Word: stuttgart
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Dates: during 1960-1969
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...expense of talent in illustrating a bizarre footnote to history, and had failed to provide his opera with any sense of contemporary relevance. The audience response at the Hamburg premiere was a blend of boos and bravos, although applause predominated at a different production of the work in Stuttgart last week. Penderecki was unfazed. Isn't opera an archaic form for modern composers? he was asked. "Only people who don't have the brains to write one think so," was his answer...
Unhasty Improvements. The Bundeswehr does have some friends of the kind that obviates the need for many enemies: the far-right National Democratic Party of Adolf von Thadden. In his convention speech at Stuttgart last month, Von Thadden spent 60 out of 90 minutes talking sympathetically about the Bundeswehr and deploring its problems. A number of officers are campaigning as National Democratic candidates in the September elections...
Considering the sad record of the past, the idea of a good German ballet troupe might seem as implausible as a Nepalese surfing club. Times have definitely changed. Not long after the curtain lifted at the American debut of the Stuttgart Ballet last week, the audience at Manhattan's Metropolitan Opera House was cheering in disbelief at the light-as-air elegance of a pack of young gazelles from the edge of the Black Forest...
Although the Stuttgart Ballet (formal name: the Wlirttemberg State Theater Ballet) is German mainly through accident of residence, its accomplishments have become as strong a source of pride to its city as the Mercedes and Porsche automobile works located there. Like most major German cities, Stuttgart (pop. 650,000) had long maintained an opera house, with a resident but minimal ballet company to help out where needed. In 1960 John Cranko, then a 33-year-old South Africa-born staff choreographer of the Royal Ballet, staged Benjamin Britten's The Prince of the Pagodas in Stuttgart. He was immediately...
Limitless Variety. Cranko has gone the mandate one better. He has given Stuttgart not only a superbly knit, brilliant young company but has also played on his dancers' strengths to form a style that is like none other. At any given moment in a typical Cranko ballet, the stage bristles with a seemingly limitless variety of movement. Instead of bloodless, assembly-line precision, the Stuttgart's 38-member corps is more apt to suggest a 38-ring circus, with a panoply of gesture and stance that dazzles the viewer...