NOAH CREATION 2017 malandain rossini © Olivier Houeix & Yocom

Yves Kordian executive director Sabine Lamburu communication manager +33 (0)6 08 37 99 37 +33 (0)5 59 24 87 66 [email protected] [email protected]

Lise Philippon touring officer Yves Mousset PR manager +33 (0)5 59 24 96 98 +33 (0)6 08 60 31 45 [email protected] [email protected] www.malandainballet.com

NOAH

CREATION 2017 Preview in Donostia / San Sebastián at Teatro Victoria Eugenia on January 14th and 15th 2017 Creation in Paris at Théâtre National de Chaillot between May 10th and 24th 2017

Ballet for 22 dancers Lenght 70 minutes

Choreography Thierry Malandain Music Gioacchino Rossini - Messa di Gloria Set and costumes Jorge Gallardo Lighting design Francis Mannaert Dressmaker Véronique Murat Set and accessories production Frédéric Vadé

Ballet masters Richard Coudray, Françoise Dubuc

Dancers Ione Miren Aguirre, Raphaël Canet, Mickaël Conte, Ellyce Daniele, Frederik Deberdt, Romain Di Fazio, Baptiste Fisson, Clara Forgues, Michaël Garcia,Irma Hoffren, Miyuki Kanei, Mathilde Labé, Hugo Layer, Guillaume Lillo, Claire Lonchampt, Nuria López Cortés, Arnaud Mahouy, Ismaël Turel Yagüe, Patricia Velazquez, Laurine Viel, Daniel Vizcayo, Lucia You González

Coproducers Théâtre National de Chaillot, Teatro Victoria Eugenia - Ballet T, Donostia / San Sebastián 2016, CCN Malandain Ballet Biarritz Partner Opéra de Reims

Other coproducers and partners are sollicited.

3 4 FOREWORD

“In the Flood myth common to various different cultural traditions, the jubilant figure of Noah embodies a kind of breakthrough in humanity’s history. In summing up the past and preparing us for the future, Noah symbolises the coming of a new and better world. This second Creation erases the first, which has been wrought by the machinations of evil and humanity’s degeneration. This is a new Adam, drawn from water rather than the earth, who, in Genesis, acts first as a mortal and then a symbol of life because, upon leaving the womb and cradle that is the Ark, Noah and his offspring will repopulate the world.

This epic tale is one in a long line of similar stories and can be interpreted on several levels. Saint Augustin sought to show that the Ark’s proportions were the same as the human body’s, “which is also the body of Christ, which is also the Church”, while Paul Claudel saw the salvational Ark as a cathedral, its nave the prow of a ship navigating the heavens.

We might also imagine Noah as humanity collectively seeking refuge within itself to cast off a past existence and start afresh, mining the abyss of its own being for new sources of energy. That is why, with the exception of the dove - a sign of hope in a new life -, we will not board all the animals. Instead, the movement of humanity will be represented by the symbolic, dancing figure of Noah beneath the light of a new sun.”

Thierry Malandain

5 THE MUSICAL SCORE FOR NOAH

From one creation to the next, Thierry Malandain demonstrates his ability to grasp many different kinds of musical genres. For example, traditional songs for Une Dernière chanson, or Hector Berlioz for his Romeo and Juliet, and he sometimes even diverts musical scores from their original purpose such as Quatuor de la Jeune Fille et la Mort (Death and the Maiden) by Franz Schubert which seems like it was written for his version of Carmen.

Frequently praised for the musicality of his ballets, Thierry Malandain continues in the same spirit with Noah set to Messa di Gloria by Gioacchino Rossini.

« It is a mystery why Rossini’s Messa di Gloria is so little known.

He wrote the work—a ninemovement setting of the Kyrie and Gloria for five soloists, chorus and orchestra—in Naples in 1821. As a composer he was in the full leaf and flower of his art. The Naples experience had hugely expanded his command of both orchestral and choral writing.

And great voices remained on tap, so much so that he could afford to write within the Mass for a pair of tenors, the one tender and florid in the ‘’Gratias’’, the other altogether more emotionally racked in the ‘’Qui tollis’’.

