Richard Wherlock

Total Page:16

File Type:pdf, Size:1020Kb

Richard Wherlock 2017/ 2018 DIRECTOR: RICHARD WHERLOCK The Ballett Theater Basel is a dynamic, polyvalent and multicultural ensemble in THE the internatio nal class, one of the leading contemporary dance groups in Europe. The members of the Ballett Theater Basel have BALLETT thoroughly mastered the vocabulary of both classical ballet and contemporary dance, combining the highest standards of dance THEATER with virtuoso dynamism and inspired ex- pressiveness. The Basel ensemble has an outstanding command of both narrative and BASEL abstract ballet. There are plenty of contem- porary Choreographers working with the Ballett in Basel – Jiri Kylian, Nacho Duato, Ohad Naharin, Alexander Ekman, Johan Inger, Hofesh Shechter – to name only a few of them, and of course the outstanding choreo graphic Œvre of the Director of the 2 Ballett Theater Basel, Richard Wherlock. OUR PRODUCTIONS 2017/ 2018 SHECHTER / ARIAS Choreographies from Hofesch Shechter (The Fools) and Bryan Arias (this is everything) Premiere September 29, 2017 SWANLAKE Choreography by Stijn Celis Premiere November 17, 2017 TEWJE Choreography by Richard Wherlock Februar 15, 2018; March 18, 23, 2018 DEATH IN VENICE Choreography by Richard Wherlock Premiere April 13, 2018 DANCELAB 9 Choreographies from the dancers of the Ballett Theater Basel Premiere Mai 24, 2018 TOURING PROGRAM SNOW WHITE by Richard Wherlock TEWJE by Richard Wherlock DEATH IN VENICE by Richard Wherlock PEER GYNT by Johan Inger SWANLAKE by Stijn Celis SHECHTER / ARIAS / EKMAN THE FOOLS by Hofesh Shechter THIS IS EVERYTHING by Bryan Arias CACTI by Alexander Ekman BIOGRAPHY Born in Bristol (GB). After studying at London’s prestigious Ballet Rambert School, he joined their company as a dancer. Wherlock was Ballet Director at Hagen Theatre in Germany from 1991 to 1996, then spending three seasons as director of the Lucerne Ballet before moving to Komische Oper Berlin as artistic director and choreographer of BerlinBallett. He has been director and head choreographer of Ballett Basel since the 2001 / 2002 season, and artistic director of the renowned festival «basel tanzt» from 2004 to 2009. Richard Wherlock has been Director and Head Choreographer of Ballett Basel since 2001 / 2002 and has created many choreographies for the company. He has enjoyed particular success with his adaptations of great classics such as «A Swan Lake», «James or La Sylphide», «Traviata – a Ballet», «Carmen», «Giselle», or «Eugene Onegin» and other full- length narrative ballets which he has reinterpreted using contem porary dance techniques. He worked as choreographer with, among others, the following companies: New English Contemporary Ballet, Tanzforum Köln, Scapino Ballet Rotterdam, Finnish Dance Theatre Helsinki, Ballett Staatstheater Braunschweig, Romanian National Ballet, The Icelandic Ballet, Ballet National de Nancy et de Lorraine, Ballet National de Marseille, Ballet de l’Opéra de Nice, aalto ballett theater essen, Europa Danse (UNESCO), Ballett der Deutschen Oper am Rhein Düsseldorf, Singapore Dance Theatre, Ballett der Vereinigten Bühnen Graz, Introdans in Arnheim / Holland, Ballett des Badischen Staatstheaters Karlsruhe, Phoenix Dance Theatre Leeds and Ballet Contemporaneo del Teatro San Martín / Argentina. Wherlock also created a full-length ballet for Les Étoiles de l’Opéra National de Paris, for the Ballet of the Opéra National de Bordeaux and for the Seoul Ballet Theatre. His film and TV work includes the choreography for Claude Lelouch’s cinema production «Hasards ou Coïncidences», presented in 1998 at the Venice Biennale and at the Montréal and Chicago festivals. In 2000, Wherlock received the Prix Italia for the award-winning dance film «Passengers», produced by the Swiss broadcasting company DRS, RM Associates and 3SAT. His most recent film success «One bullet left» – also produced by Swiss broadcasting company DRS – was awarded the Golden Rose of Montreux in 2003. In 1999 he was nominated for the international dance award «Benois de la Danse». Richard Wherlock’s particular interest lies in supporting talented up- and-coming dancers. He serves on the juries of numerous international dance competitions and president of the Migros scholarship jury. «Our art is … holding on and letting go, precision and RICHARD WHERLOCK disorganization. Dizzyingly fast, achingly slow, and Choreographer and Director everything in between. Back up, forth and down. of the Ballett Theater Basel Immeasurable. … I just love it.» Richard Wherlock ENSEMBLE CAMILLE AUBLÉ France Training: Centre de Danse International Rosella Hightower (Cannes), Ecole de Rudra