a great work of Art, a masterpiece of the first magnitude

Apr 24

Apr 24 "Beethoven": NdB - Národní divadlo Brno, April 19th, 2023

For personal reasons I had been unable to go to the Première of „Beethoven" at NDB (Národní divadlo Brno) and had to wait until last April 19th, to travel to Brno. In fact for the 15th reprise of this show. To be very honest with you, I did not know exactly what to expect. But I like the thrill of uncertainty, especially when new work is concerned. In this case Mário Radačovský's new ballet. That is why I avoided reading any critiques about it even if I was extremely curious about this homage to Beethoven's 250th Birthday Anniversary.

Entering the auditorium I could immediately feel that something unusual was going to happen. What I did not expect was that something so unusually brilliant was going to happen.

The stage, practically empty, was much „closer" as the orchestra pit was turned into a proscenium for the dancers and the Orchestra was placed into a higher level at the back of the stage. This change in space use is responsible for a much closer interaction with the audience. A single person was on stage, as if „welcoming" the members of the audience: Thoriso Magongwa, already in character (Death/Deafness), even before the evening „officially" started. But we will talk a bit later about Mr. Magongwa's performance.

As the show started, the first impact was the fascinating scenery and its props. Huge rectangular elements, representing Beethoven's music, containing notes on a score, which were also used, cleverly and symbolically in the first act as ramps to climb but also as a possibility to slide down and even as a way of getting Beethoven's ideas, thoughts, questions mixed-up. This is a beautiful and very effective use of a metaphor.

It became more than obvious for me that a long period of working and thinking and preparation had taken place to conclude this work, which has a true, finalized, very carefully thought concept from A to Z. But I am going ahead with my story and I do not like that.

The fact that the dancers were much closer to the audience added a good note to the storytelling and I enjoy nothing more than a good story when it is well told. I was definitely in for a big treat. But I had no means of knowing that yet.

An „intimate" work in which one can nearly „touch" the closeness of the collaboration of Mr. Radačovský's intelligent direction and brilliant choreography (Note to the very difficult lifts with incredible original solutions), Jaroslav Milfajt's inventive set designs, L'udmila Várossová's dance Costumes, David Kachlíř's beautiful lighting (and the use of projections on the background that made all the difference), and Jakub Klecker's incredible skills as a conductor with the marvelous NdB's Orchestra.

Teamwork in the purest sense of the word. It had been a long time since I had last experienced that.

When the 2nd act began, the audience could not have expected the increase of the visual, technical, professional, and striking level of the performance. A surprise. Behind the level of the orchestra there was another level, even higher, on which the choir and the four soloists Daniela Straková Šedrlová, Václava Krejči Housková, Aleš Briscein, and David Szendiuch were placed to sing. What an impact. Visually, scenically and emotionally. Ballet, Orchestra and Choir on stage. Imposingly perfect and in harmony.

The choreography itself is not what one would or could call „birds and bees". Much on the contrary. It is a difficult work for all dancers. Technically, emotionally, quite strenuous. But worth it. It is not only pinpointed on small, very subjective, and important details but also extremely exhausting for, especially for Petr Hos as Beethoven and Thoriso Magongwa's Death/ Deafness. Also because of the constant use of props which are a part of the necessary tools used for the story-telling and which I place on the same importance level as Beethoven's music.

The Corps de Ballet is in top form – the last time I had been in Brno was three years ago. This time, I was quite astounded at the technical development of the company, which now consists of 60 dancers, especially at the poetry and magic given at the choreography's reading while performing the „Pastorale". Just look at the picture above and you will understand what I mean.

The „four women" in Beethoven's life were beautifully and very precisely performed by charming Emilia Vuorio (first love), Eriko Wakizono (young love) even if a bit insecure with her pirouettes, Kamila Sizinseva (failed love), who gave a beautiful début in this role, and especially Klaudie Lakomá (Mother/Angel). This is the kind of dancer who puts her heart and emotions on a silver tray to present it humbly to the audience. Emotional intelligence at its best, overflowing. I am looking forward to Miss Lakomá’s work in the next seasons. A precious, gifted dancer.

Shoma Ogasawara (Lucifer), technically beautiful and precise, but perhaps the only dancer lacking „projection" and a certain feeling of rapport with the audience. His performance did not come „through".

Arthur Abram, a gifted dancer whose career I have followed and admired for years, as the young Beethoven, presented us again with a sensitive, rich performance. More than ever have I realized his skills as a great and careful partner while dancing with Miss Wakizono. Partnership; a skill that seems to be disappearing nowadays. Presence. Projection. Care for his partner. It is all there.

Thoriso Magongwa's performance as Death/Deafness is filled with such a depth attitude. It electrifies the audience. Impressive is his capacity to be „in character" all the time. Never, ever letting it „go" for a single second.

His interpretation of the role turns it into a complete Mephistophelian character. Yes.

We all know the great level of his technicality as a dancer but this time I just want to mention his character reading. His acting. Devilish and admirable.

During intermission, talking to Mário Radačovský not as a choreographer but as the House's Director, and Mr. Magongwa's impacting performance, he just mentioned the words „I love to work with such great Artists".

Yes, I thought.

Mr. Radačovský’s attitude is a humble one. Here in Vienna, choreographers go on stage to take bows, even if people are booing at them. Mr. Radačovský, who was sitting a few rows behind me, stayed in the audience, watching the public’s reaction to his work. I like and admire such lack of “pride”, the lack of necessity of having to be on the spotlight.

Petr Hos had the difficult task of playing perhaps the most exhausting role of the evening, although, I must say, the whole cast has to keep this highly emotional level throughout the performance, which is not an easy task.

His Stamina, precision, and intelligent reading of the role, combined with the technically demanding choreography and the use of props are admirable. His acting skills are to praise very highly – just the end of the first part, says it all for itself: When the audience is included in the play, surprisingly interacting with Beethoven, even if passively, while he is screaming at it, telling it that he is misunderstood and shouting that it should leave at once (and this just before the intermission) is a superb (and difficult) moment for the performer not only dramaturgically but also effectively - and for the performing arts. It left the audience with an even greater understanding of the role achieving more emotional comprehension.

One must also mention that Mário Radačovský's reading of Beethoven’s character does not only include his genius, talent, torturing demons, problems but also also his social climbing desires.

“Beethoven” is a work of choreography, and I have to repeat this, which difficulty, is underlined by the need of keeping it on a certain emotional edge – all the time – by all members of the cast. I must mention that when a work contains such depth dramaturgically (which by the way, is Mr. Radačovský's - as a true and gifted choreographer - responsibility and not some „dramatist's" as in some other companies).

I can only think of the word „round" - a never-ending line, connecting beginning and end. The most beautiful, logical, agreeable, pleasant form ever. Yes, this „Beethoven" is „round". Think of that.

As a last and simple Statement to finish this review, I can only say that Mário Radačovský managed to create a great work of Art, a masterpiece of the first magnitude – and which I highly recommend. Chapeau!