"Jewels", revisited, Vienna State Ballet (Wiener Staatsballett), February 14th, 2026

"Jewels", revisited, Vienna State Ballet (Wiener Staatsballett), February 14th, 2026

Having extensively reported about „Jewels“ exactly two weeks ago, I see no real necessity for repeating my views on the whole work and facts that are also a part of the story (and the ballet’s history, by the way).

There were but three reasons to review a cast, which, nearly in its completeness, was again on stage yesterday evening as it was last January 30th: Two Dancers I had not seen in the parts of, perhaps, the most defining ballet of the whole programme (even if not my favourite one) and a début of a solo role. You may know who I am writing about. But if not, don’t worry, you will soon find out.

For a few months, the Corps de Ballet has kept surprising me. Anewly, I must add. This time, I would like NOT to concentrate on the necessary elements that define an Ensemble. Togetherness, precision (here I think that there’s still some work to be done in what relates to levelling the height of some legs – and I mean the penchées in „Emeralds“), beeing in „unison“, and of course, as every company in the world is built of many dancers with different body types, a „certain“ visionary delicacy in casting couples and who is beside whom whille simply forming a line. This is a task related to sensibility and only true Artists master this difficult undertaking. Why? You may be asking… It „just“ includes the full knowledge of every single part, or to put it plainly, knowing exactly the formation configurations and precisely understanding who is going to start beside whom and who is going to finish beside whom.

But, once more, I am going far ahead of my story. These were, these are the points I did not want to mention. Because they are not just „a matter of fact points“ but “conditio sine qua non” in every company.

What I wanted to highlight this time is the firm PRESENTNESS that is, all of a sudden, on stage – and within the company. Nearly palpably. Every Dancer is „right there“, right in this group that has been created since last September, because in such a short time, one feels this unbelievable togetherness and sense of responsibility. Yes. Responsibility is the right word because it honestly means the connection and respect which one has to their own work, direct colleagues, partners, background/stage technicians and the list goes on and on…

I have never hidden that „Rubies“ is probably my favourite part of this „Mr B.‘s three bill programme“ (I have always been a great admirer of Patricia McBride), but suddenly, after a few decades, I am beginning to enjoy the comfortable delicacy of „Emeralds“ even more. A bit of work can still be done, and I mean exactly the lovely „trio“ composed by Gala Fredianelli, also lovely Phoebe Liggins and energetic Giorgio Fourés. Musically, Miss Fredianelli, whose talents I much admire, tends to finish her movements a „tenth of a second“ before the music. This little difference between finishing before or a „tenth of a second“ after the music is as wide as the Grand Canyon. And much more effective. This is just a little detail, and for a Dancer of such talent, intelligence and precision as Miss Fredianelli, a very easy task to conquer.

Copyright: Ashley Taylor / Vienna State Ballet

I distinctly remember mentioning the words „Delicacy that is never saccharine“ in connection with Ioanna Avraam’s performance in „Emeralds“. I would like this time to extend this opinion to other members of the cast, as Miss Avraam, Olga Esina, Victor Caixeta, and also, surprisingly, Kentaro Mitsumori, as well as the „trio“ mentioned above.

Margarita Fernandes and Antonio Casalinho, whose performance I enjoyed last January 30th, were even more relaxed and „at home“ as the main couple in „Rubies“. Such a joy to „sit down, put your feet up and relax“ while watching those two. First of all, they give you, as a member of theaudience, the feeling that nothing could go wrong, then, on top of it, this wave of joy conquers the whole auditorium. Splendid.

The first of the reasons to watch this show again was Sinthia Liz’s Début as the Soloist on „Rubies“. As mentioned before, Pat McBride was always an inspiration for me, and it is a personal big pleasure to see such a young and beautiful dancer join Miss McBride’s footsteps. And this time showing another side of herself (We have just seen Miss Liz as a very gentle Callirhoe, whose performance impressed not only me). Perhaps a cliché assertion, but Miss Liz, with her natural „sense of musicality“ (A genetic fact, if I may say so, that is a great gift to many Brazilian Artists), embraces the beautiful Stravinsky’s score and turns it into a part of herself. Naturally, as if it were the most obvious thing in the world. We could go on and still make a long, interminable oration about her technique, stage presence, lines, beauty, etc. But it is all there. A real reason to go to the Ballet again. Write that down.

