Currently we’re in LA performing Alexei Ratmansky’s ‘The Bright Stream’ at the Dorothy Chandler Pavilion. I am performing this Saturday evening and then the following show on Sunday afternoon. After that we fly to Japan for a marathon of shows. My show of Basilio in Don Quixote on July 23rd will be recorded and then broadcasted on July 30th on national TV Channel NHK, so in case you’re in Japan at that time, tune in.

Anyway, enjoy the pictures! Cheers.

Oh and PS. I was filming an abbreviated version of ‘Les Bourgeois’ for the TV Show ‘So You Think You Can Dance’ yesterday. It was a prerecording and the airing should take place either tonight or at some point in the near future. I’ll keep you up-to-date on my Twitter.

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Anyway. Today we’re starting our third week of ‘the MET’ and so far it treated me quite nicely, to say the least. I did 9 shows in the first two weeks, including Basil in DonQ, which was intense, satifying but as always not perfect and two shows of Tudor’s Shadowplay. Let me elaborate on this one.
I’ll let Anthony Tudor and Anthony Dowell speak first. There is a wonderful clip on Youtube, (I suspect) a BBC documentary having been translated to German. You can barely make out what both of them are saying in English, but I’ll do a rough translation for you paraphrasing what is said in German:

January 1967, a new ballet. Shadowplay, music by Koechlin, choreography Anthony Tudor…(now the hero, a quest for Nirvana, the boy with the matted hair…)
A. Dowell: When you start very young, you’re very flexible and think you can do anything. Suddenly after a couple of years comes a challenge (or a step) which you cannot master. You are absolutely stuck and are unable to do it. With that experience Shadowplay was a tremendous help for me since instead of concentrating on mastering the sequence of steps I could focus on the plot and what I was trying to project.
A. Tudor: I said where do you think we should start? Would you prefer too enter from stage left or stage right? He said he didn’t care. I continued to ask him mentioning that he probably had some idea, but he didn’t care. I wanted to know if he wanted to to start downstage or upstage and he said he again didn’t care. Well I said, maybe you want to start in center or on the side…By that moment he thought I was a nut and became nervous…
A Dowell: Then he said look up the tree, what kind of tree is it? I was literally shocked since I have never, in my imagination, visualized a tree, I just looked up…
A Tudor: I said: ‘Tell me by your body! I want to know, if it is a little tree or a big tree or a [] shaped tree’ and we decided to continue the next day.  On the next day on my way to work, at Earl Court, I saw a wondeerful mango tree in a showcase, the first I have ever seen in London. I bought it and brought it with me to the studio, but hid the tree. I encouraged Anthony to start with the tree right away that day. He told me there is none. At that moment I got out the mango tree and told him that the tree is here. He said: ‘What is it’? He most likely never saw a mango in his life before. His eyes opened with wonderment, he looked up the tree and it was perfect.
A Dowell: Shadwoplay was the most important ballet for me and my development.

These are strong words coming from the creators of the piece and I can definitely relate to the fact that it is an experience and an experience which brought me further, not knowing where exactly further. After performing it for two times I was as much emotionally exhausted as I was enriched by the experience.
By the way, here is the mango tree Mr. Tudor was talking about:

Oh, and here are some pictures from my mid-show tweets and other behind-the-scene footage As always enjoy and cheers!

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Besides, tomorrow I’ll be ‘teching’ and on Wednesday at 2pm performing Basilio in Don Quixote with ABT for the first time. Here’s a sketch from the Designer (Santo) for the new costume for it …

Concerning the casting I’ve posted it on Facebook and Twitter, but once again, just in case:
First three weeks of casting for the MET: May 16: Gala, Bright Stream [finale]; May 18 2pm: Don Quixote, Basilio [NY debut]; May 19: Don Quixote, Lead Gypsy; May 21 8pm: Don Quixote, Lead Gypsy; May 24: Troika; May 25@2pm: Shadowplay [debut]; May 25@7.30pm: Troika; May 26: Shadowplay; May 28: Giselle, Peasant Pdd; June 1@2pm: Giselle, Peasant Pdd;

So, cheers as always and see you soon.

ps. another MET tradition. The irrestistible MET-chocolate-chip cookies from the MET cafeteria…

Not only are we rehearsing Nutcracker though. At the same time as we are trying to redefine the traditional (or non-traditional) boundaries of this old-world (or new-world) classic we’re rehearsing Mr. Ratmasky’s ‘The Bright Stream’. A comical ballet touching the subject of the life at the Kolhozy in rural Soviet russia (wikipedia article on Kolhoz for whoever who has no idea what that means). Anyway, in that production I’m learning the ‘Accordionist’ and the ‘Ballet Dancer’ (for insiders: literally ouch concerning the latter one.)

