Yves Kordian directeur délégué +33 (0)6 08 37 99 37 [email protected] Lise Philippon chargée de diffusion +33 (0)5 59 24 96 98 [email protected] Laura Delprat attachée de production +33 (0)5 59 24 62 09 [email protected] Sabine Lamburu communication +33 (0)5 59 24 87 66 [email protected] Yves Mousset relations presse +33 (0)6 08 60 31 45 [email protected] Création 2015/2016 Création

© Olivier Houeix & Yocom LA BELLE ET LA BÊTE

Ballet for 22 dancers Stage managers Raphaël Tadiello, Bertrand Tocoua Régie costumes Karine Prins Length 70 minutes Set and accessories production Frédéric Vadé Choreography Thierry Malandain Drivers Thierry Crusel, Guy Martial

Music Piotr Ilitch Tchaïkovski The Centre Chorégraphique National d’Aquitaine Set and costumes Jorge Gallardo en Pyrénées-Atlantiques / Malandain Ballet Biarritz is funded by the Ministry of Culture and Lighting design Francis Mannaert Communication-DRAC Aquitaine, the City of Biarritz, the Regional Council of Aquitaine and the Dressmaker Véronique Murat Department Council of the Pyrenees Atlantiques. Set and accessories production Frédéric Vadé In view of its euro regional cooperation, Malandain Ballet Biarritz and the Theater Victoria Eugenia Masks production Annie Onchalo created with the cities of San Sebastián and Biarritz a cultural cooperation project named “Ballet T”. For Coproducers some international tours, Malandain Ballet Biarritz is Opéra Royal / Château de Versailles Spectacles, supported by the French Institute. Biennale de la danse de Lyon 2016, Opéra de Saint- Etienne, Ballet T - Teatro Victoria Eugenia Donostia Thanks for their support / San Sebastián, CCN Malandain Ballet Biarritz Principal patron : Repetto Great patrons : Banque Populaire Aquitaine Centre Partners Atlantique, Casino Barrière de Biarritz, Société Donostia / San Sebastián Capitale Européenne de la Générale, Association des Amis du Malandain Ballet Culture 2016, Orquesta Sinfónica de Euskadi, Opéra Biarritz de Reims, Opéra de Vichy, Teatro Mayor de Bogota, Patrons : Groupe Slavi, Hôtel du Palais de Biarritz, Fondazione Teatro Communale Città di Vicenza, Sofitel Miramar, Aéroport Biarritz-Anglet-Bayonne, Dance Open Festival de Saint Petersbourg, Teatros Fournil de la licorne, Bar du Jardin, Burographic del Canal de Madrid, Equilibre-Nuithonie-Fribourg, Théâtre Olympia d’Arcachon, Théâtre - Le Forum de Fréjus

PREVIEW with the Basque National Orchestra Versailles – Opéra Royal 11, 12 and 13 december 2015

CREATION / FRENCH PREMIERE LYON - 17ª Biennale de la Danse, Amphithéâtre Cité Internationale 16,17,18 september 2016

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, Jacob Hernandez Martin, Irma Hoffren, Miyuki Kanei, Mathilde Labé, Hugo Layer, Guillaume Lillo, Claire Lonchampt, Nuria López Cortés, Arnaud Mahouy, Ismael Turel Yagüe, Patricia Velazquez, Laurine Viel, Daniel Vizcayo, Lucia You González

