Triple Bill BEETHOVEN-BALLETS Hans van Manen / Mauro Bigonzetti 3 Aufbruch!

Triple Bill BEETHOVEN- BALLETS

Hans van Manen / Mauro Bigonzetti

Presented by

Adagio Hammerklavier Einssein Große Fuge 3 Aufbruch!

Triple Bill BEETHOVEN- BALLETS

Hans van Manen / Mauro Bigonzetti

Presented by

Adagio Hammerklavier Einssein Große Fuge 4 5 Ta Ta Taaaa – Dance! Ta Ta Taaaa – Dance!

TA TA TAAAA – DANCE! Beethoven and ballet, it was said for a long time, are a bad fit. The choreographers Mauro Bigonzetti and Hans van Manen prove the opposite with their highly individual works set to the music of this acclaimed genius.

There are statements which develop a life Olympus of Viennese classical music, Haydn of their own. Such is the case with this sen- and Mozart – rejected appointments at prin- tence by the great choreographer George cely courts in order to be free and subjective Balanchine: “Dance should leave Beethoven in his art. The consummate, ultimate artist well alone – there’s no choreographing to to whom nothing need be added – not even his music.” It would seem that these words the dance. The Ta ta taaaa of his Fifth Sym- have been echoing between stages and phony or the beginning of his piano piece studios for decades, for indeed: there are Für Elise have become acoustic knowledge far fewer pieces to Beethoven than to the world-wide. Which is exactly what George music of other composers. John Cranko, for Balanchine was referring to: “While listening example, did not choreograph a single ballet to composers like Beethoven and Brahms, to Beethoven, John Neumeier did not stage every listener has his own ideas, paints his his first full-length Beethoven ballet until own picture of what the music represents … fifty years after his debut. Uwe Scholz’s stel- How can I, a choreographer, try to squeeze lar choreography to the Seventh Symphony a dancing body into a picture that already remains an exception. Now, BEETHOVEN- exists in someone’s mind? It simply won’t BALLETS refutes this verdict. For this triple work.” bill three artists come together: Beethoven himself, grand seigneur Hans van Manen, Beethoven is regarded as unwieldy and the who choreographed his Große Fuge to the details of his life fit this image: a lifelong string quartet movement op. 133 in 1971 and bachelor and man about town, childless, his Adagio Hammerklavier to a movement a visionary who penetrated into hither- of the Sonata op. 106 in 1973, and Mauro to unknown worlds of sound, isolated in Bigonzetti, the master of sensuality, who deafness, difficult to deal with. According contributes a world premiere set to three of to tradition, he was a very bad dancer. All Beethoven’s piano sonatas to this evening. this is the opposite of grace. Perhaps that is why Beethoven wrote only one ballet, The Celebrating extremes Creatures of Prometheus? But there are also purely musical reasons that could have led So apparently one can choreograph to Beet- Balanchine to his judgement. Beethoven hoven very well after all. But what if we take worked like no other on the condensation Balanchine’s verdict, which has become an of music, exploring it to its extremes. The “urban legend”, seriously for a moment? fortepiano, the original form of today’s pia- What are the arguments against dancing no, only became established around 1800. to Beethoven’s work? If you stick to clichés Beethoven, born in 1770, was enthusiastic Friedemann Vogel, Elisa Badenes in Einssein (and after all, there is always something to about the new musical technology. For them), it does make sense: In music histo- the first time, it was possible to play very ry, Beethoven is the ungovernable one, the dynamically – powerfully loud, but also lyri- one who – unlike his predecessors on the cally and gently. Beethoven’s music snubs 4 5 Ta Ta Taaaa – Dance! Ta Ta Taaaa – Dance!

TA TA TAAAA – DANCE! Beethoven and ballet, it was said for a long time, are a bad fit. The choreographers Mauro Bigonzetti and Hans van Manen prove the opposite with their highly individual works set to the music of this acclaimed genius.

There are statements which develop a life Olympus of Viennese classical music, Haydn of their own. Such is the case with this sen- and Mozart – rejected appointments at prin- tence by the great choreographer George cely courts in order to be free and subjective Balanchine: “Dance should leave Beethoven in his art. The consummate, ultimate artist well alone – there’s no choreographing to to whom nothing need be added – not even his music.” It would seem that these words the dance. The Ta ta taaaa of his Fifth Sym- have been echoing between stages and phony or the beginning of his piano piece studios for decades, for indeed: there are Für Elise have become acoustic knowledge far fewer pieces to Beethoven than to the world-wide. Which is exactly what George music of other composers. John Cranko, for Balanchine was referring to: “While listening example, did not choreograph a single ballet to composers like Beethoven and Brahms, to Beethoven, John Neumeier did not stage every listener has his own ideas, paints his his first full-length Beethoven ballet until own picture of what the music represents … fifty years after his debut. Uwe Scholz’s stel- How can I, a choreographer, try to squeeze lar choreography to the Seventh Symphony a dancing body into a picture that already remains an exception. Now, BEETHOVEN- exists in someone’s mind? It simply won’t BALLETS refutes this verdict. For this triple work.” bill three artists come together: Beethoven himself, grand seigneur Hans van Manen, Beethoven is regarded as unwieldy and the who choreographed his Große Fuge to the details of his life fit this image: a lifelong string quartet movement op. 133 in 1971 and bachelor and man about town, childless, his Adagio Hammerklavier to a movement a visionary who penetrated into hither- of the Sonata op. 106 in 1973, and Mauro to unknown worlds of sound, isolated in Bigonzetti, the master of sensuality, who deafness, difficult to deal with. According contributes a world premiere set to three of to tradition, he was a very bad dancer. All Beethoven’s piano sonatas to this evening. this is the opposite of grace. Perhaps that is why Beethoven wrote only one ballet, The Celebrating extremes Creatures of Prometheus? But there are also purely musical reasons that could have led So apparently one can choreograph to Beet- Balanchine to his judgement. Beethoven hoven very well after all. But what if we take worked like no other on the condensation Balanchine’s verdict, which has become an of music, exploring it to its extremes. The “urban legend”, seriously for a moment? fortepiano, the original form of today’s pia- What are the arguments against dancing no, only became established around 1800. to Beethoven’s work? If you stick to clichés Beethoven, born in 1770, was enthusiastic Friedemann Vogel, Elisa Badenes in Einssein (and after all, there is always something to about the new musical technology. For them), it does make sense: In music histo- the first time, it was possible to play very ry, Beethoven is the ungovernable one, the dynamically – powerfully loud, but also lyri- one who – unlike his predecessors on the cally and gently. Beethoven’s music snubs 6 7 Ta Ta Taaaa – Dance! Ta Ta Taaaa – Dance!

expectations, it celebrates extremes, from Große Fuge and Adagio Hammerklavier. dynamic changes and abrupt eruptions, to Van Manen only heard of Balanchine’s state- playful, quiet passages. ment about Beethoven when these pieces were finished: “If I had known beforehand, I Rediscovering intimacy might have hesitated for a moment – and then done it anyway,” he says. When he Choreographer Mauro Bigonzetti delights in heard the Große Fuge for the first time at these extremes and the irrepressible power a friend’s house in Cologne in 1968, he was that lie in Beethoven’s music. “I know many immediately fascinated – and not at all inti- people say you can’t dance to Beethoven midated by the greatness and significance well,” he explains. “But that’s not true for of this music: “I thought what I heard was me. Beethoven’s music is so strong, deep so fantastic. So abstract! I listened to it four and expressive. It really speaks to us. It’s times that day and took the record straight wonderful for dance!” In one of his very first back to Amsterdam.” He knew: this music works, Bigonzetti choreographed Beet- needs to become dance. Already in the very hoven’s last string quartet. For his world first steps of his choreography, van Manen premiere Einssein (“to be one with”) he is refutes Balanchine: the rich, aggressive taking on movements from three different strings and the dancers’ determined steps sonata: “This music fits to loneliness,” seem to merge; it is as if Beethoven had says Bigonzetti, “especially in this global composed especially for van Manen’s move- situation. We will all need to rediscover our ments. Chance also came to van Manen’s intimacy – and this music makes that pal- aid for his Adagio Hammerklavier: he heard pable. For Beethoven, you should learn to the piece performed by pianist Christoph listen anew, then you hear something very Eschenbach at a friend’s house. He liked special, something primordially human.” the unusually slow interpretation; to this The movements Bigonzetti has chosen for day, every performance of his ballet must Einssein are virtually exemplary of Beetho- adhere to Eschenbach’s tempo, which takes ven’s character – as if the choreographer a full 24 minutes for this movement while wanted to embrace precisely what others other pianists play it in a quarter of an hour. consider undanceable. The Andante from In these two pieces, the range of Beetho- the penultimate piano sonata op. 109, for ven’s music is again evident: to the Große example, is entitled “Singing, with the most Fuge with its attacking rhythms, van Manen heartfelt feeling”, but then abruptly quickens chooses dynamic steps and gestures; the the tempo again and again – suddenly the tender Adagio Hammerklavier he transla- mood of the piece changes to “allegro viva- tes into trancelike calm and balance. Van ce”, i.e.: chasing. A great challenge for the Manen’s enthusiasm for Beethoven’s music pianist, and even more so for the dancers. is still palpable. “Imagine,” he says, “my But Bigonzetti knows how to unite opposi- Große Fuge is fifty years old. Back then, tes, in his choreographies he switches from people found Beethoven completely unin- playful, almost revue-like passages to dee- teresting. I didn’t, of course. And today it is ply passionate ones. still danced everywhere.” Who knows, may- be George Balanchine would have changed Thinking idiosyncratically his mind after a few hours in the studio with Clemens Fröhlich, Rocio Aleman in Große Fuge van Manen and Bigonzetti and given us a The choreographer Hans van Manen is Beethoven ballet after all. another one of the few who have cho- reographed to Beethoven, and two of his Jana Petersen and Thomas Lindeman canonical works were created to his music: 6 7 Ta Ta Taaaa – Dance! Ta Ta Taaaa – Dance!