The opening ‘’Kyrie’’ is a deeply impressive movement; elsewhere the old canard about Rossini writing operatically for church performance applies rather more obviously than it does in either the Stabat mater or the Petite messe solennelle. (The ‘’Qui sedes’’ as cabaletta to the ‘’Qui tollis’’!) Not that this detracts one iota from one’s pleasure in some wonderfully inspired music. The sensuously beautiful ‘’Gratias’’ is a movement Bach might have fancied and Mozart been proud to own.»

© Richard Osborne - Gramophone review

6 THIERRY MALANDAIN

Author of a repertoire of 80 choreographies, Thierry Malandain has developed a very personal vision of dance, closely linked to ‘‘Ballet’’, where priority is given to the dancing body, its power, virtuosity, humanity and sensuality.

The search for meaning and aesthetics guide a powerful and sober style, which can be both serious and insolent, based on the pursuit of harmony between history and today’s world. Thierry Malandain’s troupe is comprised of dancers with classical dance training who express themselves in a contemporary way via Thierry Malandain’s choreography.

« My culture is that of and I confidently

remain attached to it. Because while I readily admit that its © Johan Morin artistic and social codes are from another time, I also think THIERRY MALANDAIN IN A FEW DATES that this heritage from four centuries represents invaluable resources for dancers. 1959. Born in Le Petit-Quevilly (Seine-Maritime) A classical choreographer for some, a contemporary one Receveid the training of Monique Le Dily, René Bon, for others, I play with it, simply trying to find a dance I like. Daniel Franck, Gilbert Mayer et Raymond Franchetti.

A dance that will not only leave a lasting impression of joy, 1977. Dancer at the Paris National Opera, the Ballet but that will also restore the essence of the sacred things of the Rhine and the French Ballet Theatre in Nancy and serve as a response to the difficulty of being. » 1986. Foundation of the compagny « Temps Présent » (Elancourt and Saint-Etienne)

1992. Settled in the Opera of Saint-Étienne as an «Associated company»

1998. Director of the new Centre Chorégraphique National in Biarritz

2006. Received his second nomination for the prize at the Benois de la danse with L’Envol d’Icare created for the Ballet of the Paris National Opera

2009. Artistic director of the Dance Festival in Biarritz «Le Temps d’Aimer la Danse»

2012. Award for Une Dernière chanson (One Last song) by the «Syndicat de la critique»

2014. Taglioni European Ballet Award «best choregrapher» in Berlin for the ballet Cinderella

7 CREATIVE STAFF

JORGE GALLARDO – set and costume design Born in Chile, he started his studies in architecture at the Catholic University and went on to obtain a degree in Visual Arts from the University of Santiago. Jorge Gallardo began his career as a designer and creator of costumes in the Ballet du Nord for Thierry Malandain’s L’Amour sorcier.

He then moved to Miami, where he began a successful career in the United States. He now lives in Santiago de Chile and works for several prestigious companies : Ballet Théâtre Français de Nancy (Patrick Dupont), , Alvin Ailey, , Miami City Ballet, Munich Operhouse, Ballet Florida, , Malandain Ballet Biarritz.

He has been working for over twenty years as Thierry Malandain’s loyal associate on most of the Malandain Ballet Biarritz performances. © Olivier Houex

......

When it comes to costumes and set design, lighting and logistics, the company counts on its staff’s expertise, as well as partnerships with local businesses for the most part, in the spirit of participating in local development. All in all, around forty collaborators contribute directly to the creation and production of Noah.

8 IN CONJUNCTION WITH NOAH

For the performances which will take place at the Paris Théâtre National de Chaillot in May 2017, the Malandain Ballet Biarritz Company will provide cultural media and awareness events, including some inspired by Basque culture in which dance is ever-present.

Thanks to experience in raising awareness (over 450 interventions annually), the Malandain Ballet Biarritz Company can provide various interventions before and after performances - “Do you want to dance with us?” workshops, cultural tours, master classes, and even classes based on Noah, for young amateurs, pre-professional dancers and school groups. Other specific events: exhibitions, special events, etc. may be provided.