Technical director Oswald Roose Stage managers Chloé Bréneur, Jean Gardera Lighting managers Frédéric Eujol, Christian Grossard © dessin Jorge Gallardo © dessin Jorge Sound managers Nicolas Rochais, Jacques Vicassiau 2 FOREWARD tl ihrtd rm h 1t cnuy te maverick writing the century, 17th his the from and inherited style mythology to references his With being vanquished.” (3) before terror with screams artist the which in duel a is beauty of contemplation The more! no pride my enchantress, ever-victorious rival, leave me! Tempt my desires pitilessand Nature, Beauty? from a fugitive be forever suffer, eternally Baudelaire one Charles must Artist, “Oh, wrote the of Confiteor The suffering In the on also associated withthedifficultyoftamingbeauty. but fury, and noise misery, to focus on the Individual, personal experiences, human Universal the both from itself detach period, art modern Romantic sparked saw the after curses which and enthusiasm Mechanization, together, this with step ofultimate harmony of the individual and of individuals Out man. accomplished this for utmost his did He morelike. be to strive should men conjured up an ideal man from his imagination that all artist century.The 18th the in creation artistic foster to continued Antiquity, by bequeathed ideal the to This love for an almost divine beauty, which conforms to themostperfectandharmoniouslove. due was metamorphosis His prince. handsome a into back transformed was and ugliness and form animal his from himself freed Beast the spirit, his Belle’swith heart winning by Therefore, beauty. on than soul the of goodness the on importance more place to us in all its forms, Madame Leprince de Beaumont invites beauty,celebratedby she fascinated which Although needs. artist’s the match that ethics words, other in - moral.”(2) a has it if opinion my in worthy only is “Art that Beast the and Beauty of filming the during endured he ordeal the after Being, of Difficulty The in wrote morality,Cocteau and beauty between link dream before returning to reality. Creating a symbolic the of end the at moral a often is there tales, fairy In and everythingthatdazzlestheeye. perfection, he feeds himself above all on love, beauty on keen alone; bread by live not does man For old. about fairy” growingnot of gift the on pass to how knew and her “good a of something had French), in called Good” “Miss who Bonne”(literally “Mademoiselle herself governess, benevolent educating This while them.”(1) people Villeneuve young “please to de 1757 in Gabrielle-Suzanne from borrowed Beaumont de Leprince Jeanne-Marie author French the which Beast” the and “Beauty read has everyone 1946, in released was film whose Cocteau, Jean Like adoe n ul, h Bats raie power creative Beast’s the ugly, and handsome both half-beast, and half-man a as meantime, the In fair andaccomplishedsociety”.(5) balanced, harmonious, a to birth “give to and senses the with spirit the reconcile to means the art in saw who Schiller two von Friedrich these of us apart, remind possibilities torn nature human or unity Lost Beast. the of nature dual the in demons artist’sinner the of representation the Cocteau with see also can while One instincts. and force vital its represents soul Beast the being’s human in a embodies duality Belle individual’s which an rite-of-passage resolving a at see aimed can story one tale, every the on of reflecting version Without ballet. the in express to try will we what is That Beast. the and Beauty in especially artist and works his in rolecentral a played then wounded the of notion that The or complaint”.(4) laughter arguing a scream, a by prolongs it if style exists only his “art He to “classic”. a youthfulness being added as considered was Cocteau Let’s say that love is the agent of revelation and its and revelation of agent the is love that say Let’s glove. the and looking-glass the horse, the key, the pertains to at least six elements such as love, the rose, 3

© Olivier Houeix transformation. The rose naturally embodies beauty his inner demons and by taking the right steps, itself as a symbol of the perfection achieved and can marry Belle in the open for the world to see, mystical rebirth. The key calls to mind both secrecy both of them overwhelmed by the splendour of and how to access knowledge and fulfilment. The beauty in the tale’s happy lie. horse symbolizes the race against time and vitality. Thierry Malandain The highly symbolic looking-glass represents hope, a door to another world, and the illusion of vanity. (1)Motto of Jeanne-Marie Leprince de Beaumont Finally, the glove represents the hand of the creative (2)The Difficulty of Being by Cocteau, Rocher artist, but also his most primary and noble duty to Books, Monaco, 1983, p. 218 entertain men in a dignified manner while introducing (3)Paris Spleen by Baudelaire, Michel Lévy Bros., them to beauty. 1869 (4)The Difficulty of Being by Cocteau, Rocher This eye-opening task is daunting since the ideal Books, Monaco, 1983, p. 219 beauty we are all striving for is rarely achieved in the (5)L’Art pour éduquer? (Art to Educate?) by Alain eyes of those who are trying to understand! In any Kerlan, Laval University Press, 2003, p.205 event, the ballet, choreographed with Tchaikovsky’s (6) Tchaikovsky, letter to Nadejda von Meck symphonic scores into which the master of harmony dated 5 December 1878 “pours his soul like a lyric poet” (6), is slightly based (7) One-act prose comedy performed at Versailles on the concept of a drama within a drama. It calls on 14 October 1663 to mind the play Moliere called The Impromptu at (8) The Impromptu at Versailles, Scene 1 Versailles (7), in which he represents himself staging a comedy that must be performed two hours later in front of the King, but nothing is ready. “Oh, what strange animals to be governed are actors” (8) says Molière’s double. In the end, the author gets the King to wait for his new creation until later. Our reality is entirely different, but because dreams come true if you follow your heart in fairy tales and since love is the manifestation of beauty, and the Beast, rid of © Olivier Houeix

