Dazzled by Dance: The Ballet Gala

Two Sundays back, I traveled from Helsinki to Turku to see the Ballet Gala at the Turku Concert Hall. Part of the program of the Turku Music Festival, the gala program boasted familiar dancers of the Finnish National Ballet (FNB), international guest stars, and world premieres - how could I resist the invitation? It was a beautiful and sunny day in Turku, a perfect way to open the new ballet season. I wasn't alone, the foyer of the concert hall was filled by a large and cheerful crowd. During intermission, I even bumped into two of my ballet teachers - and it's not even our home town! This is my recap of the event.

Coda, all dancers on stage!
Photography Seilo Ristimäki. 

Sunny Sunday in Turku, Finland. 

The gala program opened with an excerpt from the iconic "Grand Pas Classique", a much loved staple of ballet galas and competitions alike. Choreographed by Victor Gsovsky (mus. Daniel Auber) and first performed at the Theatre de Champs-Elysées in 1949, it is essentially an homage to the purity and precision of the classical line, and demands virtuoso skill as well as refined elegance from its performers. The "Grand Pas" is probably one of the most difficult pas de deux, because every detail has to be just right, or it will look very wrong. Classical ballet can be so unforgiving, but that's why dancers put in the hard work and long hours, to turn their bodies (and minds) into precision instruments that embody and express the intricacies of choreography and music. It's seriously amazing. I love ballet, and I've loved the Grand Pas Classique since I first saw it danced (on youtube) by the Paris Opera Ballet étoiles Elisabeth Platel and Nicolas Le Riche. It is simply sublime!

When you know what to expect, you tend expect a lot - and I was not disappointed. Jevgenija Plešková, a member of the Finnish National Ballet's corps, danced with beautiful poise, calm confidence and radiant expression. She nailed all of the tricky balances with ease, holding the position until the last possible count and synchronizing her finishes perfectly with those of her partner. It's one of those moments where you either opt for the safe, which is fine,  or push it to thrill. I love it when dancers are not afraid to take those risks! Plešková was partnered by the no less confident Michal Krčmář, principal dancer with FNB and artistic coordinator of the event, and stepping in for the injured Florian Modan. Last minute changes to casting are not unusual in ballet, injuries happen even to the most seasoned dancers. "It's part of the job," Florian replied when I told him how sorry I was that he had to sit out the show. I hope he gets well soon! As for Michal Krčmář stepping in, well, I'm always happy to see him dance. The only thing that I missed from their pas de deux was the rest of it... I would have loved to see the entire Grand Pas Classique, with the solos and coda. Even so, it was a very elegant appetizer to get the evening started.

The piece following could not have been more different. In that sense the title of the event, "Ballet Gala" was somewhat misleading, unless you accept the term "ballet" to include contemporary dance as well. As much as I love ballet, some of the contemporary works I've seen in the past 10 years or so, have had a more profound impact on me than the purely classical works of ballet. So I always keep my mind open, and try to watch and experience contemporary choreographies without preconceived opinions.

Anu Sistonen's choreography "Secret Charm" (mus. Emre Sevindik), danced by her long-time collaborator Jonna Aaltonen, did not capture me immediately. The twisty, jerky movement I felt l had seen before, and I'm not a big fan of drawn-out solos where you feel left out of the conversation... What motivates the movement? Is there a purpose, a story? At the same time I was intrigued by the very big pile of crumpled newspapers on one side of the stage, surely that prop had to have more that a decorative purpose... As I kept watching, the movement aesthetic came more apparent, and I was fascinated by the intensity and full-out abandon of Jonna Aaltonen's dancing. And when she finally made use of the newspapers, the piece really took off for me.

Anu Sistonen: Secret Charm, dancer Jonna Aaltonen.
Photography by Seilo Ristimäki. 

After the intermission, it was back to classical ballet, this time with Don Quixote. Another huge audience favorite, Don Q lends itself supremely well to galas and comps alike, but I have to say that the stage of Turku's Concert Hall was not ideally suited. Rather small in size, no backdrop (just a bare white wall), black half screens instead of curtains, not to mention an audibly hard and visibly slippery floor... In contrast to the full glory of tutus and tiaras, poise and presence, the stage of the concert hall seemed a tad underdressed. And when I first heard those loud thumps in grand allegro, I worried for the dancers' safety. But, regardless of the hard floor, Michal Krčmář charming Basilio didn't hold back anything. He jumped his maneges with the bravado befitting his "étoile" status, and used the slippery floor to his best advantage, especially for the multiple grand pirouettes in seconde. It's not Don Q if you don't get thrilling turns from the star, and Misha certainly delivered. His Kitri of the night was danced by Alina Nanu, principal dancer with the Czech National Ballet. They made a beautiful match, both in charm and skill. The famous one-handed lift where the ballerina holds her position in a full split: wow. The jumps, the turns, the solos, the coda, the fouetté pirouette, loved it. You could tell that they enjoyed themselves on stage, which is so important! As for the slippery floor, Nanu took no risks: her shoes were so squeaky, she must have rosined the hell out of them. But better safe than injured. I fear slippery dance floors more than icy roads in winter.

Alina Nanu, Michal Krčmář. Photography by Seilo Ristimäki.

