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Berlin ballet angry at ‘political choice’ of new director

Dancers at Berlin's Staatsballett are challenging the appointment of choreographer Sasha Waltz as one of the company's new directors, rejecting the appointment as "insulting" and politically-tinged.

Berlin ballet angry at 'political choice' of new director
The Staatsballett in Berlin. File photo: DPA

Berlin's mayor Michael Müller had last week appointed Waltz and Swedish ballet chief Johannes Öhman as co-directors of Germany's largest ballet company from the 2019/2020 season on.

But in a scathing petition posted on the company's homepage on Sunday, the dancers said: “Unfortunately, the appointment has to be compared to an appointment of a tennis trainer as a football coach or an art museum director as an orchestral director.”

They described the nomination as “disruptive and insulting to the company,” and added that the fact that “this announcement comes in the middle of an election campaign leads us to believe that it is politically motivated rather than artistically.”

Berlin votes Sunday in a state election, a timing the dancers find dubious as Waltz's term is due to start a whole three years from now.

Their suspicion is that Waltz, 53, is a big name who will sell tickets but as a choreographer of dance theatre lacks the background for classically-trained ballet.

Her appointment had been broadly welcomed by German media, which had been little impressed by the current director Nacho Duato, noting that none of his three premieres since he joined in 2014 had been a hit.

The Staatsballett is a merger of three companies – Deutsche Oper in west Berlin and Komische Oper and Staatsoper in the east – a legacy of a divided capital.

The conflict plaguing the dance company comes a year after a similar dispute at east Berlin's legendary theatre Volksbühne (People's Stage), over the succession of veteran artistic director Frank Castorf, who is to bow out in 2017 after a quarter-century at the helm.

Berlin authorities, which heavily subsidise the avant-garde theatre and Castorf's daring, politically-charged productions, declined to keep the strong-willed iconoclast much beyond the end of his current contract in 2016.

The director of London's Tate Modern museum, Chris Dercon, has been nominated as his replacement, but some 172 actors and employees of the theatre have written an open letter voicing their “deep concern” over the appointment.

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CULTURE

New songs mark sixth anniversary of French star Johnny Hallyday’s death

Fans of the late Johnny Hallyday, "the French Elvis Presley", will be able to commemorate the sixth anniversary of his death with two songs never released before.

New songs mark sixth anniversary of French star Johnny Hallyday's death

Hallyday, blessed with a powerful husky voice and seemingly boundless energy, died in December 2017, aged 74, of lung cancer after a long music and acting career.

After an estimated 110 million records sold during his lifetime – making him one of the world’s best-selling singers -Hallyday’s success has continued unabated beyond his death.

Almost half of his current listeners on Spotify are under the age of 35, according to the streaming service, and a posthumous greatest hits collection of “France’s favourite rock’n’roller”, whose real name was Jean-Philippe Leo
Smet, sold more than half a million copies.

The two new songs, Un cri (A cry) and Grave-moi le coeur (Engrave my heart), are featured on two albums published by different labels which also contain already-known hits in remastered or symphonic versions.

Un cri was written in 2017 by guitarist and producer Maxim Nucci – better known as Yodelice – who worked with Hallyday during the singer’s final years.

At the time Hallyday had just learned that his cancer had returned, and he “felt the need to make music outside the framework of an album,” Yodelice told reporters this week.

Hallyday recorded a demo version of the song, accompanied only by an acoustic blues guitar, but never brought it to full production.

Sensing the fans’ unbroken love for Hallyday, Yodelice decided to finish the job.

He separated the voice track from the guitar which he felt was too tame, and arranged a rockier, full-band accompaniment.

“It felt like I was playing with my buddy,” he said.

The second song, Grave-moi le coeur, is to be published in December under the artistic responsibility of another of the singer’s close collaborators, the arranger Yvan Cassar.

Hallyday recorded the song – a French version of Elvis’s Love Me Tender – with a view to performing it at a 1996 show in Las Vegas.

But in the end he did not play it live, opting instead for the original English-language version, and did not include it in any album.

“This may sound crazy, but the song was on a rehearsal tape that had never been digitalised,” Cassar told AFP.

The new songs are unlikely to be the last of new Hallyday tunes to delight fans, a source with knowledge of his work said. “There’s still a huge mass of recordings out there spanning his whole career,” the source said.

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