4 SYNOPSIS

Eugène Onéguine, Op. 24 Interval and Waltz All alone, like the Artist facing his inner demons, the Beast An artist with body and soul, a man with his joy, pain and who suffers from his ugliness summons the things which hopes tells the following story: symbolize his metamorphosis – a key, a horse, a looking- Once upon a time there was a wealthy merchant who had glass, a glove and the love which will save him. two sons and three daughters. The youngest was so lovely A few hours later, the merchant arrives home and tells his and so much admired that everyone called her Belle which children the tale of what happened to him. Hearing his made her sisters very jealous. The two eldest were arrogant story, they start shouting and insult Belle who was not because of their wealth and attended balls every evening. weeping. “Why should I weep because my father is going The merchant suddenly lost all his wealth and all he had left to die? He will not die since the Beast is willing to accept was a small farmhouse far from the city. one of his daughters. I will let him unleash all his rage on me.” Belle then goes to the Beast’s castle. Symphony No.6 Pathétique 1. Adagio Allegro non troppo While her sisters snivel and whine, missing high society Symphony No.5 - 2. Andante cantabile and beautiful clothes, Belle gets used to her new situation. Terrified at first, Belle did not suffer the fate she so dreaded. There are even gentlemen courters who wish to marry her, She is is welcomed graciously by the Beast and lavished in but she cannot imagine leaving her father. The family has luxury. But every evening he asks her the same question, been living simply for a year when the merchant hears that “Will you be my wife?” Belle refuses. Her only desire is one of the ships on which he had merchandise is back in to see her father again who she sees sick with grief in the port. This news starts the two eldest daughters thinking, looking-glass. The Beast finally lets her go home and Belle and just as their father is about to leave, they ask him to promises that she will return in one week. bring back dresses and all kinds of things for them while Belle only asks for a rose. Symphony No.5 - 3. Waltz On his way back home, the merchant gets lost. The wind is When Belle sees her father again, they embrace each other so strong that it knocks him off his horse. Shortly after, he for over a quarter of an hour. Her sisters are almost die of sees a light coming from a castle. He goes inside where a jealousy when they see her dressed like a queen. But very table is laden with food and drink. The next morning as the quickly, she feels sad about having abandoned the Beast merchant is about to leave, he remembers that Belle had when she sees him lying half-dead in the looking-glass. asked him for a rose and picks the whitest one he can find. Symphony No.6 Pathétique - 4. Finale. Adagio lamentoso Hamlet Op. 67 When Belle returns to the castle and finds the Beast lying At that very moment, he hears a loud noise, and is on the ground, she goes to him and says, “You shall not confronted with a Beast so hideous, that he almost passes die. You shall live and be my husband.” Upon uttering these out. “You’re so ungrateful”, says the Beast. “I saved your words, she sees the castle shine brightly and the Beast turns life by welcoming you inside my castle, and in return for into a Prince. my hospitality, you steal my roses that I love more than anything in the world. You must die for this misdeed. However, I’m willing to forgive you if you send one of your daughters to die instead of you.” © Olivier Houeix 5 PIOTR ILITCH TCHAÏKOVSKI