Don Quixote was already a highlight of the evening, but not the last classic treat. We got to see a not-so-often seen "Pas d'Esclaves" from Le Corsaire, danced by FNB's principal Tiina Myllymäki and soloist Jonathan Rodrigues. Beautifully executed, especially considering that they had only a few days notice to practice, as Tiina stepped in for another injured dancer. When I talked to her after the show, she had seemed quite unfazed about it, telling me that she knew the variation from ballet school. Talk about muscle memory!

The main classical event of the gala was the guest performance by Laurretta Summerscales and Yonah Acosta, principal dancers with the Bavarian State Ballet (Bayerisches Staatsballett). They danced the famous pas de deux of Diana and Acteon, from the ballet La Esmeralda. Diana and Acteon is one of those classical numbers that presents itself to show-stopping displays of acrobatic tricks and bravado technique. It's here where you see the male dancer pull off the craziest jumps that I don't even know the names of. Barrel jumps with double splits? Acosta was amazing, is all I can say. And Laurretta Summerscales gets the award for the longest and most beautifully sustained balance in arabesque I have ever seen on stage! What a joy to see dancers of this calibre, a true pleasure.

Laurretta Summerscales, Yonah Acosta. Photography Seilo Ristimäki. 

Michal Krčmář was not only one of the dancers, but also one of the choreographers of the evening. He presented world premieres with two distinct works: "Laughing of Loving One", a playful boy-meets-girl story in the style of theatrical dance, but with a contemporary twist. Linda Haakana, principal dancer with FNB, and soloist Johan Pakkanen (FNB) infused their roles with gleeful mischief and great comedic timing. Danced to music by Sam Butters, The Andrews Sisters and Charles Berry, it was a delightfully entertaining crowd pleaser. Krčmář's second work "Filling Emptiness", set to the String Quartet No. 1 in F major, Op. 18, No. 1 by Ludwig van Beethoven,  and performed by a live string quartet, was much more sombre. Danced by a corps of three men and three women, it's a study in neoclassical lines and formations. I found myself interested to see more from Michal, but I don't know how his busy schedule as a principal dancer will permit extra work. The entire gala was produced and rehearsed by the dancers themselves (with Krčmář taking artistic lead), and outside of their regular work (read summer vacation). After returning late at night from the gala, it was morning class just as usual.

Michal Krčmář: Laughing of Loving One. Dancers Linda Haakana, Johan Pakkanen.
Photography Seilo Ristimäki. 

Between ballet and contemporary, there was also an interesting tango-meets-ballet number choreographed by professional ballroom dancers Jutta and Sami Helenius. I don't know enough about tango to give an expert review, but it's always interesting to see different styles of dance mixed together. You can play to the dancers' strengths, but also challenge them in ways that will create new movement quality altogether. Charlotte Schauman-Mäki and Ville Mäki looked elegant together.

A personal highlight for me was Emreçan Tanis' world premiere of "Isra", danced to music (Mehmet Tanis, Phillip Glass) performed by a live string quartet (Kreeta-Julia Heikkilä, Siljamari Heikinheimo, Dalia Stasevska, Joona Pulkkinen). Three dancers, Atte Kilpinen, Linda Haakana and Johan Pakkanen, and a free-standing video screen on one side of the stage. You see dancers first projected, then emerging from behind the screen, as if the privacy of their tragedy had been made public for all to see. Young Atte Kilpinen, semi-nude in form-fitting boy shorts, with his face pasted in chalky grey make-up, standing but motionless, there but not there. Linda Haakana and Johan Pakkanen manipulating his stiff form, arranging limbs, pushing and pulling (themselves in the process), as if the boy were a mannequin... It made me think of parents who lost a child, either through death or trauma. The loss of innocence, the heartbreak and strain it puts on the survivors... That's what it felt like to me. I was moved to tears, not just by the story (as I perceived it), but also by the dancing. Linda, Johan and Atte were all incredibly strong, so perfectly in tune with each other, there must be a deeper connection. But it was Atte Kilpinen who blew me away in his solo. You have the choreography and the musicians playing - and Atte acting as the conductor between them. Music flows through his body in ways you rarely see, but no doubt the credit has to go to choreographer Emreçan Tanis as well. Tanis is one to look out for, and I hope we get to see more of his work in the future.

The Ballet Gala also treated us to another work by Tanis, called " Separation Among Us", which I've seen before at the Kuopio Dance Festival. It's a solo for Atte Kilpinen, and just like before, he throws himself into with astounding and gravity-defying abandon. The story behind Separation Among Us" is dark and sad, but a story that needs to be retold. You can watch it on Vimeo (danced by Jernej Biziak). Separation Among Us won Third Prize at the International Solo-Tanz-Theater Festival in Stuttgart (2017).

All in all, it was a beautiful day for dance. I'm glad I traveled the 180 kilometers by bus, even if it meant lost sleep before a busy school week. Because great ballet (or dance in general) is always worth the extra mile (or a hundred). Thank you for an unforgettable experience!

Lots of love,
Johanna


P.S. While the gala ticket was included in the invitation, this is not a commercial collaboration of any kind. Whether I decided to blog about the gala or not was up to me, and I'm free to express my own opinion. I also paid for my own bus fare to Turku (catching a ride back).

Photographs of Turku are my own. 

