Friday, October 24, 2014, 8pm Saturday, October 25, 2014, 8pm Zellerbach Hall

Sasha Waltz & Guests in

Impromptus h c s e l o B

n a i t s a b e S

A production of Schaubühne am Lehniner Platz Berlin presented by Sasha Waltz & Guests. A coproduction with the Teatro Comunale di Ferrara.

Sasha Waltz & Guests is funded by Hauptstadtkulturfonds and Land Berlin.

These performances are made possible, in part, by Patron Sponsor Rockridge Market Hall. Cal Performances’  !–  " season is sponsored by Wells Fargo.

CAL PERFORMANCES 19 PROGRAM

Impromptus

stian h c s e l o B

n a i t s a b e S

PROGRAM

Music by Franz Schubert ( %'%– &!&)

Impromptu in F minor, Op. 142, No. 1, D. 935 (1827)

Impromptu in E major, Op. 90, No. 2, D. 899 (1827)

Impromptu in A major, Op. 90, No. 4, D. 899 (1827)

“Des Mädchens Klage,” Op. 58, No. 3, D. 191 (1811–1812)

“Der Wanderer an den Mond,” Op. 80, No. 1, D. 870 (1826)

“Der Doppelgänger” from Schwanengesang, D. 957, No. 13 (1828)

Impromptu in G-flat major, Op. 90, No. 3, D. 899 (1827)

“An Mignon,” Op. 19, No. 2, D. 161b (1815)

Impromptu in C minor, Op. 90, No. 1, D. 899 (1827)

PLAYBILL CAST

Impromptus

CAST

Direction and Choreography Sasha Waltz Stage Design Thomas Schenk Sasha Waltz Costume Design Beate Borrmann Lighting Design Martin Hauk Dancers Juan Kruz Díaz de Garaio Esnaola Luc Dunberry Michal Mualem Zaratiana Randrianantenaina Yael Schnell Xuan Shi Niannian Zhou Piano Cristina Marton Mezzo-soprano Ruth Sandhoff Répétiteur Renate Graziadei

The piece has been developed by and with the dancers Maria Marta Colusi, Clémentine Deluy, Juan Kruz Díaz de Garaio Esnaola, Luc Dunberry, Michal Mualem, Claudia de Serpa Soares, and Xuan Shi.

TECHNICAL CAST

Assistant Direction Steffen Döring Lighting Direction Martin Hauk Lighting Assistant Olaf Danilsen Technical Direction Reinhard Wizisla Assistant Technical Director Leonardo Bucalossi Stage Technician Boris Bauer Props Brad Hwang Costume Direction Beate Bormann Hair and Makeup Urte Kusserow Tour Management Karsten Liske General Management, Sasha Waltz & Guests Jochen Sandig

CAL PERFORMANCES PROGRAM NOTES

OR THE FIRST TIME with Impromptus , though its character is so essentially lyrical that Fwhich premièred in 2004 at Berlin’s melody here simply eats up any large Schaubühne am Lehniner Platz, Sasha Waltz architectonic plan. The principal theme is a has developed a dance piece based on the bardic song of melancholy sentiment, balanced structure of a Classical music composition. as the movement unfolds by episodes of almost The music is performed live on stage together painful sweetness. The E-flat major Impromptu with vocal accompaniment of four Schubert contrasts an airborne triplet figuration in its outer Lieder . In a subtle way the dancelike music sections with a waltz-like central passage of more create emotional states between floating fiery temperament. The crepuscular third weightlessly and being off balance. In her Impromptu (G-flat major) supports its long work, Ms. Waltz researches the existential melodic flights with arpeggiated harmonies of questions of the human body with its vul- the greatest finesse and subtlety. Artur Schnabel, nerability and beauty. It is dance at its most the distinguished pianist of recent memory, riveting— at once unmasking, manipulating, noted that the last number of the set, in A-flat and ultimately exalting in the innumerable major, is “a dance in the moonlight—with the aspects that make us human. feet scarcely touching the ground.” The opening theme of the F minor * * * Imprompt u (Op. 142, No. 1), a stai r-step descending motive in dotted rhythms, promises Franz Schuber t (1797–1828) began his eight drama with its bold opening gesture but reveals pieces titled Impromptu in the summer and its true character as amiable melancholy. Three autumn of 1827; they were completed by related ideas comprise the second theme group: December. He did not invent the title. The a tenor melody in evenly paced notes, strewn term “Impromptu” had been current in Vienna with right-hand arpeggios, of emotionally since at least 1822, when the Bohemian- unsettled character; a sweet song of inspired Austrian composer Johann Voříšek issued a set lyricism, grown from the preceding evenly of brief, tern ary-form works of extemporized paced motive, in chordal harmonies; and an nature under that name. Schubert was familiar episode of rippling arpeggios woven around a with Voříšek’s pieces, as well as with the many theme divided between a close-interval call in independent piano works by Beethoven, Field, the treble and an answering response in the Tomášek, and others that were flooding the bass. The series of themes is repeated, with market in the wake of the burgeoning piano some truncation, as the second half of the manufacturing trade (and falling consumer Impromptu, which ends with a reminiscence of prices) of those years. Schubert sold his eight the opening stair-step motive. Impromptus to Haslinger in Vienna, who Though Friedrich von Schiller (1759–1805 ) agreed to publish them in small lots to test was noted for his historical dramas and their acceptance. He issued the first two philosophical works rather than for his lyric numbers o f the series (in C minor and E-flat poetry, Schubert valued his thoughtful verses major) in 1828 as Schubert’s Op. 90, Nos. 1 and highly throughout his life and made musical 2, with some success, but the composer’s death settings of more than 40 of t hem. Three times on November 19th of that year halted the Schubert set a poem titled Des Mädchens project, and the remaining pair of Op. 90 Klage (“The Maiden’s Lament”), a song sung Impromptus was not published until 1857 or by the character Thelka during the absence of 1858; the four others were issued at the end of her beloved in Schiller’s Die Piccolomini 1839 by Diabelli as Op. 142. (1799), the second play of a trilogy about The opening piece of the four comprising Albericht von Wallenstein, a Habsburg the first set of Impromptus (Op. 90, D[eutsch] general in the long and devastating Thirty 899), in C minor, is in a sort of free so nata form, Years’ War (1618–1648).