« LE BAL » Inspired by Mutxiko, a traditional social dance from the Basque Country, the “Bal” or Ball, led by dance master Arnaud Mahouy, is an invitation to simply enjoy being together. Amid

twenty-two dancers from Malandain Ballet Biarritz, the idea is © Stéphane Bellocq to dance based on movements and dance steps from Thierry Malandain’s repertoire and of course, with your own personal “swing”. Public for all levels including beginners Length 1h to 1h30 Location inside or outside Number of participants from 100 to 300 people Tutor Arnaud Mahouy and the dancers of Malandain Ballet Biarritz

GIGABARRE Open to dance school students and curious people of all ages, the Megabarre is a classical dance “barre” led by a member of the Malandain Ballet Biarritz. Loads of fun ! Public for all levels including beginners Length 1h Location inside or outside Number of participants from 80 people (as a function of the location) Tutor Richard Coudray or Dominique Cordemans

“ DO YOU WANT TO DANCE WITH US? ” WORKSHOP Intended for adults and students, the goal of these workshops is to discover or rediscover dance movements in each and every one of us. Based on choreographic excerpts by Thierry Malandain, and some basic fundamentals such as body awareness, spatial evolution, and the relationship to the music, these workshops are in conjunction with the programme presented and finish with a discussion about the performance. Public adults and students with no formal dance training, musicians, teachers, etc. Length 1h30 to 2h Location dance studio Number of participants from 15 to 20 people Tutor Dominique Cordemans or a dancer of Malandain Ballet Biarritz

PHOTO EXHIBITION AND DOCUMENTARY Each intervention may be supplemented by hiring a photo exhibition and/or a twenty-minute documentary film which retraces the creation of a ballet by Thierry Malandain.

9 MALANDAIN BALLET BIARRITZ

Created in 1998 in Biarritz on the initiative of the Ministry of Culture & Communication, and the Town of Biarritz with the support of Nouvelle Aquitaine Region and the Atlantic Pyrenees Departmental Council, Malandain Ballet Biarritz is one of 19 National Choreographic Centres (NCC) in France today.

The particularity of Malandain Ballet Biarritz is that it is made up of 22 permanent dancers trained in classical technique and whose expression in Thierry Malandain’s choreographies is contemporary.

Today Malandain Ballet Biarritz is one of Europe’s most widely seen companies with 80 000 spectators per season and almost 100 © Frédéric Néry, Yocom Néry, © Frédéric performances per year, including a third abroad.

Thierry Malandain’s latest creations have won great critical and public acclaim. They are currently part of the Malandain Ballet Biarritz Company’s repertoire and continue to be programmed both in France and abroad : • Magifique (2009) : 152 shows* • Romeo and Juliet (2010) : 140 shows* • One Last song (2012) - Award by the «Syndicat de la Critique» 2012 : 50 shows • Cinderella (2013) - Taglioni European Ballet Award 2014 du meilleur chorégraphe : 130 shows • Estro / Nocturnes (2014) : 28 shows / 17 shows • Beauty and the Beast (2015-16) : preview at Opera Royal du Château de Versailles in december 2015 – French Premiere at Biennale de la Danse de Lyon 2016.

As a National Choreographic Centre, Malandain Ballet Biarritz also works intensely in terms of public awareness of dance – with on average over 450 events per year – and supports artists and companies through the « Accueil Studio » programme.

Its local presence has led it to forge fertile partnerships with numerous cultural actors in the Euro-region. It has thus constructed the «Ballet T» project, a partnership between Malandain Ballet Biarritz and San Sebastian’s Teatro Victoria Eugenia, with support from Europe and the Aquitaine Euskadi fund. Its aim is to spread choreographic art in the Basque Country, by co-producing and disseminating choreographic works, and also through awareness campaigns and audience mobility within the Euro-region.

* no longer part of the tour repertoire

Union européenne

Invirtiendo en nuestro futuro Fonds européen de Investir dans notre avenir développement régional

Union européenne

Invirtiendo en nuestro futuro Fonds européen de Investir dans notre avenir développement régional

The Malandain Ballet Biarritz is supported by its « Carré des Mécènes » : Principal patron : Repetto Great patrons : Banque Populaire Aquitaine Centre Atlantique, l’Association des Amis du Malandain Ballet Biarritz, Société Générale. Patrons : le Groupe Slavi, l’Hôtel du Palais de Biarritz, le Sofitel Miramar, l’Aéroport Biarritz Pays Basque, Fournil de la licorne, le Bar du Jardin, Burographic

10 Malandain Ballet Biarritz company DANCERS has 22 permanent classical trained dancers (11 women and 11 men) : Paris National Opera School, Paris National Music & Dance Conservatoire, Flanders Royal Ballet School … from various countries, such as Belgium, , Japan, Australia and even Mexico.