Dreams of Replay

It's been three years since I last saw Susanna Leinonen Company on stage. It was at the Kuopio Dance Festival, and the company performed Leinonen's work Touch of Gravity to a sold-out theatre of discerning viewers. It was a strong performance, innovative, intense, captivating. I still have a strong visual memory of scenes that were near genius in their minimalism and apparent simplicity: Six dancers jumping in place, in parallel position, up and down, repeated until a simple step took on new weight and meaning... The piece as a whole was exciting, from the stage scenery to costumes to lighting. All in all, one of my favorites of Kuopio Dance 2015. Which is why my expectations for Leinonen's latest creation were sky high.

I did not read the introduction to Dreams of Replay beforehand, other than to check the names of the creative talent and dancers. I prefer to see a piece without explanation, unless it's a choreographic adaptation of a novel or play that I haven't read (you kind of want to know what's going on). As for abstract pieces, whether neoclassical or contemporary, every viewer's interpretation is valid. One person's yawn can be another person's breath taken away. It's impossible to view, experience, and interpret any given work with a blank slate of mind. What I see on stage is filtered through every past experience, previous ballets, critiques I've read, people I've talked to, dance classes I've taken... Not to mention personal preferences, matters of taste, preconceptions, or expectations. My point is that reviews cannot be absolute truths or guarantees, whether they are favorable or not.

Ramblings aside. There were many exceptional details and moments in Dreams of Replay. A figure of a dancer, sitting in a golden stream of light, her back facing the audience, close to the edge, downstage left. Her back arching until only the top of her head touches the floor. Arms resting on elbows, reaching upwards, with palms open and bent, she moves in a way that feels more humanoid than human, even arachnoid. As she ripples her fingers to a sudden and menacing sound, I'm transfixed by this sci-fi creature. In another scene, we have two dancers walking onto the stage with forward thrusted hips and backs almost parallel to the floor. They have opaque white stockings pulled over their heads, obscuring features and amplifying the alien effect. As they move across the scene, in a way that is completely unnatural to the human body, almost cybernetic, I am utterly mesmerized. It would have been beyond interesting to see Leinonen take this theme and run with it. The rest of the choreography seems standard in comparison. By no means is it bad, or poorly danced (all dancers have a strong presence and precision of execution), just not as exciting.

Some vivid details aside, Dreams of Replay remains oddly fragmented, perhaps because our dreams rarely are linear stories that make any sense? It seems to me that there are many intriguing ideas, interesting beginnings, captivating concepts - which are not developed further. To me, it feels more like a collage of separate choreographies, or snippets thereof, than a cohesive work. Scenes do not relate to each other, and I cannot detect a common theme, other than minimalism and absurdity (which in itself is always welcome). There is one humorous scene where two women engage in a competitive music box play-off, but what does it mean in the context of the whole?

Of course, there is always the question: does it have to mean anything at all? Do you have to "understand" dance, is there one correct interpretation? NO, there is not.  What if I don't get it, am I somehow not cultivated enough to appreciate the artistic work? Maybe, maybe not. My own niche is adult ballet, and it's been years since I've attempted or even wanted to venture outside of ballet class. But I do like to attend contemporary dance performances. Oftentimes, it's just more interesting than purely classical ballet. The companies I've seen at Kuopio Dance in the past three years have been amazing, Susanna Leinonen Company included.

Balettikassi gives Dreams of Replay three stars ★★★✩✩,  and  ★★★★★ to the "alien dancers".


Susanna Leinonen Company: Dreams of Replay
September 8th, 2017
Alexander Theatre, Helsinki

Choreography: Susanna Leinonen (Artistic Director)
Sound Design: Kasperi Laine
Lightning Design: Kalle Ropponen
Costume Design: Erika Turunen
Photography (above): Mirka Kleemola

Dancers: Tiia Huuskonen, Sara Kovamäki, Liisa Pietikäinen, Elisa Tuovila and Erika Vilander

Kuopio Tanssii Valohallissa: Baletin ek-ryhmäläiset

Kuopio Tanssii ja soi lähentelee jo loppuaan, mutta näissä mun postauksissa tullaan tanssimaan ainakin vielä Juhannukseen asti. Mutta vaihtelun vuoksi lykkään tänne väliin ihan tuoretta matksua tältä päivältä: Baletin erikoiskoulutusryhmien (ek) päättäjäisesitykset Musiikkikeskuksen Elo-Forumin Valohallissa. Festareiden yhteydessä Kansallisbaletin oppilaitos antaa viiden päivän ajan opetusta ek-ryhmäläisille ja kursseja ek-ryhmiin hakeville. Kurssiohjelman jälkeisenä päivänä hakijoilla on vielä edessään koetanssitilaisuus. Balettioppilaitoksen tarjoamat ek-kurssit antavat pääkaupunkiseudun ulkopuolella asuville nuorille mahdollisuuden syventää tanssiopintojaan niin että heidän ei tarvitsisi muuttaa liian varhaisessa vaiheessa pois kotoa. Moni balettioppilaitoksesta valmistunut on tullut kouluun juuri näitten erikoiskoulutusryhmien kautta. Onhan se sanomattakin selvää että nuoria lupauksia ja lahjakkuuksia on kaikkialla Suomessa!

Kuvaaja: Johanna Aurava (c) Balettikassi. Kuvia voi jakaa omaan, ei-kaupalliseen käyttöön. Mainitsethan kuvalähteen.