Born on the 7th of May In the meantime in August 1888, he finished 1840 in Votkinsk, Russia, Symphony No.5 in E Minor, Op. 64, for which he top Russian composer directed the first performance in Saint Petersburg, Pyotr Ilytch Tchaïkovski Russia on 17 November 1888. A reflection of his own had French roots. His complex personality and complicated life, its theme is mother’s father was man against his own destiny and searching to define a Frenchman, André it. It is part of the Beauty and the Beast programme. d’Assier. Having been On 5 April 1891, since Edouard Colonne had left to looked after as a child direct in Moscow, Tchaïkovski replaced him with a by a French governess, «splendid performance» of his own works of which Fanny Durbach from the following was said, «We might have feared a bit Montbéliard, Tchaïkovski of monotony in such an exclusive programme; but also wrote and spoke the instead, thanks to the variety of pieces chosen and language of author Mrs. their strongly contrasting genre, the concert was Leprince de Beaumont. tremendously successful.» (quote from the Gazette In July 1868, he traveled Anecdotique, Littéraire, Artistique et Bibliographique) for the first time to France. From then on, he would go there almost every year. In Paris, where his piano In November 1892 on composer Ambroise Thomas’s music was known in private circles, he attended suggestion, Tchaïkovski was chosen to be a concerts and met composers, in particular Camille corresponding member of the Académie des Beaux- Saint-Saëns who gave him his first audition of the arts (French Academy of Fine Arts) at the Institut de Romeo and Juliet Fantasy Overture, unsuccessfully France (French Institute). The following spring, he directed by Jules Pasdeloup on 10 December 1875. began writing the Symphony No.6 in B Minor, Op. He would have happier days in September 1878 74. Created in Saint Petersburg, Russia on 28 October during the International Concerts at the World Fair 1893, this symphony was nicknamed «Pathétique» where Nikolai Rubinstein played Piano Concerto No. by his younger brother Modeste Tchaikovsky due to 1 and directed The Storm. This symphonic fantasy its turbulent nature. Beauty and The Beast was also would be heard again on 9 March 1879 at Châtelet, set to this score. It was also Tchaïkovski’s last work, directed by Jules Pasdeloup, prior to pianist Ludovic who died officially from a sudden bout with cholera Breitner performing Piano Concerto No. 4 on 9 in Saint Petersburg on 6 November 1893. He was 53 November 1879. Then in January 1880, Edouard years old. Colonne conducted Symphony No.4 in F Minor, Op. 36, for the first time ever in Paris. As an aside, on 15 October 1890, he staged another performance of the music from a 16th In 1885, French music publisher Félix Mackar Century Christmas at the Mariinsky Theatre in Saint purchased the musician’s works saying he did so Petersburg, for which the first notation was printed «in order to spread highly original compositions in Thoinot’s Orchésographie, a study of social dance throughout France which were written by a published in 1589 and republished in 1596. Two distinguished composer from the new Russian years later when Henry IV of France put an end to school». Three years later, Tchaïkovski began a the religious wars and restored civil and religious European concert tour in Paris on the 4th and 11th of peace throughout the kingdom, this musical theme March 1888. At the head of the Colonne Concert, he adapted by François-Eustache du Caurroy, would be directed pieces including the Eugene Onegin Opera, used for the song Vive Henri IV!. The epitome of the some of which was kept for Beauty and the Beast. image of perfect royalty, with different words, the French music critic Camille Bellaigue then wrote, «Mr. melody would become the royalists’ anthem during Tchaïkovski orchestrates brilliantly. He sometimes the Restoration period. Furthermore, around 1830 thinks like Schumann, and other times he composes Franz Liszt used it in a score for piano, triangle and like Mendelssohn, with the same clearness and Basque drum. Tchaïkovski would develop it in the lightness. One could only criticize him from time to end from Sleeping Beauty, a grand finale in which the time for being a bit too violent. In short, here’s a composer imagines « dressed like Louis XIV, musician who we’d like to get to know better. Rather illuminated by sunshine and surrounded by fairies ». than say farewell to him, we say goodbye for now.»

