Alessandra Ferri - Vienna State Ballet's new Artistic Director: An interview about Visions - Part 1 (June 11th, 2025)

There is absolutely no need to introduce Alessandra Ferri to my readers and to “Balletomanes” all over the world. Nevertheless, here, just a short foreword: I would like to say that this interview deals primarily with Alessandra Ferri, the new Artistic director of the Vienna State Ballet, not Alessandra the (fascinating and unforgettable) dancer, Prima ballerina assoluta, although sometimes the mention of her dancing career cannot be avoided as it is, obviously, a primordial piece of the „intellectual baggage" she carries with her and cannot be ignored.

Alessandra Ferri – An interview (June 11th, 2025)

An exciting prospect turned into a concrete (and exciting) project.

I am not going to lie and say I wasn't thrilled to conduct this interview. Apart from the fact that it is fascinating to have the chance to put on paper and preserve this very moment, this transition into a new era for the Vienna State Ballet which so many of us have longed for, there was also a natural reaction regarding my person – not the critic, not the writer but Ricardo as a person. It can sometimes be quite challenging to meet someone you admire.

To give you an example, I remember meeting Carol Channing (note: Dolly Levi in the original Broadway cast from 1964 „Hello Dolly!") and being terribly disappointed. That sympathy, joie-de-vivre, craziness, and loveliness that she portrayed on stage (and a few times on the screen) was “not there”. It was non-existent. Much on the contrary. On the other hand (and I was already much more careful in protecting my emotions because my private opinion has nothing to do with what the Artist brings to “life”), I was more than delighted to detect the sweetness, politeness, loveliness, and class that I had expected to find in Julie Andrews.

It is no secret that, for anyone who is truly and seriously involved with ballet, Alessandra represents „a notch above!" and today we'll talk about this.

We had met before, shortly, during press conferences (The first was Miss Ferri's presentation to the Austrian Press last year and, the second, this year, about the upcoming 2025/26 Season), we also talked a little, also about some people we know in common but there was, obviously, not enough time to get to know each other better.

But let us start with a primordial question: What does an interview mean to the readers? For me, it is an intimate moment, during which you discuss matters face-to-face, looking into each other's eyes. There is no room or possibility to put on a front or a „disguise". It's honesty all the way. Especially if the interview concerns matters that are not only dear but also extremely important to us.

But, before I start, I just add that Miss Ferri lived up totally, perhaps even more than that, to my expectations. People who are so unique, and therefore inevitably incomparable, usually do have this effect on me. In her case, not only with her spontaneity and sense of humour. Also, with her natural, charming willingness to „go deep" into specific themes, deal with thoughts, and analyse their depth in an even more profound way. Most of all, she politely allows herself to listen to another point of view. An interview like this takes time to be complete, it does but it is worth it.

Is an interview, this short moment in somebody's life, ever complete and done with? Isn't it, like creating, like feeling dance, just a fruit from that very moment? There is no one exactly like the other. Think of that.

We met on the direction's floor at the State Opera. She came in a little late because she had been in a meeting with the Opera's director, Bogdan Rosčič. I was a bit afraid that the time wouldn't be enough to get to all the points I wanted. But we did it. Surprisingly enough, and I was not prepared for that, Miss Ferri seemed to read my mind and even answered questions before I asked them. As if reading the logic in which I had “drawn up” the “script”.

Miss Ferri's days at the moment are surely extremely filled with organisation issues and obligations regarding the next season(s), apart from the fact that moving into a new city, new surroundings, being encircled by people speaking German, getting adapted to the Viennese mentality and Viennese bureaucracy (not an easy task) and getting to know both companies, generates “some” stress. Naturally.

The moment she walked through the door into the room, I could feel by the way she greeted me, that she had left all other commitment and appointments outside the room, and this time was dedicated to me. It was mine. Even if much shorter than I am usually accustomed to, it was “mine”.