Kuopio kukkii ja tanssii - toka festaripäivä

Kyl mä vaan niin nautin tästä kaikesta. Treeniä ja tanssia aamusta iltaan ja Suomen kesä kauneimmillaan. Täällä Kuopiossa omenapuut ja muutpuut ovat nyt täydessä kukassa, ja suloiset syreenitkin avautuneet. Se ihana tuoksu mikä leijuu kaikkialla! Eilen kun kävelin klo 21 näytöksen jälkeen kaupunginteatterilta asunnolle, lämpimässä ja valoisassa yössä, kukkasia nuuhkien ja huikeata tanssiesitystä sulatellen... En muista milloin olisin viimeksi ollut niin tunteikkaassa kesähurmoksessa!

Balettioppilaitos: Coppélia. Koreografia: Wilfried Jacobs (Petipan ja Saint-Léonin mukaan)
Kuvassa Jessi Räty ja Samuel Haramo. Kuva (c) Kuopio Dance Festival. 

Festareiden ekana päivänä pääsin katsomaan Kansallisoopperan balettioppilaitoksen (balko) esitystä Musiikkikeskuksen suuressa konserttisalissa. Ohjelma koostui kevätnäytöksen kolmesta eri teoksesta: Otteita baletista Coppélia (koreografia Wilfried Jacobs, Petipan ja Sain-Léonin mukaan), Emreçan Taniksen Silence Among Us ja otteita Tommi Kitin teoksesta Pienen näyttämön juttu. Coppélia esitettiin tosin alkuperäistä huomattavasti pienemmällä miehityksellä, sillä noin 90:nen oppilaan joukkoa ei logistisista syistä voitu tuoda Kuopioon. Musiikkikeskuksen lavalla esiintyivät siis ammatillisen koulutuksen kolme luokkaa, joskin joitakin oppilaita jäi pois muista syistä johtuen. Harmillista, koska en päässyt näkemään Coppéliaa (ja kevätnäytöstä) kun se toukokuussa esitettiin Alminsalissa. Lähteet kertovat että hieno oli.

Ja olihan se nytkin valloittava ja nuorekkaan raikas. Etenkin nopeatempoinen mazurka vakuutti viimeistelyllä jalkatyöllään ja aidosti eloisilla ilmeillään. Kaikesta näkyi että työtä on tehty tosissaan. Swanildan ja Franzin roolit tanssivat tällä kertaa Jessi Räty ja Samuel Haramo. Jessi Räty on viehättävä ja solidi tanssija, jolle esimerkiksi codan haastava fouettépiruetti-osuus ei tuottanut ongelmia. Toinen pari mikä jäi mieleen oli Oskari Kymäläinen ja Matilda Nordberg tanssimallaan "Prayer" pas de deux:llään. Matildan pitkät ja kauniit linjat, ja Oskarin huomaavainen ja luontaisen charmikas partnerointi olivat ilo silmälle.

"Pienen näyttämön juttu", koreografia Tommi Kitti (2017). Balettioppilaitoksen tanssijoita.
Valosuunnittelu Janne Teivainen
Kuva (c) Kuopio Dance Festival

Tommi Kitin balettioppilaitokselle luomassa Pienen näyttämön jutussa nuoret tanssijat pääsivät ihan toisenlaisen liikemateriaalin kimppuun. Jatsahtavaa, soljuvaa, svengaavaa - upeasti sisäistettyä. Minuun teki vaikutuksen myös se että liikkeissä ja olemuksissa ei näkynyt oppilaiden balettikoulutus, muuten kuin ammattimaisella lavaläsnäolollaan. Nykypäivänä balettitanssijan on kyettävä venymään sekä liiketeknisesti että ilmaisullisesti hyvinkin erilaisiin teoksiin ja nykykoreografien vaatimuksiin.

Illan kohokohta oli minulle Kansallisbaletin tanssijan ja koreografin Emreçan Taniksen teos Silence Among Us. Näyttämökuva jossa tanssijoitten päälle heijastetetaan harmaan rakeista visuaalista kohinaa on jo itsessään vaikuttavaa. Kuten myös lavalla hitaasti etenevä "mörkö", joka toi mieleen Hayao Miyazaki / Studio Ghiblin animoidut hahmot. Suurimman vaikutuksen teki kuitenkin itse koreografia ja tanssijoitten tulkinta. Siinä oli sellaista intensiteettiä ja voimallista ilmaisua mitä en välttämättä olisi odottanut nuorilta oppilailta. Mutta, olenhan mä nähnyt balettioppilaitoksen näytöksissä ennenkin hienoja nykytanssibiisejä, myös oppilaitten itsensä tekemiä. Se täytyy vielä mainita tässä että Oskari Kymäläinen veti ihan mielettömän hienon soolon, ja sanonpa tässä ihan pokkana että tätä nuorta miestä olisi hyvä pitää silmällä...

"Silence Among Us", koreografia Emreçan Tanis. Balettioppilaitoksen tanssijoita.
Valosuunnittelu Vesa Pohjalainen, puvustus Erika Turunen.
Kuva (c) Kuopio Dance Festival

On täällä Kuopiossa kyl ihanaa.

Aamutunti festareilla

Ensimmäinen festaripäivä alkoi perinteisesti baletin aamutunnilla klo 9.30 Musiikkikeskuksessa. Tänä vuonna treeneihin tuo erityistä luksusta se että asun kätevästi kadun toisella puolella! Kotona ollessani joudun lähtemään vähintään tuntia aiemmin jos meinaan olla mitenkään ajoissa, kun taas täällä ehdin vaikka nukkuisin vielä tuntia ennen. Ja tuo Musiikkikeskus (Muske), on muutenkin kiva paikka treenata. Koko talo kuhisee elämää ja tanssia aamusta iltaan. Siinä on ihan oma festarifiiliksensä :)!