Ione Miren Aguirre, born in Caracas (Venezuela). She started at the National Conservatory of Bayonne-Basque Coast where she studied under Monik Elgueta in the Ballet Studio in Biarritz. She then joined the Paris National Opera Ballet School after which she joined Rosella Hightower’s Superior Dance School in Cannes. In 2005, she joined the Ballet Biarritz Junior and the following year, Malandain Ballet Biarritz.

Ellyce Daniele, born in Duncraig (Australia). She began dancing in 2003 in Perth at the Terri Charlesworth Ballet Center. At the same time she danced with the Youth Ballet Wa ; in 2007, she joined the Academy of Dance Princess Grace in Monaco. Supernumerary to the Ballet of the National Opera of Bordeaux during the 2008-2009 season, she joined Malandain Ballet Biarritz in 2010.

Clara Forgues, born in Biarritz. She started the École de Ballet Gillet-Lipszyc in Biarritz before entering the École Nationale Supérieure de Danse de Marseille in 2010. She then continued her training in Lausanne at the Rudra-Béjart School. She joined Malandain Ballet Biarritz in September 2014.

Irma Hoffren, born in San Sebastián (Spain). She studied at the Thalia Dance School in San Sebastian, and then furthered her training with Maria de Avila and Carmen Roche. She joined Ballet Biarritz Junior from 2005 to 2008, then CCN-Ballet de Lorraine, under the direction of Didier Deschamps. She entered Malandain Ballet Biarritz in 2012.

Miyuki Kanei, born in Hiroshima (Japan). She studied ballet in that city with Itsuko Taki before joining the CNSMD in Lyon. Later she danced with the Academy of Classical Dance of Pascale Courdioux. She was part of the Young Ballet of the CNSMD of the Lyon . She then joined Malandain Ballet Biarritz in 2006.

11 Mathilde Labé, born in Mont Saint-Aignan. She studied at the National Conservatory of Music and Dance in Lyon, then joined the Young Ballet of the Conservatory in 2008. After two years at the School-Atelier Rudra Béjart Lausanne, she joined Malandain Ballet Biarritz in 2010.

Claire Lonchampt, born in Sèvres. She trained in the Dance School of the Paris National Opera from 1998 to 2001. She continued her training at the European Dance Center, then was admitted in 2002 to the CNSMD in Paris where she joined the Junior Ballet in 2005. She began her career at the Zurich Ballet and then joined the Ballet of the National Opera of Finland in Helsinki in 2007. Later she was in Het National Ballet during in 2010. She joined us in 2011.

Nuria López Cortés, born in Alicante (Spain). She studied from 2004 to 2010 with Marika Besobrasova in the Academy Princess Grace de Monaco. She performed at the Ballet of the National Opera of Bordeaux in 2008, and joined Malandain Ballet Biarritz in 2010.

Patricia Velázquez, born in Guadalajara (Mexico). She studied at the Royal Academy of Dance of London, from 1994 to 2003. She was then admitted to the School in Canada from 2003 to 2005, before joining Academy of Guadalajara. She started her career in Mexico in the Compañia de Danza Clásica y Neoclásica de Jalisco in Guadalajara in 2009. She was then hired in the Compannia Nacional de Danza in 2010, and in the Monterray Ballet in 2011. She joined Malandain Ballet Biarritz in 2012.

Laurine Viel, born in Paris. She began dancing with Virginia Cosnier at the Villejuif Municipal Conservatory. Then, in 2005, she attended the National Superior Conservatory of Music and Dance in Paris, before joining its Junior Ballet Classic in 2009. She joined Malandain Ballet Biarritz in 2011.

Lucia You González, born in Madrid (Spain), she started out at the Madrid Royal Dance Conservatory. After attending Madrid’s Victor Ullate Ballet school, she joined the Ballet in 2009, under the direction of . In 2011 she was hired as a soloist at the Magdeburg Ballet in Germany. She joined Malandain Ballet Biarritz in April 2014.