expectations, it celebrates extremes, from Große Fuge and Adagio Hammerklavier. dynamic changes and abrupt eruptions, to Van Manen only heard of Balanchine’s state- playful, quiet passages. ment about Beethoven when these pieces were finished: “If I had known beforehand, I Rediscovering intimacy might have hesitated for a moment – and then done it anyway,” he says. When he Choreographer Mauro Bigonzetti delights in heard the Große Fuge for the first time at these extremes and the irrepressible power a friend’s house in Cologne in 1968, he was that lie in Beethoven’s music. “I know many immediately fascinated – and not at all inti- people say you can’t dance to Beethoven midated by the greatness and significance well,” he explains. “But that’s not true for of this music: “I thought what I heard was me. Beethoven’s music is so strong, deep so fantastic. So abstract! I listened to it four and expressive. It really speaks to us. It’s times that day and took the record straight wonderful for dance!” In one of his very first back to Amsterdam.” He knew: this music works, Bigonzetti choreographed Beet- needs to become dance. Already in the very hoven’s last string quartet. For his world first steps of his choreography, van Manen premiere Einssein (“to be one with”) he is refutes Balanchine: the rich, aggressive taking on movements from three different strings and the dancers’ determined steps sonata: “This music fits to loneliness,” seem to merge; it is as if Beethoven had says Bigonzetti, “especially in this global composed especially for van Manen’s move- situation. We will all need to rediscover our ments. Chance also came to van Manen’s intimacy – and this music makes that pal- aid for his Adagio Hammerklavier: he heard pable. For Beethoven, you should learn to the piece performed by pianist Christoph listen anew, then you hear something very Eschenbach at a friend’s house. He liked special, something primordially human.” the unusually slow interpretation; to this The movements Bigonzetti has chosen for day, every performance of his ballet must Einssein are virtually exemplary of Beetho- adhere to Eschenbach’s tempo, which takes ven’s character – as if the choreographer a full 24 minutes for this movement while wanted to embrace precisely what others other pianists play it in a quarter of an hour. consider undanceable. The Andante from In these two pieces, the range of Beetho- the penultimate piano sonata op. 109, for ven’s music is again evident: to the Große example, is entitled “Singing, with the most Fuge with its attacking rhythms, van Manen heartfelt feeling”, but then abruptly quickens chooses dynamic steps and gestures; the the tempo again and again – suddenly the tender Adagio Hammerklavier he transla- mood of the piece changes to “allegro viva- tes into trancelike calm and balance. Van ce”, i.e.: chasing. A great challenge for the Manen’s enthusiasm for Beethoven’s music pianist, and even more so for the dancers. is still palpable. “Imagine,” he says, “my But Bigonzetti knows how to unite opposi- Große Fuge is fifty years old. Back then, tes, in his choreographies he switches from people found Beethoven completely unin- playful, almost revue-like passages to dee- teresting. I didn’t, of course. And today it is ply passionate ones. still danced everywhere.” Who knows, may- be George Balanchine would have changed Thinking idiosyncratically his mind after a few hours in the studio with Clemens Fröhlich, Rocio Aleman in Große Fuge van Manen and Bigonzetti and given us a The choreographer Hans van Manen is Beethoven ballet after all. another one of the few who have cho- reographed to Beethoven, and two of his Jana Petersen and Thomas Lindeman canonical works were created to his music: 8 9 Adagio Hammerklavier Aufbruch!

Adagio Hammerklavier

Choreography Hans van Manen Music Ludwig van Beethoven Adagio from the Sonata No. 29 B-flat Major Op. 106 („Große Sonate für das Hammerklavier”) Set and Costumes Jean-Paul Vroom Light Design Jan Hofstra Co-Light Design Bert Dalhuysen World Premiere 4th October 1973, Dutch National Ballet Stuttgart Ballet Premiere 23rd February 1989 Staging Larisa Lezhnina

David Moore, Anna Osadcenko 8 9 Adagio Hammerklavier Aufbruch!

Adagio Hammerklavier

Choreography Hans van Manen Music Ludwig van Beethoven Adagio from the Sonata No. 29 B-flat Major Op. 106 („Große Sonate für das Hammerklavier”) Set and Costumes Jean-Paul Vroom Light Design Jan Hofstra Co-Light Design Bert Dalhuysen World Premiere 4th October 1973, Dutch National Ballet Stuttgart Ballet Premiere 23rd February 1989 Staging Larisa Lezhnina

David Moore, Anna Osadcenko 10 11 Adagio Hammerklavier Adagio Hammerklavier

Elisa Badenes, Jason Reilly

Roman Novitzky, Miriam Kacerova, David Moore, Anna Osadcenko, Jason Reilly, Elisa Badenes

Miriam Kacerova, Roman Novitzky 10 11 Adagio Hammerklavier Adagio Hammerklavier

Elisa Badenes, Jason Reilly

Roman Novitzky, Miriam Kacerova, David Moore, Anna Osadcenko, Jason Reilly, Elisa Badenes

Miriam Kacerova, Roman Novitzky 12 13 Adagio Hammerklavier Adagio Hammerklavier

Miriam Kacerova, Roman Novitzky

Jason Reilly, Elisa Badenes 12 13 Adagio Hammerklavier Adagio Hammerklavier

Miriam Kacerova, Roman Novitzky

Jason Reilly, Elisa Badenes 14 15 Adagio Hammerklavier Aufbruch!

Anna Osadcenko, David Moore » Action — Reaction. Everything obeys this principle.«

Hans van Manen 14 15 Adagio Hammerklavier Aufbruch!

Anna Osadcenko, David Moore » Action — Reaction. Everything obeys this principle.«

Hans van Manen 16 17 Einssein Aufbruch!

Einssein

Choreography Mauro Bigonzetti Music Ludwig van Beethoven Piano Sonata no. 3 in C major op. 2, Piano Sonata no. 2 in A major op. 2, Piano Sonata no. 30 in E major op. 109 Costumes Kristopher Millar Light Design Carlo Cerri World Premiere 1st April 2021, Stuttgart Ballet

Friedemann Vogel, Elisa Badenes 16 17 Einssein Aufbruch!

Einssein

Choreography Mauro Bigonzetti Music Ludwig van Beethoven Piano Sonata no. 3 in C major op. 2, Piano Sonata no. 2 in A major op. 2, Piano Sonata no. 30 in E major op. 109 Costumes Kristopher Millar Light Design Carlo Cerri World Premiere 1st April 2021, Stuttgart Ballet

Friedemann Vogel, Elisa Badenes 18 19 Einssein Einssein

Mackenzie Brown, Matteo Miccini

Vittoria Girelli, Alessandro Giaquinto Hyo-Jung Kang, Adhonay Soares da Silva 18 19 Einssein Einssein

Mackenzie Brown, Matteo Miccini

Vittoria Girelli, Alessandro Giaquinto Hyo-Jung Kang, Adhonay Soares da Silva 20 21 Einssein Einssein

Mackenzie Brown, Matteo Miccini Hyo-Jung Kang, Adhonay Soares da Silva

Vittoria Girelli, Alessandro Giaquinto 20 21 Einssein Einssein

Mackenzie Brown, Matteo Miccini Hyo-Jung Kang, Adhonay Soares da Silva

Vittoria Girelli, Alessandro Giaquinto 22 23 Einssein Einssein

Friedemann Vogel, Elisa Badenes » To be one with other human beings … this is what we are missing in these times. To be one with the music … this is like a meditation, sublime.«

Mauro Bigonzetti

Adhonay Soares da Silva, Matteo Miccini 22 23 Einssein Einssein

Friedemann Vogel, Elisa Badenes » To be one with other human beings … this is what we are missing in these times. To be one with the music … this is like a meditation, sublime.«

Mauro Bigonzetti

Adhonay Soares da Silva, Matteo Miccini 24 25 Einssein Einssein

Mackenzie Brown, Matteo Miccini Hyo-Jung Kang, Adhonay Soares da Silva Elisa Badenes, Friedemann Vogel 24 25 Einssein Einssein

Mackenzie Brown, Matteo Miccini Hyo-Jung Kang, Adhonay Soares da Silva Elisa Badenes, Friedemann Vogel 26 27 Einssein Einssein

Elisa Badenes, Friedemann Vogel Mackenzie Brown, Matteo Miccini

Alessandro Giaquinto, Elisa Badenes, Friedemann Vogel, Vittoria Girelli 26 27 Einssein Einssein

Elisa Badenes, Friedemann Vogel Mackenzie Brown, Matteo Miccini

Alessandro Giaquinto, Elisa Badenes, Friedemann Vogel, Vittoria Girelli 28 29 Große Fuge Licht

Große Fuge

Choreography and Costumes Hans van Manen Music Ludwig van Beethoven Grand Fugue in B major op. 133 („Große Fuge“), Cavatina from the String Quartet in B major op. 130 Set Jean-Paul Vroom Light Design Joop Caboort Co-Light Design Bert Dalhuysen World Premiere 8th April 1971, Nederlands Dans Theater Stuttgart Ballet Premiere 26th February 1987 Staging Nancy Euverink, Ken Ossola

Rocio Aleman, Veronika Verterich, Agnes Su, Alicia Garcia Torronteras 28 29 Große Fuge Licht

Große Fuge

Choreography and Costumes Hans van Manen Music Ludwig van Beethoven Grand Fugue in B major op. 133 („Große Fuge“), Cavatina from the String Quartet in B major op. 130 Set Jean-Paul Vroom Light Design Joop Caboort Co-Light Design Bert Dalhuysen World Premiere 8th April 1971, Nederlands Dans Theater Stuttgart Ballet Premiere 26th February 1987 Staging Nancy Euverink, Ken Ossola

Rocio Aleman, Veronika Verterich, Agnes Su, Alicia Garcia Torronteras 30 31 Große Fuge Große Fuge

Clemens Fröhlich, Rocio Aleman, Ciro Ernesto Mansilla, Agnes Su, Martí Fernández Paixà, Alicia Garcia Torronteras, Timoor Afshar, Veronika Verterich Ciro Ernesto Mansilla, Agnes Su

Veronika Verterich, Timoor Afshar 30 31 Große Fuge Große Fuge

Clemens Fröhlich, Rocio Aleman, Ciro Ernesto Mansilla, Agnes Su, Martí Fernández Paixà, Alicia Garcia Torronteras, Timoor Afshar, Veronika Verterich Ciro Ernesto Mansilla, Agnes Su

Veronika Verterich, Timoor Afshar 32 33 Große Fuge Große Fuge

Martí Fernández Paixà, Timoor Afshar, Clemens Fröhlich, Ciro Ernesto Mansilla 32 33 Große Fuge Große Fuge

Martí Fernández Paixà, Timoor Afshar, Clemens Fröhlich, Ciro Ernesto Mansilla 34 35 Große Fuge Große Fuge

Ciro Ernesto Mansilla, Agnes Su Alicia Garcia Torronteras, Martí Fernández Paixà

Veronika Verterich, Timoor Afshar

Martí Fernández Paixà, Timoor Afshar, Rocio Aleman, Veronika Verterich, Agnes Su, Alicia Garcia Torronteras, Clemens Fröhlich, Ciro Ernesto Mansilla 34 35 Große Fuge Große Fuge

Ciro Ernesto Mansilla, Agnes Su Alicia Garcia Torronteras, Martí Fernández Paixà

Veronika Verterich, Timoor Afshar

Martí Fernández Paixà, Timoor Afshar, Rocio Aleman, Veronika Verterich, Agnes Su, Alicia Garcia Torronteras, Clemens Fröhlich, Ciro Ernesto Mansilla 36 37 Große Fuge Aufbruch!

