The Bavarian musician at the Hofbräuhaus sorts passers-by in no time. Anyone who comes along in high heels gets a “this way to the opera” on their way, while the rest of them in standard shoes are guided to the beer garden. Tourists with tickets for the opening of the ballet festival week in their pockets are grateful and save alcohol for later. Which is recommended as a seamless continuation of the last third of the program of “Duato/Skeels/Eyal”. Because the three-part piece, simply named after its creators, with which the Bavarian State Ballet started its traditional festival week, ends up blowing so much optical and acoustic dance intoxicants into the dance floor via “autodance” that a few people give up prematurely. You have to be able to endure the volume as well as the highly artificial rave that waves across the stage. With Sharon Eyal’s techno-controlled creation, the suspension bridge principle of the evening strives towards perfection: the opening and finale are well streamlined, but in between the tension drops sharply.
Opening of the ballet festival week in Munich: Intoxicated by dance – culture