Baletin aamutunti on tasoa ammattilaiset/ammattiin opiskelevat, mihin ryhmään en harrastajana tietenkään kuulu, mutta opettaja Arja Tervo on mulle ennestään tuttu. Pari vuotta sitten hän sijaisti Footlightilla Marie-Pierre Greven aamutunteja. Saman vuonna kävin sitten täällä festareilla Arjan aikuisten keskitason kurssilla, ja viime vuonna kysyin josko voisin tulla näille aamutunneille... Sain luvan, ja täällä ollaan.

Taso on mulle haastava, harjoitukset vaikeampia ja nopeampia kuin mihin olen tottunut. Etenkin keskellä olen kaukana omalta mukavuusalueelta! Esimerkiksi tämänaamuinen piruettidiagonaali päättyi kombinaatioon piruetti en dehors + fouetté ja siitä vielä attitude ympäri. Ekana päivänä vielä koitin lisätä tuota fouetté pirtsaa, mutta tänään ei riittänyt uskallus ja itseluottamus. Täytyy myöntää että balettioppilaitoksen ak-laisten läsnäolo ei hirveästi auttanut. Nämä tytöt kun vetävät noi vaikeat sarjat sellaisella varmuudella ja näyttämisen halulla että meikäläinen ei sen jälkeen kehdannut edes yrittää. Tyhmää, tiedän kyllä. Jos ei yritä ja uskalla, niin ei voi myöskään oppia. Ja jos mun yritykset olisivatkin jonkun mielestä noloja tai huvittavia, so what? Mutta tuskinpa... Yleensä kaikki keskittyvät omaan tekemiseensä. Oli miten oli, huomenna vedän kyllä taas täysillä!

Se pitää vielä sanoa että haastavasta tasosta ja pienestä itseluottamuksen notkahduksesta huolimatta aamutreeni on ollut tosi kivaa. Opettaja on tarkka, mutta tosi mukava - ja hän tsemppaa meitä kaikkia!

Kuopiossa tanssitaan auringon alla

Kun saavuin tiistaina iltapäivällä Kuopioon Tanssii ja soi festareille, vastaanotto oli jäätävä. Ei ne ihmiset, vaan Suomen ihana ja arvaamaton kesä! Vaivaiset +11° astetta, tihkusadetta ja kylmä tuuli. Ei auttanut muu kuin pukea lisää vaatetta päälle siinä sateisella linja-autoaseman laiturilla. Oi kesä, minkä meille teit? Samana iltana klo 18 kun piti olla Kansallisbaletin kesäkiertueen viimeinen show Matkustajasatamassa, ja kun ulkolavasta on kyse, niin esityksillä on järjestään säävaraus. Tänä vuonna kesäkiertuelaiset eivät esiintyneet lainkaan Helsingissä, joten itseltäni oli show kokonaan näkemättä. Näytti jo siltä että Kuopiossakin jäädään ilman.

Festareita taidetaan kuitenkin viettää onnellisten tähtien alla. Sade lakkasi, taivas kirkastui, ja aurinko nosti lämpotilaa viitisen astetta just puoli tuntia ennen näytöstä! Harmillisesti kesäkiertuelaiset olivat jo ehtineet supistaa ohjelmistoaan tanssijoiden suojelemiseksi (kylmä viima on pahasta vähäpukeiselle kropalle), eikä kaikkia muutoksia ehditty enää muuttaa takaisin. Esimerkiksi Mustan joutsenen variaatio/pas de deux jäi pois, ja vissiin myös ote Sherezadesta. Mulle shown ehdoton kohokohta oli kuitenkin Emreçan Taniksen hieno koreografia "Seperation Among Us" jonka Atte Kilpinen tanssi sellaisella voimallisella heittäytymisellä etttä oksat pois! Tanis on voittanut kyseisellä koreollaan Stuttgartin International Solo Tanz Festivaalilla toisen palkinnon, ja jos ei ole ennen hänen biisejään nähnyt, niin videon voipi katsoa tästä: from Emrecan Tanis on Vimeo.

Kuvagalleria

Kuvat ovat kaikki minun ottamiani

Kansallisbaletin tanssijoita, koreografia Samuel Števik

Emreçan Tanis, Atte Kilpinen. Ote teoksesta Jord (koreografia Jorma Uotinen)

Anni Jokimies, Auroran variaatio

Atte Kilpinen, koreografia Emreçan Tanis.

Lisäksi kansallisbalettilaiset esittivät klassisen tyylikkään corps de ballet numeron, jonka yksi tanssijoista (Samuel Števik) oli tehnyt kesäkiertuetta varten. Kansallisbaletin ranskalainen tanssija Thibault Monnier oli myös tehnyt uuden nykybaletillisen pas de deux, minkä hän  tanssi kesäkiertuekonkari Mai Komorin kanssa (valitettavasti nuo otokset epäonnistuivat). Näimme myös Ruususen variaation Anni Jokimiehen tanssimana, otteen Uotisen Jordista (joka pitäisi kyllä nähdä kokonaisuudessaan lavalla punaisen hiekan kera), ja muumibalettien hahmot tanssimassa tangoa (ihan totta). Viihdyttävä kokonaisuus, vaikka jäikin hieman vajaaksi.