Clemens Fröhlich, Rocio Aleman, Veronika Verterich, Agnes Su, Alicia Garcia Torronteras » From the beginning, I felt it [the music] to be aggressive; not a piece that is just beautiful. It attacks.«

Hans van Manen

Veronika Verterich, Agnes Su, Alicia Garcia Torronteras 36 37 Große Fuge Aufbruch!

Clemens Fröhlich, Rocio Aleman, Veronika Verterich, Agnes Su, Alicia Garcia Torronteras » From the beginning, I felt it [the music] to be aggressive; not a piece that is just beautiful. It attacks.«

Hans van Manen

Veronika Verterich, Agnes Su, Alicia Garcia Torronteras 38 39 Große Fuge Große Fuge

Ciro Ernesto Mansilla, Agnes Su, Martí Fernández Paixà, Alicia Garcia Torronteras

Clemens Fröhlich, Rocio Aleman, Ciro Ernesto Mansilla, Martí Fernández Paixà, Agnes Su, Alicia Garcia Torronteras, Timoor Afshar, Veronika Verterich

Ciro Ernesto Mansilla, Agnes Su 38 39 Große Fuge Große Fuge

Ciro Ernesto Mansilla, Agnes Su, Martí Fernández Paixà, Alicia Garcia Torronteras

Clemens Fröhlich, Rocio Aleman, Ciro Ernesto Mansilla, Martí Fernández Paixà, Agnes Su, Alicia Garcia Torronteras, Timoor Afshar, Veronika Verterich

Ciro Ernesto Mansilla, Agnes Su 40 41 Music Music

LUDWIG VAN BEETHOVEN Composer

Ludwig van Beethoven is considered one Salieri in 1792. In 1795 Beethoven performed of the greatest composers in international his own piano compositions for the first time music history. He went beyond the imagina- in the houses of the aristocracy. Wolfgang tion of his contemporaries and left his mark Amadeus Mozart had died a few years earlier on posterity – even to this day more than and the city’s music lovers were open to new 250 years after his birth. ideas. In a short time, Beethoven earned the highest reputation and, thanks to the sup- Born in Bonn in late 1770, he came from a port of his patrons, he was able to work as family of musicians. His ambitious father, a a freelance composer and earn more than tenor, wanted to make him a child prodigy other artists of his time. in the mould of Wolfgang Amadeus Mozart and initially taught him to play the piano Ludwig van Beethoven became hard of hea- himself. In 1781, Beethoven became a pupil ring at the age of 27 and was completely of the court organist Christian Gottlob Neefe. deaf by 48. However, thanks to his perfect After only a few months, he became Neefe’s pitch, which enabled him to imagine tones master pupil and substituted for him at and sounds, he continued to compose tire- the organ when Neefe was prevented from lessly until his death. From 1808, however, playing. From 1783, Beethoven also played Beethoven no longer gave concerts and as violist and harpsichordist in the Elector’s withdrew from public life more and more. In Orchestra. By this time, his first three piano his later years, conversation with him was sonatas were already in print. At the age only possible in writing. His “conversation of seventeen, he went to Vienna to meet notebooks”, which have been preserved to Mozart personally. However, due to the fatal this day, give an idea of his feelings, of the illness of his mother, he returned to Bonn loneliness of the man and his genius. His and, as the eldest son, took over the care deafness may have made his public appea- of his family while his father became more rances more difficult, but it did not diminish and more addicted to alcohol. Through con- his compositional work. tact with a wealthy widow whose children he taught, Beethoven made the acquaintance Ludwig van Beethoven is considered the Ludwig van Beethoven * baptised 17th December 1770 in Bonn, Germany of influential upper-class personalities. consummate composer of the Viennese † 26th March 1827 in Vienna, Austria When the Austrian composer Joseph Haydn Classical period and, with his focus on per- cam to hear of him, he invited him to Vienna sonal statement in music, paved the way Even as a teenager he wrote pieces with names such in 1792, at which point Beethoven left Bonn for Romanticism. He was one of the first as the Song for an Infant or the Elegy on the Death of a Poodle for good. composers to build up his generally serious compositions dramaturgically and let them Carried a sketchbook with him on his long walks so he In Vienna, Beethoven became Joseph culminate in a finale. In addition, he liked to could take notes Haydn’s master pupil and studied com- use easily recognizable motifs in his works. On the day of his funeral, schools in Vienna remained position with him until 1794. He then took Among the most important of his approxi- closed. 20,000 people paid him their last respects counterpoint lessons with Johann Georg mately 240 works are the nine symphonies, Albrechtsberger and began his studies the five piano concertos, the violin concerto, in Italian vocal composition with Antonio the 16 string quartets, 32 piano sonatas, the 40 41 Music Music

LUDWIG VAN BEETHOVEN Composer

Ludwig van Beethoven is considered one Salieri in 1792. In 1795 Beethoven performed of the greatest composers in international his own piano compositions for the first time music history. He went beyond the imagina- in the houses of the aristocracy. Wolfgang tion of his contemporaries and left his mark Amadeus Mozart had died a few years earlier on posterity – even to this day more than and the city’s music lovers were open to new 250 years after his birth. ideas. In a short time, Beethoven earned the highest reputation and, thanks to the sup- Born in Bonn in late 1770, he came from a port of his patrons, he was able to work as family of musicians. His ambitious father, a a freelance composer and earn more than tenor, wanted to make him a child prodigy other artists of his time. in the mould of Wolfgang Amadeus Mozart and initially taught him to play the piano Ludwig van Beethoven became hard of hea- himself. In 1781, Beethoven became a pupil ring at the age of 27 and was completely of the court organist Christian Gottlob Neefe. deaf by 48. However, thanks to his perfect After only a few months, he became Neefe’s pitch, which enabled him to imagine tones master pupil and substituted for him at and sounds, he continued to compose tire- the organ when Neefe was prevented from lessly until his death. From 1808, however, playing. From 1783, Beethoven also played Beethoven no longer gave concerts and as violist and harpsichordist in the Elector’s withdrew from public life more and more. In Orchestra. By this time, his first three piano his later years, conversation with him was sonatas were already in print. At the age only possible in writing. His “conversation of seventeen, he went to Vienna to meet notebooks”, which have been preserved to Mozart personally. However, due to the fatal this day, give an idea of his feelings, of the illness of his mother, he returned to Bonn loneliness of the man and his genius. His and, as the eldest son, took over the care deafness may have made his public appea- of his family while his father became more rances more difficult, but it did not diminish and more addicted to alcohol. Through con- his compositional work. tact with a wealthy widow whose children he taught, Beethoven made the acquaintance Ludwig van Beethoven is considered the Ludwig van Beethoven * baptised 17th December 1770 in Bonn, Germany of influential upper-class personalities. consummate composer of the Viennese † 26th March 1827 in Vienna, Austria When the Austrian composer Joseph Haydn Classical period and, with his focus on per- cam to hear of him, he invited him to Vienna sonal statement in music, paved the way Even as a teenager he wrote pieces with names such in 1792, at which point Beethoven left Bonn for Romanticism. He was one of the first as the Song for an Infant or the Elegy on the Death of a Poodle for good. composers to build up his generally serious compositions dramaturgically and let them Carried a sketchbook with him on his long walks so he In Vienna, Beethoven became Joseph culminate in a finale. In addition, he liked to could take notes Haydn’s master pupil and studied com- use easily recognizable motifs in his works. On the day of his funeral, schools in Vienna remained position with him until 1794. He then took Among the most important of his approxi- closed. 20,000 people paid him their last respects counterpoint lessons with Johann Georg mately 240 works are the nine symphonies, Albrechtsberger and began his studies the five piano concertos, the violin concerto, in Italian vocal composition with Antonio the 16 string quartets, 32 piano sonatas, the 42 43 Musik Aufbruch!

opera Fidelio as well as the Mass op. 86 in C reflects the democratic spirit of the times major and the Missa solemnis op. 123. Espe- as well as humanistic values that are still cially his two sonatas for piano (E-flat major, valid today. The last part, the Ode to Joy, is C-sharp minor) op. 27, 1-2 (Sonata quasi known worldwide in instrumental form as una fantasia) (1801), the second of which is the anthem of the European Union. Until his known as the “Moonlight Sonata”, the Sona- death in Vienna on 26 March 1827, he wor- ta for Piano and Violoncello (A major) op. 69 ked on a tenth symphony, which remained of 1807/08, which is praised as a brilliant unfinished. piece of cello literature, and his Concerto for Piano and Orchestra No. 5 (E-flat major) op. 73, which he composed in 1809/10 in the midst of the Napoleonic Wars, achieved great popularity. With the latter, he departed from the paths of the classical form, laying out the sonata more in the manner of a free » Continue, do not practise art alone, but also penetrate into fantasy. Beethoven’s Bagatelle for Piano (A minor) WoO 59, the so-called composi- its interior; it deserves it, for only art and science raise tion Für Elise (1810), is also known to piano man up to divinity.« students worldwide. There is no record of a woman named Elise in Beethoven’s life. However, Beethoven is said to have been often in love as a young man and to have had great attraction for women, although Ludwig van Beethoven he remained a bachelor throughout his life. in a letter to Emilie M. in 1812

