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The Pointe Dances 150 Years of Ballet at the Wiener Staatsoper 16 May 2019 – 13 January 2020

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The Pointe Dances 150 Years of Ballet at the Wiener Staatsoper 16 May 2019 – 13 January 2020 The Pointe Dances 150 Years of Ballet at the Wiener Staatsoper 16 May 2019 – 13 January 2020 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the Exhibition The essence of classical ballet at the traditional opera house on the Ringstrasse takes centre-stage of the exhibition curated by Andrea Amort. In eight chapters it traces the characteristics linked with the history of the ballet company from the Emperor’s era via the 20th century until the immediate present: amongst them In the Dept of the Aristocracy, Fanny Elßler – Role model, Viennese Dramaturgy as well as Paris & Vienna. It also discusses the work of prominent personalities like Josef Hassreiter, Gerhard Brunner, Rudolf Nurejew, Renato Zanella and Manuel Legris. The show is a cooperation with the Wiener Staatsballett. The beginnings of the Vienna Ballet go back to the early 17th century. At the time of Emperor Leopold I, himself engaged in dancing and composing, increasing numbers of professional dancers begin to appear side by side with the court dancers. In 1719, Maria Anna Scio is the first professional dancer with the ballet ensemble. In the early 18th century, the Kärntnertortheater and the Theater nächst der Burg become venues for the ballet. During the reign of Empress Maria Theresia, Vienna becomes the European centre of the ballet reform leading to the narrative ballet. To a considerable extent, the era of early romantic ballet is also determined in Vienna. The move to the newly built Hofoper am Ring (1869) ignites a period of consolidation for the ballet. Mainly defined by the choreographers Carl Telle, guest choreographer Paul Taglioni and Josef Hassreiter, it serves to represent the Habsburg monarchy with entertaining, grand scale pomp and pageantry. Although artistically following international events, national themes increasingly begin to emerge. Josef Hassreiter’s The Fairy Doll (1888) becomes a global success. Until 1918, it is to the politically influential aristocracy that the ballet owes its content and aesthetic concerns. In the 20th century, new artistic avenues open up for the ballet which is increasingly defined by individuality of style and choreography. At the Wiener Staatsoper the director of the opera now chooses the director of the ballet and therefore determines the company’s focus. During the era of Richard Strauss (1919–1924), Heinrich Kröller together with the composer/director develops a distinct repertoire. From then on, the company’s appearance increasingly alternates between classic and modern. The following periods develop international radiance: Erika Hanka (1942–1958) chooses the ballet première for the opening of the newly restored Staatsoper in 1955 in accordance with the spirit of the times: Giselle as a reflection of the classics, Der Mohr von Venedig by Boris Blacher as a première. Aurel von Milloss during his first period in Vienna (1963–1966) charges Rudolf Nureyev with creating a new choreography for Swan Lake. The Pointe Dances 150 Years of Ballet at the Wiener Staatsoper 16 May 2019 – 13 January 2020 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the Exhibition - continued Gerhard Brunner (1976–1990) puts the emphasis on a high-quality Vienna dramaturgy – both in terms of music and choreography. He engages Jiří Kylián, Hans van Manen, Rudi van Dantzig, John Neumeier and Jochen Ulrich on several occasions, invites William Forsythe and promotes young choreographers. Renato Zanella (1995–2005) takes his place in the recent history of Vienna’s ballet as a director who not only choreographs extensively but also supports young colleagues. In 2010, Manuel Legris takes over from Gyula Harangozó during whose tenure the ensembles of the Staatsoper and the Volksoper have been merged. Since 2005, they perform under the name Wiener Staatsballett. Legris achieves a compelling artistic form with his precise ideas on the aesthetic of an ensemble shaped by his Parisian viewpoint, thus reigniting the Staatsballett’s international reputation. The continuation of Nureyev’s legacy together with Legris’ own productions of the classic ballet and numerous modern choreographies form a cornerstone of the repertoire. ACCOMPANYING EVENTS Popstar-like celebrated Austrian ballerina Fanny Elßler (1810–1884) is the epynom of a ring of honour, donated to the Wiener Staatsballett by Riki Raab in 1960. The award pays tribute to an excellent Viennese female dancer of special artistic expressiveness. After Edeltraud Brexner and Jolantha Seyfried, Dagmar Kronberger received the ring in 2008. She appointed soloist Rebecca Horner as her successor and will pass on the award in a festive ceremony on 19 May. Viennese choreographer Doris Uhlich will act as link between the Theatermuseum‘s two dance exhibi- tions Alles tanzt. Kosmos Wiener Tanzmoderne/Everybody Dances. The Cosmos of Viennese Dance Modernism and Die Spitze tanzt. 