scenery changes from blue-toned midsummer night to sunny day, with golden and amber colors. A triple-wedding ensues and the story ends in a firework of dance. It feels like a celebration, all the way into last row. But who wants to wake up from this dream?


- Johanna Aurava


More notes and observations:
- The music by Felix Mendelssohn Bartholdy - absolutely magnificent.
- The world premiere of Jorma Elo's Midsummer Night's Dream was at the Vienna Staatsoper in 2010.
- Nicholas Ziegler a most regal Theseus, and Daria Makhateli as Hippolyta... Oh my, what stunning extensions - a true Amazon queen! I've had the good fortune of taking class with Nicholas Ziegler - he's a really good teacher! It's always weird seeing someone you know in character, on stage.
- When Titania wakes from her enchanted dream and realises she's been with an ass, she's almost too quick to shove him off her bed. Realisation and reaction are simultaneous, the comic timing feels off. But perhaps it was not meant to be that funny. By the way, I felt really sorry when Bottom the Ass was discarded so ruthlessly. Titania is not the nicest lady.
- The Indian Princess. Again, without knowing the play (where the princess is a prince instead), it's unclear who she is and why Titania and Oberon fight over her possession. She is moved around like a chess pawn, always in the same pose, not giving the young girl much to dance.
- I got to meet Jorma Elo! He is so cool... Down-to-earth and really nice. Not that I let it affect my review or anything.
- You don't have to understand ballet to enjoy ballet. But I would advice reading at least a summary of Shakespeare's play. A bit of homework makes the experience even richer. 

Michal Krcmar as Oberon and Frans Valkama as Puck. Photo by Sakari Viika / FNB.

My Ballet Habits

"A pirouette is not a pirouette unless you complete it." I was practising my turns on the side, when I got the correction/reprimand from our guest teacher. It was not the first time either. My own teacher is equally strict about it: you do not mark your arms in turns, and you always finish your pirouettes. In other words, cultivate only good habits.

Bad habits, once they have imprinted themselves onto muscle memory, are very hard to get rid off. You might not even know that you're doing something wrong, because it feels right. Which is why changing an old habit takes a lot of time and conscious effort. Essentially, you have to re-wire your brain. I have done this, and I'm still doing it. Some of you might remember my posts about the dreaded "banana foot", which is how my teacher describes a sickled foot. The "banana" used to make recurrent appearances in my tendu degagés and passé retirés (especially in pirouettes). I never knew I had this problem, until Madame pointed it out. For the past four years, we have been working on getting rid of it. Lots of work, countless corrections. And while the sickled foot is not yet completely extinct, it has become a rarity. I just wish I could have avoided it in the first place.

The Banana has not been my only bad habit, or tendency (or glitch in personality). Technical challenges aside, I've been working to improve my mental attitude in class as well. Don't get me wrong, I'm a fairly hardworking and focused student, but I'm also prone to let bad days and momentary setbacks overwhelm me. There was the video recording from class which rattled my self-confidence, the challenging stretch which I could not do (and I was extremely annoyed at this), life in general, fouetté turns in particular, body issues and whatnot. Not every class, but whenever I'm feeling more tired than usual and/or particularily vulnerable. I can get in a mood, and withdraw. It's not a happy place...

But I'm learning. That time I was super annoyed (or "pissed off" as my teacher called it), I managed to turn my mood around, and use the pent-up negative energy for a positive boost. Guess what? It was one of my best classes. The video recording? Cringeworthy, but ultimately worth it. While I was not happy seeing my many mistakes and flaws, I now have much better understanding of the work that needs to be done. It's a lot more than I thought! The body issues? Working on it. Life in general? That's a tough one. Sometimes, problems can affect my mood in class. But class is also an escape from the rest of the world, so there's that. I can give myself permission to think of nothing except ballet, at least for those 90 minutes.

