Press Conference, Season 2026/27, Vienna State Ballet (Wiener Staatsballett): May 21st, 2026
Press Conference, Season 2026/27, Vienna State Ballet (Wiener Staatsballett): May 21st, 2026
A very customary Press Conference. „Customary“, in the sense of being quite “traditional” and not innovative. Established by a long-standing tradition. It is high time for Press Conferences, in general, to be “relaunched” (There must be a new concept on the communication market, something more exciting, more “updated” in our times, to attract more interest!). But, on the other hand, one must admit it, it was also quite unusual, as this press conference was a very informative one!
And this, I must add, “at long last”, after the many years of egocentrical „self-praise“. A good and informative “talk” with Alessandra Ferri and the press.
Copyright: a t t i t u d e / Ricardo Leitner
To some of the present journalists, the long oration might have seemed long due to a “language problem”. I don’t see it that way. On the contrary. The artistic aspects brought to the surface by the Artistic Director, Alessandra Ferri, were not only palpable but also very interesting, not only because of the information itself, but also because they provided (very much) transparency into the creation concept for next season.
Mentioning a few words by Miss Ferri: „Reflections, impressions of the last year“ (Note: ...and what a year of great changes for the Company. A season in which it recovered its dignity as a Repertoire Company), „I am deeply touched by the dancers”, she continued, “and their openness towards changes and challenges. This is a great achievement. I feel the company blossoming every day – and that is what I wanted to share with you“
Here, the next Season’s programme is followed by a few comments by Alessandra Ferri:
BALLET PREMIÈRES 2026/27
NIJINSKY
Choreography, stage design, costume design & lighting: John Neumeier
Music: Frédéric Chopin, Nikolai Rimsky-Korsakov, Dmitri Shostakovich, Robert Schumann
Vienna State Opera, 20 October 2026
THE LITTLE PRINCE (WORLD PREMIERE)
Choreography: Adi Hanan
Music: Claude Debussy, arranged by Martin Gellner
NEST, November 22nd, 2026
MASTERPIECES FOR TWO
LE SPECTRE DE LA ROSE
Choreography: Michel Fokine
Music: Carl Maria von Weber/Hector Berlioz
LE CHANT DU COMPAGNON ERRANT
Choreography: Maurice Béjart
Music: Gustav Mahler
ANNONCIATION
Choreography: Angelin Preljocaj
Music: Stephané Roy & Antonio Vivaldi
VARIATIONS POUR UNE PORTE ET UNE SOUPIR
Choreography: George Balanchine © The George Balanchine Trust
Music: Pierre Henry
AFTERNOON OF A FAUN
Choreography: Jerome Robbins © The Robbins Rights Trust
Music: Claude Debussy
Volksoper, January 16th, 2027
WOOLF WORKS
Concept, direction & choreography Wayne McGregor
Music: Max Richter
Vienna State Opera, April 20th, 2027
A commission by The Royal Ballet London
CARMEN SUITE
BURDEN LOOPS (World Premiere)
Choreography: Eno Peci
Music: Philip Glass
CARMEN SUITE
Choreography: Alberto Alonso
Music: Rodion Shchedrin
Volksoper, June 12th, 2027
BALLET GALA 2027
dedicated to Jerome Robbins
Choreographies: Jerome Robbins © The Robbins Rights Trust, Justin Peck
Music: Johann Sebastian Bach, Leonard Bernstein, Frédéric Chopin, Morton Gould, Giuseppe Verdi
Vienna State Opera, June 28th, 2027
REVIVALS 2026/27
ONEGIN
Vienna State Opera
MAX AND MORITZ
Volksoper
REPERTOIRE 2026/27
LIVING LEGACIES
SWAN LAKE
VISIONARY DANCES
Vienna State Opera
MARIE ANTOINETTE
Volksoper
MY FIRST NUTCRACKER
NEST
Copyright: Ashley Taylor / Vienna State Ballet
Alessandra Ferri about next Season „Yes, various styles… It is challenging for a Company to cover all that diversity, which includes not only classic, contemporary pieces, but has quite a few „pillars“ of dance history in it!“
About „Living Legacies“ (Vienna State Opera): Wheeldon inherited the „image of those two“, who made history “(Note: George Balanchine and Frederick Ashton are meant hereby as the programme consists of Balanchine’s „Divertimento No.15“, Ashton’s „Rhapsody“ and Wheeldon’s „Within the golden hour“, all three repertoire pieces with the Vienna State Ballet)
About Neumeier’s „Nijinsky“ (Vienna State Opera): „Not only an incredibly complex work, but it also requires a complete understanding of the piece, from every dancer on stage, disregarding if they are Soloist or Corps de Ballet“
About „The Little Prince“ (NEST): A beautiful piece by Adin Hanan: “A beautiful piece for Junior Company“
About „Masterpieces for two“ (Volksoper): „I love the Theatre (Note: Volksoper). Particularly its size, because it requires specific works. The perfect House for „smaller works“, to experience them on a smaller scale, not so „majestically“ as in the State Oper”. Ballets created for two people: Fokine’s „Le spectre de la rose“, Béjart’s „Le chant du compagnon errant“ (Note: Mahler’s exquisite „The song of a Wayfarer“, oder „Lieder eines fahrenden Gesellen“), Angelin Preljocaj’s „Annonciation“ with dancers from the Volksoper, Balanchine’s „Variation pour une Porte et un Soupir“ which has never before been performed outside the „New York City Ballet“, and Robbins’ „Afternoon of a Faun“ (Note: a „classic“ of the NYC Ballet’s Repertoire, which I was lucky enough to see with Suzanne Farrell and Peter Martin. I haven’t seen it in a long, long time).
