Nonprofit Organization U.S. Postage PAID Lincoln Center for the Performing Arts July 5 –August 14, 2011 Lincoln Center for the Performing Arts 70 Lincoln Center Plaza New York, NY 10023-6583 July 5 –August 14, 2011 Buy Tickets Now! LincolnCenterFestival.org 212.721.6500 Franz Welser-Möst Greg Hicks in The Winter’s Tale Diana Vishneva in Carmen Suite John Olohan in The Silver Tassie The Cleveland Orchestra The Royal Shakespeare Company Mariinsky Ballet Druid Theatre Company Sponsor PORTRAITS IN Supporters Suzie and Bruce Kovner Daniel and Estrellita Brodsky DRAMATIC TIME Culture Ireland Nancy A. Marks LuEsther T. Mertz Charitable Trust World Premiere Isilon Systems LLC, a division of EMC If you missed Slow Dancing , David Michalek’s hyper-slow-motion portraits Concept and direction David Michalek The Skirball Foundation of dancers projected above the Josie Robertson Plaza during Lincoln Center The Harold & Mimi Steinberg Festival 2007, ask anyone who saw it how mesmerizing it was—how it Tuesday, July 5 through Sunday, July 31, nightly from 8:45 to 11:45 Charitable Trust transformed scattered passersby into a rapt congregation—and don’t make Façade of the David H. Koch Theater The Katzenberger Foundation, Inc. that mistake this summer. FREE; no tickets required The Shubert Foundation Jennie and Richard DeScherer The Horace W. Goldsmith Foundation In this free follow-up work, what at first appears to be a still snapshot of an The Grand Marnier Foundation actor on stage unfolds, gesture by barely perceptible gesture, into massively The Pershing Square Foundation amplified theatrical nuance. David Michalek has photographed actors of The Andrea and Charles Bronfman Philanthropies myriad genres at 3,000 frames per second in ultra-high definition; these Barry Friedberg and Charlotte Moss images have been slowed to a glacial pace—5–12 seconds play out over 8 Brother International Corporation The Joelson Foundation minutes or more—and will be projected onto a mammoth, 85-by-45-foot Mitsubishi International Corporation screen hung before the façade of the David H. Koch Theater. The Harkness Foundation for Dance Great Performers Circle Chairman’s Council Friends of Lincoln Center Public support for Festival 2011 is provided by New York City Department of Cultural Affairs New York State Council on the Arts National Endowment for the Arts Endowment support is provided by Doris Duke Charitable Foundation Nancy Abeles Marks Official Sponsor of Lincoln Center, Inc. Official Airline of Lincoln Center, Inc. Official Sponsor of the Fashion Lincoln Center Online Experience National Sponsor of Lincoln Center, Inc. Commissioned by Lincoln Center Festival 2011 Sponsored by Isilon Systems LLC, a division of EMC Made possible in part by generous support from Daniel and Estrellita Brodsky Artist Hospitality Partner with additional support from The Horace W. Goldsmith Foundation, Barry Friedberg and Charlotte Moss, and The Joelson Foundation Media Partner 212.721.6500 1 A MAGIC FLUTE Almost 30 years after his La Tragédie de Carmen riveted audiences at the Vivian Beaumont Theater, director Peter Brook returns to Lincoln Center with a vivacious new interpretation of Die Zauberflöte . This intimate “No living director has done more to adaptation strips the work’s usual ornamentation to reveal the impish, change our perception of theater effervescent heart of Mozart’s masterpiece. than Peter Brook…clarity, lightness, The gorgeously simple staging features just a single piano and seven highly and distilled elegance.” talented young singers in alternating casts who, under Brook’s subtle directing, —Financial Times fill Mozart’s score with new humanity and color. First delicate and tender, then quirky and playful, the opera unfolds before your eyes with an immediacy and freshness that have been seen only too rarely before. A Magic Flute is Peter Brook’s final creation as the artistic director of Paris’s Théâtre des Bouffes du Nord, where in 1974 he founded C.I.C.T., his perennially innovative theatrical production company. Brook was an early and influential member of the Royal Shakespeare Company whose minimalist aesthetic long ago redefined the rules of theater, opera, and film. U.S. Premiere Director Peter Brook Composer W.A. Mozart Freely adapted by Peter Brook , Franck Krawczyk , and Marie-Hélène Estienne Lighting design Philippe Vialatte Tuesday, July 5 *, Wednesday July 6 †, Thursday July 7, and Friday, July 8 at 8:00 Saturday, July 9 and Sunday, July 10 at 2:00 and 8:00 Tuesday, July 12 through Friday, July 15 at 8:00 Saturday, July 16 and Sunday, July 17 at 2:00 and 8:00 Gerald W. Lynch Theater at John Jay College Tickets: $45, 65, 85 Performed in German and French with English supertitles *Preview performance †Opening night performance Co-produced by C.I.C.T. / Théâtre des Bouffes du Nord; Lincoln Center Festival; Barbican, London; Festival d’Automne à Paris; Attiki Cultural Society, Athens; Musikfest, Bremen; Théâtre de Caen; MC2, Grenoble; Les Théâtres de la Ville de Luxembourg; Piccolo Teatro di Milano—Teatro d’Europa Executive Producer: C.I.C.T. / Théâtre des Bouffes du Nord Made possible in part by generous support from Jennie and Richard DeScherer and The Grand Marnier Foundation 2 LincolnCenterFestival.org 212.721.6500 3 THE PINNACLE OF RUSSIAN DANCE JULY 11 –16 It is difficult to imagine an artistic legacy closer to the heart of the classical ballet tradition than that of the Mariinsky Ballet, which has reclaimed that tsarist title after decades of being known by its Soviet name, the Kirov. In its 250 years of “Awesome in its perfection of style, its performing first on St. Petersburg stages and then around the world, the Mariinsky technical power and assurance, its unanimity has given the world some of the greatest dancers and choreographers in the history of the art. Lincoln Center Festival and the Metropolitan Opera have joined of spirit, and in the majestic scale of it all.” forces in this return of the Mariinsky Ballet for these dazzling performances, their —The Washington Post on the Mariinsky Ballet first Festival appearance in nearly a decade. Artistic director Valery Gergiev, the dramatically imaginative musical interpreter who conducts many of these performances, is a passionate supporter of Russian music, especially the colorful orchestrations of Rodion Shchedrin. That love is eminently evident in this series, which includes Shchedrin’s full-length ballets Anna Karenina and The Little Humpbacked Horse , both choreographed by Alexei Ratmansky, artist-in-residence at the American Ballet Theatre and a former director of the Bolshoi Ballet. Co-presented by Lincoln Center Festival and the Metropolitan Opera Sberbank is the primary sponsor of the Mariinsky Ballet’s performances at the The acclaimed dancer Diana Vishneva, whom The Washington Post recently called Metropolitan Opera House. VTB Bank, Sberbank, Yoko Ceschina and Gazprom “as profoundly moving as I’ve ever seen,” takes center stage. Appearances by other are the principal partners of the Mariinsky Theatre. White Nights Foundation dancers like the up-and-coming stars Yekaterina Kondaurova and Alina Somova, and of America is the North American Sponsor of the Mariinsky Theatre. Additional support provided by Aeroflot. the majestic, glamorous Ulyana Lopatkina (who has “phrasing like an unhurried angel” — Financial Times ) make this a not-to-be-missed balletic experience. Symphony in C is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® service standards established and provided by the Trust. See following page for full program information. FORMERLY KNOWN AS KIROV BALLET MARIINSK Y BALLET Yekaterina Kondaurova in Anna Karenina 212.721.6500 5 MARIINSKY BALLET Ulyana Lopatkina Andrei Ivanov and Yuri Smekalov Diana Vishneva in Carmen Suite ANNA KARENINA THE LI TTLE CARMEN SUITE Composer Rodion Shchedrin HUMPBACKED SYMPHONY IN C Choreography Alexei Ratmansky HORSE Carmen Suite After the novel by Leo Tolstoy Composer Georges Bizet (arr. Rodion Shchedrin ) Principal dancers July 11 Diana Vishneva, Composer Rodion Shchedrin Choreography Alberto Alonso Konstantin Zverev Choreography Alexei Ratmansky Production choreography Viktor Barykin July 13 Ulyana Lopatkina, Yuri Smekalov Libretto Maxim Isaev Principal dancers July 15 Carmen: Diana Vishneva ; July 14 Yekaterina Kondaurova, After the tale by Pyotr Yershov Jose: Yuri Smekalov ; Torero: Yevgeny Ivanchenko Andrei Yermakov Principal dancers July 12 Viktoria July 16 Carmen: Ulyana Lopatkina ; Jose: Danila Tereshkina, Vladimir Shklyarov, Korsuntsev ; Torero: Yevgeny Ivanchenko Anna Karenina is a sweeping two-act Yekaterina Kondaurova, Yuri Smekalov ballet that plumbs the psychological under - July 13 Yevgenia Obraztsova, Vladimir Symphony in C pinnings of Tolstoy’s celebrated novel, Shklyarov, Anastasia Petushkova, Composer Georges Bizet telling that story with striking, minimalistic Islom Baimuradov Choreography George Balanchine staging, dramatically intense dancing, and July 16 Alina Somova, Alexander Principal dancers July 15 Alina Somova , Andrian Shchedrin’s penetrating score. Sergeyev, Anastasia Petushkova, Fadeyev , Ulyana Lopatkina , Danila Korsuntsev , Islom Baimuradov Yevgenia Obraztsova , Vladimir Shklyarov , Maria Monday, July 11 at 8:00 Shirinkina , Alexei Timofeyev Wednesday, July 13 at 8:00 This Russian fairy tale features a beautiful July 16 Viktoria Tereshkina , Andrian Fadeyev , Thursday, July 14 at 8:00 firebird, a demanding