Focus. My undivided attention. Not letting setbacks get to me. Making a conscious effort every time. Pushing myself, believing that I can. Those are the habits that I try to cultivate in class, along with every correction I receive. It is a challenge, but there can be no progress without change. And the way I see it, ballet is about the journey and making discoveries, never about standing still.

P.S. After the pirouette reprimand, I worked twice as hard, really paying attention to my finishes. When class was over, I continued practicing. My teacher saw what I was doing and gave me extra pointers and corrections. I need to work on my arm-plié coordination before the turn, lift my chin, and relax my neck, among other things. I'm happy to say that there has been some progress! Now I just need to make a habit out of it.

Quality, not Quantity

Quality, not quantity. How many times have you heard it, and still felt frustrated because you can't developpé your leg past 90 degrees or turn multiple pirouettes? Today, we had an adagio/stretch exercise where the last developpé a la seconde turned facing the barre. On my right side, it's a struggle every time. I try to lift my knee as high as it allows, but when I extend the leg, it feels jammed. Like something is pushing it down. I've had this problem for as long as I've been dancing. I work, do the best I can, but there's been almost no progress. You can understand how one might give up trying... Especially when the body feels tired, and the barre that I'm facing has a mirror behind it. There are times, when I don't like to look at myself. My mirror image shows my struggle, and it's not pretty.

I was so frustrated today, lifting my leg up, feeling the effort but not seeing the result, that I gave up. My mind was telling me: "What's the use, you will never have a high developpé, where's the fun in trying?" But it's no way to dance... You have to give your body and mind a fighting chance! Because when you practice halfhearted, it shows. The movement loses conviction, it becomes something that is in-between. Not ballet, not anything really. My teacher, she noticed. Of course. And she gave us (me) the Talk.

It is about quality, not how high you can extend your leg. Not even professional dancers have their extensions always up to their ears (although my teacher does). When you are well placed, a developpé is beautiful at any height. Also, it's not just about the destination. The journey is equally important. The way your foot leaves the floor (through a high demi-point), touches the shin at coud de pied, caresses the leg all the way up to your knee, stays pointed while you lift the knee, making room in your hips, engaging your core, stretching and turning out the working leg, keeping the back long, then extending, elongating, breathing, reaching out...

Work on your technique and your strength as much as your body and life allows. But as you dream of greater heights, do not lose sight of what can be beautiful right now. Make every developpé count. And please, never feel it's worth less just because it rises low. The lines you draw with your arms, feet and legs - they have no limits.

I have no picture of me in developpé a la seconde, but this is a good stretch for it.

xoxo
- Johanna

Dancer's DNA

My DNA dictates that I do not have a beautiful body for ballet. My hips are too wide, my popo too square, my thighs too round, my arms and hands not graceful enough. My DNA dictates that I lack turn-out, hyper-mobility, and that my arabesques will always be low. My DNA dictates that I will never look like a ballerina. Well, to hell with those dictators!

My DNA has given me a strong body. It has muscles, legs that jump and stretch and toes that point. It has arms for port de bras, and fingers that can flutter like leaves in the wind. It has a rhythm and a heartbeat and lungs that breath. I can dance with this body.

My DNA dictates that I have a brain, and it has made up my mind a long time ago: my heart is in ballet.

So what if you and I lack the facilities and looks of a professional ballerina? It is not relevant when you dance for yourself. Our DNAs are unique, and if it makes us stands out in a crowd, let's carry it with pride and joy!

If you have a dream that dictates you must dance, then that is the only dictator you should follow.

xoxo - Johanna


This short post was inspired by Misa Kuranaga in SK-II's new ad campaign #changedestiny.

When You Feel Small, Dance Big

Sometimes, when we are doing agadio, arabesques and attitudes, I see myself in the mirror and think: it's never going to be beautiful. I'll never have the turn-out, lower back flexibility, hyper hip mobility, slender shape, whatnot. Now let me tell you this: it's a train of thought that will get you to Nowhere quicker than you can passé retiré. Don't go there. Instead, take the opposite track. Tendu, fondue, developpé like you have the longest legs in ballet. Stretch as if you're reaching for the stars. Present your extension as if you had diamonds on your heels. Dance big.