PLAYBILL PROGRAM NOTES h c s e l o B n a i t s a b e S

Johann Gabriel Seidl (1804–1875), teacher, and forward-looking of his works. Schubert curator, lawyer, censor, and prolific lyrical poet, took the poems from the opening section had been a friend of Schubert’s since his youth. (Heimkehr —“Homecoming”) of Heine’s In 1824, he tried to persuade Franz to use an Reisebilder (“Travel Pictures”), published in opera libretto of his titled Der Kurze Mantel , October 1827, which was read by the but was refused. Perhaps in compensation, composer and a circle of his friends at a soirée Schubert set several of Seidl’s poems as songs, the following January. Schubert composed his the first of which was Der Wanderer an den songs on Heine’s verses, including the haunted Mond (“The Wanderer Speaks to the Moon”) Der Doppelgänger (“The Wraith”), sometime of March 1826, which he presented at the during the next six months. Schubertiad of April 23, 1827, at the home of The well-known novel Wilhelm Meister Joseph Witteczek, a devoted friend of his and (1796), by Johann Wolfgang von Goethe a frequent host of those soirées who amassed (1749–1832), tells of the plight of Mignon, a an important collection of Schubert’s first young woman stolen by Gypsies from her editions, manuscripts, and press clippings. Italian home when she was a child. During the Schubert dedicated the song to Witteczek Gypsies’ wanderings in Germany, Mignon upon its publication by Tobias Haslinger the meets Lothario, a nobleman searching across following year. the Continent for his abducted daughter, and Though its title was not original with Wilhelm Meister, a student who buys her Schubert and its songs comprise a loose freedom from the Gypsies. Mignon collection rather than an integrated cycle, the overcomes her jealousy of Wilhelm’s love for Schwanengesang (“Swan Song”) is a fitting the actress Philine and wins him for herself by capstone to its creator’s career as a writer of the story’s end, which also shows her some 600 songs. Indeed, the settings of poems reconciliation w ith Lothario, who turns out to by Heinrich Heine (1797–1856 ), the first that be her father. In 1815, Schubert made two Schubert did of verses by that author whose settings (D. 161a and 161b) of the poetic writings perfectly embodied the mingled irony lament from the novel that Go ethe titled An and longing so dear to the Romantics, are Mignon (“To Mignon”). among the most intense, dramatic, profound, © NLMP Dr. Richard E. Rodd a

CAL PERFORMANCES TEXTS & TRANSLATIONS

Franz Schubert Lieder

Des Mädchens Klage, D. ' The Maiden’s Lament Text: Friedrich von Schiller

Der Eichwald braust, die Wolken ziehn, The oak-wood roars, the clouds scud by, Das Mägdlein sitzt an Ufers Gru n, the maiden sits on the verdant shore; Es bricht sich die Welle mit Macht, mit Macht, the waves break with mighty force, Und sie seufzt hinaus in die finstere Nacht, and she sighs into the dark night, Das Auge vom Weinen getrubet. her eyes dimmed with weeping. Das Herz ist gestorben, die Welt ist leer, “My heart is dead, the world is empty Und weiter gibt sie dem Wunsche nichts mehr, and no longer yields to my desire. Du Heilige, rufe dein Kind zurück, Holy one, call back your child. Ich habe genossen das irdische Glück, I have enjoyed earthly happiness; Ich habe gelebt und geliebet! I have lived and loved!” Es rinnet der Tränen vergeblicher Lauf, Her tears run their vain course; Die Klage, sie wecket die Toten nicht auf; her lament does not awaken the dead; Doch nenne, was tröstet und heilet die Brust but say, what can comfort and heal the heart Nach der su ssen Liebe verschwundener Lust, when the joys of sweet love have vanished? Ich, die Himmlische, will’s nicht versagen. I, the heavenly maiden, shall not deny it. Lass rinnen der Tränen vergeblichen Lauf, “Let my tears run their vain course; Es wecke die Klage die Toten nicht auf! let my lament not awaken the dead! Das su sseste Glück für die trauernde Brust, For the grieving heart the sweetest happiness, Nach der schönen Liebe verschwundener Lust, when the joys of fair love have vanished, Sind der Liebe Schmerzen und Klagen. is the sorrow and lament of love.”