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.

« My culture is that of and I confidently remain attached to it. Because while I readily admit that its artistic and social codes are from another time, I also think that this heritage from four centuries represents invaluable resources for dancers. A classical choreographer for some, a contemporary one for others, I play with it, simply trying to find a dance I like. © Johan Morin A dance that will not only leave a lasting impression of joy, but that will also restore the essence of the THIERRY MALANDAIN IN A FEW DATES sacred things and serve as a response to the difficulty of being. » 1959. Born in Petit-Quevilly

1977. He had a career as a dancer at the Paris National Opera, the Ballet of the Rhine and the French Ballet Theatre in Nancy

1986. Ended his career as a dancer to found the company «Temps Présent» in Élancourt (Yvelines)

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

1998. Was appointed by the French Ministry of Culture to the head 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. Once again appointed artistic director of the Dance Festival in Biarritz «Le Temps d’Aimer la Danse»

2012. Award for A Last song by the «Syndicat de la critique»

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

7 CCN MALANDAIN BALLET BIARRITZ

Today Malandain Ballet Biarritz is one of Europe’s Created in 1998 in Biarritz on the initiative of the most widely seen companies with 80 000 spectators Ministry of Culture & Communication, and the Town per season and almost 100 performances per year, of Biarritz with the support of Aquitaine Region and including a third abroad. the Atlantic Pyrenees General Council, Malandain Ballet Biarritz is one of 19 National Choreographic As a National Choreographic Centre, Malandain Centres (NCC) in France today. Ballet Biarritz also works intensely in terms of public awareness of dance – with on average over 450 events The particularity of Malandain Ballet Biarritz is that per year – and support to artists and companies it is made up of 22 permanent dancers trained in thanks to the «Accueil Studio» programme. classical technique and whose expression in Thierry Malandain’s choreographies is contemporary. 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. © Frédéric Néry, Yocom Néry, © Frédéric

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

8 Malandain Ballet Biarritz company LES ARTISTES has 22 permanent classicall trained dancers : Paris National Opera School, Paris National Music & Dance CHORÉGRAPHIQUES Conservatoire, Flanders Royal Ballet School … from various different countries, such as Belgium, , Portugal, Japan, Australia and even Mexico.

Ione Miren Aguirre, born in Caracas (Venezuela). She started at the National Conservatory of Bayonne-Basc 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.

9 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 that establishment 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 the Malandain Ballet Biarritz in 2010.

Patricia Velázquez, born in Guadalajara (Mexico). She studied at the Royal Academy of Dance in 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.

10 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 Kompainia, 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. A member of the company La Coma for the creation of «Cartel» by Michel Schweizer, he joined Malandain Ballet Biarritz in September 2014.

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.

11 Jacob Hernández Martín, born in Las Palmas de Grand Canaria (Spain). He studied in the Canary Islands and then joined the Ballet School in Hamburg, directed by John Neumeier. He started in the Compañia Nacional de Danza Nacho Duato in 2003, then joined Tamara Rojo’s company in 2005. In 2006, he performed as a soloist with Pascal Touzaeu, before joining the new Gran Canaria Ballet directed by Anatol Yanowsky. In 2008, he joined the Victor Ullate Ballet, and finally joined Malandain Ballet Biarritz in 2010.

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 this establishment’s Ballet Junior troupe in 2011. In 2012, He danced with the (UK) for one season before joining the company in 2013. He joined the Malandain Ballet Biarritz company in 2015.

Arnaud Mahouy, born in Nanterre. He was trained by Florence Letessier at Boix 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 of this establishment 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 the Malandain Ballet Biarritz in 2008.

12 3-1020150 et 2-1020149 Licence N°

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