More often than not, something is not working the way I want it to. Balances tumble, pirouettes fail, and in the process, my confidence crumbles. It can make me feel small. But this is not the time to cave in. Instead, take out the big guns: the deep pliés, strong center, stretched knees, and pointed toes. Apply the corrections, try again, believe you can - and dance with conviction. When ballet gets hard (and it always does), you get stronger!

"Dance big!" That's what my teacher always keeps telling us. In other words: don't hold back, and don't make yourself small. Reach out, connect fingers with toes (it's a visual), elongate, lift your chin up, look... And see all that you can be. Trust me, it's more than you think. I found that out today, once again. A pirouette diagonal that was not working at all to the right, but then it did to the left. Why? I went back to the basics: plié-ing and push-ing into the floor, closing my opposing arm in quick, not giving up. Because when you're on the floor, that's what you do. You dance full out. Big time.

The best part: dancing big makes you feel not small, but a kind of beautiful.

Pretty in Purple

Every adult ballet dancer should have at least one perfect go-to-leotard, the kind that makes you feel pretty even on a shitty day. I have two, in my favourite colours of purple and blue. Both have half-length sleeves, which is probably not a coincidence. Let's just say that upper arms loose some of their firmness once you hit forty... I also have some lovely camisole and tank styles, because you can't really wear long sleeves in summer. But, as it's now winter, I'm happiest with my arms covered. Long sleeves used to be too hot for me, but with stretchy lace and mesh fabrics you won't overheat (unless you're lucky and live somewhere warm. Not Northern Europe).

My latest go-to-leo is this one from So Dança. Wherever I wear it, it gets the most flattering comments! I love the lace sleeves and back, and the boat neck -cut. Very elegant. The fabric is warm and soft but also a tad lightweight, which means that you don't get a lot of support. The sizing was a bit tricky for me. Usually I wear a size medium, but the lace sleeves felt too constricting, so I went one size up. Now the sleeves fit well, but the torso could be a little shorter. I think this model would work well for dancers with longer backs.

Love the lace sleeves! Leotard by So Dança, provided by Suomen Tanssitarvike (dancewear store in Helsinki).

Same leo as above, here with a skirt by Grishko (no longer in their collection). The skirt is a pull-on, with a side-slit.
It has two layers of mesh, in black and red. You can wear either one as the top layer. 

Same leo and skirt as above. 

My other go-to-leotard is this blue one from Mirella. High points for the semi-mesh sleeves and the gorgeous back! I also like the round neck and the seam under the boobs. It fits very well, and the fabric is more supportive than So Danças leo. I have worn this also in summer temperatures, as it's cooler than the purple one.

Blue leo from Mirella. Wrap-around mesh skirt from Wear Moi. The back of the skirt is longer than the front.

As for bottoms: I never go without a skirt. Sometimes, when I'm feeling very confident, I might wear only short black shorts at the barre - but I always add a skirt for center. I have a short mesh "warm-up dress" from Bloch, which looks a lot like a negligé (and you could probably wear it as one). It's great for covering up a too generously cut cleavage (sometimes I worry about leotard-malfunctions), and it does actually keep you warm. What I also like about it: you can roll it down as a skirt. Plus it weighs nothing and takes up no space in your dance bag. The only drawback: the slight flare cut can add width to your hips. Not a lot, and certainly not too much. In fact, I had my slender no-hips ballet buddy try it on, and it did not flatter her at all. So, if you are curvy like me: this dress might look great on you!

Bloch mesh warm-up dress. 