Der Wanderer an den Mond, D. &% The Wanderer Speaks to the Moon Text: Johann Gabriel Seidl

Ioh auf der Erd, am Himmel du, I on the earth, you in the sky— Wir wandern beide rüstig zu: we both wander briskly on: Ich ernst und trüb, du hell und rein, I stern and troubled, you mild and pure; Was mag der Unterschied wohl sein? what might be the difference between us?

Ich wandre fremd von Land zu Land, A stranger, I wander from land to land, So heimatlos, so unbekannt; so rootless and unknown; Berg auf, Berg ab, Wald ein, Wald aus, up mountains and down, into forests and out, Doch bin ich nirgend, ach! zu Haus. but nowhere am I—alas!—at home.

Du aber wanderst auf und ab But you wander up and down, Aus Ostens Wieg’ in Westens Grab, from the eastern cradle to the western grave, Wallst Länder ein und Länder aus, on your pilgrimage from land to land; Und bist doch, wo du bist, zu Haus. and wherever you are, you are at home.

Der Himmel, endlos ausgespannt, The sky, endlessly spreading, Ist dein geliebtes Heimatland; is your beloved homeland; O glücklich, wer, wohin er geht, O happy is he who, wherever he goes, Doch auf der Heimat Boden steht! still stands on native ground!

PLAYBILL TEXTS & TRANSLATIONS

Der Doppelgänger, D . '#%, No. " The Wraith Text: Heinrich Heine

Still ist die Nacht, es ruhen die Gassen, The night is still, the streets are at rest; In diesem Hause wohnte mein Schatz; In this house lived my sweetheart. Sie hat schon längst die Stadt verlassen, She has long since left the town, Doch steht noch das Haus auf demselben Platz. But the house still stands on the selfsame spot.

Da steht auch ein Mensch und starrt in die Höhe, A man stands there too, staring up, Und ringt die Hände vor Schmerzensgewalt; And wringing his hands in anguish; Mir graust es, wenn ich sein Antlitz sehe— I shudder when I see his face— Der Mond zeigt mir meine eigne Gestalt. The moon shows me my own form!

Du Doppelgänger! du bleicher Geselle! You wraith, pallid companion, Was äffst du nach mein Liebesleid, Why do you ape the pain of my love Das mich gequält auf dieser Stelle Which tormented me on this very spot, So manche Nacht, in alter Zeit? So many a night, in days long past?

An Mignon, D. $ b To Mignon Text: Johann Wolfgang von Goethe

Über Tal und Fluss getragen Borne over valley and river Ziehet rein der Sonne Wagen. the sun’s pure chariot moves on. Ach! sie regt in ihrem Lauf, Ah, in its course it stirs So wie deine, meine Schmerzen, your sorrows and mine, Tief im Herzen, deep in our hearts, Immer morgens wieder auf. anew each morning. Kaum will mir die Nacht noch frommen, The night brings me scant comfort, Denn die Träume selber kommen for then my dreams themselves appear Nun in trauriger Gestalt, in mournful guise, Und ich fu hle dieser Schmerzen, and in my heart Still im Herzen, I feel the secret silent power Heimlich bildende Gewalt. of these sorrows grow. Schon seit manchen schönen Jahren For many a long year Seh’ ich unten Schiffe fahren; I have watched the ships sail below. Jedes kommt an seinen Ort; Each one reaches its destination; Aber ach! die steten Schmerzen, but alas, the sorrows Fest im Herzen, that forever cling to my heart Schwimmen nicht im Strome fort. do not flow away in the torrent. Schön in Kleidern muss ich kommen, I must come in fine clothes; Aus dem Schrank sind sie genommen, they are taken out of the closet Weil es heute Festtag ist; because today is a holiday. Niemand ahnet, dass von Schmerzen No one guesses Herz im Herzen that in my heart of hearts Grimmig mir zerrissen ist. I am racked by savage pain. Heimlich muss ich immer weinen, Always I must weep in secret, Aber freundlich kann ich scheinen yet I can appear happy, Und sogar gesund und rot; even glowing and healthy. Wären tödlich diese Schmerzen If these sorrows could be fatal Meinem Herzen, to my heart, Ach! schon lange wär’ ich tot. ah, I would have died long ago.

