“Sleeping Beauty” ballet at the Deutsche Oper: The evil fairy tears across the stage

A guy in a billowing hooded cloak rushes to the Deutsche Oper’s ramp and throws the audience a nasty glare even before the curtain rises. In “Sleeping Beauty,” Dinu Tamazlacaru plays the malevolent fairy Carabosse. Marcia Haydée’s new production features him. Haydée, a former ballerina and longstanding director of the Stuttgart Ballet, turned 85 years old in April.

She has recently completed her rehearsals with the Staatsballett Berlin for her version of “Sleeping Beauty.” It isn’t quite new, but it is extremely popular. It was created by Haydée for the Stuttgart Ballet in 1987, and it is still one of the most popular narrative ballets in the repertoire today. Companies all across the world have implemented their own.

It only worked the third time with the Staatsballett, which was begun by Johannes Hmann, who departed the company after a short time. The premiere, which had been set for February 2020, had to be postponed due to wardrobe delays. The sophisticated equipment’s finance had to be arranged as well. Then Corona arrived.

The richness of the setting also bewitches the ballet.

“Sleeping Beauty” is more than just a dancing festival; the ballet also dazzles with its lavish set design. Jordi Roig, the set and costume designer, loves velvet, silk, and rhinestones. The royal couple and their court parade through a majestic palace with garlands adorning the outdoor staircases and balustrades.

Roses come in a variety of colors and shapes. Haydée is heavily influenced by Marius Petipa’s conventional choreography, yet he adds his own flourishes. The duel between Lilac Fairy and Carabosse, who represent the battle between good and evil, is at the heart of their performance.

The malevolent fairy is reminiscent of a Kabuki theatrical character.

Because the fairy Carabosse was not invited to Princess Aurora’s christening, she curses the child. Carabosse’s function was substantially enhanced by Haydée. The bad fairy in her instance is not an ugly old witch, but rather a character from Japanese Kabuki theater, with her long black hair and black cloak. She also dances!

As a devilish diva, Dinu Tamazlacaru captivates the audience. The Moldovan isn’t just known for his great leaps. In extraordinarily expressive motions, he whirls and rages across the stage, driving the court society in front of him.

The Lilac Fairy now possesses superhuman abilities.

Elisa Carrillo Cabrera, a violet fairy with superpowers, attacks Carabosse firmly. During an interlude, you may witness her protecting the adolescent princess while Carabosse plans vengeance.

Princess Aurora is played well by Polina Semionova. She is a remarkable interpreter of the Petipa style, with immaculate lines and musicality. Marcia Haydée has also added extra dancing to the four princes courting Aurora. You get definition. In general, the State Ballet has a plenty of brilliant men at its disposal. Alexandre Cagnat is the perfect Prince Desiré. One of the evening’s highlights is when a vision of Aurora arrives to him and he kisses the sleeping beauty awake.

The three-hour show drags on and on. The third act divertissement, which features only fairy tale characters, is full of lovely miniatures. Haydée has placed Ali Baba alongside the four jewel-like ballerinas, and Murilo de Oliveira lends him his incredible bounce. The wedding is finally celebrated, yet evil is still present.

Marcia Haydée deserves a standing ovation for her outstanding leadership of the ensemble.

The Staatsballett Berlin has performed several renditions of “Sleeping Beauty,” the most of which were short-lived in the repertoire. Haydée’s rendition is not a reworking. However, the dancers have benefited from their partnership with the dance legend. At the premiere, the ensemble is in great form. When Marcia Haydée took the stage at the end, she gave two thumbs up. Big applause.

By Editor