Hartmut Regitz:


Malakhov & Friends in the Admirals Palace in Berlin

If the spectators had the choice to nominate their own ballet dancers, the name of Sasha Waltz would not have fallen, and the Swedish Ballet Director Johannes Öhman will be the director of the Staatsballett Berlin in three years. Rather another. "Dear audience, get it back" a critic criticized her review of a recent reprint of "Malakhov & Friends", and a colleague said that a farewell does not necessarily mean the end of a relationship. "Some love stories go on," and recalled that the last program two years ago was called "The Final", but Vladimir Malakhov did not prevent himself from setting up a gala at his own risk, comparing it with previous events Quite well.

Unfortunately, the double event was not held in one of Berlin's three opera houses, but in the Admiral's palace, which has a very special atmosphere, but not a stage suitable for it. Far too small for big jumps and far too high for spectators who are interested in the high-end work of ballerinas, he was more likely to suspect some artistry than to be able to see them - which in no way affected the mood in the sold-out house. The audience came to get excited about the long-lost, and Vladimir Malakhov staged his show as a countdown, at the end of which he was, of course, the only one to perform - together with his longtime partner Diana Vishneva.

After all, his old employer had borrowed a dance floor and the first Mika Yoshioka and Galiotto Mattia from the Béjart Ballet Lausanne were placed with the "Cinq préludes pour violoncelle", which are not necessarily part of Maurice Béjart's permanent ballet. Originally choreographed for Shonach Mirk and Philippe Olzà, the work looks like a Bach etude, which, however, requires a lot of fingertip feeling. Mika Yoshioka did not owe this piece to the piece, and "embodied" the cello as devoted to it as it is from Nacho Duatos "Multiplicity. Forms of Silence and Emptiness ".

There was an all-men duo like that of László Velekei, where László Major from the Györ Dance Group, especially Daichi Uematsu, is able to showcase his full physical potential - which he does after the break alone in " Inner ", a parade number of Velekei. In Japan, Malakhov appears to have many friends at all. Aside from Mika Yoshioks and Daichi Uematsu, Mizuka Ueno has been programmed twice as well: first with a performance as "Carmen" in the version of Alberto Alonso and then in the "Cheek to Cheek" by Roland Petit alongside Luigi Bonino: two gala creations, from which the first soloist of the Tokyo Ballet takes a look at what they can get out of. Emi Hariyama, a Malakhov confidant, presented herself as a "special guest" in her own choreography: in a "Dream" interpretation of Masset interpretation, to which former member of the national ballet "Kitsch and Camp" and "her dramatic gestures "Cut to the right. So, at least, Manuel Brug, the influential critic of the newspaper "The World".

Rainer Krenstetter also belonged to the Staatsballett Berlin during the auspices of Vladimir Malakhov. In the meantime, he danced at the Miami City Ballet and from there he brought not only his technically-savvy partner Tricia Albertson, but with the "Midsummer Night's Dream" and the "Tarantella" by George Balanchine two tastes from the New World From the old. While Julia Stepanova and Denis Rodkin from the Moscow Bolshoi with examples from "Le Corsaire" and "Macbeth" from Vladimir Vasiliev tore to applause storms, the two colleagues of the Mariinsky scored with a "Raymonda" remembrance à la Petipa and above all with " Keep Calm ", a pas de deux by Vladimir Varnava playing with the gender rules. Victoria Brileva and Fedor Murashov looked in any case to fall in love with their mustaches and carobes.

Hard to beat it all. Lucia Lacarra and Marlon Dino (so far, Bavarian State Ballet, now Ballet Dortmund) succeeded in the incomparably beautiful, flexible manner with Vladimir Malakhov and Diana Vishneva, with the "Spiral Twist" by Russell Maliphant, as with "Lightrain" by Gerald Arpina In the end, with Hans van Manen's "The Old Man and Me", their success is something quite special: just a maturity, which is elevated above the merely technical, and a human greatness is derived from a seeming nullity. Both of them are funny to the music of Igor Stravinsky. But as soon as Mozart sounds, both act like rejuvenated, in order to make the irreplaceable in the same breath - and step by step, the two lives end up disappearing. What does not mean that the two do not return. The next rendezvous of "Malakhov & Friends" is determined.

Publication with kind permission of Hartmut Regitz