In 1961,
John Cranko was appointed ballet director and Choreographer of the ballet in Stuttgart, having previously worked with the Sadler's Wells Royal Ballet in London. In the ensuing twelve years Cranko was not only responsible for the most successful chapter of Stuttgart's ballet history, but also joined the ranks of eminent 20th century choreographers.
A comprehensive repertoire and ensemble policy focused on developing his dancer's talents and diversifying the repertoire as well as the use of his exceptional choreographic talent were the key factors which lead the Stuttgart Ballet to worldwide acclaim under his aegis.
At the outset of his leadership, the then 34-year-old choreographer surrounded himself with exceptional personalities such as
Egon Madsen,
Richard Cragun,
Birgit Keil,
Ray Barra and Brazilian dancer
Marcia Haydée. Soon, the latter was to become his muse and prima ballerina.
On December 2nd, 1962 he presented a new version of Prokofiev's Romeo and Juliet, which was received by audiences and critics with repturous applause and which today is still regarded as unsurpassed in ballet. This production of Romeo and Juliet was the first of the three magnificent full-length narrative ballets Cranko created for the Stuttgart Ballet.
A fluid and easily understandable plot-line, masterful dramaturgy, clearly drawn, vivid characters and astounding choreographic diversity are the main features of Cranko's style. His creed of dance as "representation of life itself" is manifest not least in his mastery of the Pas de deux.
For his next narrative ballet, Cranko chose a literary source not yet exploited in ballet at the time: Alexander Pushkin's verse novel Onegin. The second version, premiered in 1967, became a key work of the 20th century. In 1969, when Cranko took the Stuttgart Ballet on its first tour to New York, Onegin began its triumphant conquest of the international stage, a success story which continues to the present day. Shortly before, Cranko had completed a third masterpiece, again based on William Shakespeare: the ballet comedy The Taming of the Shrew. The New York tour turned into an overwhelming triumph, crowned by esteemed dance critic Clive Barnes with the term "The Stuttgart Ballet Miracle". The then little known company became THE STUTTGART BALLET – an ensemble firmly positioned in the world's premiere league of ballet companies. Countless invitations to the world's great theatres ensued. In Stuttgart, Cranko also conceived master pieces such as Jeu de cartes, Opus 1 and Initials R.B.M.E.
Guest choreographers such as Sir Kenneth MacMillan and Sir Peter Wright were responsible for the further refinement of the Stuttgart aesthetic, as well as those dancers whom Cranko encouraged to choreograph themselves, first and foremost John Neumeier and Jiří Kylián.
The
Noverre Society, an association of ballet lovers in Stuttgart, supported Cranko substantially and within a few years their collaboration helped turn the Stuttgart public into a highly informed and passionate audience, to an extent rarely seen elsewhere. Fritz Höver founded the Society in 1958 and ceded the leadership to Rainer Woihsyk in 2004. Besides presenting their "Young Choreographers" programme annually, the Society also organises talks and excursions around the world.
In 1971 Cranko opened the Stuttgart Ballet School (renamed
John Cranko Schule in 1974), laying the foundation for one of the most renowned institutions for dance training in the world.
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