CAL PERFORMANCES ABOUT THE ARTISTS

Sasha Waltz (direction choreography by Ms. Waltz premièred at the and choreography ) was Théâtre Royal de la Monnaie in Brussels. In born in Karlsruhe, January 2012, the choreographic concert gefal - Germany. She studied tet by Ms. Waltz and Mark Andre was given its dance and choreogra - world première at the Mozartweek festival by phy in Amsterdam and Stiftung Mozarteum in Salzburg, Austria. New York. In 1993, she In May 2012, Ms. Waltz was invited by the co-founded her com - Berlin Philharmonic to choreograph the dance l

a pany, Sasha Waltz & project MusicTANZ—Carmen for their educa - v i R Guests, with Jochen tion program, with over 100 pupils perform - é r d

n Sandig in Berlin. In ing to Rodion Schtschedrin’s Carmen Suite . I n A 1996, she opened the 2013, a mong other projects, Ms. Waltz created critically acclaimed Sophiensaele, a theater she Sacre , a choreography on Stravinsky’s Le sacre cofounded with Mr. Sandig. In 2000 , Ms. Waltz du printemps , a collaboration between Sasha was named one of the artistic directors of Waltz & Guests and the Mariinsky Ballet of Berlin’s Schaubühne am Lehniner Platz, St. Petersburg. Sacre premièred at the where she created the pieces Körper , S, and Mariinsky Theater in St. Petersburg in May noBody , among others, as well as the choreo - 2013 under the musical direction of Valery graphic installation insideout . In 2005, Sasha Gergiev. The German première followed in Waltz & Guests once again became an inde - October 2013 at Berlin’s Staatsoper under the pendent company, with Mr. Sandig as artistic musical direction of Daniel Barenboim and director. In January 2005, Ms. Waltz’s first performed by the dancers of Sasha Waltz & opera-choreography, Dido & Aeneas , had its Guests. Together with Peter Weibel, Ms. Waltz world première at Staatsoper Unter den curated the exhibition Sasha Waltz. Linden, Berlin. In 2007, Ms. Waltz presented, Installations. Objects. Performances , which pre - among other works, two music-theater chore - sented her work for the first time in the con - ographies: Medea , with music by Pascal text of the visual arts. In four months, the new Dusapin and text by Heiner Müller, had its exhibition format attracted about 60,000 visi - world première in Luxemburg in May as a fea - tors. In April 2014, Ms. Waltz continued her ture of the European Culture Capital City artistic collaboration with Mr. Barenboim, 2007. In addition, in October 2007 the Opéra staging Wagner’s Tannhäuser in a production de Paris presented the choreography by of the Staatsoper im Schiller Theater Berlin. In Ms. Waltz to Hector Berlioz’s dramatic sym - September 2014, the new production of Sasha phony Roméo et Juliette . The music-based Waltz & Guests, Claudio Monteverdi’s Orfeo , choreographic project Jagden und Formen choreographed by Ms. Waltz, premièred in (Zustand NLLR ), with music by Amsterdam at the Dutch National Opera. developed with the Ensemble Modern, was Ms. Waltz was awarded the Caroline- premièred in Frankfurt am Main in spring Neuber-Preis and was made an Officier de 2008. In March 2009, Sasha Waltz & Guests l’Ordre des Arts et des Lettres by the French presented the project Dialoge LS —Neues government in 2010 and the Order of Merit of Museum in the New Museum in Berlin, re - the Federal Republic of Germany in 2011. Since constructed by David Chipperfield. That same June 2013, Ms. Waltz has been a member of the year, Ms. Waltz received an artist’s grant for Academy of Arts in Berlin. For its anniversary Villa Massimo in Rome. Ms. Waltz’s Dialoge year 2013, the company was named a European LS —MAXXI inaugurated Rome’s new mu - Cultural Ambassador by the European Union. seum for contemporary art, built by Zaha Most recently, Sasha Waltz & Guests was Hadid, in November 2009. In 2010, h er cho - awarded the 2014 G eorge Tabori Ehrenpreis by reography Continu was premièred in Zurich, Fonds Darstellende Künste. Switzer land, followed by her next choreo - graphic opera, Passion , composed by Pascal Thomas Schenk (stage design ) was born 1958 in Dusapin, at the Théâtre des Champs-Élysées Mainz, where he studied architecture. Mr. Schenk in Paris. In May 2011, the oper a Matsukaze by has collaborated with Sasha Waltz to develop Japanese composer with the staging for her works since 1995 . Among