After being so happy with the first and second parts of the show, I could have gone home, but there were still two other reasons why I wanted to watch this special performance. My concentration wascaught by that same „presentness“ that I mentioned at the beginning of this review: „On stage“, present, were good looking Godwyn Merano, perfectly partnered and tall Igor Milos and Milda Luckuté, Tomoaki Nakanome (with much more natural and extremely controlled „Colgate smiles “), Sébastien Urban Vidal (a promising member of the Junior Company), Chiara Uderzo, Isabella Knights, Andrés Garcia Torres (whose performance in „Marie Antoinette“ at the Volksoper was sincere, very good and very honest), Sveva Gargiullo and many more other members of the Corps.

Some still need some work to overcome their stiffness and blockage on stage, such as Alex Martelli and, especially, Hanno Oppermann. The latter seemed to have at last conquered his inability to communicate any feelings from the stage to the audience and his “gaucheness” in „Die Fledermaus“, but, funnily (and unfortunately), at yesterday’s performance had a relapse of stiff Britishism (even though he is a South African, if I am not mistaken). This made him look embarrassingly out of place with the rest of the Ensemble.

Copyright: Ashley Taylor / Vienna State Ballet

Madison Young and Timoor Afshar in „Diamonds“ – “reasons number 2 and 3” of why I had to come to this show. What can one say when, as a member of the public, you are confronted with such good dancers, whose presentness is so undeniably strong, whose technique is so stupenduous and clean and whose personalities are so prodigious, and it simply „doesn’t work“?

There is something that one can describe as „chemistry“. Garbo & Gilbert had it, Fonteyn & Nureyev, Baryshnikov & Kirkland, Leigh & Gable and Fred & Ginger had it too. Young and Afshar don’t.

Don’t misunderstand me, I give no blame to the dancers. It is just a matter of wrong casting. They are beautiful, individually and with other partners, as they have proved many times before. But the Chemistry simply does not work.

I feel that I have to mention Mr Afshar’s extremely well-used emotional intelligence on stage (apart from his extremely well-coordinated technical gifts) and Miss Young’s “upper body quality”, which I have mentioned many (really many) years ago, to which she added the most beautiful, poetic arms. In doing this, I just want to prove that this “critique” (on their Chemistry) has nothing to do with their individual talents, which I very much cherish.

This is nothing new, and it has happened many times in Show Business before. Think of Plissetskaya and Jorge Donn, in their case (and that is not the case with our yesterday’s Diamonds’ couple. No comparison intended, please), Plissetskaya was too masculine for him, and he, on the other hand, was too effeminate for her. A kind of „Yin and Yang clash“, and it is not the first time that this has happened. Many directors have tried to describe, study and analyse that. None of them was ever successful in doing it. It is a mystery on screen and on stage that carries with it a bit of „the magic and mysteries“ that is beautifully hidden in a theatre’s life. It has something to do with superstition…

Do you know what a ghost light is? Many U.S. Theatres have what is called „A ghost light“: It is a light that is switched on when everyone leaves for the night. Usually just a single bare light bulb on a stand. It remains lit until the crew arrives the next day. So, who knows? Perhaps the theatre Ghosts may know the answer to our above mentioned questions about Chemistry.

I want to add that during my first Interview with Alessandra Ferri, she mentioned that she had never worked with Mr B. personally (in her own words: “The only one of the great Ones I have never worked with”). Because of this, I enjoy even more her decision to include “Jewels” in her first Season’s programme at the Vienna State Opera. Another thing for the Theatre Ghosts to think about… I’ll leave you with that.

Have a good day!

Ricardo Leitner

February 15th, 2026

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