150 Jahre Ballett an der Wiener Staatsoper/The Pointe Dances. 150 Years of Ballet at the Wiener Staatsoper. In SPITZE, a piece created in 2008 and adapted for the exhibition, Doris Uhlich, Susanne Kirnbauer and Harald Baluch question manifestations and mechanisms of the classical ballet. One of the Theatermuseum‘s most precious holdings is the estate of puppet-theatre revolutionist Richard Teschner (1879–1948). Dance, as a gestural artistic form, was inspiration and basis for his art, which purely recounts by means of body language and masques. The exclusively for the exhibition de- veloped Dance-Special The Dances of the Magician of Gersthof presents two short plays: Die grüne Tän- zerin/The Green Dancer and Der Sonnentänzer/The Dancer of the Sun. Apart from pioneering female ar- tist Emilie Flöge, the celebrated dancers Anna Pawlowa and Vaslav Nijinsky were examplary models for the main characters. With a selection of original „protagonists“, this Dance-Special offers a lively insight into the mutual influences of the Viennese dance scene and Teschner‘s work. Guided tours and a programme for schools complete the project. The Pointe Dances 150 Years of Ballet at the Wiener Staatsoper 16 May 2019 – 13 January 2020 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the Exhibition - continued ACCOMPANYING BROCHURE In connection with the exhibition, the Wiener Staatsoper publishes the brochure Die Spitze tanzt. 150 Jahre Ballett an der Wiener Staatsoper/The Pointe Dances. 150 Years of Ballet at the Wiener Staatsoper. Besides texts on the eight exhibition positions, the brochure conveys a detailed overview of the ballet chronicles in Vienna since the first performance in 1622, lists personalia and premières from 1869 until today. One chapter is dedicated to the ballet music in particular, an artistic genre requiring a composer‘s very special expertise. BIOGRAPHIES Andrea Amort, dance historian, dramaturge, author. Professor and scientific head of the Dance Archive at the Musik und Kunst Privatuniversität der Stadt Wien (MUK). Curatorial activities: amongst others Tanz im Exil, Hanna Berger: Retouchings, Grete Wiesenthal research project, Festival Berührungen. Tanz vor 1938 – Tanz von heute. Numerous publications. Books: österreich tanzt. Geschichte und Gegenwart; Nurejew und Wien. Ein leidenschaftliches Verhältnis; Hanna Berger. Spuren einer Tänzerin im Widerstand. Most recently: curator of the exhibition Alles tanzt. Kosmos Wiener Tanzmoderne/Everybody dances. Cosmos of Viennese Dance Modernism with performative programme and at the Theatermuseum and editor of the accompanying exhibition publication with the same title (Hatje Cantz 2019). Thomas Hamann, studied stage design at the University of Applied Arts Vienna with stage director and designer Axel Manthey as well as with dramaturge and artistic director Klaus Zehelein. He works as scenographer and illustrator. For the Theatermuseum he designed the exhibition Von der Pose zum Ausdruck – Theaterfotografie 1900 – 1930 in 2003 and lately Everybody dances. The Cosmos of Viennese Dance Modernism (2019). The Pointe Dances 150 Years of Ballet at the Wiener Staatsoper 16 May 2019 – 13 January 2020 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 Events Curator: Andrea Amort Project Assistance: Inge Gappmaier and Paul M. Delavos Please refer to the calendar section at www.theatermuseum.at (German only) FANNY ELSSLER RING AWARD CEREMONY: TRIBUTE TO REBECCA HORNER In 1960 Riki Raab donated the Fanny-Elßler-Ring to the Wiener Staatsballett. This prize is intended to pay tribute to outstanding Viennese female dancers of extraordinary artistic expression. Edeltraud Brexner and Jolantha Seyfried already received the honours. Now Dagmar Kronberger, award winner of 2008, will pass on the ring to soloist Rebecca Horner. Sun, 19 May 2019, 11 a.m. Free admission SPITZE - A GUEST PERFORMANCE BY DORIS UHLICH “In SPITZE three different persons shine – examining perfection’s variety in classical dance and encountering each other through the codes of ballet.“ (Doris Uhlich) With Susanne Kirnbauer, Harald Baluch and Doris Uhlich. Fri, 24 May, 7.30 p.m. Sat, 25 May 2019, 4.30 p.m. and 7.30 p.m. Sun, 26 May 2019, 11 a.m., Eroica-Hall Seats € 22; Standing and cushion tickets € 12 Tickets at the Theatermuseum box office. THE DANCES OF THE MAGICIAN OF GERSTHOF Dance, as a gestural artistic form, is inspiration and basis for Richard Teschner‘s puppet theatre, which purely recounts by means of body language and masques. The „Dance-Special“ in Teschner‘s so called „Figurenspiegel“/“Magic
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