Compared to other composers, Beethoven wrote few symphonies, but these are unsur- passed for their power and depth. Beetho- ven expanded traditional forms and gave symphonies a previously undreamed-of weight with great psychological and emo- tional power. With them he ushered in a new era of symphonic development. Beethoven’s 9th Symphony (1824), in particular, is consi- dered the measure of all things, although he wrote it when he was already deaf. In it, he used a choir in an instrumental work for the first time in music history. The symphony 42 43 Musik Aufbruch!

opera Fidelio as well as the Mass op. 86 in C reflects the democratic spirit of the times major and the Missa solemnis op. 123. Espe- as well as humanistic values that are still cially his two sonatas for piano (E-flat major, valid today. The last part, the Ode to Joy, is C-sharp minor) op. 27, 1-2 (Sonata quasi known worldwide in instrumental form as una fantasia) (1801), the second of which is the anthem of the European Union. Until his known as the “Moonlight Sonata”, the Sona- death in Vienna on 26 March 1827, he wor- ta for Piano and Violoncello (A major) op. 69 ked on a tenth symphony, which remained of 1807/08, which is praised as a brilliant unfinished. piece of cello literature, and his Concerto for Piano and Orchestra No. 5 (E-flat major) op. 73, which he composed in 1809/10 in the midst of the Napoleonic Wars, achieved great popularity. With the latter, he departed from the paths of the classical form, laying out the sonata more in the manner of a free » Continue, do not practise art alone, but also penetrate into fantasy. Beethoven’s Bagatelle for Piano (A minor) WoO 59, the so-called composi- its interior; it deserves it, for only art and science raise tion Für Elise (1810), is also known to piano man up to divinity.« students worldwide. There is no record of a woman named Elise in Beethoven’s life. However, Beethoven is said to have been often in love as a young man and to have had great attraction for women, although Ludwig van Beethoven he remained a bachelor throughout his life. in a letter to Emilie M. in 1812

Compared to other composers, Beethoven wrote few symphonies, but these are unsur- passed for their power and depth. Beetho- ven expanded traditional forms and gave symphonies a previously undreamed-of weight with great psychological and emo- tional power. With them he ushered in a new era of symphonic development. Beethoven’s 9th Symphony (1824), in particular, is consi- dered the measure of all things, although he wrote it when he was already deaf. In it, he used a choir in an instrumental work for the first time in music history. The symphony 44 45 Choreography | Adagio Hammerklavier | Große Fuge Choreography | Adagio Hammerklavier | Große Fuge

HANS VAN MANEN Choreographer

Hardly any other choreographer has had danced almost 30 of the choreographer’s such a lasting influence on the European pieces to date and thus has the largest van dance scene in the past 55 years as the Manen repertoire outside the Netherlands. Dutch dance maker Hans van Manen. His Marcia Haydée initiated the collaboration

pieces can be found in the repertoire of in 1981 with Five Tangos. This was followed Hans van Manen over 50 companies worldwide, where they by numerous other Stuttgart premieres of * 11 July 1932 in Amstelveen, Netherlands stand for the renewal of neo-classical bal- his ballets. In addition, van Manen created let formed by the spirit of a contemporary Corps (1985), Shaker Loops (1987) and Sound speaks excellent German movement vocabulary. of Music (1988) especially for the Stuttgart initially wanted to become a make-up artist Ballet. From 1996 on, former artistic direc- has been honoured with numerous awards: most Hans van Manen did not initially think of a tor Reid Anderson added further van Manen recently, in 2018, he received the Medal of Honour career as a dancer or choreographer. It was pieces to the repertoire: Kleines Requiem for Art and Science of the “Huisorde van Oranje” only through training as a make-up artist Solo, Two Pieces for Het, Variations for Two that van Manen, born in Northern Holland Couples and, most recently, Kammerballett. in 1932, came to dance and began study- ing with Sonia Gaskell. She engaged him in In the overall view of van Manen’s œuvre, technology and projection for the choreo- Amadeus Mozart and Ludwig van Beetho- her Ballet Recital troupe in 1951. He gained an unmistakable dance language prevails: graphy Live. He also gains impulses from his ven, but also romantic music accompanied important experience as a dancer in the a mixture of neo-classical ballet with ele- professional involvement with photography the following decade. After that, van Manen following years with the Amsterdam Opera ments of modern and contemporary dance and film. opened himself up to all styles: From Igor Ballet and Roland Petit’s Paris company. He and sometimes also everyday movements or Stravinsky to Alban Berg to jazz, rock, pop created his first own work in 1957 with Feest- gestures. Gender-specific conventions are Van Manen usually leaves the design of the and soul music, everything is represented gericht. From 1961 onward, van Manen wor- questioned in his works, as are predetermi- sets and costumes for his work to other in his works up to the present. However, van ked alternately with the two largest Dutch ned roles: Men and women meet as equals artists. Here, his collaborations with Jan Manen’s outstanding achievement and the companies: Nederlands Dans Theater (NDT) in his choreographies; as early as 1965, he van der Wal, the painter Jean-Paul Vroom uniqueness of his pieces do not only consist and Dutch National Ballet. From 1960 to created a pas de deux for two men with and Keso Dekker are particularly noteworthy. in his sensitive handling of the music. Rat- 2004 he worked in various positions for NDT. Metaphoren, and also had women partner In their linear-geometric aspect and their her, his works are, on all levels – be it stage Initially employed as a dancer and choreo- each other. He predominantly chooses the simplicity, the stage designs for van Manen’s design, costume, lighting, choreography or grapher, after a short time he also took over form of non-narrative one-acts. One looks pieces correspond to his pure dance voca- music – perfectly intertwined to form a great as artistic director, but left the company in vain for a new version of full-length bal- bulary, in which he is in no way inferior to whole that touches with profundity despite, in 1971. In the 1970s and 1980s he worked lets such as Swan Lake or Romeo and Juliet his early role model George Balanchine. This or precisely because of, its reduction. freelance for the Dutch National Ballet and in his œuvre. Yet despite all the supposed reduction has earned him the comparison of returned to NDT in the mid-1980s at the invi- abstractness, interpersonal relationships being the “Mondrian of dance” – his works tation of Jiří Kylián. Together they shaped become clearly visible in his choreogra- seeming just as timeless as those of the NDT’s repertoire with their works for the next phies, perhaps due to van Manen’s radical Dutch painter. This eternal modernity is not 20 years. Since 2005, Hans van Manen has reduction: subtle eroticism, power strug- least due to the choreographer’s musicali- once again held the position of resident gles, tenderness, dependency, vulnerability ty: Movement and sound complement each choreographer of the Dutch National Ballet. and above all, tension and suspense – all other masterfully. In the 1960s, he created He has created over 120 ballets, the majori- these become apparent through movement ballets mainly to works by contemporary ty of which were premieres for NDT. But his alone. Despite his focus on clear lines, he composers, including Benjamin Britten, works are also a mainstay in the repertoire does not shy away from innovation. As early Béla Bartók and John Cage, as well as to of the Stuttgart Ballet: the company has as 1979, for example, he worked with camera jazz music. Classical music by Wolfgang 44 45 Choreography | Adagio Hammerklavier | Große Fuge Choreography | Adagio Hammerklavier | Große Fuge

HANS VAN MANEN Choreographer

Hardly any other choreographer has had danced almost 30 of the choreographer’s such a lasting influence on the European pieces to date and thus has the largest van dance scene in the past 55 years as the Manen repertoire outside the Netherlands. Dutch dance maker Hans van Manen. His Marcia Haydée initiated the collaboration

pieces can be found in the repertoire of in 1981 with Five Tangos. This was followed Hans van Manen over 50 companies worldwide, where they by numerous other Stuttgart premieres of * 11 July 1932 in Amstelveen, Netherlands stand for the renewal of neo-classical bal- his ballets. In addition, van Manen created let formed by the spirit of a contemporary Corps (1985), Shaker Loops (1987) and Sound speaks excellent German movement vocabulary. of Music (1988) especially for the Stuttgart initially wanted to become a make-up artist Ballet. From 1996 on, former artistic direc- has been honoured with numerous awards: most Hans van Manen did not initially think of a tor Reid Anderson added further van Manen recently, in 2018, he received the Medal of Honour career as a dancer or choreographer. It was pieces to the repertoire: Kleines Requiem for Art and Science of the “Huisorde van Oranje” only through training as a make-up artist Solo, Two Pieces for Het, Variations for Two that van Manen, born in Northern Holland Couples and, most recently, Kammerballett. in 1932, came to dance and began study- ing with Sonia Gaskell. She engaged him in In the overall view of van Manen’s œuvre, technology and projection for the choreo- Amadeus Mozart and Ludwig van Beetho- her Ballet Recital troupe in 1951. He gained an unmistakable dance language prevails: graphy Live. He also gains impulses from his ven, but also romantic music accompanied important experience as a dancer in the a mixture of neo-classical ballet with ele- professional involvement with photography the following decade. After that, van Manen following years with the Amsterdam Opera ments of modern and contemporary dance and film. opened himself up to all styles: From Igor Ballet and Roland Petit’s Paris company. He and sometimes also everyday movements or Stravinsky to Alban Berg to jazz, rock, pop created his first own work in 1957 with Feest- gestures. Gender-specific conventions are Van Manen usually leaves the design of the and soul music, everything is represented gericht. From 1961 onward, van Manen wor- questioned in his works, as are predetermi- sets and costumes for his work to other in his works up to the present. However, van ked alternately with the two largest Dutch ned roles: Men and women meet as equals artists. Here, his collaborations with Jan Manen’s outstanding achievement and the companies: Nederlands Dans Theater (NDT) in his choreographies; as early as 1965, he van der Wal, the painter Jean-Paul Vroom uniqueness of his pieces do not only consist and Dutch National Ballet. From 1960 to created a pas de deux for two men with and Keso Dekker are particularly noteworthy. in his sensitive handling of the music. Rat- 2004 he worked in various positions for NDT. Metaphoren, and also had women partner In their linear-geometric aspect and their her, his works are, on all levels – be it stage Initially employed as a dancer and choreo- each other. He predominantly chooses the simplicity, the stage designs for van Manen’s design, costume, lighting, choreography or grapher, after a short time he also took over form of non-narrative one-acts. One looks pieces correspond to his pure dance voca- music – perfectly intertwined to form a great as artistic director, but left the company in vain for a new version of full-length bal- bulary, in which he is in no way inferior to whole that touches with profundity despite, in 1971. In the 1970s and 1980s he worked lets such as Swan Lake or Romeo and Juliet his early role model George Balanchine. This or precisely because of, its reduction. freelance for the Dutch National Ballet and in his œuvre. Yet despite all the supposed reduction has earned him the comparison of returned to NDT in the mid-1980s at the invi- abstractness, interpersonal relationships being the “Mondrian of dance” – his works tation of Jiří Kylián. Together they shaped become clearly visible in his choreogra- seeming just as timeless as those of the NDT’s repertoire with their works for the next phies, perhaps due to van Manen’s radical Dutch painter. This eternal modernity is not 20 years. Since 2005, Hans van Manen has reduction: subtle eroticism, power strug- least due to the choreographer’s musicali- once again held the position of resident gles, tenderness, dependency, vulnerability ty: Movement and sound complement each choreographer of the Dutch National Ballet. and above all, tension and suspense – all other masterfully. In the 1960s, he created He has created over 120 ballets, the majori- these become apparent through movement ballets mainly to works by contemporary ty of which were premieres for NDT. But his alone. Despite his focus on clear lines, he composers, including Benjamin Britten, works are also a mainstay in the repertoire does not shy away from innovation. As early Béla Bartók and John Cage, as well as to of the Stuttgart Ballet: the company has as 1979, for example, he worked with camera jazz music. Classical music by Wolfgang 46 47 Choreography | Einssein Choreography | Einssein