So in two weeks we start performing Nutcracker. Then in two weeks of rehearsals follow, then we perform the Bright Stream at the Kennedy Center for Performing Arts in Washington DC.
After DC we have one week of rehearsals and then go to London for a week of performing repertory works, where I’ll be debuting in the Lover in Antony Tudor’s ‘Jardin aux Lilas’ (or simply Lilac Garden) and…drum roll… the lead in Balanchine’s Theme & Variations.

So as you see there is a lot of work and rehearsals ahead of me. Nevertheless I’m excited and eager to get and keep going .

Oh and by the way I updated all of the aforementioned performances in my schedule, so feel to take a look!

Here are some (this time IMO rather uninspiring photographs) from my performance in Indianapolis this September. Enjoy.

And here are the promised photos of my ‘Dance Open’ gala in St. Petersburg, Russia on April 2nd. All photos by me…please don’t get too excited, they just give you a little glimpse of the trip…obviously I was too lazy to actually post-correct most of the pictures. I hope you enjoy them anyway…

Besides that we’re getting ready with ABT to tour to Chicago, where I’ll be performing the first sailor in Jerome Robbin’s Fancy Free for the first time! I’m a little tense and excited at the same time ! Anyway I’ll try to keep you posted on Twitter and here as much as possible!

Good night and see you back soon,
-Daniil

By the way I have good news for my Mexican followers and friends. As it is planned I will be very probably performing in Guadalajara on September 26. Stay tuned for updates and news concerning that show.

Anyway I’ll write again, I just don’t know when

Bye and wish me a good flight!

From Wikipedia:

“Le Spectre de la Rose is a ballet of the Ballets Russes based on a choreographic poem by Théophile Gautier. The music, by Carl Maria von Weber, was taken from his short piece Invitation to the Dance. Choreography was by Michel Fokine and set and costume design by Léon Bakst. It premiered on April 19, 1911 by the Ballets Russes in the Théâtre de Monte Carlo.

The story is about a debutante who falls asleep after her first ball. She dreams that she is dancing with the rose that she had been holding in her hand. Her dream ends when the rose escapes through the window. The dancers at the original performance were Vaslav Nijinsky as the Rose and Tamara Karsavina as the Girl. …”

Youtube was a great help. I was able to watch so many great dancers performing that piece. I could see, compare and decide what I like and what I don’t like in every performance. You get a couple of clips right beside here, so you can get an idea about the piece:

Manuel Legris:

Baryshnikov:

Nureyev:

Ruzimatov:

These are just a few and there are even more on Youtube to watch.

This piece of dance is pretty delicate to dance since it’s pretty different from what I’ve done. It’s far more important how you move and involve your arms and hands.
What is really dangerous is that all the big names of ballet history (starting with Nijinsky) danced that piece already and as an audience it is really tempting to just be lazy and start comparing. Who is jumping higher, who is doing which version etc…, but in the end please keep in mind there is no perfection possible in any art form and therefore comparison is useless.
I don’t know how about you, but for me it’s important if a performance/photo/painting/show, plainly said any art piece, gives something or not. This giving may be private or public, strong or weak, delicate or bold, but if you’re satisfied with this ‘present’ please be satisfied. There is no need for comparison.

Oups, I got kinda drawn away from my main subject, but whatever…just my two cents .

If everything goes right I will be able to perform it the first time in Taipei on June 20th and 21st.

