Malandain Rossini © Olivier Houeix & Yocom

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 classical ballet 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), American Ballet Theatre, Alvin Ailey, Royal Swedish Ballet, Miami City Ballet, Munich Operhouse, Ballet Florida, San Francisco Ballet, 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.

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