MAURO BIGONZETTI The Italian choreographer Mauro Bigonzetti closely associated with the company and is one of the most successful in his field. In subsequently created the one-act works Choreographer his sensual ballets, he leaves the paths of Quattro danze per Nino (1998) and Orma classical ballet and seeks expression for all (2004) in Stuttgart. Turning to the full-length the nuances of the human condition. format with his story ballet I fratelli – The Brothers, created for the Stuttgart Ballet in Mauro Bigonzetti began his dance training 2006, he used for the first time cinematic in his hometown of Rome. At the school of material that had not previously been explo- the Teatro dell’Opera di Roma he laid the red for dance. This was followed in 2012 by foundation for his successful career and the world premiere of Il Concertone for the was immediately taken into the company. Stuttgart Ballet, which has a total of six After ten years at the Rome Opera Ballet, he pieces by the Italian choreographer in its joined Aterballetto in Reggio Emilia in 1982. repertoire. He quickly became a much-acclaimed star of the company, where he danced a broad After his breakthrough with the Stuttgart repertoire from classical to modern dance in Ballet, international success was not long his eleven seasons there. He performed in in coming. Among the companies that have works by among others George Balanchine commissioned him with new creations or and Leonide Massine and worked with cho- have taken his pieces into their repertoire reographers such as Alvin Ailey, Glen Tetley, are the English National Ballet, New York William Forsythe and Jennifer Muller. City Ballet, the Alvin Ailey American Dance Theater, Les Grands Ballets Canadiens, the Mauro Bigonzetti created his first own Bolshoi Ballet, the Chinese National Ballet, choreography in 1990: Sei in movimento, the Staatsballett Berlin and many other to music by Johann Sebastian Bach. In important companies. Most recently, he the 1992/93 season, Mauro Bigonzetti left created the solo EGON king MADSEN lear Aterballetto and ended his dancing career (2020) for dance legend Egon Madsen at in order to focus entirely on choreography. the Theaterhaus Stuttgart as well as Madina In 1997 he returned to Aterballetto in a new with star dancer Roberto Bolle in the leading position: as artistic director. He directed the role with the Ballet of La Scala in Milan. In his company for ten years and led it to inter- pieces, Bigonzetti oscillates between bal- national success by rebuilding the ensem- let and contemporary dance, often has the ble and the repertoire. Although he left this dancers dance barefoot and finds unique position in 2007, he remained associated forms of expression beyond the classical Mauro Bigonzetti * 25th February 1960 in Rome, Italy with the company as resident choreogra- movement idiom. Without fear of broken pher until 2012. In 2016, he took over the lines and impulsive eruptions, he creates Created ballets inspired by the painter Caravaggio direction of La Scala Ballet in Milan for a year. works full of expressivity and beauty. and by Luchino Visconti’s film Rocco and His Brothers

loves to take his two German shepherds for a Mauro Bigonzetti first made a name for him- walk in the woods self outside of Italy with a world premiere loves to cook and to spend time with his family for the Stuttgart Ballet. In 1996, then artistic director Reid Anderson commissioned the still relatively unknown Bigonzetti with a new creation. Kazimir’s Colours became such a success at the Stuttgart Ballet that it attrac- ted the attention of the international dance world. To this day, the central pas de deux of the piece is frequently danced at galas worldwide. Since then, Bigonzetti has been 46 47 Choreography | Einssein Choreography | Einssein

MAURO BIGONZETTI The Italian choreographer Mauro Bigonzetti closely associated with the company and is one of the most successful in his field. In subsequently created the one-act works Choreographer his sensual ballets, he leaves the paths of Quattro danze per Nino (1998) and Orma classical ballet and seeks expression for all (2004) in Stuttgart. Turning to the full-length the nuances of the human condition. format with his story ballet I fratelli – The Brothers, created for the Stuttgart Ballet in Mauro Bigonzetti began his dance training 2006, he used for the first time cinematic in his hometown of Rome. At the school of material that had not previously been explo- the Teatro dell’Opera di Roma he laid the red for dance. This was followed in 2012 by foundation for his successful career and the world premiere of Il Concertone for the was immediately taken into the company. Stuttgart Ballet, which has a total of six After ten years at the Rome Opera Ballet, he pieces by the Italian choreographer in its joined Aterballetto in Reggio Emilia in 1982. repertoire. He quickly became a much-acclaimed star of the company, where he danced a broad After his breakthrough with the Stuttgart repertoire from classical to modern dance in Ballet, international success was not long his eleven seasons there. He performed in in coming. Among the companies that have works by among others George Balanchine commissioned him with new creations or and Leonide Massine and worked with cho- have taken his pieces into their repertoire reographers such as Alvin Ailey, Glen Tetley, are the English National Ballet, New York William Forsythe and Jennifer Muller. City Ballet, the Alvin Ailey American Dance Theater, Les Grands Ballets Canadiens, the Mauro Bigonzetti created his first own Bolshoi Ballet, the Chinese National Ballet, choreography in 1990: Sei in movimento, the Staatsballett Berlin and many other to music by Johann Sebastian Bach. In important companies. Most recently, he the 1992/93 season, Mauro Bigonzetti left created the solo EGON king MADSEN lear Aterballetto and ended his dancing career (2020) for dance legend Egon Madsen at in order to focus entirely on choreography. the Theaterhaus Stuttgart as well as Madina In 1997 he returned to Aterballetto in a new with star dancer Roberto Bolle in the leading position: as artistic director. He directed the role with the Ballet of La Scala in Milan. In his company for ten years and led it to inter- pieces, Bigonzetti oscillates between bal- national success by rebuilding the ensem- let and contemporary dance, often has the ble and the repertoire. Although he left this dancers dance barefoot and finds unique position in 2007, he remained associated forms of expression beyond the classical Mauro Bigonzetti * 25th February 1960 in Rome, Italy with the company as resident choreogra- movement idiom. Without fear of broken pher until 2012. In 2016, he took over the lines and impulsive eruptions, he creates Created ballets inspired by the painter Caravaggio direction of La Scala Ballet in Milan for a year. works full of expressivity and beauty. and by Luchino Visconti’s film Rocco and His Brothers

loves to take his two German shepherds for a Mauro Bigonzetti first made a name for him- walk in the woods self outside of Italy with a world premiere loves to cook and to spend time with his family for the Stuttgart Ballet. In 1996, then artistic director Reid Anderson commissioned the still relatively unknown Bigonzetti with a new creation. Kazimir’s Colours became such a success at the Stuttgart Ballet that it attrac- ted the attention of the international dance world. To this day, the central pas de deux of the piece is frequently danced at galas worldwide. Since then, Bigonzetti has been 48 49 Set | Adagio Hammerklavier | Große Fuge Costumes | Einssein

JEAN-PAUL VROOM KRISTOPHER MILLAR Set designer Costume designer

The artist Jean-Paul Vroom was initially trai- After completing his studies in his homeland then, the duo and the choreographer have ned by his father, a well-known Dutch set Great Britain, fashion designer Kristopher collaborated on various ballets, including designer and painter, and from 1938 at the Millar gained his first professional experien- Coppellia (1995) for the Ballet of the Roman Académie des Beaux-Arts in his home town ce in Florence. A few years later, he opened Opera, Caravaggio (2008) for the Staatsbal- of The Hague. His career began in Paris, his own studio in the Italian city together lett Berlin, Adagio Assai (2009) for the Ballet where he participated in group exhibitions with Lois Swandale. At the same time, he Basel and Il Concertone (2012) for the Stutt- and was also trained as an engraver. In the worked freelance for major fashion houses gart Ballet, among others. In addition, the following years, he produced numerous in Italy as well as in Paris and Tokyo. Mean- design team has worked with the choreo- prints, lithographs and silkscreens. In 1946, while he continuously created avant-garde graphers Adonis Foniadakis, Cesc Gelebert his first illustrations of literary works appea- collections for the international market. His and Eugenio Scigliano. These collaborations red, including the complete works of Charles first contact with ballet was through Mauro have taken them to Aterballetto in Reggio Baudelaire. In addition, solo exhibitions of Bigonzetti, who asked Millar and Swandale Emilia, Baltic Dance Theatre in Gdansk and his oil paintings were presented in Paris, to create the costumes for X.N.Tricities at La Scala in Milan. Amsterdam, Germany and the USA. the English National Ballet in 1994. Since

He created his first set design in 1952 for a new production of Waiting for Godot with Roger Blin in Berlin. In addition, he develo- ped a pronounced interest in photography in the 1960s and took on the artistic direction of several film productions. With the work Situation in 1970, Vroom’s close collabora- tion with Hans van Manen – whose works he helped to shape for almost 15 years through his sets – began. In simple, reduced designs – often consisting of background drops – which achieved their effect mainly through lighting, he allowed the dance to unfold and amplified its essence. Their 33 joint works include Große Fuge (1971) and Adagio Ham- merklavier (1973), Twilight (1972), Extra (1973), Four Schumann Pieces (1975) and 5 Tangos (1977). The artist died in Amsterdam in 2006 at the age of 83. 48 49 Set | Adagio Hammerklavier | Große Fuge Costumes | Einssein

