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Amusing and well danced La Fille mal Gardée in Munich


MUNICH: La Fille mal Gardée in Munich at Prinzregententheater during the Münchener Festispiele is a fresh wind in the heavy operaprogram. The Bayerischer Staatsballet, enlarged with students, is doing a very amusing and well danced production of the wellknown La Fille mal Gardé, Frederich Ashtons wonderful presentation of the life in the (French) cuntryside, where the love between the daughter and a handsome farmer boy, is put away for the hopeless son of a rich wineyeard owner. But of course, it dont go like this. And happy for that.

Review by Henning Høholt

MUNICH: The Bayerischer State Ballet is performing La Fille mal Gardée during the Festspiele in Munich this summer.

Choreography by Frederick Ashton, Music Ferdinand Herold, freely edited, adapted and supplemented (Rossini) by John Lanchbury. Who also is famouse for his extraordinary good arrangement of the Ludwig Minkus music to Rudolf Nureyevs famouse Don Quixote.

La Fille mal gardée.  Cyril Pierre, Ensemble.  © Wilfried Hösl
Frederich Ashtons choreography, to the music by Ferdinand Herold / John Lanchbery,- arrangements, by help of Rossini and I am sure others, blessed or wretched days when you still “protect” young girl, as in this oldest story danced ballet from the late 18th Century.

The cock, Martin Milner, and his chickens. foto Wilfried Höhl

Frederick Ashton dreams after these times in his cheerful modeled masterpiece made in 1960. It tells the story of young lovers Lise  and Colas, beautifully danced by Ivy Amista and Lukás Slavický, the Widow Simone, virtuosely performed by Cyril Pierre, the farmer Thomas and his son Alain, Amusing presented by Peter Jolesch and Ilia Sarkisov, who was plenty clumsy with artful simplicity and most virtuosic most naive. We see hayrides, pony, a cock (Martin Milner) with his ladies to dance around the maypole and is surprised by the summer thundershower … At the same time we enjoyed a choreographic genius, transformed by all these innocent-beautiful images along with the sweet and melodious music in sparkling dance are.

Few ballets of the 20thCentury to make their protagonists such claims to their classical technique. And a few ballets can dare with so ironically sly pleasure just to be pretty. “Very British?” – They can be challenged by the charming – actual as alleged – contradictions that unites the English ballet in his great works.
La Fille mal gardée
A new production was made for the Bavarian State Ballet from 1994 at the National Theatre, Munich. Wonderful that it is back at the repertoire. And giving the Festival guests, and local audience, the possibilityes also to get a good laugh. This kind of variation in a festival programme is very welcome, together with the great Contemporary dance program which is also being presented in the beautiful Prinzeregent Theatre. 

The Bavarian State Ballet presents England’s brilliant ballet the idyllic La Fille mal gardée in the Prince Regent Theatre So much irony can only have an Englishman as the choreographer Frederick Ashton when he speaks of his masterpiece as a “Pastoral for the poor” (alluding to Beethoven’s 6th Symphony) ! And how much self-confidence is one of them, if the gayest, most idyllic history of the world choreographed in 1960 – where it had torn in theater and music of absolute realism, the ascetic, the atonality domination.

Unconcerned about the dogmas of the zeitgeist tells Ashton-an ancient magical story of Lise, daughter of Widow Simone to be married to the limited but rich landowner’s son Alain. However, the maternal plans are thwarted by a young farmer Colas. It comes to this: Lise is for a few moments, “gardée times” – badly guarded. And the mother has no choice but to agree to the marriage of young lovers. Suppose us on: a corporeal pony, to dancing chickens and a proud rooster, and on a rural society which was located originally in 1789 in France.