About Wayne McGregor’s „Woof Works“: „The Universe of Virginia Woolf reflects well the feeling of her writing. Emotion vs. her inner world. Wayne was able to do that – on dance!” (Note: Perhaps the next Season’s piece I am more curious about. Having been a teenager in times when the Western World seemed to have rediscovered „Woolf“. I, as an adolescent, grew up, having been in those years in the transitional stage of physical, psychological, and social development, “with Woolf”. Nothing could have been, at the same time, more challenging than Woolf’s work. Although it was also always a “nice place to come home to”. „Mrs Dalloway“, „Orlando“, „To the Lighthouse “, and „Between the Acts “, just to name a few titles. I still cannot imagine Woolf’s questions (and there are so many) transposed to the language of Dance. I am very excited to see this ballet that was created especially for - and on - Miss Ferri, who was invited by Wayne McGregor to star in it. He believed that she was at the precise point of her life to star in this work (a fact that not many people are aware of nowadays, well, just the true balletomanes. Perhaps.
Copyright: Ashley Taylor / Vienna State Ballet
The „facts & figures Information“ brought by the Managing Director, Mag.a Simone Wohinz, who is, in fact, the only person I know who can talk about facts and figures (and occupancy and finances) with savoir-faire and charm. The occupancy figures in all three Houses (Vienna State Oper, Volksoper and NEST) are more than satisfying, better said, a reason to celebrate; When you hear of 100% occupancy figures (State Opera) and 93,96% (Volksoper) and know in the back of your mind that there were no „last minute sales“ (with greta discounts) as in the past, one knows that „something is working well“. Very well, indeed. The Taxpayers will enjoy hearing this News!
“Box Office hits”, or simply explained, shows that become highly popular and generate significant financial success through ticket sales, not only because of their artistic level but also because the name „Ferri“ can be compared to bait, to attract the public. Yes, totally: „hook, line and sinker“.
Further good news: A short Tournée to „La Fenice“ (Venice) in 2027. In the words of Miss Ferri: “The Company has such a high level that it should be seen more often abroad. It deserves it!”(And I thought, at the beginning of this Season, that it would take at least 2 or 3 years to see the company shining again!)
There was suddenly a very “unfortunate question”: „Are you planning any promotions this season?“ which was answered by a simple „I cannot answer this question“ and a gentle smile – an answer which, for any reasonable person, is more than understandable.
Apart from all that, there were two answers that Miss Ferri gave to two different journalists that impressed me most. They reveal much of her „Ballet philosophy“:
When asked if she plans to bring „International Stars“ to the Galas in the future: „This was our first year together. A hard year. We have many „Stars“ here in our own House, Stars that are asked and invited internationally to dance in other Theatres“
And when asked „why“, as if it were a scandal, there are Corps de Ballet Dancers who are dancing with Soloists instead of with their fellow “Soloists”, she gave a simple, plain answer that showed how open-minded she is. Using her well-founded opinion as logic, she just said: „I would like to say that not only I chose who’s dancing. But choreographers also chose. One cannot cast Ballets just because of „Ranking“, you see?” (Note: Principals, Soloists, Demi-Soloists, and Corps de Ballet are, presently, the four rankings at the Vienna State Ballet) “and I want to do what the Ballet itself demands, ask for, not the ranking issue!. This is more important“
Think of the definition of „ranking“: „a position on a scale that shows the status, importance, or quality of someone or something in relation to others“. Otherwise expressed: a word that, sometimes, just adulates egos - that are in need of it and creates differences, prejudices... A very old-fashioned idea to my way of thinking, especially when one thinks of the description of teamwork. A quality that nourishes every good Ballet Company. Unfortunately, and this is a fact, Austrians love „rankings“, a sign of being very conservative. Miss Ferri went on, describing wholeheartedly the “generosity” with which the Principal Dancers help the Corps de Ballet Members when rehearsing for a “more important” part that they have not danced before.
Yes, Teamwork.
I’ll leave you with that.
Ricardo Leitner
a t t i t u d e
May 22nd, 2026
