22.10.2012
The Russian Season of John Neumeier
The Mikhailovsky Theatre is hosting the performances of the Hamburg Ballet, the world-famous company that John Neumeier has directed for 40 years. Before the tour, the choreographer has answered our questions. First of all, we have asked him about La Dame aux Camélias, the famous ballet that will be shown at the Mikhailovsky Theatre on 6 and 7 November. The leading role will be performed by Diana Vishneva and Hélène Bouchet:
Do you think that the differences between the two Marguerites will be defined by the personalities of two outstanding dancers or by their schools?
— The honesty of their emotional involvement illuminates their performances. Both come from wonderful schools and have unique personalities.
The Hamburg Ballet itself seems to deny the principle of national and cultural division: you are an American choreographer who works in Germany with dancers from all around the world. Was it your goal to create a global team?
— My goal was to collect a group of fine dance artists whatever their origin may be. The language of dance is to me international. My dancers come from all over the world, from Russia and the United States, from Europe and Asia, from South America as well as from Australia. It does not matter to me where they come from, what language they may speak or what religion they have.
You have staged ballets on classic literary stories that are connected to Western European and North American culture. What other sources of inspiration do you have?
— Whatever I experience, whatever makes a deep impression and therefore becomes a part of me, may serve as inspiration. This year we already travelled with the Hamburg Ballet to China, Russia and Australia. We live in a globalized world, in a constant exchange of cultures. Concerning Russia, I have always admired Diaghilevs Ballets Russes. Also I have created many choreographies to music by Russian composers and have been inspired by Russian literature. As you know — the Polish-Russian artist Vaslav Nijinsky was a great source of inspiration. My art collection which centres around Nijinsky inspires me every day.
You have visited our country many times, and always with a great success. Among the many aspects of Russia and Russian culture, which one was the most inspirational and impressive for you?
— I cannot say what was the most inspirational — literature or music. But Nijinsky, his artistic work, his legend, his choreographies, his paintings, his life influenced me a lot. I have worked with music by composers like Nikolai Rimsky-Korsakov, Pyotr Illich Tchaikovsky, Nikolai Nikolayevich Tcherepnin and very often Dmitri Shostakovitch. I have commissioned and continue to work with music by Lera Auerbach. I have also created ballets inspired by Russian literature, for example Anton Tchechov’s The Seagull. So Russian culture is always with me. I believe, I am not yet finished with Russia!
If you had the opportunity to work together with Vaslav Nizhinsky as ballet actor, which role would you choose for him?
This is a very hypothetical question which I am unfortunately unable to answer. We would need to know each other to work together. There are many, many possibilities! All I can say is that Vaslav Nijinsky was a huge source of inspiration to me and my artistic work. “The Tragedy of Nijinsky”, a book I borrowed from my neighborhood library when I was in school, initiated my fascination with ballet and Nijinsky. Today I still collect many books, information, drawings, paintings, photographs and documents in order to complete the still incomplete puzzle — the enigma Nijinsky. And I am very happy to show this collection in St. Petersburg.
When you were beginning to work with the Hamburg Ballet, did you have a long-term plan for it? Looking at the company now, can you say that everything went according to it?
— When I started I just worked as hard as I could, day by day, hoping to achieve as much as possible each day. We tried to build a solid foundation for ballet in Hamburg, an internationally acclaimed company and the Ballet School of the Hamburg Ballet. All centre around the creative art of choreography. The company and the School are necessities for attaining and sustaining my creations. I am surprised but proud of and happy with all that we have achieved. The last highlight is the first anniversary of the National Youth Ballet this year, which is very successful in fulfilling its mission taking ballet out of opera houses, and bringing it to schools, retirement homes and even prisons. I am glad that they will come to St. Petersburg with the Hamburg Ballet and the Ballet School of the Hamburg Ballet for the first time.
The Ballet School of the Hamburg Ballet was established not long after you became the leader of the company. Do you think that having its own school is the inevitable condition for the company to preserve its artistic individuality?
— Yes. The Ballet School of the Hamburg Ballet was created in 1978, five years after my beginning in Hamburg and it was very important to develop dancers and to continue my vision. The Ballet School of the Hamburg Ballet is important for the next generations, offering fresh ideas and new influences. I wanted to create a company with an unique identity. This goal requires a school that offers dancers a classical-academic education but emphasizes the importance of creation. The Ballet School of the Hamburg Ballet combines these two aspects of the art for young students from all over the world.
