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La Couleur Du Temps – the Colour of Time Salzburg Whitsun Festival 29 May – 1 June 2020
SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli La couleur du temps – The Colour of Time Pauline Viardot-Garcia (1821 – 1910) Photo: Uli Weber - Decca Salzburg Whitsun Festival 29 May – 1 June 2020 (SF, 30 December 2019) The life of Pauline Viardot-Garcia – singer, musical ambassador of Europe, outstanding pianist and composer – is the focus of the 2020 programme of the Salzburg Whitsun Festival. “The uncanny instinct Cecilia Bartoli has for the themes of our times is proven once again by her programme for the 2020 Salzburg Whitsun Festival, which focuses on Pauline Viardot. Orlando Figes has just written a bestseller about this woman. Using Viardot as an example, he describes the importance of art within the idea of Europe,” says Festival President Helga Rabl-Stadler. 1 SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli Pauline Viardot not only made a name for herself as a singer, composer and pianist, but her happy marriage with the French theatre manager, author and art critic Louis Viardot furthered her career and enabled her to act as a great patron of the arts. Thus, she made unique efforts to save the autograph of Mozart’s Don Giovanni for posterity. Don Giovanni was among the manuscripts Constanze Mozart had sold to Johann Anton André in Offenbach in 1799. After his death in 1842, his daughter inherited the autograph and offered it to libraries in Vienna, Berlin and London – without success. In 1855 her cousin, the pianist Ernst Pauer, took out an advertisement in the London-based journal Musical World. Thereupon, Pauline Viardot-García bought the manuscript for 180 pounds. -
Prix De Lausanne 2017 Finale - List of Potential Candidates
Prix de Lausanne 2017 Finale - List of potential candidates N° Name / Age Nationality / Language 102 Hunter Lauren / 15.4 United States / E Schools: Peninsula School of Performing Arts, USA Classical Variation Le Corsaire, Odalisques pas-de-trois, 2nd variation - Adolph Adam - Joseph Mazilier Contemporary Variation Bach Suite II - Johan Sebastian Bach - John Neumeier 104 Fujimoto Yuika / 15.7 Japan / J Schools: Koike Ballet Studio, Japan Classical Variation La Bayadère, 1st soloist variation - Léon Minkus - Marius Petipa Contemporary Variation A Cinderella Story - Sergej Prokofjew - John Neumeier 107 Seymour Jessi / 15.11 Australia / E Schools: Alegria School of Ballet, Australia Classical Variation Don Quixote, Cupid from the dream - Léon Minkus - Marius Petipa Contemporary Variation Requiem - Gregorian Choir - John Neumeier 111 Lee Sunmin / 16.4 South Korea / K Schools: Seoul Arts High School, South Korea; KNB Ballet Academy, South Korea Classical Variation Sleeping Beauty, Lilac Fairy variation from Prologue - Piotr Tchaïkovsky - Marius Petipa Contemporary Variation Nocturnes - Frédéric Chopin - John Neumeier 114 Henrique Rafaela / 16.8 Brazil / P Schools: Especial Academia de Ballet, Brazil; Danzaria Estudio de Danza, Brazil Classical Variation Le Corsaire, Odalisques pas-de-trois, 2nd variation - Adolph Adam - Joseph Mazilier Contemporary Variation Préludes CV - Lera Auerbach - John Neumeier 120 Ionescu Diana Georgia / 16.11 Romania / E Schools: Tanz Akademie Zü•rich, Switzerland Classical Variation Paquita, First girl's variation -
Ballet Notes the Seagull March 21 – 25, 2012
Ballet Notes The SeagUll March 21 – 25, 2012 Aleksandar Antonijevic and Sonia Rodriguez as Trigorin and Nina. Photo by Cylla von Tiedemann. Orchestra Violins Trumpets Benjamin Bowman Richard Sandals, Principal Concertmaster Mark Dharmaratnam Lynn KUo, Robert WeymoUth Assistant Concertmaster Trombones DominiqUe Laplante, David Archer, Principal Principal Second Violin Robert FergUson James Aylesworth David Pell, Bass Trombone Jennie Baccante Csaba Ko czó Tuba Sheldon Grabke Sasha Johnson, Principal Xiao Grabke • Nancy Kershaw Harp Sonia Klimasko-LeheniUk LUcie Parent, Principal Celia Franca, C.C., FoUnder Yakov Lerner Timpany George Crum, MUsic