I am sorry again that I was gone from blogging for some time. Last weeks have been nice. I was working on La Spectre with my mother and sorting out a lot in my life besides ballet. One thing is sure now. I am leaving Vienna as my residence and the ballet company as of May.
…
Here is a list of my performances in the months of May and June:

• May 04th – Stars of the 21st Century in Toronto, Canada
• May 14th – Hommage a Rudolf Nureyev Gala in Malaga, Spain
• May 20th – Full Don Quixote in Kasan, Russia
• May 23rd & 24th – Gala in honor of Rudolf Nureyev in Kasan, Russia
• June 1st – Full Don Quixote in St. Peterburg, Russia at the Mikhailovsky Theatre (Maly Opera)
• June 4th & 5th – World Ballet Stars in Seoul, Korea
• June 20th & 21st – World Ballet Star Gala in Taipei, Taiwan (premiere of ‘La Spectre de la Rose’)

I am preparing another post about ‘La Spectre de la Rose’ in the moment. Stay tuned!

New York

(All of the following pictures are from the courtesy of Mr. Gene Schiavone)

To sum it up, everything went pretty well and accordingly to the critics pretty successful.

“Even in distinguished company, certain artists seem to rise to the surface. This time it was Vienna Opera Ballet’s Daniil Simkin, a compact dancer of amazing agility and range. In his first solo, Moorhuhn, to messed-about Mussorgsky – parts of Pictures at an Exhibition mixed with sounds of clucking chickens, tweeting birds, etc – Simkin gave quirky choreography an impish twist and acrobatic prowess. His comedic versatility looked even better in Les Bourgeois to Jacques Brel in a solo epitomising a cheeky garçon at large in Paris.

It was not until Simkin partnered the Royal Ballet’s Roberta Marquez in the obligatory gala pas de deux from Don Quixote that his classical line, soaring elevation and attentive partnering came through. He was nicely matched with Marquez, a piquant whiz of a technician, and they gave this occasion an appropriately high-spirited finale.”

- Financial Times

“…We saw 13 dancers in 13 pieces plus a stage-crossing finale. The occasion’s discovery was Daniil Simkin, a 20 year old currently in the Ballet of the Vienna Staatsoper and Vienna Volksoper but the product of Soviet training via his parents, Dmitrij Simkin and Olga Aleksandrova.
Looking boyish still, Simkin’s bravura stems from an airy technique and a light-boned, smooth-muscled physique. With Puckish charm he carried off two overly cute solos, his father’s “Moore Hen” which calls for him to lay an egg (supposedly to Mussorgsky music) and Ben Van Cauwenbergh’s “Les Bourgeois” in which he swaggers and smokes accompanied by a Jacques Brel song. What really put Simkin over was the “Don Quixote” pas de deux with Roberta Marquez. He had the clean classical elegance and full range of standard steps for this “Petipa” showpiece plus the ample strength to add extra turns on the ground and twists in the air. Simkin lifted Marquez high and partnered her attentively…”

“…Next year, let’s have several new talents like Simkin this year! ”

- DanceViewTimes

“And a “Don Quixote” pas de deux, danced by Roberta Marquez of the British Royal Ballet and Daniil Simkin of the Vienna Opera Ballet. But Mr. Simkin was oddly subdued. Only in the finale did he and Mr. Matvienko tear up the night in feats of fast, stage-crossing, bravura dancing. ”
(You cannot please all, or can you ?)

- NY Times

“Newcomer Daniil Simkin of the Vienna Opera Ballet also made three appearances Monday night. Mr. Simkin exemplifies the current vogue for very young dancers who look even younger. To some extent it’s a perennial vogue, and ballet perpetually capitalizes on the thrills of the prodigy. According to the program, Mr. Simkin was born in 1987, but he’s very childlike: small, slight, and cute in an urchin-like fashion. He performed a solo in each half of the program. One was created by his father, Dmitrij Simkin, and one was by Ben Van Cauwenbergh. Both blended acrobatic ballet stunts with actual acrobatics, and left no doubt about his hypertechnical and hyper-flexible capacities. He closed the program by partnering the Royal Ballet’s Roberta Marquez in the “Don Quixote” pas de deux, which had been the final number on last year’s program as well.”

- NY Sun

” The irrepressible Daniil Simkin (above), who performed two humorous solos in addition to closing the evening in the Don Quixote pas de deux, was a favorite of the audience, which liked the quirky solos and applauded his high leaps and multiple turns in the pas de deux.”