PLAYBILL ABOUT THE ARTISTS their collaborations are Travelogue III: All Monteverdi, which premièred in September Ways Six Steps , Allee der Kosmonauten , 2014 in Amsterdam. Zweiland , Na Zemlje , Körper , noBody , inside - out (awarded the 2004 OPUS Prize 2004 for Born in Legazpi, Spain, Juan Kruz Díaz de Stage Design of the Year), Dido & Aeneas , Garaio Esnaola (dancer ) completed his mu - Gezeiten , Medea , and Continu . Schenk also sical studies at the Conservatorio Superior de produced the stage design for anything else Música de San Sebastián and a degree in early and Don’t we by Luc Dunberry and d’avant by music studies as a countertenor at the the choreography collective Díaz de Garaio Akademie voor Oude Muziek in Amsterdam, Esnaola, Cherkaoui, Dunberry, and Jalet. where his career as a singer took off auspi - Mr. Schenk, with Pia Maier Schriever, devel - ciously. An encounter in Amsterdam with the oped the staging for Ms. Waltz’s Roméo et choreographer Marcelo Evelin, who invited Juliette for the Paris Opera in 2007 , and for him to take part in his dance piece Muzot , and Continu in 2010 (world première at Zurich the close artistic collaboration that developed Festival) and gefaltet in 2012 (world première from that, brought him to explore further the at the Mozartwoche in Salzburg). He was sig - potential of the body as a total instrument and nificantly involved in the scenography of the tool of expression. After working with, among exhibition Sasha Waltz: Installations. Objects. others, P. C. Scholten, Emio Greco, Arthur Performances , running from September 2013 Rosenfeld, and Lloyd Newson, in 1995 he met to February 2014 at the ZKM in Karlsruhe. Sasha Waltz, who invited him to take part in the core ensemble she founded in 1996. Allee Christine Birkle (costume design ) was born in der Kosmonauten would be the beginning of 1961. She completed her studies in fashion de - their long and fruitful relationship. He fol - sign at the Hochschule der Künste in 1993 and lowed the different stages of Sasha Waltz & then founded her own label, Hut up, in Berlin. Guests from independence to the Schaubühne She presented her first clothing and house - am Lehniner Platz and back to independence, wares collection in 1996. Every year , she cre - and remains one of the pillars of its core ates two or three collections that she presents group. Within the company and Ms. Waltz’s in Paris and Berlin. For Sasha Waltz, she cre - work, besides his contribution as a dancer and ated the costumes for Impromptus , Dido & performer, he has been responsible for the Aeneas , Fantasie , Medea , and Matsukaze . musical direction and musical composition of various pieces, and is rehearsal director and Martin Hauk (lighting design ) was born in artistic assistant to Ms. Waltz. 1961 in Berlin and studied theater and event His own work as a choreographer and di - technology. While being employed by Art Lab rector shows his interest in bringing his musi - Studios in Berlin, he produced events for Shell, cal and dance backgrounds together, Skoda, and IBM, and created the lighting for relentlessly exploring the relationship between Cora Frost, Gayle Tufts, Tim Fischer, and Alex both disciplines, and questioning the role and B. He has worked with Sasha Waltz since 1996 , integration of music into the theatrical-per - lighting Zweiland , Körper , S, noBody , insideout , forming event. A strong believer and advocate Impromptus , Jagden und Formen (Zustand of genuine artistic collaborations, he develops NLLR ), Gezeiten , Continu , und Matsukaze . For his projects around them. He invited his close Ms. Waltz’s Métamor phoses , he was responsi - artistic partners Luc Dunberry (with whom he ble not solely for lighting but even for stage de - shares an important body of work), Sidi Larbi sign. In 2012 , he participated in the dance Cherkaoui, and to cosign the di - project MusicTANZ—Carmen within the edu - rection of his project, d’avant . Additional col - cation project of the Berlin Philharmonic, laborators include Joanna Dudley, Akademie where he created the lighting as well. In 2013 , für Alte Musik Berlin ( P Elemente—4 he was responsible for the light of the project Jahreszeiten ), loscorderos.sc, MOPA, and Dialoge NLMO —Kolkata in India. Mr. Hauk also Stephanie Thiersch. His work includes casi , created the lighting for the latest choreographic for Danza Contemporánea de Cuba, and opera by Ms. Waltz, Orfeo by Claudio Romances , a commission by the 2012 Bienal