Director EmeritUs Jayne Maddison Michael Perry, Principal Ron Mah Karen Kain, C.C. Kevin Garland Aya Miyagawa Percussion Mark MazUr, Acting Artistic Director ExecUtive Director Wendy Rogers Filip Tomov Principal David Briskin Rex Harrington, O.C. Joanna Zabrowarna Kristofer Maddigan MUsic Director and Artist-in-Residence PaUl ZevenhUizen Orchestra Personnel Principal CondUctor Violas Manager and Music Magdalena Popa Lindsay Fischer Angela RUdden, Principal Administrator Principal Artistic Coach Artistic Director, • Theresa RUdolph Koczó, Jean Verch YOU dance / Ballet Master Assistant Principal Assistant Orchestra Valerie KUinka Peter Ottmann Mandy-Jayne Personnel Manager Johann Lotter Raymond Tizzard Senior Ballet Master Richardson Beverley Spotton Senior Ballet Mistress • Larry Toman Librarian LUcie Parent Aleksandar Antonijevic, GUillaUme Côté, Cellos Greta Hodgkinson, Jiˇrí Jelinek, Zdenek Konvalina*, -
John Neumeier
JOHN NEUMEIER John Neumeier was born in 1942 in Milwaukee, Wisconsin, USA, where he also received his first dance training. He went on to study ballet both in Copenhagen and at the Royal Ballet School in London. He acquired a Bachelor of Arts degree in English Literature and Theater Studies from Marquette University, Wisconsin, where he created his first choreographic works. In 1963 John Cranko engaged him at the Stuttgart Ballet, where he progressed to solo dancer. In 1969 Ulrich Erfurth appointed Neumeier as Director of Ballet in Frankfurt. Since 1973 John Neumeier has been Artistic Director and Chief Choreographer of THE HAMBURG BALLET, since 1996 Ballettintendant (General Director). THE HAMBURG BALLET has become one of the leading ballet companies in the German dance scene and soon received international recognition. As a choreographer, Neumeier has continually focused on the preservation of ballet tradition, while giving his works a modern dramatic framework. His commitment to this end has manifested itself particularly in his revised versions of the classical “story ballets”. For his revolutionary choreographies on symphonies by Gustav Mahler he has received particular acclaim throughout the world. His latest creations for THE HAMBURG BALLET, Le Pavillon d’Armide and Orpheus, premiered in 2009, and Purgatorio, premiered in 2011. In 1975, Neumeier created the Hamburger Ballett-Tage, the Hamburg Ballet Festival, a climax and end to each season. In 1978 he founded The School of THE HAMBURG BALLET. In 1989 the school, together with the company, moved into its own Ballettzentrum (ballet center) provided by the city of Hamburg. Its facilities include nine studios and a boarding school for over thirty students. -
Prix De Lausanne 2020 Jury Members and Interlude International Ballet Competition – Auditorium Stravinski
Press release Prix de Lausanne 2020 Jury members and Interlude International ballet competition – Auditorium Stravinski Lausanne, December 2nd, 2019: the 48th Prix de Lausanne jury panel will be presided by Frédéric Olivieri, Director of the Scala in Milan and Prize Winner of the Prix de Lausanne 1977. Among the artistic collaborators, Nicolas Le Riche, Etoile of the Paris Opera Ballet and actual Director of the Royal Swedish Ballet, will be the coach for the male candidates’ variations. During the Interlude, the performance will be the 3rd edition of the Partner School Choreographic Project, choreographed by Mauro Bigonzetti, with 26 of the world’s best students reunited in Montreux for a unique creation, as well as a performance by dancers from the Royal Ballet School of London. The registration for the 2nd edition of the Summer Intensive – European Preselection open this week. The 2020 jury presided by Frédéric Olivieri The nine jury members of the Prix de Lausanne 2020 are: Frédéric Olivieri (President), Yorgos Loukos (Vice-President), Zenaida Yanowsky, Nadia Deferm, Jaimie Persson, Zhongjing Fang, Bernice Coppieters, Philippe Cohen and Sebastian Vinet. « I am very honoured to have Frédéric Olivieri as the 2020 Prix de Lausanne jury President! As a 1977 Prize Winner and as the Director of the prestigious ballet company and school ‘La Scala de Milan’, he has the expertise and experience that it takes to be an inspirational leader.» (Kathryn Bradney, Artistic and Executive Director of the Prix de Lausanne) An Etoile joins the Prix de Lausanne artistic collaborators Nicolas Le Riche, Etoile of the Paris Opera Ballet and actual Director of the Royal Swedish Ballet, will be the coach of the male candidates’ variations. -
Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro Zone)
edition ENGLISH n° 284 • the international DANCE magazine TOM 650 CFP) Pina Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro zone) € 4,90 9 10 3 4 Editor-in-chief Alfio Agostini Contributors/writers the international dance magazine Erik Aschengreen Leonetta Bentivoglio ENGLISH Edition Donatella Bertozzi Valeria Crippa Clement Crisp Gerald Dowler Marinella Guatterini Elisa Guzzo Vaccarino Marc Haegeman Anna Kisselgoff Dieudonné Korolakina Kevin Ng Jean Pierre Pastori Martine Planells Olga Rozanova On the cover, Pina Bausch’s final Roger Salas work (2009) “Como el musguito en Sonia Schoonejans la piedra, ay, sí, sí, sí...” René Sirvin dancer Anna Wehsarg, Tanztheater Lilo Weber Wuppertal, Santiago de Chile, 2009. Photo © Ninni Romeo Editorial assistant Cristiano Merlo Translations Simonetta Allder Cristiano Merlo 6 News – from the dance world Editorial services, design, web Luca Ruzza 22 On the cover : Advertising Pina Forever [email protected] ph. (+33) 09.82.29.82.84 Bluebeard in the #Metoo era (+39) 011.19.58.20.38 Subscriptions 30 On stage, critics : [email protected] The Royal Ballet, London n° 284 - II. 2020 Les Ballets de Monte-Carlo Hamburg Ballet: “Duse” Hamburg Ballet, John Neumeier Het Nationale Ballet, Amsterdam English National Ballet Paul Taylor Dance Company São Paulo Dance Company La Scala Ballet, Milan Staatsballett Berlin Stanislavsky Ballet, Moscow Cannes Jeune Ballet Het Nationale Ballet: “Frida” BALLET 2000 New Adventures/Matthew Bourne B.P. 1283 – 06005 Nice cedex 01 – F tél. (+33) 09.82.29.82.84 Teac Damse/Keegan Dolan Éditions Ballet 2000 Sarl – France 47 Prix de Lausanne ISSN 2493-3880 (English Edition) Commission Paritaire P.A.P. -
SILVANA SINTOW Luciano Di Martino Conductor
Silvana Sintow Classicalia International Promotions & Management Schleibingerstrasse 8 - 81669 München - Germany • Tel: + 49-89- 44 21 89 00 e-mail: [email protected] • www.classicalia-international.com • Fax: + 49-89- 44 21 89 03 Luciano Di Martino Conductor A dynamic and accomplished presence both on the orchestra podium and in the opera pit, Luciano Di Martino is highly acclaimed for his intensity and spontaneity, his precision and musicianship. In the beginning of 2020 Luciano Di Martino made his debut at the Gran Teatro La Fenice in Venice with John Neumeier's production “Duse”, conducting music by Benjamin Britten and Arvo Pärt and with the ballet “The Glassmenagerie” at the Hamburg State Opera featuring music by Charles Ives, Philipp Glass and Ned Rorem. A further engagement this year led him to conduct the production of Verdi's “Rigoletto” at the Sofia National Opera. He has appeared as a guest conductor with the Kennedy Center Opera House Orchestra, the Mariinsky Theatre Chorus and Symphony Orchestra, the Israel Symphony Orchestra Rishon LeZion, the Novosibirsk Philharmonic, the Hamburg Symphony and the Orchestra del Teatro La Fenice in Venice. Since 2008, Di Martino has been a regular guest at the Hamburg State Opera, where he conducted performances of Verdi's “La Traviata” as well as Andreas Homoki's production of Verdi's “Luisa Miller” in 2016. In 2014 he led Lera Auerbach's ballet “The Little Mermaid”, choreographed by John Neumeier, with the Hamburg Ballet and the Hamburg State Philharmonic Orchestra. In 2017 he conducted guest performances of the ballet for the company’s tour to the John F. -
Boston Ballet and the Royal Ballet Announce First Co