I have quite a few dance skirts. Some are longer, a few are very short, and one has a cheery red polka dot print. Short skirts work best with my height (1.61 cm), but I tend to be a little shy about exposing too much thigh. I don't really like the look of my legs, at least not the upper part. But going for longer lengths does not always look better. It really depends on the proportions. You do not want to shorten the appearance of your legs, or hide too much of your hard-earned lines! Still, go with whatever coverage makes you feel most confident. In short: you don't want your dancewear to distract from your dancing. And: Looking oh so pretty always works!

Leo from Mirella, red polka-dot skirt (sorry you can't see it very well) from Designed by Alice.

Note: Purple So Dança leotard provided by Suomen Tanssitarvike.
Finnish readers: So Dançan violetti tanssipuku yhteistyössä Suomen Tanssitarvikkeen kanssa. 

Dance Away

It was my third class with our guest teacher, and the tricky exercises were at last familiar. Not easy by any means, but I was no longer getting lost within all those changing directions. Time to focus on technique and corrections. But with a huge studio full of students, there was no time for any personal feedback. I had to fall back on myself. And as soon as the music started, so did the record in my head: Ribs in. Knee over toes. Point those toes! Are my knees stretched enough? Is my leg in derrière crossed enough? Am I sitting? Must round arms more. Relax those fingers. Shoulders down. Where is my head, where do I look? Stomach... I'm not using my abs. Heels... Must forward heels in degagé, work through demi-pointe. Don't lose turnout!! No banana feet. The toes! Breathe, remember to breath.

Only when it came to ronde de jambe à terre exercise, I found my calm. Plié degagé devant, in effacé, with the free arm in fifth/couronne, then to a la seconde, then to the back, in effacé again, allongé. Our accompanist was playing another beautiful piece of music, and I started to feel... The many voices in my head simmering down to one: "You can do more." And then it happened. I was dancing as if no one was looking... And no one was. It did not matter. I felt complete, beautiful. I had my moment.

Still, I'm happiest in class when I have my teacher to guide me. My brain is much too busy, over-thinking and over-correcting all the time. It's another aspect about ballet class which I like so much: I don't have to make all the decisions. Our teacher gives us the exercises and combinations, and we follow her directions and apply her corrections. Of course, it doesn't mean that you sit back (no sitting in class!) and stop working. But it means I can focus on the dancing right away. I trust my teacher to push me into the right direction, to captain my ship when needed and to let me sail away when I'm ready...

From Beach to Barre

Another summer coming to an end... My dance studio's fall/winter semester begins today, and I have my first morning class already tomorrow. I'm happy, because I've missed those classes, but I'm also feeling a bit of fall melancholy... Not quite ready to make the transition from life at the beach to schedules, adult responsibilities and outerwear. Thankfully, there is dance. What would life be without a passion to sustain us?

I continue to be passionate about ballet, even though I spent more time at the beach than in a dance studio this past summer. Two classes per week, that's all. Can't even remember the last time I've danced as little. I can feel the difference, and I can see it. My leos have shrunk, and there's a new heavyness. But I've never taken class to maintain a certain weight, not even to stay fit... Those have just been bonuses. I dance for the pleasure of it.

This summer, there has been little feedback and even less personal corrections, but I've still had some big relevations. I discovered that working with gravity, really going down into the floor, makes my dancing look and feel more effortless. If you focus only on pulling up, you loose a dimension. One has to go down to come up again. Rebound, in dance and in life. I've also rediscovered my back leg. Previously, when we've been doing chassés/glissés, I've had my weight on the front leg - when I should have pushed more with the back leg. A small adjustment, but a big difference.

My happiest class was when we repeated one of our beautiful adagios. I knew the steps, directions and counts - and then I let go. No more thinking about technique, just flowing with the music. It was a really intense feeling. Made me fall in love with ballet all over again.

Last day at the beach, getting back into the spirit of dance. 

