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January 17, 2020

Comments

Simone

Dear Eva,

Thank you for yet another interesting read. I always enjoy reading your reviews and articles.

With all due respect, I disagree with your last view of putting Bournonville first.

The way I see it, that mission can only be completed with a company consisting of home grown dancers only, and the current RDB is very far from that.

The RDB is on a very different path, and in order to protect its status as a world class company I think the current strategy in a way it right, but it needs to be taken one step further.

Embrace the foreign dancers fully - not only partly - and let them shine in a variety of ballets made by different masters. This is a necessary evolution. Don't fight it.

If the RDB wants to keep its status, it needs to promote foreign dancers and show that they are valuable to the company.

There should be some room for the Danish heritage, but it cannot dominate the company in its current state.

Eva Kistrup

Hi Simone,

Great to hear from you. Regarding Bournonville, it remains not only the calling card for RDB internationally, it is an important world heritage, and it is the foundation of the RDBs uniqueness.
I do not argue that RDB should only dance Bournonville, but the point is, if RDB do not present Bournonville regularly, it may be impossible to save it.
RDB has been subjects to many financial cuts, and that - not Bournonville – have been the reason why it has been difficult for new dancers coming from abroad to get enough stage time and chances to develop their talent and skulls.
Luckily, it look like the company will be able to present more productions and have a higher number of performances from next season. This will give not only the RDB stars more to work with; it will hopefully also give the foreign intake more opportunities. It is a Win Win situation.
The Hübbe/Bjørn production of August 2.0 showed of the values of Bournonville in a new format, outstandingly danced by Jön Axel Fransson and other dancers, but it also showed that many of the international dancers had not yet learned how to handle Bournonville . We know it can be done. Dancers like Lloyd Riggins and Caroline Cavallo raised to become great Bournonville dancers as well as strong all-rounders.
Probably not every dancer coming from outside may turn out to be a Bournonville genius, and RDB should continue dancing a broad repertoire. However, for the dancers who has the interest and the body for it can also improve their general skills by studying Bournonville.
It should be a win/win,

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