CAL PERFORMANCES ABOUT THE ARTISTS de Flamenco de Sevilla, for which he has been Impromptus , Dido & Aeneas , Medea , Continu , awarded with the Giraldillo for best dir ection. and in the latest productions, Sacre , L’après- His new creation, Vaivén , a collaboration with midi d’un faune (both 2013 ), and Orfeo (2014 ). dancer and choreographer Antonio Ruz, pre - As a dancer, Mr. Dunberry also took part mières in Sevilla in November 2014 . He in the exhibition Sasha Waltz. Installations. teaches and gives workshops and master Objects. Performances at the ZKM Karlsruhe. classes regularly all around the world. He has also worked as a co- répétiteur for the pieces Gezeiten and Matsukaze and took part Luc Dunberry (dancer ) was born in on the translation of the choreography Valleyfield, Canada, in 1969. He studied music of Roméo et Juliette for the ballet of the Teatro at the Collège de Sherbrooke, drama at the alla Scala, Milan, and the choreography Université du Québec à Montréal, and dance of Sacre for the Mariinsky Theater in at Les Ateliers de Danse Moderne de Montréal St. Petersburg. Inc. As a member of the Groupe de la Place Royale, he had worked with various choreog - Michal Mualem (dancer ) was born in 1974 in raphers, among them Sasha Waltz, who en - Israel. From 1982 to 1989, she studied profes - gaged him to dance for her company in 1996. sional gymnastics. She began her dance stud - Parallel to his work with Sasha Waltz & ies at Kibbutz Contemporary Dance Guests, Mr. Dunberry has developed his own Company in 1991. Between 1994 and 1999, choreographies. In 1997 he presented the duet she danced at the Liat Dror Nir Ben Gal No thanks I’m fine , and in 1998 the interna - Dance Company, where she took part in proj - tional success anything else . From 1999 to ects with Inbal Pinto and Niv Sheinfeld. 2004, Mr. Dunberry had been a member of the Between 1999 and 2001, she danced with the dance ensemble at the Schaubühne as both Noa Dar Dance Company and collaborated dancer and choreographer. There he devel - again with the com pany for the piece Arnica oped the dance production The rest of you , to - in 2007–2008. Since 2004, she has given gether with Juan Kruz Díaz de Garaio Esnaola, workshops of contemporary dance and con - in 2000. His 2001 piece Seriously involved six tact improvisation in Italy, Germany, and actors and two dancers. In 2002 , Mr. Dunberry, Israel. In 2005, Ms. M ualem created the dance together with the choreographers Juan Kruz duet In Between , together with Giannalberto Díaz de Garaio Esnaola, Sidi Larbi Cherkaoui, de Filippis, which was shown at several inter - and Damien Jalet, developed the piece d’avant , national festivals. In 2006, the trio Here and giving guest performances at home and not , their second work, was presented. Over abroad (Festival Internacional de Buenos the next few of years they created more pieces, Aires, Tanzplattform Deutschland 2004 , among them Silenzio Cucito and Piccola, Düsseldorf) to great acclaim. Piccola (2007 ); And after all that , a production In 2004 , Mr. Dunberry shot his first film, for the Ha Dance Company in Haifa, Israel; (Left) between us , which was presented at the and Drops of memory (2008 ), Uno Uno (2010 ), Video Dance Festival in Greece and the Broken Allright Broken Allright , and Mister ReelDance Film Festival in Australia. His cho - Moon and Miss Luna (2011 ). In 2008, she also reography Don’t we premièred in 2005 . His worked with choreographer Robert o Zappala film just me may be was screened at and danced in his solo, Instrument 2 . Radialsystem V Berlin and at the Video Dance Ms. Mualem has worked with Sasha Waltz Festival in Greec e in 2007. That same year, he since 2001 . She dances in various Dialoge proj - was assistant choreographer for Ms. Waltz in ects and has also performed in noBody , Körper , Roméo et Juliette for the Ballet de l’Opéra insideout , Impromptus , and Dido & Aeneas , as National de Paris. In 2008 , he choreographed well as in Ms. Waltz’s recent choreography, Mi-un ni d’eux for PPS Danse in Montreal and Sacre . In 2013–2014 , she danced in the exhibi - Mond…Days for the Tanztheater Osnabrück. tion Sasha Waltz. Installations. Objects. Per- In Mar ch 2009, his piece Aliens! had its pre - formances at the ZKM Karlsruhe. Ms. Mualem mière in Berlin. Mr. Dunberry has danced in also collaborates with Sasha Waltz & Guests as Ms. Waltz’s choreographies Zweiland , Allee der an assistant and répétiteur , such as for translat - Kosmonauten , Körper , noBody , insideout , ing noBody to the Göteborg Ballet.

