Eva Kistrup

Over the top - and then some; Kylian in Copenhagen

Silk & Knife

6 Jiri Kylian Ballets

Royal Danish Ballet

October 28, 2007

 

What has happened to Jiri Kylian, the master of the clear, calm and collected approach to semi-modern ballets? Quite a metamorphosis, judged by the six-pack just presented by The Royal Danish Ballet. But not necessarily a happy development. 20 years back one might accuse Jiri Kylian of making all ballets look the same, often a 30 minute piece for 10 -12 dancers, starting with their backs to the audience and dancing the Janacek or music from the same period. But works like “Sinfonietta” and “Verklärte Nacht” was well crafted, entertaining and original works, a fact known to Danish balletomanes who still fondly remember a very fine run of “Verklärte Nacht” in the 80ties.

 

Looking forward - and looking back

Season start at Royal Danish Ballet

And “ As I knew them” by Erik Ashengreen

When Nikolaj Hübbe entered the make shift stage at the "Grønnegaard Teater" in Copenhagen as Apollon, it was not just a reminder of the young dancer making his first try in the historic role almost 20 years ago, it was a promise of what Hübbe would bring as the next Ballet Master of his parent company: direction, quality and presence. With his three muses, Silja Schandorff, Caroline Cavallo and recently appointed soloist Femke Mølbak Sloth, Hübbe showed not only what a great piece Apollon Musagetes is but how great dancers can interpret and keep a ballet, almost 80 years old, young and vibrant. Hübbe at the end of his dancing career is a better Apollon than he was as a young dancer. He is grounded, three dimensional and shows his understanding of the part, although his physical decline is obvious. Silja Schandorff of the same generation as Hübbe has all her technical ability intact, and her allure and mystique is ever present. Terpsichore has always been her best Balanchine role, and she flows through the slower-than-slow movements a true goddess of dance. Caroline Cavallo, who often shares roles with Schandorff, cannot match her line or drama and is, in this performance almost overshadowed not only by Schandorff but by Femke Mølbak Sloth, who is clean and calm as the third muse.