I could feel her presentness during the whole meeting. She was right there, not with her thoughts somewhere else, concentrating on my questioning and, purposely or not, my analytical approach to the situation. Talking and listening, understanding and giving her opinions. Just as I said: present!

„Dear Alessandra, just before we start, thank you for taking the time for this interview. I do really appreciate it, especially knowing that you have very much to do! Thank you”, I say. “I would also like to say once more, officially, “Welcome to Vienna! We are very happy to have you here!” (as I had said officially during Miss Ferri's first press conference in Vienna)

“Thank you so much, Ricardo!”

“I remember that this question was asked, in fact, by a dear colleague of mine, during your last press conference. I would like to ask it once more. Why? Because many months have passed, many things have happened, you are still getting to know the company well, and it is not an easy task to get to know so many people at once. This is, on the other hand, not only a stressful time but also surely a fascinating one. Nothing is more interesting than to know the whole „Universe" that exists within a person. It takes time to, as Stephen Sondheim once wrote, „putting it together". You are getting every day new impressions about the dancers as individuals, (as a group), and about the company itself, in all aspects. Today I would like to ask you once more: What are your „visions"for the Vienna State Ballet? Where and how do you see the company?"

„I believe that the Company has the potential, the right ingredients, and the definite possibilities to be a beautiful and one of the most prestigious Ballet Companies in Europe.

“Every day work lies ahead. A Ballet Company is like an Orchestra."

I cannot help thinking of the fine tuning any orchestra needs, especially in times of transition like this. And of the obvious fact, that the company must have partially interested her, that she could, to a limited extent, draw “its future” on her mind."

„We must go ahead, look forward. Modern and contemporary, sure. But I want the connection to classical Ballet.", and, looking at my eyes, she said the defining words that revealed to me more of her fine personality: „We must nurture classical ballet!"

How I enjoyed listening to this. She is absolutely right. Especially in what a repertoire Company as the Vienna State Ballet is concerned. It is needless to say that , long before accepting the position, she had already analyzed the company. Also unnecessary to mention the depth of her evaluation of the company's identity. Basic analysis that sets quite a scale of her work and Art, for others to follow..

„And what about the Volksoper (The People's Opera to be precise in its translation), whose repertoire consists mainly of Operettas and (very) occasionally musicals? Will you keep both the State Opera and Volkoper companies together? Last year, during your first press conference, in which you were introduced to the press as the new Artistic Director, Lotte de Beer spoke of a certain „positioning" of the Ballet at the Volksoper that she had discussed with you. Could you tell me something about it?"

“The dancers of the Volksoper ensemble, by the nature of their work, must be remarkably versatile – performing in Operas and Operettas, and adapting to a wide range of choreographic styles. It is my wish to offer them a Première each Season. Whether the complex logistics will allow it, remains to be seen, but it is certainly an aspiration I hold dear!”

„Supposing that the „assumption" that your ballet career „has had three main pillars" is correct, and I mean the years you spent, not only as a dancer but as a student, at both the „Royal Ballet"and at „La Scala" and then later at the „ABT", which is the company you mostly identify with? And if all three, I am sure that this will have quite a positive reflection and impact on the company. And I am talking about all the experience, Knowledge, and Savoir-Faire that you carry with you”, I ask, and “under your sleeve!„, I add, smiling.

She also smiles a kind of Cheshire cat smile and answers very simply: „I feel at home at all three companies".

This says it all, does it not?