12 Raphaël Canet, born in Avignon. He studied at the Regional Conservatory in Avignon, before joining the Ballet of the National Opera of Bordeaux. Hired in 2009 in Dantzaz Konpainia, he joined Malandain Ballet Biarritz in 2011.

Mickaël Conte, born in Libourne. He trained at the National Conservatory de Bordeaux in 2001. He joined the Ballet Biarritz Junior in 2006 and then joined the CCN-Ballet de Lorraine directed by Didier Deschamps. He joined Malandain Ballet Biarritz in 2011.

Frederik Deberdt, born in Izegem (Belgium). He studied ballet at the Royal Ballet of Flanders School. In 1999, he was a finalist in the Eurovision contest, took part in the Varna competition, and joined the Royal Ballet of Flanders. He came to Malandain Ballet Biarritz in 2001.

Romain Di Fazio, born in Toulouse. Trained at the School, he continued his studies at the Institut International de Danse Janine Stanlowa before joining the Royal Ballet School of London in 2009. He joined Malandain Ballet Biarritz in September 2014, while dancing in Michel Schweizer’s new creation Cartel (La Coma Company)

Baptiste Fisson, born in La Rochelle. He studied at the Conservatory of La Rochelle, in particular with Marie-Pierre Cantenys and Sophie Baule. In 2006, he was admitted to the CCN-Ballet de Lorraine directed by Didier Deschamps. He joined Malandain Ballet Biarritz in 2012.

Michaël Garcia, born in Toulouse. He studied dance at the Arts and Dance Center in Fontenilles with Elisabeth and Christophe Garcia for 5 years. He then joined the Academy Princess Grace de Monaco, and later joined Malandain Ballet Biarritz in 2011.

13 Hugo Layer, born in Sens. He studied at the Conservatoire de Sens until 2007, and then at the National Superior Conservatory of Paris for Music and Dance. Meanwhile, he took part in the creation of Rhapsody in blue with Cathy Bisson, played a role in the French television film Fais danser la poussière (Make the dust dance) by Christian Faure and Marie Dô and was chosen to be the soloist in Clowns by Pietragalla/Derouault company. He joined Malandain Ballet Biarritz in 2013.

Guillaume Lillo, born in Joinville-le-Pont, France. He studied at the Conservatoire National Supérieur de Danse de Paris (Paris National Conservatory of Music and Dance), then joined the Ballet Junior troupe in 2011. In 2012, he danced with the (UK) for one season before joining the company in 2013. He joined Malandain Ballet Biarritz in 2015.

Arnaud Mahouy, born in Nanterre. He was trained by Florence Letessier at Bois- Colombes and Juan Giuliano at the Academy Chaptal in Paris. In 2000, he joined the Paris Superior National Conservatory of Music and Dance, and was awarded the first prize by a unanimous jury in 2004. He joined the Junior Ballet before joining Malandain Ballet Biarritz in 2015.

Ismael Turel Yagüe, born in Valencia, Spain. In 2006, he won the Audience Award at the Concurso Ciudad Ribarroja del Turia. In 2009, he danced The Nutcracker with the Ballet Nacional de Cuba. He was a finalist in the XI Concurso Internacional de Ballet Ciudad de Torrelavega in 2012. In 2013, he worked for Trainee performance with the School in New York. Graduated in 2014 from the Conservatorio Professional de Danza in Valencia, he joined the Ballet de la Generalitat Valenciana. In 2015, he joined Malandain Ballet Biarritz.

Daniel Vizcayo, born in Madrid (Spain). He studied dance at the Royal Conservatory of Dance in Madrid. First prize in 2006 in Torrelavaga, a finalist in the Lausanne competition in 2007, he joined Europa Dance the same year under the direction of Jean-Albert Cartier. He joined Malandain Ballet Biarritz in 2008.