What are the relations between you and your company more like: a family or a corporation?
— Neither of the above. We are a group of artists working together with mutual respect and commitment.
After all these years of leading the company, whom do you concern yourself to be the most: an artist or a manager?
— Absolutely and always an artist!
Do you think that the differences between the two Marguerites will be defined by the personalities of two outstanding dancers or by their schools?
— The honesty of their emotional involvement illuminates their performances. Both come from wonderful schools and have unique personalities.
The Hamburg Ballet itself seems to deny the principle of national and cultural division: you are an American choreographer who works in Germany with dancers from all around the world. Was it your goal to create a global team?
— My goal was to collect a group of fine dance artists whatever their origin may be. The language of dance is to me international. My dancers come from all over the world, from Russia and the United States, from Europe and Asia, from South America as well as from Australia. It does not matter to me where they come from, what language they may speak or what religion they have.
You have staged ballets on classic literary stories that are connected to Western European and North American culture. What other sources of inspiration do you have?
— Whatever I experience, whatever makes a deep impression and therefore becomes a part of me, may serve as inspiration. This year we already travelled with the Hamburg Ballet to China, Russia and Australia. We live in a globalized world, in a constant exchange of cultures. Concerning Russia, I have always admired Diaghilevs Ballets Russes. Also I have created many choreographies to music by Russian composers and have been inspired by Russian literature. As you know — the Polish-Russian artist Vaslav Nijinsky was a great source of inspiration. My art collection which centres around Nijinsky inspires me every day.
You have visited our country many times, and always with a great success. Among the many aspects of Russia and Russian culture, which one was the most inspirational and impressive for you?
— I cannot say what was the most inspirational — literature or music. But Nijinsky, his artistic work, his legend, his choreographies, his paintings, his life influenced me a lot. I have worked with music by composers like Nikolai Rimsky-Korsakov, Pyotr Illich Tchaikovsky, Nikolai Nikolayevich Tcherepnin and very often Dmitri Shostakovitch. I have commissioned and continue to work with music by Lera Auerbach. I have also created ballets inspired by Russian literature, for example Anton Tchechov’s The Seagull. So Russian culture is always with me. I believe, I am not yet finished with Russia!
If you had the opportunity to work together with Vaslav Nizhinsky as ballet actor, which role would you choose for him?
This is a very hypothetical question which I am unfortunately unable to answer. We would need to know each other to work together. There are many, many possibilities! All I can say is that Vaslav Nijinsky was a huge source of inspiration to me and my artistic work. “The Tragedy of Nijinsky”, a book I borrowed from my neighborhood library when I was in school, initiated my fascination with ballet and Nijinsky. Today I still collect many books, information, drawings, paintings, photographs and documents in order to complete the still incomplete puzzle — the enigma Nijinsky. And I am very happy to show this collection in St. Petersburg.
When you were beginning to work with the Hamburg Ballet, did you have a long-term plan for it? Looking at the company now, can you say that everything went according to it?
— When I started I just worked as hard as I could, day by day, hoping to achieve as much as possible each day. We tried to build a solid foundation for ballet in Hamburg, an internationally acclaimed company and the Ballet School of the Hamburg Ballet. All centre around the creative art of choreography. The company and the School are necessities for attaining and sustaining my creations. I am surprised but proud of and happy with all that we have achieved. The last highlight is the first anniversary of the National Youth Ballet this year, which is very successful in fulfilling its mission taking ballet out of opera houses, and bringing it to schools, retirement homes and even prisons. I am glad that they will come to St. Petersburg with the Hamburg Ballet and the Ballet School of the Hamburg Ballet for the first time.
The Ballet School of the Hamburg Ballet was established not long after you became the leader of the company. Do you think that having its own school is the inevitable condition for the company to preserve its artistic individuality?
— Yes. The Ballet School of the Hamburg Ballet was created in 1978, five years after my beginning in Hamburg and it was very important to develop dancers and to continue my vision. The Ballet School of the Hamburg Ballet is important for the next generations, offering fresh ideas and new influences. I wanted to create a company with an unique identity. This goal requires a school that offers dancers a classical-academic education but emphasizes the importance of creation. The Ballet School of the Hamburg Ballet combines these two aspects of the art for young students from all over the world.
What are the relations between you and your company more like: a family or a corporation?
— Neither of the above. We are a group of artists working together with mutual respect and commitment.
After all these years of leading the company, whom do you concern yourself to be the most: an artist or a manager?
— Absolutely and always an artist!