JEAN-PAUL VROOM KRISTOPHER MILLAR Set designer Costume designer

The artist Jean-Paul Vroom was initially trai- After completing his studies in his homeland then, the duo and the choreographer have ned by his father, a well-known Dutch set Great Britain, fashion designer Kristopher collaborated on various ballets, including designer and painter, and from 1938 at the Millar gained his first professional experien- Coppellia (1995) for the Ballet of the Roman Académie des Beaux-Arts in his home town ce in Florence. A few years later, he opened Opera, Caravaggio (2008) for the Staatsbal- of The Hague. His career began in Paris, his own studio in the Italian city together lett Berlin, Adagio Assai (2009) for the Ballet where he participated in group exhibitions with Lois Swandale. At the same time, he Basel and Il Concertone (2012) for the Stutt- and was also trained as an engraver. In the worked freelance for major fashion houses gart Ballet, among others. In addition, the following years, he produced numerous in Italy as well as in Paris and Tokyo. Mean- design team has worked with the choreo- prints, lithographs and silkscreens. In 1946, while he continuously created avant-garde graphers Adonis Foniadakis, Cesc Gelebert his first illustrations of literary works appea- collections for the international market. His and Eugenio Scigliano. These collaborations red, including the complete works of Charles first contact with ballet was through Mauro have taken them to Aterballetto in Reggio Baudelaire. In addition, solo exhibitions of Bigonzetti, who asked Millar and Swandale Emilia, Baltic Dance Theatre in Gdansk and his oil paintings were presented in Paris, to create the costumes for X.N.Tricities at La Scala in Milan. Amsterdam, Germany and the USA. the English National Ballet in 1994. Since

He created his first set design in 1952 for a new production of Waiting for Godot with Roger Blin in Berlin. In addition, he develo- ped a pronounced interest in photography in the 1960s and took on the artistic direction of several film productions. With the work Situation in 1970, Vroom’s close collabora- tion with Hans van Manen – whose works he helped to shape for almost 15 years through his sets – began. In simple, reduced designs – often consisting of background drops – which achieved their effect mainly through lighting, he allowed the dance to unfold and amplified its essence. Their 33 joint works include Große Fuge (1971) and Adagio Ham- merklavier (1973), Twilight (1972), Extra (1973), Four Schumann Pieces (1975) and 5 Tangos (1977). The artist died in Amsterdam in 2006 at the age of 83. 50 51 Lighting | Adagio Hammerklavier Lighting | Einssein

JAN HOFSTRA Lighting Designer

Jan Hofstra was born in Leiden, Netherlands. After training as a precision mechanic and electrical and radio technician, he worked in the film industry from 1950 to 1961, whe- re he gained his first experience in camera technology, studio and theatre practice. In 1964 he was hired by Dutch National Ballet Amsterdam, where he was responsible for the technical organisation and presentation of the ballet performances. During this time he worked with the choreographers Peter Wright, Hans van Manen, Rudi van Dantzig, Toer van Schayk, Heinz Spoerli, Eduard Lock, Kurt Jooss as well as the set designers Jean- Paul Vroom, Keso Dekker and others. In addi- tion he was also entrusted with redesigning CARLO CERRI the lighting for ballets by George Balanchi- ne. Outside Amsterdam, he has worked as Lighting Designer a lighting designer on Hans van Manen’s ballets for prestigious companies as well as The Green Table by Kurt Joos. This work as lighting designer and technical director has Carlo Cerri was born in Rome and was resi- At the Stuttgart Ballet they worked together taken him to major theatres around the glo- dent lighting designer for the Balletto di on Kazimir’s Colours (1996), Quatro Danze be: from Europe to Russia, via South Korea Toscana in Florence from 1989 to 2000. In par Nino (1998), ORMA (2004), I Fratelli – die and Australia to the USA and South America. 2001, he took over the same position with Brüder (2006) and Il Concertone (2012). In In addition, Hofstra has been responsible for the Aterballetto in Reggio Emilia where he addition to their collaborations for Aterbal- the lighting design of all exhibitions at the worked till 2019. In addition, he has wor- letto and the Stuttgart Ballet, Cerri created National Museum in Amsterdam since 1994. ked with numerous renowned companies set and lighting for Caravaggio (2008) with In recognition of his services to the arts, worldwide, such as in New York with the the Staatsballett Berlin, Alice (2014) with Queen Beatrix of the Netherlands made him a Alvin Ailey Dance Company or Ballet Next, Gauthier Dance in Stuttgart, Cinderella Knight of the Order of Orange-Nassau in 2001. in Tel Aviv with the Bat-Dor Dance Company, (2015) with the Ballet of La Scala in Milan, in London with the English National Ballet. etc. Furthermore, Cerri worked with the cho- For years he has maintained particularly reographers Richard Wherlock, Jörg Mannes close contact with Mauro Bigonzetti. For and many times with Eugenio Scigliano. In numerous ballets by Bigonzetti, Cerri has addition to his activities for the theatre created the set and lighting design, often stage, the Italian designer created his own using video technology as a third element. video installations. 50 51 Lighting | Adagio Hammerklavier Lighting | Einssein

JAN HOFSTRA Lighting Designer

Jan Hofstra was born in Leiden, Netherlands. After training as a precision mechanic and electrical and radio technician, he worked in the film industry from 1950 to 1961, whe- re he gained his first experience in camera technology, studio and theatre practice. In 1964 he was hired by Dutch National Ballet Amsterdam, where he was responsible for the technical organisation and presentation of the ballet performances. During this time he worked with the choreographers Peter Wright, Hans van Manen, Rudi van Dantzig, Toer van Schayk, Heinz Spoerli, Eduard Lock, Kurt Jooss as well as the set designers Jean- Paul Vroom, Keso Dekker and others. In addi- tion he was also entrusted with redesigning CARLO CERRI the lighting for ballets by George Balanchi- ne. Outside Amsterdam, he has worked as Lighting Designer a lighting designer on Hans van Manen’s ballets for prestigious companies as well as The Green Table by Kurt Joos. This work as lighting designer and technical director has Carlo Cerri was born in Rome and was resi- At the Stuttgart Ballet they worked together taken him to major theatres around the glo- dent lighting designer for the Balletto di on Kazimir’s Colours (1996), Quatro Danze be: from Europe to Russia, via South Korea Toscana in Florence from 1989 to 2000. In par Nino (1998), ORMA (2004), I Fratelli – die and Australia to the USA and South America. 2001, he took over the same position with Brüder (2006) and Il Concertone (2012). In In addition, Hofstra has been responsible for the Aterballetto in Reggio Emilia where he addition to their collaborations for Aterbal- the lighting design of all exhibitions at the worked till 2019. In addition, he has wor- letto and the Stuttgart Ballet, Cerri created National Museum in Amsterdam since 1994. ked with numerous renowned companies set and lighting for Caravaggio (2008) with In recognition of his services to the arts, worldwide, such as in New York with the the Staatsballett Berlin, Alice (2014) with Queen Beatrix of the Netherlands made him a Alvin Ailey Dance Company or Ballet Next, Gauthier Dance in Stuttgart, Cinderella Knight of the Order of Orange-Nassau in 2001. in Tel Aviv with the Bat-Dor Dance Company, (2015) with the Ballet of La Scala in Milan, in London with the English National Ballet. etc. Furthermore, Cerri worked with the cho- For years he has maintained particularly reographers Richard Wherlock, Jörg Mannes close contact with Mauro Bigonzetti. For and many times with Eugenio Scigliano. In numerous ballets by Bigonzetti, Cerri has addition to his activities for the theatre created the set and lighting design, often stage, the Italian designer created his own using video technology as a third element. video installations. 52 53 Lighting | Große Fuge Lighting | Adagio Hammerklavier | Große Fuge

JOOP CABOORT BERT DALHUYSEN Lighting Designer Lighting Designer

Joop Caboort started working at the Neder- Dutch lighting designer Bert Dalhuysen Similarly, Dalhuysen often took over the light- lands Dans Theater (NDT) in his home town received his education at the Academy of ing design for works by Krzysztof Pastor. He of The Hague in 1965, initially as an electri- Photography and Photo Mechanics in The has also worked with Martin Schläpfer, Juanjo cian. In 1970 he was promoted to Technical Hague. He then became chief technician in Arques, Ted Brandsen, Remi Wörtmeyer and Director and in the same year was appointed the lighting department of the Dutch National others. For Hans van Manen, he created the resident lighting designer. Caboort designed Ballet in Amsterdam and worked in a studio lighting for Bach Pieces (2000), Frank Bridge the lighting for more than 350 choreogra- for photography and design. In the course of Variations (2005), Six Piano Pieces (2006), phies, including ballets by Hans van Manen, his long career, he created the lighting for Without Words (2010) and Dances with Harp Jiří Kylián, Jennifer Muller, Louis Falco, Glen many world premieres. Dalhuysen worked (2014), and has been responsible for the light- Tetley and Nacho Duato, Maurice Béjart, Nils particularly closely with David Dawson; sin- ing design of numerous productions of van Christe and others. Of particular importance ce 1999 he has created the lighting design Manen’s ballets worldwide. were his collaborations with well-known set for over 20 of the choreographer’s pieces. designers such as Jean-Paul Vroom, Keso Dekker, William Katz and John Mcfarlane. At the same time, Caboort worked as a free- lance lighting designer for choreographers such as Birgit Cullberg or Nils Christe as well as for drama and opera productions at various theatres. He was also invited by renowned companies such as the Royal Ballet, the Ballet de l’Opéra de Paris, the Royal Danish Ballet, the Joffrey Ballet, the Royal Winnipeg Ballet and has been a guest own firm for lighting design and theatre pro- at the Vienna State Opera, the Bavarian ductions in The Hague and advised theatres State Ballet in Munich and the Metropolitan worldwide. He also passed on his wealth of Opera House in New York. Caboort also deve- experience for many years at the Grafisch loped special systems for the construction Lyceum Rotterdam as a lecturer in lighting of theatres that meet the requirements of design and theatre technology to aspiring dance productions. In 1987, for example, he media professionals and artists. was responsible for the planning and imple- mentation of the technical equipment for the construction of the Lucent Dan Theatre in The Hague. In 1995 Caboort founded his 52 53 Lighting | Große Fuge Lighting | Adagio Hammerklavier | Große Fuge