„You have presented some of the names of the dancers who are joining the company next September, I must speak of my (personal) joy that you are bringing dancers such as Antonio Casalinho, Margarita Fernandes (both from the Bavarian State Ballet), Victor Caixeta (Dutch National Ballet), Cassandra Trenary (ABT), Laura Fernandes Gromova (State Ballet Georgia), Madison Young (also from the Bavarian State Ballet), who was a half-Soloist under Manuel Legris' direction before she left for Munich and many others. Younger members of the company. This has to do with the future and a visionary attitude. A fact that seems to have been neglected in the past years. There is also „News" behind the scenes: Marcelo Gomes (former ABT & Semperoper, Dresden) is joining the Company as a Ballet Master, Guest Ballet Masters will regularly come to visit the company, starting with Julio Bocca, the present director of Teatro Colón in Buenos Aires in September and Patrick Armand (and his curriculum vitae that includes The Royal Ballet and School, Teatro alla Scala and since 2010 the San Francisco Ballet School) is taking over the direction of the Ballet Academy! Well, as the song goes (And as I wrote after your first press conference in Vienna): "Happy days are here again"

“Is there any News concerning the 'musical department”? I mean, any plans for more “ballet afin” conductors

“To begin with, I'm particularly happy about “Yugen”. Not only is the ballet gorgeous, but Bernstein's “Chichester Psalms”, with its chorus and boy's voice, brings a spiritual depth that is truly moving. I would love to present other works that incorporate live singing, as I find the experience of dancing to sublime music profound.

I've had the privilegeof dancing in ballets and Operas conducted by Riccardo Mutti, and even in a “Swan Lake” directed by Zeffirelli and conducted by Lorin Maazel. To offer our dancers and audiences such an experience would be extraordinary – though for now, it remains a dream.”

One thing intrigues me: Dancers with different backgrounds, schools. You are not only bringing new Dancers and Ballet Masters into the company, but a new „feeling", if I may say so: You are bringing more of the Western culture into a company that 20 years ago was extremely influenced by Eastern Europe's ballet scene. How do you coordinate such different styles and approaches to Dance? It is not like Paris, London, Milano, and their schools and the continuation of the “same style” in the company..."

„Oh, I am used to that... I was at the ABT for more or less 35 years. What can I tell you more about that? There were dancers like Misha, Natascha, Julio Bocca, Nagy, Paloma Herrera, Angel Corella, and Nina Ananiashvili just to name a few... We worked together! All different, from different countries, upbringings, cultures, and schools.” She stops for an instant and says in a way that I can contemplate the importance of her next words, “There's something important about this 'No borders' feeling! And the same applies to the Corps de Ballet – people from everywhere. And it is like that nowadays in nearly all companies – Times have changed. Can you imagine that I was the first dancer from a non-Commonwealth country when I started at the Royal Ballet in 1980? Now there are Vadim Muntagirov, Fumi Kaneko, Steven MacRae, Marianela, Magri, Osipova, and Marcelino Sambé dancing at the “Royal” and this  just to name a few..."

„I see what you mean... and we should reflect more about this nowadays. To explain to you why I asked this: I was just thinking of a particular performance of „Chopiniana/ Les Sylphides" I saw here in Vienna, at the Volksoper. I prefered not (and I could not do it) to write about it after having watched it. Looking at all the dancers together on stage, I felt that the most important thing was missing: togetherness – and I don't mean this only physically. As a very small example that reflects this „state of mind", I can refer to the group formations. They were not „clean", the efacées and croisées unbalanced, imprecise, the arms (so different) not in „unison", there was no real coordination, from beginning to end...„

„Work is essential, hard work. But also, particularly for „Les Sylphides" I would say that the Volkoper stage does not really help. It is too small for it. It does not make possible the necessary „magic" that only a bigger stage, one with more deepness, would. The distance provides a certain „illusion". An effect necessary for such ballets. At the Volksoper stage the dancers are too close to the audience and that is not how it is intended to be. So, in the first place, the piece was „in the wrong house". Les Sylphides was also done at the ABT. Proper coaching, and as I have mentioned before, hard work is „conditio Sine qua non".

“Proper coaching... Yes. I believe that this will be more than „a welcome challenge" to most dancers. They are eager to know: Hard work and the confrontation with another „level" of coaching... „, I add.

To be continued next Week on September 15th, 2025.

Ricardo Leitner

a t t I t u d e

June 15th 2025