Yleisöstö bongasin samalla ison joukon Oopperan balettioppilaitoksen ammattiopiskelijoita, heillä kun oli seuraavana päivänä oma esitys Musiikkikeskuksen isolla lavalla. Kävin tietenkin katsomassa, mutta siitä lisää seuraavassa postauksessa :)!

Olen siis täällä Kuopiossa koko festariviikon vapaaehtoisena somettajana ja myös omien blogieni (facebook-sivu ja instagram mukaanlukien) kirjoittajana. Pääsen siis ilmaiseksi kursseille ja esityksiä katsomaan, mutta en saa muuta korvausta - enkä ole myöskään velvoitettu mihinkään.

Tanssillisin terveisin Kuopiosta,

Johanna

Down-to-Earth Étoile - Haastattelussa Kansallisbaletin tähtitanssija Michal Krčmář

One of the (many) fun parts of dancing for fun, and then blogging about it, is that you get to meet some pretty cool and inspiring people. Other ballet students, teachers - and professional dancers. Most of the time, we get to see performing artists only on stage... But what we see on stage, is merely the glittering tip of a dancer's life: the culmination of years and years of hard work, talent, and more work. What is it that drives a dancer to dedicate their life to dance, and what happens before and after the stage lights go on, and off again?

I first met Michal Krčmář on the Finnish National "Balletrain", June 2015, en route from Helsinki to Oulu. At the time, he was just short of turning twenty-five, already a Principal Dancer nominated as étoile. What struck me that he seemed just a regular guy, with a very amiable manner. He introduced himself (of course I already knew who he was), and we had a short but nice chat. I don't always make such an easy connection with professional dancers... Sometimes, they can be reserved or shy, or don't know what to make of a middle-aged ballet blogger. Sometimes, it's me who gets shy (more often than not). With Michal, there was no ice to be broken.

Dancers can do barre anywhere, even on the train. Photo by me. 

The first time I saw Michal Krčmář on stage was in La Bayadère. It was the retirement performance of Finnish prima ballerina Minna Tervamäki, and Michal was dancing the role of Solor to Tervamäki's Nikiya. I remember reading an amused comment from Tervamäki, regarding their age difference of twenty odd years… But, on stage, you couldn't tell. What I saw was artistry, experience and youthful exuberance. The outgoing generation meeting the next generation, at that junction were both are already/still in their prime. The standing ovations that followed were primarily for Tervamäki, of course, but it was clear that Krčmář was going places. Since that performance, I've seen him dance Basilio, the Beast (Beauty and the Beast), various princes, abstract ballets, contemporary works, even Onegin - which is a hefty role usually reserved for much older dancers.

A Dancing Summer

The last time we met (well, before this interview) was in June, at the Kuopio Dance Festival. I had signed up for a few courses, and Michal was there to perform at the Gala. We chatted over coffee, about dance, life and summer plans. A few weeks ago, we caught up - this time over a glass of champagne. Gotta love that Czech hospitality! The new season at Finnish National Ballet was already in full swing, but I wanted to know how he spent his two-month summer break. It may sound like a luxurious vacation, but no professional dancer can afford to get too relaxed over such a long period. Some time off is, of course, neccessary: to let the body rest and recover, to heal possible lingering injuries, to clear the head, and enjoy life outside of work and ballet. I've known dancers who take complete breaks, and ease back into exercise and class only weeks before the season starts. Everyone has their own style and method.

Michal Krčmář with Nela Mrazova in Spartacus

Ball-et. Michal likes to keep active: he plays soccer, ice-hockey, volleyball, does cross-country skiing, snow-boarding, swimming, cycling, break dancing (but no social dancing).

As for Michal... Well, let's just say that the man likes to keep active and busy: beginning of summer, he toured in Italy, dancing the title role of Spartacus, then flew back to Finland to dance excerpts of Bayadère and Onegin at the gala, then flew home to the Czech Republic to dance at a charity gala for the kids of the Prague State Opera School (Krčmář has been a patron since 2011), then finished the summer at the Fukuoka Ballet Festival in Japan, where he partnered four ballerinas in variations from Don Quixote, Romeo and Juliet, Esmeralda and Corsaire. He also gave classes at Fukuoka, and coached two FNB Youth Company dancers for their IBC competition variation (before leaving to rehearse Spartacus). Somewhere between guest-dancing, teaching and plane rides, he did have a two-week holiday including an annual soccer match, and does he ever rest? I wish I had even half of his energy...

With Salla Eerola, dancing an excerpt from Onegin, at the Kuopio Dance Festival (June 2016). Lower right corner: Michal with Salla, and Jorma Uotinen, Artistic Director of Kuopio Dance Festival. 

But Michal also made a point about not pushing yourself in the summer: there is no need to become better, it's enough to maintain form and to focus on just a few things. When I asked about classes, he told me that he used his balcony for barre - which is not that different from the chair I used during my summer break... PRO TIP: Yannick Boquin's master class on DVD.

The Split-Challenge and Dancing Smart

When he was a student at the ballet school, Michal did not posses the natural flexibility that allows for easy splits, and he had to put in a lot of hard work to improve. These days, he's one of the more flexible men in the company, and his grand jetés have reached full-split status long ago. But being a Principal Dancer doesn't mean you get to rest on your laurels. For any dancer, to progress and grow as an artist, means to be smart about your dancing. As Michal told me, you have to want to become better, set goals, not get comfortable. In practice, it can mean that you work more on your weak sides, or that you take class with guest teachers, or that you know which issues to focus on (as you cannot fix everything at once). It also helps to really like the work that you, as Michal does. In fact, he would love to dance even more.