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

Ten Questions, Ten Answers

Dear Readers and fellow dancers, it's time for another questionnaire... I hope you have time to answer as many questions as you like! To start, here are mine:

1. What is your favorite time for ballet class? 

How about always? Ok, seriously. I love my morning classes, because nothing gets in the way between waking up and taking to the barre. Except for a good breakfast, you can't dance without one. Although, sometimes I wish I could sleep a little longer. And have a nap after class. Still, it's an awesome way to start the day! Oh, and time-wise I also love my Sunday classes. Because I can nap afterwards.

2. How many classes do you take on a weekly basis?

On a regular basis, six classes. 90 min morning class on Tuesdays (adv.level), 90 min (adv.) + 45 min pointe on Wednesdays, 90 min morning class (adv) on Thursdays + 60 min rehearsal in the evening, 90 min (int-adv) on Sundays. Saturdays is optional, and occasionally, I might take a class on Fridays.

3. What do you eat before class?

In the mornings, it's usually a banana, müsli with yoghurt or oatmeal, and lots of coffee. When I have class in the evenings, I need a substantial snack between lunch and class. Bananas, again, and I also like to take one of those organic nut-fruit bars along. I don't always get it right, and when hunger strikes mid-class, it's best to have something easily digestible that you can take a quick bite off (before center).

4. What's inside your ballet bag?

It depends on my schedule, but this is what I packed today: Pointe shoes, toe tape (+ small scissors), flatties, new pair of flatties (Bloch Pro Flex canvas), black leggings, purple leggins (I like to have a spare), new blue 3/4 sleeve leo, black leo (again, I like to have choices), skirt, short black shorts (old ones, from H&M), favorite loose long-sleeve flowy t-shirt (you can wrap it into a skirt), hair pins, elastic, hairspray, brush, water bottle, energy bars, ibuprofen. Plus all the other stuff a girl needs on a daily basis.

5. How do you prepare for class?

In the mornings, there's very little time. We don't get into the studio until 15 minutes before. I put my hair up at home, and wear most of my dance clothes under my regular wear, to save time. Once I'm at the barre, I focus on my feet, hip flexors and back of thighs. I try to loosen up and lengthen myself. I don't need to warm up, barre work does it for me. But it depends who's teaching. With some teachers, I need more preparation time (and different exercises) to get ready. Otherwise, I prepare for class by stretching in the evenings. I've noticed that it makes a big difference.

6. What's your favorite part of class?

All of it. Okay, it depends somewhat on the teacher (I was thinking about my favorite classes). If it's a very basic, but hard and tiring barre - then I'll enjoy center even more. I like adagio, moving across the floor, pirouettes (despite bad turn days), and I love allegro. So, really all of it.

7. What's your biggest challenge in class?

Not comparing myself to other (better) dancers. Do I really need to explain why? Also, overcoming my shyness to "present myself." Not losing confidence. Keeping my focus when I feel discouraged. And, of course, all the technical stuff. Maintaining turn out at all times, pointing toes to the max, keeping that popo down, and my back long, heels forwarded, not jumping into my turns, spotting those pirouettes, and the list goes on... Ballet would not be ballet without the challenge!

8. What is your level?

Someone once commented that I'm not a very advanced dancer, considering all the years I have taken class.. This may be true, but how do you measure advancement? And why should you even care? Ballet is not a sport, we don't keep track of our turns, beats and balances. Having said that, my level is not carved in stone. Depending on the day and exercise, I fluctuate between advanced beginner, beginning intermediate and intermediate-advanced. There's always something to work on - that's what makes it so interesting.

9. Describe a "moment" you had in class.

It can be anything, like an unexpected but awesome balance. When I finally nail a turn, perfectly on axis. Or when I don't have to think about the steps and it's only about feeling the music. When I've been struggling with a difficult step, and suddenly get it! Or when I feel there's just been real progress, and my teacher confirms it. There have been many sweet moments over the years...

10. What is it that you love about taking ballet class? 

When I'm in class, there's no other place I'd rather be. I feel at home.