JOOP CABOORT BERT DALHUYSEN Lighting Designer Lighting Designer

Joop Caboort started working at the Neder- Dutch lighting designer Bert Dalhuysen Similarly, Dalhuysen often took over the light- lands Dans Theater (NDT) in his home town received his education at the Academy of ing design for works by Krzysztof Pastor. He of The Hague in 1965, initially as an electri- Photography and Photo Mechanics in The has also worked with Martin Schläpfer, Juanjo cian. In 1970 he was promoted to Technical Hague. He then became chief technician in Arques, Ted Brandsen, Remi Wörtmeyer and Director and in the same year was appointed the lighting department of the Dutch National others. For Hans van Manen, he created the resident lighting designer. Caboort designed Ballet in Amsterdam and worked in a studio lighting for Bach Pieces (2000), Frank Bridge the lighting for more than 350 choreogra- for photography and design. In the course of Variations (2005), Six Piano Pieces (2006), phies, including ballets by Hans van Manen, his long career, he created the lighting for Without Words (2010) and Dances with Harp Jiří Kylián, Jennifer Muller, Louis Falco, Glen many world premieres. Dalhuysen worked (2014), and has been responsible for the light- Tetley and Nacho Duato, Maurice Béjart, Nils particularly closely with David Dawson; sin- ing design of numerous productions of van Christe and others. Of particular importance ce 1999 he has created the lighting design Manen’s ballets worldwide. were his collaborations with well-known set for over 20 of the choreographer’s pieces. designers such as Jean-Paul Vroom, Keso Dekker, William Katz and John Mcfarlane. At the same time, Caboort worked as a free- lance lighting designer for choreographers such as Birgit Cullberg or Nils Christe as well as for drama and opera productions at various theatres. He was also invited by renowned companies such as the Royal Ballet, the Ballet de l’Opéra de Paris, the Royal Danish Ballet, the Joffrey Ballet, the Royal Winnipeg Ballet and has been a guest own firm for lighting design and theatre pro- at the Vienna State Opera, the Bavarian ductions in The Hague and advised theatres State Ballet in Munich and the Metropolitan worldwide. He also passed on his wealth of Opera House in New York. Caboort also deve- experience for many years at the Grafisch loped special systems for the construction Lyceum Rotterdam as a lecturer in lighting of theatres that meet the requirements of design and theatre technology to aspiring dance productions. In 1987, for example, he media professionals and artists. was responsible for the planning and imple- mentation of the technical equipment for the construction of the Lucent Dan Theatre in The Hague. In 1995 Caboort founded his 54 55 The Company // 2020-2021 Season The Company

FOUNDER CORPS DE BALLET CHOREOLOGIST VIDEO DEPARTMENT John Cranko † Mizuki Amemiya Birgit Deharde Dora Detrich María Andrés Betoret ARTISTIC DIRECTOR Sinéad Brodd DIRECTOR COMMUNICATIONS DIRECTOR TECHNICAL Tamas Detrich Mackenzie Brown AND DRAMATURGY SERVICES AND OPERA PRINCIPAL DANCERS Vivien Arnold Arno Laudel Julliane Franzoi ADMINISTRATIVE DIRECTOR Priscylla Gallo Annabelle Gausmann ASSISTANT PRESS, TECHNICAL DIRECTOR Elisa Ghisalberti WEBSITE, SOCIAL MEDIA OPERA / BALLET Vittoria Girelli MUSIC DIRECTOR Charlotte Sailer Michael Zimmermann Coralie Grand Mikhail Agrest Eva Holland-Nell PUBLICATIONS HEAD OF PRODUCTION CREW PERSONAL ASSISTANT Martina Marin Pia Christine Boekhorst BALLET TO THE ARTISTIC DIRECTOR Natalija Miljevic Cemile Soylu Fränzi Günther Aurora De Mori COMMUNITY OUTREACH, SPECIAL EVENTS, Alicia Amatriain Elisa Badenes Miriam Kacerova Minji Nam TECHNICAL DIRECTOR MERCHANDISING PRINCIPAL DANCERS Paula Rezende SCHAUSPIEL Pia-Marie Lorke Alicia Amatriain * Aiara Iturrioz Rico Guido Schneitz Elisa Badenes Joana Romaneiro DEPARTMENTAL ASSISTANT Miriam Kacerova Natalie Thornley-Hall COMMUNICATIONS AND HEAD OF PRODUCTION CREW Hyo-Jung Kang Alicia Garcia Torronteras DRAMATURGY SCHAUSPIEL Manuel Willi Anna Osadcenko Anouk van der Weijde Sina Eger Meriel Wille David Moore Noan Alves TECHNICAL SET-UP Roman Novitzky ASSISTANT MUSIC DIRECTOR / Ralf Bogusch

Henrik Erikson Hyo-Jung Kang Anna Osadcenko David Moore Roman Novitzky CONDUCTOR Jason Reilly * Riccardo Ferlito Wolfgang Heinz Adhonay Soares da Silva Gabriel Figueredo STAGE TECHNICIAN Friedemann Vogel * Mustafa Agacdograyan Alessandro Giaquinto LEADING REPETITOR Shaked Heller Eva Llorente Díaz SOLOISTS Christopher Kunzelmann LIGHTING SCHAUSPIEL Rocio Aleman Rüdiger Benz, Adrian Oldenburger PIANISTS Jessica Fyfe Jörg Schuchardt Christian Pforr Chie Kobayashi Diana Ionescu Flemming Puthenpurayil Alastair Bannerman Agnes Su SOUND AND VIDEO Martino Semenzato Valery Laenko Angelina Zuccarini SCHAUSPIEL Adhonay Soares da Silva Daniele Silingardi Jason Reilly Friedemann Vogel Frank Bürger, Mathias Gräf, Satchel Tanner PROJECT MANAGEMENT Alexander Mc Gowan NOVERRE: YOUNG Sebastian Thein Vincent Travnicek Ciro Ernesto Mansilla CHOREOGRAPHERS Sonia Santiago PROPS Martí Fernández Paixà APPRENTICES Philipp Unger Rose Maloney SOLOISTS DEMI-SOLOISTS BALLET MISTRESS EXTRAS AND CHILDREN Fernanda De Souza Lopes DIRECTOR OF SCENIC WORK- Marco Piraino Angelika Bulfinsky Daiana Ruiz SHOPS Edoardo Sartori Veronika Verterich Bernhard Leykauf Triston Simpson HEAD OF STUTTGART Alexander Smith BALLET YOUNG Fabio Adorisio Nicole Loesaus HEAD OF COSTUME Timoor Afshar DEPARTMENT PRINCIPAL BALLET MISTRESS Sabrina Heubischl Matteo Crockard-Villa AND ARTISTIC CONSULTANT CHARACTER ARTISTS (acting director) Clemens Fröhlich Andria Hall (perm. guest) Angelika Bulfinsky Magdalena Dziegielewska Jessica Fyfe Agnes Su Rocio Aleman Angelina Zuccarini Matteo Miccini Diana Ionescu Moacir de Oliveira PRINCIPAL BALLETMASTER Sonia Santiago COSTUME PRODUCTION MANAGERS Louis Stiens Rolando D’Alesio Rolando D’Alesio Diana Eckmann

BALLET MISTRESS / STAGE MANAGERS Nicole Krahl BALLET MASTER Ekkehard Kleine Yseult Lendvai Janis Vollert ASSISTANT COSTUME Marc Ribaud PRODUCTION PHYSIOTHERAPY Leonie Kawohl DIRECTOR OF PRODUCTION Matthias Knop (Director) HONORARY MEMBERS AND BALLET MASTER Marcia Haydée Michael Lachenmayer DIRECTOR OF MAKE-UP

Krzysztof Nowogrodzki Alexander Mc Gowan Ciro Ernesto Mansilla Martí Fernández Paixà Georgette Tsinguirides Jörg Müller BALLET SHOE SUPERVISOR / Reid Anderson SCHEDULING COORDINATOR COSTUMES JOHN CRANKO Richard Cragun † AND ASSISTANT TO THE SCHULE DIRECTOR OF PRODUCTION Magdalena Dziegielewska Peter Piterka * Kammertänzerin/ Kammertänzer 54 55 The Company // 2020-2021 Season The Company

FOUNDER CORPS DE BALLET CHOREOLOGIST VIDEO DEPARTMENT John Cranko † Mizuki Amemiya Birgit Deharde Dora Detrich María Andrés Betoret ARTISTIC DIRECTOR Sinéad Brodd DIRECTOR COMMUNICATIONS DIRECTOR TECHNICAL Tamas Detrich Mackenzie Brown AND DRAMATURGY SERVICES AND OPERA PRINCIPAL DANCERS Vivien Arnold Arno Laudel Julliane Franzoi ADMINISTRATIVE DIRECTOR Priscylla Gallo Annabelle Gausmann ASSISTANT PRESS, TECHNICAL DIRECTOR Elisa Ghisalberti WEBSITE, SOCIAL MEDIA OPERA / BALLET Vittoria Girelli MUSIC DIRECTOR Charlotte Sailer Michael Zimmermann Coralie Grand Mikhail Agrest Eva Holland-Nell PUBLICATIONS HEAD OF PRODUCTION CREW PERSONAL ASSISTANT Martina Marin Pia Christine Boekhorst BALLET TO THE ARTISTIC DIRECTOR Natalija Miljevic Cemile Soylu Fränzi Günther Aurora De Mori COMMUNITY OUTREACH, SPECIAL EVENTS, Alicia Amatriain Elisa Badenes Miriam Kacerova Minji Nam TECHNICAL DIRECTOR MERCHANDISING PRINCIPAL DANCERS Paula Rezende SCHAUSPIEL Pia-Marie Lorke Alicia Amatriain * Aiara Iturrioz Rico Guido Schneitz Elisa Badenes Joana Romaneiro DEPARTMENTAL ASSISTANT Miriam Kacerova Natalie Thornley-Hall COMMUNICATIONS AND HEAD OF PRODUCTION CREW Hyo-Jung Kang Alicia Garcia Torronteras DRAMATURGY SCHAUSPIEL Manuel Willi Anna Osadcenko Anouk van der Weijde Sina Eger Meriel Wille David Moore Noan Alves TECHNICAL SET-UP Roman Novitzky ASSISTANT MUSIC DIRECTOR / Ralf Bogusch