"With great teacher Sandor Nemethy", after company class at the Finnish National Ballet. 

 Teaching

Michal Krčmář is certified to teach ballet students until the age of 15 (following a specific curriculum). He never wanted to be a teacher, but when he observed friends practicing in the studio, he saw ways to help them with their dancing - so he decided to study and take the exam at his school. While his main job is to dance, he likes to coach young(er) dancers when the schedule allows for it, and also enjoys teaching on breaks. Every year, he goes back to Prague to teach classes at the State Conservatory. Most recently, he taught at the Fukuoka Ballet Festival in Japan (where he also performed). Not just kids, but students ranging from 12 to 40 years, including ballet teachers. I've also had the pleasure of taking Michal's class on a few occasions, and it was a lot of fun. Also hard work, but in a positive way. I liked that it was not just a technical class, but that we really got to dance, and even experience what it would be like to practice and perform as a corps de ballet.

Teaching in Japan.

In Japan, étoiles really do get the star treatment :)

Zakharova and Other Favorite Partners

I asked Michal Krčmář about his dream partners, and being a perfect gentleman, he answered "all the girls at the Finnish National Ballet." So I asked what kind of qualities make someone a great partner. Obviously, they all have the technique to dance a pas de deux, but some partnerships are just more made-in-heaven than others. For Michal, it's especially rewarding to dance with someone "who is on the same wave length, where you can have a drink and a nice talk, and you have a good chemistry and connection.." As it is, dancers are not always paired according to chemistry, but to height.

Michal with Eun-Ji Ha, after the show in Seoul, during the Festival of Korean World Ballet Stars.

When Michal was dancing in Don Q, and his partner got injured shortly after the ballet had started, another principal (who just happened to be in the audience) was called on stage to save the show. Michal and Eun-Ji Ha had never danced together, and they had probably the shortest rehearsal in history, between Eun-Ji's quick change and make-up. But their impromptu pairing was magical, and a huge success with the audience. Still, it didn't result in a permanent or more regular pairing, as Michal tends to dance with the taller women, and Eun-Ji Ha with the less-taller men. They have, however, danced together at various charity/gala shows. And let's not forget about Svetlana Zakharova... When she guest-performed in FNB's production of La Bayadère (staged by Natalia Makarova), it was Michal who got to partner her. In my humble opinion, that is quite an honor for any dancer.

Svetlana Zakharova and Michal Krčmář, in La Bayadère. The Finnish National Ballet, January 2016.
Photography (c) Mirka Kleemola

Svetlana Zakharova and Michal Krčmář, in La Bayadère. The Finnish National Ballet, January 2016.
Photography (c) Mirka Kleemola

Svetlana Zakharova and Michal Krčmář, in La Bayadère. The Finnish National Ballet, January 2016.
Photography (c) Mirka Kleemola. 

After-show glow. With Svetlana Zakharova.  Photography (c) Mirka Kleemola

A Few More Questions...

What does your typical day look like, from morning until night?

I'll try to make it short: Waking up at 8:00 AM (without morning coffee I am useless). 10:00 - 11:15 morning class.  A little break, then rehearsal for an hour and half. Lunch break for 45 minutes. Another one and half hour rehearsal. 15 minutes break, and another one and half hour rehearsal. Finishing work at 17:00. I usually stay longer for stretching or sauna, and sometimes I’m helping the young ones a bit. After work, some relaxing with friends, playing games or watching a movie. Nothing special.

As a young boy, you practiced to become an ice-hockey player, but your mother introduced you to ballet lessons (at age… ). When did you decide to become a professional ballet dancer?


I was 8 years old when I tried my first ballet lesson and it was quite interesting for me. There were some ballet-specific exercises which I did not like, but the acrobatic and musicality tests were actually really cool.
     
When did I decide to become a professional dancer? I don't remember making that decision. This life basically chose me. As a child I had no idea what I want to do in the future and I did not have any dreams to follow. It came with age and wisdom... haha...



You were promoted to Principal Dancer at the age of 22 (and nominated to rank of étoile in 2015), and have danced all the big classical roles… What is it that keeps pushing you forward? What do you dream of dancing/achieving in your future, career-wise?

I was promoted to Principal dancer after last show of Don Quixote ( in 2011), when I danced Basilio. I think I was still 21... At that time, there were some injuries in the company which meant that I could show myself in many performances as Basilio. After 4 months in my new job, I started to get more "hungry"... Of course motivation is very important, but I think that in my case I am trying to find motivation in everything and work on myself in many ways. Simply to be a better dancer and person as well. I am trying to put my goals one by one in front of me and deal with them with patience and time. I was promoted to Étoile dancer last year in August (at the age of 25), after the first show of the season (Beauty and Beast), in front of a full auditorium and with my great colleagues on the stage beside me.

Backstage, during Don Quixote. Photography (c) Sakari Viika.

I remember during school years teachers were pushing us to work hard, but not so many of them were actually dancing leading roles almost every day... What I am trying to say: hard work is important, but it is not for stupid people. We as dancers must be very smart to achieve big roles and then to stay in condition to remain on top for many years. It requires smart way of thinking, taking good care of ourselves, "mental balance and peace" and PATIENCE!!!
   