PLAYBILL ABOUT THE ARTISTS

Zaratiana Randrianantenaina (dancer ) was Medea , Dido & Aeneas , Allee der Kosmonauten , born in 1982 in Antananarivo, Madagascar. Travelogue I: Twenty to eight , Impromptus , From 1996 to 2000 she studied contemporary Jagden und Formen (Zustand NLLR ), Continu , dance at the Conservatoire National Supérieur Passion , Métamorphoses , and gefaltet . She also de Musique et de Danse de Paris (CNSMDP), took part in Ms. Waltz’s various Dialoge proj - where she earned her degree with high honors. ects. In 2012 , she was involved with the dance After graduation, she joined the junior Ballet project MusicTANZ—Carmen as part of the of the CNSMDP, where she performed pieces education program of the Berlin Philharmonic. of Quentin Rouillet, Hervé Robbe, Jo She has participated as dancer and répétiteur Strømgren, Lucinda Childs, and Merce in Ms. Waltz’s Sacre and L’après-midi d’un Cunningham. In 2001, she gave workshops faune . She danced in the exhibition Sasha during tours in France and abroad. The same Waltz. Installations. Objects. Performances at year, she was awarded the Jeune Espoir Prize the ZKM Karlsruhe and in Ms. Waltz’s latest at the ninth International Dance Competition choreographic opera, Orfeo . of Paris, where she performed her own chore - ography, mal de soi . Ms. Randrianantenaina Xuan Shi (dancer ) was born 1975 in the became a member of Ballet Preljocaj in 2002 , Yunnan Province of northern China. He stud - with which she participated in film produc - ied folk dance at the Central College Peking tions with such directors as Olivier Assayas from 1986 and 1992. He then worked with the and Pierre Coulibeuf. In the meantime, she Kanton Modern Dance Company for eight made two projects with Hervé Chaussard, foot years, touring throughout the United States, loose and Un sanglier… , and tryptique with United Kingdom, and Germany. In 2000, he Bruno Péré. was invited to be a guest student at the Ms. Randrianantenaina first danced for Folkwang Hochschule in Essen. In 2001, he Sasha Waltz & Guests in 2009 in the produc - received a scholarship to work in the United tion Dialoge LS — , and then took States, where he collaborated with the Shen part in Dialogue LS —MAXXI . With Sasha Wei Dance Company. In 2008–2009, he cho - Waltz & Guests, She also has performed in reographed, together with Niannian Zhou, the Zweiland , Impromptus , Continu , Métamorpho- duets Parallel , Moving , and The Sound of Qin , ses , and the choreographic operas Passion , produced by Sasha Waltz & Guests as part of Matsukaze , gefaltet , and Dialoge NLMO —Kolkata . the Choreographers of the Future program. In 2012 , she participated in the dance project Mr. Shi has worked with Sasha Waltz & Guests MusicTANZ—Carmen in the education since 2002 . He has danced in Ms. Waltz’s program of the Berlin Philharmonic. choreographies Körper , S, noBody , insideout , Ms. Randrianantenaina has also danced in Impromptus , Dido & Aeneas , Gezeiten , Medea , Ms. Waltz’s choreography Sacre and is part of Continu , Passion , Métamorphoses , Matsukaze , the ensemble of Ms. Waltz’s latest choreo - and Dialoge NLMO —Kolkata . He also partici - graphic opera, Orfeo . pated in MusicTANZ—Carmen as part of the education program of the Berlin Philhar - Yael Schnell (dancer ) was born in Haifa, Israel. monic. He can also be seen in the piece Sacre Between 1994 and 2002, she danced with the by Ms. Waltz. In 2013–2014 , he danced in the Batsheva Dance Company, where she worked exhibition Sasha Waltz. Installations. Objects. with Ohad Naharin, Jiří Kylián, Wim Performances at the ZKM Karlsruhe. Vandekeybus, Angelin Preljocaj, Amanda Miller, Tero Saarinen, and William Forsythe. Niannian Zhou (dancer ) was born in From 2002 to 2007 , she worked freelance in Guangzhou, China. She studied dance at the Berlin with various choreographers, including Guangdong Dance School. In 1994 , she be - Christoph Winkler, Paul Selwyn Norton, came a member of Guangdong Modern Sharon Paz, and Jörg Schiebe. Ms. Schnell also Dance Company, where she worked for six develops and performs her own works, such as years. She subsequently came to Germany as a os’ulivann and it looks like it’s going to be a long guest student at the Folkwang Hochschule in day . She has worked with Sasha Waltz & Essen. In 2001, she received a scholarship to Guests since 2007 , and has danced in Körper , work in America, where she collaborated with