Frederick Ashton transferred her to England. And as we see them now so glaringly English, that we forget to wonder why not playing a single cup of tea. Just imagine: started in London theater, the “angry young men” set the tone, led by John Osborne Acting and Kenneth MacMillan on the ballet stage. Musically had with the Royal Ballet just Hans Werner Henze in Ondine made clear that the presence of appropriate musical language has to be atonal. And then Fredrick Ashton and takes us onto the English countryside, in a world eternal early summer and lasting sunshine in the pretty peasant boy , find their happiness and enchanting peasant girl in the lush foliage shade, umsummt of bees. Here Ashton fulfilled the dream of peace and love fulfilled happiness, the reality can not fulfill. Is that allowed? So steal away from all the problems of the present?

Yet to be impacted by John Lanchbery write music that dares therefore come in sweetest tone gown and perfect tonality. Permission is granted to anticipate the answer. If you can, and one of the great art of ballet in the 20th . Century it comes outBut, say the bitter advocate of contemporary theater: it is allowed in 2012 to make this production literally back on stage, their idyllic images and flattering costumes were carefully preserved unchanged since the Munich premiere in 1971?

If you do not give at least a “contemporary” look of the choreography? Has given us the work because anything else to say? Keep us credit, we are celebrating the “English season” and therefore try to put ourselves into the English soul. And – you have to admit – no Englishman would dream of, the Queen to enact a more contemporary outfit when she wears it for decades.

Frederick Ashton was close friends with “Her Royal Highness”, the Queen Mother and HRH Princess Margaret. He would not let it come to encounter them their fantastic hat creations from the head. Live and let live. Pink and Pink again. Tea and clotted cream. The kettle is boiling. now it is time of the essence of the times Fille gardée to speak, that is, of their choreography. Ashton’s ballet most personal, says his biographer Julie Kavanagh, is also the most eclectic – a masterful medley of borrowings from start to finish. (If you want, here likes to be reminded of Thomas Mann, whose most moving passages are often nothing more than artful transformations borrowed material).material What is Ashton?

First, there are the Soviet bravura Athletizismen that Ashton had met no later than the first English guest performance of the Bolshoi Ballet in 1956.As the sophistication of the Danish Bournonville style, there is the international language of classical ballet-pantomime, since the Kabriolen the English music hall tradition are.

And – most witty and glamorous to view Holzschuhtanz the widow Simone: one in each area differently pronounced folk dance Ashton merges the foreign materials in an entirely his associated work of art, where nothing is too long, nothing is too short.Nowhere allowed Ashton to the elements of farce to bring the ballet art out of balance.And thus add choreography, history, atmosphere, image and sound to a cheerful and witty sophistication.

Ashton ensemble dances in La Fille mal gardée include the unstrained-wittiest what the ballet in the 20th Century has to have in this area. The lovers Lise and Colas has the most difficult Virtuosenstückchen to dance while remaining completely lovable and naive. The Widow Simone, according to ancient tradition en travesty danced by a man, is indeed an ancient dragon, and has curls around the ears, at the same time it is so magical vain, that you can not blame her.

The strangest character but is certainly Alain, a rich landowner’s son from poor boobies. He came with two left feet and dance to the world that way. But his innocence is limitless. And when a thunderstorm swept in his umbrella at the end, it can be rather take you into the air, as he let go of the screen. Because – like the girls despise him quiet – an umbrella is ultimately perhaps the better choice (at least in England)

… A little paradox in the end. La Fille mal gardée 1789 was a revolutionary ballet, the first piece in the daily reality the people of that time played. Until then, everything had turned to fairies, nymphs and other mythological personnel. As Ashton decided in 1960, the old material in its original form, when to revive in his own choreography, he was aware that the daily reality of his contemporaries had become another. Even the Bavarian State Ballet is fully realize that our daily reality between Barak Obama, Pope Benedict, Angela Merkel, Vladimir Putin, Facebook, Google and Deutsche Bank is another. But let us thus spoil the joy of the Isar noise? Not at all. Great art can cancel the contradictions of our presence in the idyll. La Fille mal gardée allowed to the test.

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