My big dream is to help people, dancers, and be an example. Be the kind of person people will remember as someone who did good things, and left something nice in this place (when I will be not here anymore). I never forget where I am coming from, who I am - and I never want to become selfish and snobbish. I want to stay as I am... Be there for people who need me.



Are there any specific choreographers you hope to work with?

There has always been one thing in my heart. Work with Yuri Grigorovich and dance his Spartakus. If it would be possible, I would love to have a coffee with John Cranko and thank him for everything he has done. I would love to show him his huge influence on many choreographers and the ballet world as we know today... 



With Yuri Grigorovich

Any specific ballets you would like to dance in?

Armand Duval in Kameliendame by John Neumeier. 



Have you had any (funny) mishaps on stage?

During my graduation show in 2009 we had quite a funny moment. After the classical part where I danced Frondozo from Laurencia we performed the contemporary part. Right in the middle of the number, a small dog came running on the stage. The dog had just ran away from the costume department straight onto the stage. It was very funny, the audience liked it and nobody was angry. After the show everybody was laughing. It was not even bad for the show, because the dog actually fitted in that piece.... haha.



What has been your most challenging role/ballet so far?

It is so hard to say... I am sorry, I don't know. Almost every production is challenging in a different kind of way (now I feel that I answered like some politician).



Morning company class alone is not enough to stay in performing shape. How do you train outside of class?

I love to do sports. Any sport and to keep moving somehow, is best for me and my body. The worst is when I stop and do nothing. 



Who are (some of) your favorite dancers, or colleagues that you look up to?


Of course my biggest idol was and still is M. Baryshnikov. It will never change!


What inspires you?

Music!!! Mozart or Hans Zimmer. I am spending hours with them and many others as well. I cannot imagine my life without music. I used to say: Music is like the Sun and dance is like the Earth. Sun can be without Earth but Earth can't be without Sun. Same like music can exist without dance but dance without music is only movement. These two elements must be closely connected, then I love my job with all my heart.



Your brother Martin is following in your footsteps, and has joined FNB’s Youth Company this season… Do you give him any advice, or corrections?

With brother Martin, at his graduation ceremony.

Yes I do, but there are much better people for helping him here and now in the Finnish National Ballet than me. If he will start to do some soloist roles in future, then I think I can help him more than now.  



How did you adjust to working at FNB, and living in Finland? 
(this question is from Eeva, a big fan of yours :).

Very easily. I am very adaptable. I very much like the way of preparing shows which we perform usually for one month. It is very good in cases when you don't like a production which is in the repertoire in that moment, because you know that it will be soon over. It also gives you more experiences and more chances to work with interesting people. Thanks to FNB, I’ve been able to work with people like Natalia Makarova, Patrice Bart, Nacho Duato, Jorma Elo and many others...

Living in Finland for me is basically 90% work and focusing on that. When I have free time I travel to explore, meet new people and get new contacts.



You’ve talked about being a “smart dancer”, knowing when to push/pace yourself, and the importance about working outside your comfort zones. You’ve also taught kids, adults, and coached dancers from the Youth Company. As a dancer/teacher, what observations have you made? What kind of advice would you like to give adult ballet students?

In the first place you have to love it. And then, you should not forget to have joy from working on yourself. In many cases dancers are practicing things which they are good at. For example, people who are flexible like to stretch, or people who have natural turns like to practice pirouettes. I learnt that practicing my weak sides is making me a very adaptable dancer - and the things I am good at are actually becoming easier because. That’s what I mean when I say it’s important to get out of your comfort zone.

My biggest advice is to stay positive and be patient! Work smart and not always hard. We all have only one healthy body.



In your career so far, who has/have been your most important influences?

Definitely my teacher from school, Jury Slypych, former Principal Dancer in Kiev and Prague. When he started to teach me, he was 35 and I was 15. He taught me a lot about how to think about ballet, how to put sense into work, into the story, creating a role, acting and technical stuff as well. When he gave his retirement performance in Don Quixote, I got to share the stage with my former mentor, now both of us principal dancers. But, I must admit that I take advice from everybody. Everybody can give me something. Even if some person has nothing to give me, I can always take it in a good fashion. In that case: How to not do it.... 




With teacher Jury Slypych, after his last show of Don Quixote (2012). Slypych danced the role of Espada, Michal danced Basilio.

At FNB, you take company class with the Ballet Master and guest teachers… Do you have a trusted coach, someone you prepare roles with (when it’s not the choreographer)?


Ingrid Nemeckova, our first ballet mistress. She is a fantastic coach, always caring and keeping me in shape. Thank god. Sometimes, if the Director Kenneth Greve is not busy I work with him. It is also very important for a male dancer to get some tricks from a much more experienced dancer. I am happy to have people like them in the company.

What are your interests outside of ballet (in addition to your sports)?



My big hobby is going out with friends. Organize events or parties. Video games and of course traveling.  



What advice would you like to give young(er) dancers? 

Keep trying, keep working, stay patient, stay healthy, never give up, don't let anyone push you down, help others, communicate, don't hesitate asking for help, don't forget to have a life, love and family.



Michal can currently be seen on stage in Nataliá Horečná's new production of Romeo and Juliet (dancing the role of a "Spirit"). Between shows and classes, he is rehearsing for Jorma Elo's new ballet Alice in Wonderland (Liisa ihmemaassa), which will premiere in October 2016.

Interview by Johanna Aurava