CAL PERFORMANCES ABOUT THE ARTISTS the Shen Wei Dance Company. She also took Ruth Sandhoff (mezzo-soprano ) was born in part in projects with the Rubato Dance Aachen and studied singing in Cologne and Company in Berlin and Ji Xin Dance Freiburg with Ingeborg Most. Working with Company in Shanghai as a freelancer. In 2008 Elisabeth Glauser, Anna Reynolds, and and 2009, together with Xuan Shi, she chore - Cornelia Kallisch had great influence on her ographed the duets Parallel , Moving , and The vocal development. Her repertoire ranges Sound of Qin , produced by Sasha Waltz & from works of the early Baroque period to na - Guests as part of the Choreographers of the tional and world premières of such contem - Future program. Ms. Zhou has danced in porary compositions as Wolfgang Rihm’s Continu , Métamorphoses , Impromptus , Deus Passus with Helmuth Rilling at the Passion , and Sacre by Ms. Waltz. She also took Lucerne Festival. Ms. Sandhoff has performed part in Ms. Waltz’s two Dialoge productions as soloist with many ensembles, including in Berlin and Rome, Dialoge LS— Neues Musica Antiqua Köln, the Akademie für Alte Museum and Dialoge LS— MAXXI , and the Musik Berlin, Concerto Köln, Freiburg choreographic opera Matsukaze . In 2012 , she Baroque Orchestra, and the orchestras of the participated in the dance project WDR, NDR, and SWR. She has received nu - MusicTANZ—Carmen within the education merous invitations to well-known festivals, program of the Berlin Philharmonic. In 2013– such as the Oregon Bach Festival, Melbourne 2014 , she danced in the exhibition Sasha Art Festival, La Folle Journée de Nantes, Waltz. Installations. Objects. Performances at Festival van Flandern, Bach Festival the ZKM Karlsruhe. Philadelphia, and the Europäisches Musikfest Stuttgart. She has toured throughout the Born in Romania, Cristina Marton (piano ) United States, Australia, and Europe and has studied in Berlin with Georg Sava. She also re - worked with various conductors, including Sir ceived lessons from Christian Zacharias, Leon Roger Norrington, Frieder Bernius, Michael Fleischer, Martha Argerich, Dmitri Baskirov, Hofstetter, Rupert Huber, Reinhard Goebel, Stephen Kovacevich, András Schiff, Radu and Jos van Immerseel. Guest engagements Lupu and Alfred Brendel. She has won nu - have taken her to the Opera, the merous prizes at such international competi - Hessisches Staatstheater in Wiesbaden, and tions as the Arthur Schnabel (Berlin, 1994), the Cologne Opera. Geza Anda (Zürich, 1994), Clara Schumann Ms. Sandhoff has participated in numerous (Düsseldorf, 1997), Mozart (Salzburg, 1999), CD productions and TV and radio recordings and the First Martha Argerich International in Germany as well as abroad, among them J. S. Piano Competition (Buenos Aires, 1999). Bach’s Magnificat with the Bach-Collegium Together with her duo partner Aglaia Bätzner, Stuttgart under the direction of Mr. Rilling she won the First Prize at the Dranoff and the Magnificats of Telemann and C.P.E. Competition in Miami and the Chamber Bach with La Stagione Frankfurt and Michael Music Competition in Caltanissetta. During Schneider. Recently she took part in Die recent seasons, Ms. Marton was invited to sieben letzten Worte by Haydn with the Radio- perform in several prestigious music centers, Sinfonieorchester Stuttgart of the SWR and such the Berlin Philharmonie, Warsaw Sir Roger Norrington, performances at the National Philharmonic Hall, Auditorio Ludwigsburger Schlossfestspiele, and in Nacional in Madrid, Opernhaus Zürich, Rihm’s Stabat Mater for the Bayerischer Herkulessaal München, Taipei National Hall, Rundfunk Munich. Ms. Sandhoff was a soloist Teatro Colón in Buenos Aires, the Mozarteum on the recording of J. C. Bach’s Requiem Mass Salzburg, Hong Kong City Hall, BAM Theater with the RIASKammerchor and the Akademie in New York, and Frankfurt Alte Oper. She für Alte Musik Berlin under the direction of recorded many CDs, most recently for EMI Hans-Christoph Rademann. The CD produc - Classics featuring live performances of the tion won a prize from the Deutsche piano duo of Ms. Argerich and Ms. Marton. Schallplattenkritik in 2012. Ms. Sandhoff

PLAYBILL ABOUT THE ARTISTS also participates in Carus Publishing and received a grant from the danceWEB program SWR 2’s children’s singing benefit project. during the International Weeks of Dance in In 2013–2014, she participated in several Vienna. In 1997 , she was profiled in the critic’s different projects, among them J. S. Bach’s survey of the magazine ballet international/ Christmas Oratorio under the direction of tanz aktuell as an “upcoming female dancer.” Peter Schreier in Munich and Haydn’s Stabat Since 2005 , she has taught contemporary tech - Mater with Concerto Köln under the direction nique regularly in various institutions interna - of Mr. Rademann in Oslo and Berlin. tionally: as the training director for Sasha Waltz She has worked with Sasha Waltz since & Guests, at the Folkwang Hochschule, PARTS 2006 , currently singing in Impromptus . Brussels, and Opéra National de Paris, and of - fering workshops in Germany, Switzerland, Renate Graziadei (rehearsal director ) was Denmark, Colombia, and Croatia, among others . born in Austria and began her dance training Since summer 2004, Ms. Graziadei has in Switzerland. She then went to New York for been rehearsal director for Sasha Waltz & three years to study, live, and work, most no - Guests for the pieces Impromptus , Dialoge tably as a dancer for the Nina Wiener dance LQ —Radiale Systeme , Medea , Continu , and company. Upon her return to Europe, she Roméo et Juliette . As a dancer she took part in worked with Rui Horta at the S.O.A.P. Dance Ms. Waltz’s choreographies Jagden und Theater in Frankfurt and then moved on to Formen (Zustand NLLR ), Dialoge LS —Neues the dance group COAX in Hamburg. In fall Museum , Dialoge LS —MAXXI , and 1994, she established the LaborGras collective Métamorphoses . Her most intimate and with Arthur Stäldi. Since then, she has real - longest collaboration has been with the cho - ized 15 productions and projects with reographer and friend David Hernandez. Mr. Stäldi and was involved in countless pro - Since 1999, sh e has been closely involved in ductions with other artists. In 1997–1998, she many of his productions and projects.

CAL PERFORMANCES