I get to make new discoveries, meet challenges, overcome fears and weaknesses. Ballet makes me feel strong, like I can handle anything.

I love having friends in class, they are part of my extended family. You get to meet so many amazing people through dance, and it's wonderful to share the same passion.

My teachers. Inspiring, motivating, demanding, patient and kind. Always pushing me, but also taking care of me. Love them. Past and present.

And then there's the beauty of it all... The artistry, the music, the quality of movement, the line, the elegance, colours, nuances... Reaching for these qualities is what motivates me. I want to find my own voice as a dancer.

The obligatory after-class selfie.

"You Should be Doing Triples"

"You should be doing triples." Just something one of my teachers said last Saturday, during pirouette exercises. Before that, I had managed a  few wobbly doubles and a couple of fairly neat singles. Okay, I was really tired (late Friday night), but that's not my excuse. The truth is, that after twenty years of ballet, I'm still working on turning consistently clean doubles. With pirouettes there's always so much going on, so much that can go wrong, and a whole lot of corrections that you can work on. Believe me, I've tried them all. The hardest part has been un-learning bad habits, like sickling the foot in passé retiré or jumping into the turn. That is why, if I were to give you one piece of advice, it would be this: quality must come first! Then, a deep plié and remember to breath! Oh, and it's perfectly fine to make a lot of mistakes. Believe me, I've done them all. It's also fun to keep trying, even after 20 years and counting.

Back to the "you should be doing triples." I'm not sure if I should be encouraged or embarrassed. Part of me feels like there was a test that I failed, and that I'm missing important ballet credentials because of it. A few years ago, I got a similar comment from another teacher: "You should know how to do fouettée pirouettes." It seemed odd to be graded in class, considering that we were all recreational dancers (some with more experience than others.) The thing is, it is quite rare to have adult ballet classes with a progressive curriculum all the way up to advanced levels. Even though adults can learn some things faster than children (and often have better focus), technique takes time and dedication. When I moved from basic-intermediate to intermediate and advanced levels, the gulf between those classes was such that I'm still trying to cross over! Fouettée pirouettes were done at the end of class, and you either knew what you did or you got out of the way. It did not bug me, I never expected to be in the same league with the ballet vets and semi-/pros. Even when another teacher introduced Fouettées 101, I did not catch up. I guess, you can't win them all.

I've never been embarrassed that my turns are not up to par (annoyed, yes). But I have sometimes felt dispirited by my lack of flexibility and range of movement. I used to dread split stretches in class. I hated being the only one who could not make contact with the floor. To me, the message was that I was not flexible enough for ballet (past beginner levels). It made me feel excluded from the rest of the class. Well, I've gotten over it. I stretch as far as I can, and I don't care if it looks less than ballet-ready. You can only work with your own body, not that of bendy-ballerina's next to you. Anyway, in the past three years I've actually gotten a lot more flexible! I can do a split with my left leg in front, I can stretch my legs into a semi-sidesplit and lie flat with my belly in between. Talon à la main? I can now lift my left leg up way past my shoulder. The stiffer right one is also coming nicely along. I still wish that I could be stretchy like a ballerina (who doesn't?), but I've stopped fixating on my weaknesses, or stiffnesses. I think having a positive mindset even helps with the stretching!

The comment my teacher made? I've decided to look at it as encouragement. Clearly, I must be doing something right. I have taken less than ten classes with this particular teacher (half of it last summer). He does not know my history, and has not seen my progress from adult beginner to adult passionate. I don't know what he sees when I dance, but I like to think it's something good.

Finally, some things you should be doing in class:

Knees over toes, always.
Breathing into the movement - it's good for you.
Mistakes. Because you're trying.
Pay attention to details. It's all in the details!
Keep your popo down and your head up.
Look where you're dancing.
Smile. You love to dance - don't keep it a secret. ;)

Wishing you all exciting learning experiences - keep dancing!
- Johanna