Henrik Erikson Hyo-Jung Kang Anna Osadcenko David Moore Roman Novitzky CONDUCTOR Jason Reilly * Riccardo Ferlito Wolfgang Heinz Adhonay Soares da Silva Gabriel Figueredo STAGE TECHNICIAN Friedemann Vogel * Mustafa Agacdograyan Alessandro Giaquinto LEADING REPETITOR Shaked Heller Eva Llorente Díaz SOLOISTS Christopher Kunzelmann LIGHTING SCHAUSPIEL Rocio Aleman Rüdiger Benz, Adrian Oldenburger PIANISTS Jessica Fyfe Jörg Schuchardt Christian Pforr Chie Kobayashi Diana Ionescu Flemming Puthenpurayil Alastair Bannerman Agnes Su SOUND AND VIDEO Martino Semenzato Valery Laenko Angelina Zuccarini SCHAUSPIEL Adhonay Soares da Silva Daniele Silingardi Jason Reilly Friedemann Vogel Frank Bürger, Mathias Gräf, Satchel Tanner PROJECT MANAGEMENT Alexander Mc Gowan NOVERRE: YOUNG Sebastian Thein Vincent Travnicek Ciro Ernesto Mansilla CHOREOGRAPHERS Sonia Santiago PROPS Martí Fernández Paixà APPRENTICES Philipp Unger Rose Maloney SOLOISTS DEMI-SOLOISTS BALLET MISTRESS EXTRAS AND CHILDREN Fernanda De Souza Lopes DIRECTOR OF SCENIC WORK- Marco Piraino Angelika Bulfinsky Daiana Ruiz SHOPS Edoardo Sartori Veronika Verterich Bernhard Leykauf Triston Simpson HEAD OF STUTTGART Alexander Smith BALLET YOUNG Fabio Adorisio Nicole Loesaus HEAD OF COSTUME Timoor Afshar DEPARTMENT PRINCIPAL BALLET MISTRESS Sabrina Heubischl Matteo Crockard-Villa AND ARTISTIC CONSULTANT CHARACTER ARTISTS (acting director) Clemens Fröhlich Andria Hall (perm. guest) Angelika Bulfinsky Magdalena Dziegielewska Jessica Fyfe Agnes Su Rocio Aleman Angelina Zuccarini Matteo Miccini Diana Ionescu Moacir de Oliveira PRINCIPAL BALLETMASTER Sonia Santiago COSTUME PRODUCTION MANAGERS Louis Stiens Rolando D’Alesio Rolando D’Alesio Diana Eckmann

BALLET MISTRESS / STAGE MANAGERS Nicole Krahl BALLET MASTER Ekkehard Kleine Yseult Lendvai Janis Vollert ASSISTANT COSTUME Marc Ribaud PRODUCTION PHYSIOTHERAPY Leonie Kawohl DIRECTOR OF PRODUCTION Matthias Knop (Director) HONORARY MEMBERS AND BALLET MASTER Marcia Haydée Michael Lachenmayer DIRECTOR OF MAKE-UP

Krzysztof Nowogrodzki Alexander Mc Gowan Ciro Ernesto Mansilla Martí Fernández Paixà Georgette Tsinguirides Jörg Müller BALLET SHOE SUPERVISOR / Reid Anderson SCHEDULING COORDINATOR COSTUMES JOHN CRANKO Richard Cragun † AND ASSISTANT TO THE SCHULE DIRECTOR OF PRODUCTION Magdalena Dziegielewska Peter Piterka * Kammertänzerin/ Kammertänzer 56 DEMI-SOLOISTS The Company CORPS DEBALLET

Martina Marin Priscylla Gallo Mizuki Amemiya

Natalija Miljevic Elisa Ghisalberti María Andrés Betoret

Matteo Miccini Fabio Adorisio

Aurora De Mori Vittoria Girelli Sinéad Brodd

Moacir de Oliveira Timoor Afshar Fernanda De Souza Lopes

Minji Nam Coralie Grand Mackenzie Brown

Louis Stiens Matteo Crockard-Villa Daiana Ruiz

Paula Rezende Eva Holland-Nell Julliane Franzoi

Clemens Fröhlich Veronika Verterich 57 The Company CORPS DEBALLET APPRENTICES Martino Semenzato Shaked Heller Noan Alves Aiara Iturrioz Rico

Daniele Silingardi Christopher Henrik Erikson Joana Romaneiro Kunzelmann

Marco Piraino

Satchel Tanner Adrian Oldenburger Riccardo Ferlito Natalie Thornley-Hall

Edoardo Sartori

Vincent Travnicek Christian Pforr Gabriel Figueredo Alicia Garcia Torronteras

Triston Simpson

Flemming Alessandro Giaquinto Anouk van der Weijde Puthenpurayil

Alexander Smith Rose Maloney 56 DEMI-SOLOISTS The Company CORPS DEBALLET

Martina Marin Priscylla Gallo Mizuki Amemiya

Natalija Miljevic Elisa Ghisalberti María Andrés Betoret

Matteo Miccini Fabio Adorisio

Aurora De Mori Vittoria Girelli Sinéad Brodd

Moacir de Oliveira Timoor Afshar Fernanda De Souza Lopes

Minji Nam Coralie Grand Mackenzie Brown

Louis Stiens Matteo Crockard-Villa Daiana Ruiz

Paula Rezende Eva Holland-Nell Julliane Franzoi

Clemens Fröhlich Veronika Verterich 57 The Company CORPS DEBALLET APPRENTICES Martino Semenzato Shaked Heller Noan Alves Aiara Iturrioz Rico

Daniele Silingardi Christopher Henrik Erikson Joana Romaneiro Kunzelmann

Marco Piraino

Satchel Tanner Adrian Oldenburger Riccardo Ferlito Natalie Thornley-Hall

Edoardo Sartori

Vincent Travnicek Christian Pforr Gabriel Figueredo Alicia Garcia Torronteras

Triston Simpson

Flemming Alessandro Giaquinto Anouk van der Weijde Puthenpurayil

Alexander Smith Rose Maloney 58 59 Imprint Aufbruch!

PUBLISHED BY THE STUTTGART BALLET Tamas Detrich, Artistic Director 2020-21 Season

EDITOR Vivien Arnold

ASSISTANT EDITOR Pia Christine Boekhorst

TEXTS Ta Ta Taaaa – Dance! was written by Jana Petersen and Thomas Lindemann and first published by Reihe 1, the magazine of the State Theatre Stuttgart (No. 9, 2021). The text was translated into English with www.DeepL.com/Translator, edited by Vivien Arnold. The biographies are contributions by the editors.

QUOTES Hans van Manen Quoted from: Hartmut Regitz: „Anfang und Ende“. In: tanz. Zeitschrift für Ballett, Tanz und Performance, April 2020, page 10-13 Mauro Bigonzetti In conversation with Vivien Arnold in March, 2021 Ludwig van Beethoven Beethoven to Emilie M. in Hamburg, Töplitz, 17 July 1812. Original not known. Quoted from: https://www.beethoven.de/de/g/Kunst-und-Musik

PHOTOS Cover The Stuttgart Ballet (the pianist Alexander Reitenbach and the dancers Mackenzie Brown, Matteo Miccini, Hyo-Jung Kang, Adhonay Soares da Silva, Friedemann Vogel in Einssein) Performace Photos The Stuttgart Ballet Portraits Wikimedia Commons (Ludwig van Beethoven), Sebastian Galtier (Hans van Manen), Brescia e Amisano / Teatro alla Scala (Mauro Bigonzetti), Merk, Ben / Anefo c Nationaal Archief, CC0 (Jean-Paul Vroom) The Company Carlos Quezada, Roman Novitzky, Sebastien Galtier, Altin Kaftira, Mirka Kleemola, Paolo Laudicina, Terri Barbush

GRAPHIC DESIGN Discodoener, Stuttgart

www.stuttgart-ballet.com

Main sponsor of the Stuttgart Ballet: STATE THEATRE STUTTGART Marc-Oliver Hendriks, Managing Director 58 59 Imprint Aufbruch!

PUBLISHED BY THE STUTTGART BALLET Tamas Detrich, Artistic Director 2020-21 Season

EDITOR Vivien Arnold

ASSISTANT EDITOR Pia Christine Boekhorst

TEXTS Ta Ta Taaaa – Dance! was written by Jana Petersen and Thomas Lindemann and first published by Reihe 1, the magazine of the State Theatre Stuttgart (No. 9, 2021). The text was translated into English with www.DeepL.com/Translator, edited by Vivien Arnold. The biographies are contributions by the editors.

QUOTES Hans van Manen Quoted from: Hartmut Regitz: „Anfang und Ende“. In: tanz. Zeitschrift für Ballett, Tanz und Performance, April 2020, page 10-13 Mauro Bigonzetti In conversation with Vivien Arnold in March, 2021 Ludwig van Beethoven Beethoven to Emilie M. in Hamburg, Töplitz, 17 July 1812. Original not known. Quoted from: https://www.beethoven.de/de/g/Kunst-und-Musik

PHOTOS Cover The Stuttgart Ballet (the pianist Alexander Reitenbach and the dancers Mackenzie Brown, Matteo Miccini, Hyo-Jung Kang, Adhonay Soares da Silva, Friedemann Vogel in Einssein) Performace Photos The Stuttgart Ballet Portraits Wikimedia Commons (Ludwig van Beethoven), Sebastian Galtier (Hans van Manen), Brescia e Amisano / Teatro alla Scala (Mauro Bigonzetti), Merk, Ben / Anefo c Nationaal Archief, CC0 (Jean-Paul Vroom) The Company Carlos Quezada, Roman Novitzky, Sebastien Galtier, Altin Kaftira, Mirka Kleemola, Paolo Laudicina, Terri Barbush

GRAPHIC DESIGN Discodoener, Stuttgart

www.stuttgart-ballet.com

Main sponsor of the Stuttgart Ballet: STATE THEATRE STUTTGART Marc-Oliver Hendriks, Managing Director 60 Aufbruch!

2020-2021 Season