MEDIA CONTACTS: Toni Geheb, (617) 456-6236, [email protected] Lillian I, (617) 456-6235, [email protected] BOSTON BALLET AND THE ROYAL BALLET ANNOUNCE FIRST CO-PRODUCTION WITH WAYNE MCGREGOR’S OBSIDIAN TEAR WORLD PREMIERE IN LONDON MAY 28, 2016 AND U.S. PREMIERE IN BOSTON BALLET’S 2017–2018 SEASON April 28, 2016 (BOSTON, MA)— Boston Ballet and The Royal Ballet have announced their first co- production, Obsidian Tear, choreographed by The Royal Ballet Resident Choreographer Wayne McGregor. Obsidian Tear, inspired by renowned Finnish composer Esa-Pekka Salonen’s orchestral work Nyx, features an all-male cast. Salonen, who was recently named Composer in Residence with the New York Philharmonic, will make his Royal Ballet debut conducting the world premiere. The work will see its world premiere in London May 28, 2016, and its U.S. premiere in Boston Ballet’s 2017–2018 season in Boston. In addition to the groundbreaking work Chroma—performed by Boston Ballet in 2013 and 2015 to critical acclaim with repeated standing ovations—Obsidian Tear will be the second work of McGregor’s in Boston Ballet’s repertoire. After Boston Ballet’s debut performance in Chroma, Thea Singer of the Boston Globe stated: “The Boston Ballet dancers astonish with their master of the choreography, contorting this way and that with remarkable intensity.” McGregor will reveal additional plans for the world premiere and co-production at The Royal Opera House’s Insights event on May 11, 2016, 2:15 pm EDT / 7:15 pm BST. The event will be live-streamed for viewers around the world to enjoy on The Royal Opera House YouTube Channel. -
Flyer 2018/2019
2019 | 2020 Erzählungen Menschen lieben Erzählungen – sie helfen, die Welt um uns herum zu verstehen. Ballette erzählen Geschichten auf eine andere Art. Als wortlose Kommunikation, die keine Informationen, sondern innere Zustände und menschliche Beziehungen vermittelt, ermöglicht Tanz die lebendige Gestal- tung von Emotionen. Als Choreograf wurde ich schon früh in meiner künstlerischen Entwicklung von meinem Mentor Father John Walsh S.J. geprägt, der mir nahebrachte, den Tanz als eine Form von Theater zu verstehen. Seitdem habe ich in meinen zahlreichen Kreationen damit experimentiert, neue Formen des Handlungs- balletts zu entwickeln. Die Saison 2019/20 des Hamburg Ballett zeigt unter dem Motto „Erzählungen“ die Bandbreite der Antworten, die ich über die Jahre gefunden habe. Für die Winterpremiere wende ich mich, nach Endstation Sehnsucht, erneut Tennessee Williams zu, dieses Mal mit seinem großartigen Schauspiel Die Glasmenagerie als Inspirationsquelle. Obwohl sein Drama nur vier Figuren enthält, werde ich vorrangig ihrer inneren, poetischen Traumwelt nachspüren. Die zweite Premiere der Saison zeigt ein Werk des Choreografen Christopher Wheeldon, das sich auf einen Klassiker der Weltliteratur stützt. Wheeldon wird die Einstudierung seiner Adaption von William Shakespeares Drama The Winter’s Tale selbst betreuen. Die zeitlos menschliche Dimension von Shakespeares Werken macht sie zu einer unerschöpflichen Inspirationsquelle für Choreografen. NachShakespeare – Sonette, unserer Sommerpremiere 2019 von drei Choreografen des Hamburg Ballett, sowie dem Shakespeare-Projekt des Bundesjugendballett im Ernst Deutsch Theater werden in der folgenden Saison zwei höchst unterschiedliche Ballette zu Shakespeare-Dramen wieder aufgenommen: Zuerst Ein Sommer- nachtstraum, ein Klassiker unseres Hamburger Repertoires, in dem ich eine Vielzahl von Handlungsmomenten und Erzählsträngen zu kontrastreicher Musik bündeln musste. -
1 Giselle the Australian Ballet
THE AUSTRALIAN BALLET GISELLE 1 Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones 2 THE AUSTRALIAN BALLET 2019 SEASON Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. 