LA NOTTE MAGAZINE

Maurice Béjart’s Boléro is one of the iconic ballets of the second half of the 20th century. This ritualistic dance to the music of Maurice Ravel, performed by a soloist on a red table surrounded by dancers, captivates, hypnotizes, and immerses both performers and audience in a trance-like state. Performed by such dancers as Maya Plisetskaya, Jorge Donn, Sylvie Guillem, Nicolas Le Riche, Friedmann Vogel, and others, this ballet has become famous worldwide. In early February, Jakob Feyferlik debuted in Béjart’s Boléro at the Bayerische Staatsoper’s stage. We spoke with the Principal dancer and a good friend of La Notte Magazine about his impressions.

Jakob Feyferlik. Boléro © Nicholas Mackay

What does Boléro mean to you personally?
First and foremost it is one of Ravel’s masterpieces and iconic for the ballet world. So many choreographers have made a Boléro. On top of that it is also the most famous masterpiece of Maurice Bejart.
It means something special to me because I have seen it many times in different versions and it is one of my favourite music pieces.

How would you describe this piece in three words?
Ritual, perfection, freedom.

Jakob Feyferlik. Boléro © Nicholas Mackay

What were your impressions of the performance?
I completely forgot everything around me once I stood on the table. I remember being so focused and really nervous when the curtains opened even though I knew the audiences still couldn’t see my facial expressions. Only around the 7th combination I started to feel more relaxed and I knew that I felt good and convincing, and portrayed my own Boléro. From that moment on I just embraced everything and everyone and had so much fun.

Jakob Feyferlik. Boléro © Nicholas Mackay

You are a classically trained Principal dancer, you perform both the roles of princes and contemporary choreography. Do you consider yourself a versatile performer, or do you gravitate more toward a particular style?
I definitely consider myself a versatile dancer and I also think that it’s very important nowadays.
It’s good to change the style from time to time it makes the profession even more interesting. Of course, it’s very challenging on your body because you most likely rehearse many different styles at the same time.

Jakob Feyferlik. Illusionen – wie Schwanensee. © Serghei Gherciu

How would you characterize working under Laurent Hilaire, Director of the Bayerisches Staatsballett?
Working under Laurent has been absolutely amazing. It’s what I needed in my career. I trust his generation of dancers/directors the most, like my former director from Vienna, Manuel Legris, they just have a very good artistic knowledge and eye. They choose carefully and with taste and care about you as an artist. Nowadays people care a lot about tricks and quantity but forget the quality and that’s what ballet is all about: Quality! So learning from Laurent is always a joy, it’s amazing to feel his passion in the studio and to experience this is unique and unforgettable.

Interview: Julia Sumzina
Photos: Bayerisches Staatsballett © Nicholas Mackay
Bayerisches Staatsballett © Serghei Gherciu