Beethoven Opus 73
Choreography: Renato Zanella; Music: Ludwig van Beethoven (piano concert #5 op. 73)
Silver: Karina Sarkissova, Mihail Sosnovschi (main couple)
Copper: Shoko Nakamura, Boris Nebyla (main couple)
Red: Margaret Illmann, Fabien Voranger
Gold: Eva Petters, Tomislav Petranovic (main couple)

There was a black veil/curtain with “Beethoven” in white letters hung in front of the stage, behind which the first part of the piece was danced. It lent a very nice atmosphere to the slow, gentle movements.
All dancers wore simple unitards with glittering swirls in silver, copper, red, or gold on them, depending on which colour they were dancing. I particularly liked Margaret Illmann, who is one of my favourite dancers.
She lay on stage with a gold pendulum slightly above and behind her while the copper/silver guys danced in front of her. She was “roused” from her sleep by her partner for a thrilling, gorgeously executed dance routine. I also liked the gold couple a lot, Eva Petters is very graceful and she’s worked together wonderfully with her partner.

I particularly enjoy this piece as it’s got a very sensual and also very funny choreography and works beautifully with aspects of light and darkness in terms of costumes.
The guys in white, beige striped briefs (and nothing else ;D) start out with foils, stretching, bending, fencing in the air. Light illusions to phallic symbolism, which gets stronger when the women appear on stage.
They wear beige corsets and are “brought out” from the back of the stage as the guys pull the black/dark-blue cloth they’re holding away from them and across the stage. It billows after and over them, like a dark sea, beautiful. The lighting is also warm – more yellow/orange than white, with the illusion of a certain dimness and sometimes, the stage is dark except for a few warm spots, lending to a secret, sensual atmosphere.
The fun parts are the mannequins – shaped like blue velvet dresses with a tight corset and wide skirts; they have wheels and are used by women and men (their preening was *really* cute ;D, as were the imaginary mirrors) alike to glide around on stage and serve as a transition. Just lovely.

Johann Strauss Son: Un ballo in maschera. Quadrille, op. 272: Simona Noja
The last time I saw this piece, last year, Margaret Illmann was dancing it. Simona Noja is a fabulous dancer, but I always miss mimics and gestures that convey more than just the dancing itself. Ms Illmann does that, and Eva Petters as well. Both Ms Noja and Ms Illmann, however, are incredible dancers and the smoothness with which they execute the moves is enthralling.
The music is slightly dreamy and the setting for this part is a mock-ballroom, with columns, reminiscent of the Roman forum. Ms Noja wore simple straight-cut white trousers and a white jacket, which only served to emphasise the curving smoothness of the dance more.

Johann Strauss Son: Éljen a Magyar! Schnell-Polka, op. 332: Lukas Gaudernak, Christian Herden, Mikel Jauregui, Michael Klabouch, Igor Milos, Gabor Oberegger, Kamil Pavelka, Mihail Sosnovschi, Jaimy van Overeem, Rudolf Waechter, Christoph Wenzel
Johann Strauss Son and Josef Strauss: Pizzicato-Polka: Simona Noja, Christian Rovny
These two pieces are extremely quick and spirited. I particularly loved “Éljen a Magyar”, because the guys are such fun to watch. They wear black trousers and jackets and perform a series of quick, completely mirrored movements with their arms, jumping up and down, then waving their hands in the air and shimmying ;D. Incredible.

Johann Strauss Son: Kuenstler-Leben (Artists’ Life). Walzer, op. 316: Kathrin Czerny, Tomislav Petranovic and ensemble; Dagmar Kronberger, Christian Musil and ensemble
I love Zanella’s choreography and the original ideas of his creative designers. This waltz is another example of it: the ensemble was split in two groups. The first, with Ms Czerny and Mr Petranovic, were the “ballet dancers”, the more “refined” troupe, with their beautiful ballroom dancing movements and flowing skirts and tailcoats.
The second group, with Ms Kronberger and Mr Musil, in striped tops and black leggings seemed to represent “modern dance”, the less conventional movements. The two groups danced past each other on stage, until, for the last few turns, they combined – tailcoat and striped top, striped top and flowing skirt.
The melting pot of old and new, traditional and modern – that’s also how I’d describe Mr Zanella’s choreographies. Beautiful to watch.

Johann Strauss Son: Perpetuum mobile. Musikalischer Scherz (musical joke), op. 257: Mikel Jauregui, Gabor Oberegger, Mihail Sosnovschi, Rudolf Waechter, Christoph Wenzel
Johann Strauss Son: Bauern Polka (Française), op. 276: Martina Angioloni, Maria Balzano, Beatrice Denes, Rebecca Gladstone, Franziska Hollinek, Natalia Palshina, Alessandra Pasquali, Karina Sarkissova, Gerit Schwenk, Alba Sempere, Yuki Sento, Liudmila Trayan, Alena Vaskova, Beata Wiedner
Johann Strauss Son: Leichtes Blut. Polka, op. 319: Tomislav Petranovic, Mihail Sosnovschi, Christoph Wenzel
Johann Strauss Son: Fruehlingsstimmen (Voices of Spring). Walzer, op. 410: ensemble
Again, great fun to watch, very energetic, all four of them. I happen to love Strauss' music and the choreography worked wonderfully with it, a compliment and an enhancement. Brilliant.

Gustav Mahler: Adagietto from the 5th Symphony: Simona Noja, Christian Rovny
The stage was bare, except for a mirror at the back with lights on it. Mr Rovny wore black, Ms Noja “training clothes”. The music is dark, slow, full of despair and so was the choreography for it. To me it seemed like a dance with death.
Mr Rovny (death) comes to take away a ballerina, giving her one last chance to dance and shine. The stumbling steps, twists, lifts – gorgeous, so touching, and so beautifully executed. Mr Rovny is stunning -- strong, emotional, loving, assertive presence. The piece is a beautiful ending for the evening.