1 – 18 MAY 2019 | SYDNEY OPERA HOUSE Government Lead Principal 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones Partners Partners Partner Cover: Dimity Azoury. Photography Justin Ridler Above: Ako Kondo. Photography Lynette Wills Richard House, Valerie Tereshchenko and Amber Scott. Photography Lynette Wills 4 THE AUSTRALIAN BALLET 2019 SEASON NOTE FROM THE ARTISTIC DIRECTOR Giselle has a special place in The Australian Ballet’s history, and has been a constant in our repertoire since the company’s earliest years. The superstars Margot Fonteyn and Rudolf Nureyev danced it with us in 1964, in a production based on the Borovansky Ballet’s. Our founding artistic director, Peggy van Praagh, created her production in 1965; it premiered in Birmingham on the company’s first international tour, and won a Grand Prix for the best production staged in Paris that year. It went on to become one of the most frequently performed ballets in our repertoire. Peggy’s production came to a tragic end when the scenery was consumed by fire on our 1985 regional tour. The artistic director at the time, Maina Gielgud, created her own production a year later. -
Introduction
Introduction The World Ballet Festival Returns for Summer 2018 From the 14th World Ballet FestivalPhoto: Kiyonori Hasegawa For more than 40 years now, the most talented and renowned dancers have come to Tokyo from around the world to perform in the World Ballet Festival, which will once again be held this summer. When it was first introduced in 1976 under the leadership of Tadatsugu Sasaki, it was very rare for the star ballerinas of different companies or countries to share a stage. Its first edition caused an international sensation by bringing together three legends, Margot Fonteyn from the UK, Maya Plisetskaya from the Soviet Union and Alicia Alonso from Cuba. Since then stars such as Jorge Donn, Patrick Dupond, Sylvie Guillem, Alessandra Ferri, Manuel Legris and Vladimir Malakhov have become regular participants, bringing the audiences to a storm of excitement every time and inspiring them to watch and compare all the dancers perform. The circle of energy created between audiences and artists in this festival produces an atmosphere that motivates dancers to perform to the best of their abilities, and has resulted in many legendary performances. Featuring the world's leading dancers, all from different artistic backgrounds and representing a wide variety of repertoire and styles, the festival also offers an opportunity to observe an overview of today's ballet scene. While there are now many similar festivals, the quality of both artists and audiences at the World Ballet Festival continues to be amongst the highest in the world. Ballet is an art form that unites finely tuned bodies and minds with sophisticated powers of expression, to create a deep and lasting impression on the audience members. -
Broschüre Ballett 17|18
17 18 „Von Herzen – Möge es wieder – Zu Herzen gehn!“ Ludwig van Beethoven Ballettintendant John Neumeier Opernintendant Georges Delnon Generalmusikdirektor Kent Nagano Geschäftsführender Direktor Ralf Klöter Editorial Without neglecting our traditional repertoire, I endeavor each new season to widen the dance perspective for you, our audience, as well as for my dancers. With this in mind, the coming season might be called “The Classics”. The premiere of Rudolf Nurejev’s Don Quixote based on Marius Petipa’s original choreography fits into this context as well as Chopin Dances, an evening consisting of ballets by Jerome Robbins. As a choreographer, I’m looking forward to approaching an icon of classical music – Ludwig van Beethoven – whose 250th birth- day will be celebrated in 2020 and whose music will be the starting point for a new full-length ballet. Our next season’s program offers a wide variety of repertoire favori- tes! Apart from my most recent creations (Anna Karenina, The Song of the Earth, Turangalîla and Duse), I would especially like to recom- mend Lady of the Camellias – a ballet whose 40th anniversary will be celebrated in 2018. I wish you exciting performances with the Hamburg Ballet! 3 Mit jeder neuen Saison möchte ich den Horizont unseres Publikums und meiner Tänzer erweitern – ohne darüber das Bewährte zu ver- gessen. In diesem Sinn ließe sich die vor uns liegende Saison mit dem Schlagwort „Klassiker“ betiteln. Die Premiere von Rudolf Nurejews Don Quixote nach Marius Petipa passt ebenso dazu wie meine ei- gene Fassung des Schwanensee-Stoffs und der Jerome Robbins gewidmete Abend Chopin Dances.