14 PRESS HIGHLIGHTS

La Belle et la Bête / Beauty and the Beast (2015) « His play is extraordinarily beautiful, with a myriad of choreographic innovations truly making him France’s leading choreographer. » Le Figaro, Ariane Bavelier, 20 décembre 2015

« We’re captivated by this duo who are two very different beings, overwhelmed by the delicacy through which their feelings slowly evolve, going from bestiality to affection and sensuality, the Beast’s suffering, his fear of letting himself be tamed and Belle’s fear of being won over, outside of normal criteria for being seduced. [...] From the beautiful and regal Claire Lonchampt, straight out of a romantic novel, to the amazing Mickaël Conte, a powerful Beast with impressive leaps and contagious suffering, as well as the superb precision of Arnaud Mahouy and the expressive power of Frederik Deberdt, Beauty’s father. Talking about Neoclassicism is essential here due to the style of the portés, the dance ensemble patterns, the high-quality of the elegantly traditional costumes, and even the intrusion of a few pointes by little Patricia Velázquez in the role of Love. » Concert classic.com, Jacqueline Thuilleux, 14 décembre 2015

Estro (2014) « With next to nothing – (...) just a few recycled paint pots turned into magic lanterns - Thierry Malandain creates a setting of both dramatic and joyful celebration, where the suffering of an inconsolable mother is overcome by the irresistible joy of dance. » Ballroom Revue, Isabelle Calabre, 8 juillet 2014

Cendrillon / Cinderella (2013) « Last June, the Royal Opera of Versailles was the showcase of Prokofiev’s delightful Cinderella by Thierry Malandain, one of the rare French choreographers who work in the field of neoclassical ballet. At odds with the beautiful and dark ballet formerly composed by Maguy Marin (still on tour), Thierry Malandain provided a brighter interpretation, though he did not erase the character of the beaten child... Cinderella, often accompanied by her heartbreaking leitmotif, was often on the ground, using a rag with a resigned gesture. But what a vital power when she ran diagonally to storm the stage! [...] Even outside Louis XV paneling, Cinderella by Malandain can settle anywhere like a beautiful object, with a wonderful scenery composed of black high heels hanged and aligned up like the repeating pattern of a painting... » Télérama, Emmanuelle Bouchez, 31 août 2013

Cinderella shined in Biarritz « What a ballet! And what a story! Charles Perrault, Brothers Grimm, Massenet, Prokofiev, , the Opéra- Comique... Cinderella continues to be an inspiration. One day or another, this tale became a challenge for choreographers, as did the Rite of Spring. Thierry Malandain did not fight against this attraction and the version he gave us, faithful to Prokofiev and his fantastic universe, was a success. » Le Figaro Magazine, François Deletraz, 2 août 2013

Thierry Malandain brought a breath of fresh air with a flowing and revivified Cinderella « Following the blueprint of the great Cinderella choreographies, more particularly the version created by Frederick Ashton in 1948 or the ballet by Rudolf Noureev in 1986 (in which only the cruel stepmother was interpreted by a man on pointe shoes), Thierry Malandain chose to be neither too aggressive nor too burlesque. Harmonious, flowing, inventive and based on solid classical technique, his choreography brought a breath of light and fresh air that made Cinderella float. » La Scène, Rosita Boisseau, 21 juin 2013

Une Dernière chanson / One Last song (2012) « Une Dernière chanson, […] is a gem of a ballet awarded the best French dance performance of 2012 by the Syndicat de la Critique Danse. Each son gis choreographed with incredible intelligence and tenderness, producing a living painting of an incomparable lightness. All the dancers of the company seem weightless on stage and give their best to lead these 30 minutes of superlative dance to excellence. » Olivier Brunel, 9 septembre 2012

Roméo et Juliette / Romeo and Juliet (2010) « Thierry Malandain, the choreographer of Ballet Biarritz is a paradoxical artist. A learned creator who knows the history of music and of ballet very well, he composes in a style of dance that does not need words. It is obviously movement in its purest form. […] After his previous creation, « Magifique », that was his strongest untill now, Thierry Malandan shows that his art is fully mature. » Les Echos, Philippe Noisette, 16 septembre 2010

15 Centre Chorégraphique National Malandain Ballet Biarritz

Gare du midi • 23, avenue Foch • f-64200 biarritz • tél +33 [0]5 59 24 67 19 • fax +33 [0]5 59 24 75 40 3-1020150 et 2-1020149 Licence N° MalandainBalletBiarritz www.malandainballet.com