- Dance Magazine

“…and one of the evening’s favorites Daniil Simkin, Vienna Opera Ballet.

A winner of the several ballet competitions including Varna in 2004, D. Simkin won the audience over as much with his personality as with his craft. In the twitch and tangy “Moorhuhn” by Dmitrij Simkin, D. Simkin moved with the fluency of Tharp dancer—boneless and razor sharp and once again in “Les Bourgeois” by Ben Van Cauwenbergh, Simkin proved a beguiling guide through the music of Jacques Brel…”

- Eye on Dance and Arts

” Stealing the show, undoubtedly, was Daniil Simkin, a dancer with the Vienna Opera Ballet. Daniil took the stage three times last night–twice in solos and once in a Don Quixote Pas de Deux with Roberta Marquez of the Royal Ballet. Daniil’s charismatic stage presence almost overshadowed his bounding leaps and perfectly solid turns. You never worried that Daniil might miss a beat or lose his spot. He was flawless the entire evening and each time he took the stage he was welcomed with resounding yells of “bravo!” from the audience.”

- Dance Spirit

Well what else can I say…not much for the moment actually. There is a gala coming up in St. Petersburg, Russia. Actually it’s my first gala in Russia and it was funny to obtain a russian visa at the embassy (since I am a German citizen).

As you saw I added a facebook button at my networks. You can add me if you want.

In the next days and weeks I am going to try to set up the calendar/schedule on the right side of this page so you can see my following performances. and maybe recode some of my videos. Beside this I’ll have a photoshoot soon and it may be you will see some photos of that soon on this site…a lot to do.

But as I said I have some news concerning my future, but in the moment I am unable to make them official. Please be patient and understandable.

Hi again.
I’m sorry I did not get back to blog some days (actually more than 2 weeks :-/ ). I had a busy time back there.
Well I’m sitting right now in the plane to Amsterdam (the connection flight to New York) and write this thingy here to later post it on my blog.

London
Well I was in London for two days to rehearse and unsurprisingly it rained like always. Whenever I am there it somehow happens to rain, no matter what time of the year or how long I stay. It just rains buckets. The rehearsals with my partner Roberta Marquez from the Royal Ballet went well and I had a nice time over there walking around in Covent Garden and meet some old friends. I was there already before. What comes to my mind now is a clip I found back last year in YouTube. It’s funny actually. Please watch that clip here and focus on Second 00:36…http://www.youtube.com/watch?v=KsGHSg81wbk (unfortunately the embedding is disabled)

Furthermore here are some pictures I made with my phone (I apologize for the quality).

Covent Garden:

View from the Royal Ballet area:

(By now I was interrupted by the stop in Amsterdam. Now I am writing from the flight to New York.)

Vienna Opernball
Well immediately after that took place Vienna’s Opernball. I actually don’t know how popular this is apart from the German speaking countries, but here it is definitely a big thing. (Really excessively) dressed up people come together and celebrate, dance and have fun. Even the theatre itself gets dressed up for the occasion. The tickets have a hefty price tag, but luckily I got to go for free since I was dancing a small variation choreographed by Giorgio Madia. All in all it was a nice and special experience, which I will not forget.

New York Preparations
Well, my program in New York is not an easy one. I am going to dance Les Bourgeois, Moorhuhn and the Don Quixotte Pas De Deux with Roberta. First of all the worst thing is that DonQ (that is the acronym for Don Quixotte) will be in the very end and it is definitely the piece which I need the most energy for. It always has been and will be, so I just have to deal with it, I guess. The problem is the constant warming-up-dance-getting-cold cycle, which really drains on your powers, especially when you are dancing three times. In this case the normal routines you are used to do not apply fully and you really have to plan things and your energy out in between the performances and in the breaks. I will try my best as always but unfortunately you never know with what surprise life comes up for you. I like things to be pinpoint precise and planned out in advance, but you never know If you have watched, please know I tried to do my best

Well. They are giving out ice-cream inflight now (even though unfortunately it is no Ben Jerry’s or Häagen Dazs, but now any icecream will do it actually ^_^) and the flight is about to land soon, so I’ll finish that here and post it later in my hotel.