Béjart, Lausanne Previous company: Ballet Biarritz PIRAN SCOTT Australia Training: Theatre Arts Mackay, Queensland Ballet RUBEN DARIO BANOL HERRERA Professional Year (Australia) Colombia Previous company: Queensland Ballet, Leipziger Ballett Training: Incolballet (Colombia), Real Consérvatorio ARMANDO Profesional de Danza de Madrid BRASWELL Previous companies: Compañía colombiana de ballet, USA Europadanse, Compañía Nacional de Danza 2, Ballet de Training: La Guardia la Generalitat Valenciana, Elephant in the Black Box Highschool of Performing Arts, School of American Ballet, The Ailey School, The Juilliard School Previous companies: The Metropolitan Opera Ballet, DIEGO Ballett Theater München, BENITO Gauthier Dance Stuttgart GUTIERREZ Spain Training: Real Conser­ vatorio Profesional de Danza de Madrid Previous companies: ballett du Grand Theatre * de Geneve, Nafas Dance LISA HORTEN­SKILBREI Norway Company, Introdans Training: Oslo National Academy of The Arts (KHiO), Hubbard Street Dance Chicago, Scholarships at Batsheva Dance Company and Nederlands Dans Theater LUNA BUSTINDUY MIRKO CAMPIGOTTO MERTENS Italy France Training: Achillea in Rivarolo C.se., Kaos Balletto di Firenze, Codarts Rotterdam Training: Ecole National Supérieure de Danse Marseille, Rudra Béjart Lausanne, Previous companies: Kaos Balletto Hamburg Ballet School. di Firenze, Introdans, Saalandisches Staastheater Saarbrücken Previous companies: Company Igokat, Nederlands Dans Theater 2 SERGIO BUSTINDUY Spain Training: Instituto del Teatro Barcelona, Balletschool Nacional de Cuba Previous companies: Ballet Nacional de Cuba, Zürcher Ballett, Tanz­Forum Köln, Euregio Tanz­Forum, Staatstheater Saarbrücken, BerlinBallett/Komische Oper, Hannover Ballett ALBA LYDIA CARUSO CARBONELL Italy Training: Rosella Hightower, CASTILLO Cannes Spain Previous companies: Compania Training: Conservatorio de Danza La Mov, Ballet du Profesional de Danzade Grand Théatre de Genève, Riba­Roja del Turia ISMAEL Rudra Béjart Lausanne Valencia * Previous companies: DEL VALLE Spain Centro coreografico de Valencia, Compagñía Training: Real Conservatorio National de Danza 2 Profesional de Danza de Madrid, Staatliche Ballettschule Berlin Previous company: Larreal Madrid FLORENT MOLLET France Training: Ecole de l’Opéra national de Paris, Ecole Atelier Rudra Béjart (Lausanne) Previous companies: Opéra de Nice, Ballet d’Europe, Ballet Biarritz JORGE GARCÍA PÉREZ Spain Training: Escuela de danza Maria de Avila, Zaragoza, Spain AYAKO NAKANO Japan Previous companies: Biarritz Ballet II, JULIAN JUAREZ Training: Tokyo, Royal Ballet School London, Prize SYBAA Ballet, Zürcher Ballett CASTAN Scholarship Prix de Lausanne 1992 Spain Previous companies: Zürcher Ballett, Tanz­Forum Training: Coppelia Dance School, Köln, Euregio Tanz­Forum, Staatstheater Instituto superior de danza Alicia Saarbrücken, BerlinBallett/Komische Oper Alonso Previous companies: Ballet de Zaragoza, Ballet de Teatres de la Generalitat, Les Grand Ballets du Montreal, Scottish Dance Theater ANNABELLE PEINTRE France Training: Conservatoire de Danse d’Avignon Previous companies: Compania Nacional de Danza II, Ballet Basel, Opéra de Lyon DEBORA MAIQUES MARIN Spain Training: Elise Lummis­School Previous companies: Compañía Nacional de Danza España 2, Ballet Carmen Roche, Centro Coreografico de Valencia MAX OSSENBERG­ * ENGELS Germany Training: Ballett­Akademie Hochschule für Musik und Theater München Previous companies: Nürnberg Ballett RAQUEL REY RAMOS Spain Training: Real Conservatorio JAVIER Profesional de Danza Madrid, RODRIGUEZ Carmina Ocaña­Schule COBOS Previous companies: Compañía Spain Nacional de Danza España 2, Training: Real Conservatorio Naci­ Balletto di Teatro di Torino, onal de Danza de Madrid Centro Coreografico de Valencia Previous companies: Europa Dan­ se, Ballet des jeunes d’Europe, FRANK FANNAR Compañía National de Danza 2, Ballet de l’Opéra National du Rhin, PEDERSEN Introdans Iceland Training: Iceland Ballett School Reykjavik, Ballett schule der Finnischen Nationaloper (Helsinki) Previous companies: ANTHONY Iceland Dance Company, IT Dansa Barcelona, Ballett des TANA ROSÁS SUNÉ RAMIANDRISOA Staatstheaters Wiesbaden Spain France Training: Instituto del Teatro Training: Conservatoire Barcelona, Koninklijk de Lyon Conservatorium (Den Haag) Previous company: Previous company: Junior Ballet Lyon IT Dansa Barcelona ANDREA TORTOSA VIDAL MARINA SANCHEZ Spain GARRIGÓS Training: Estudio de danza Spain Maria de Avilar; Nederlands Training: Institut del Teatre (Barcelona), Danse Theater II Central School of Ballet (London) Previous company: Ballett Previous companies: New English Basel; Aterballetto Contemporary Ballet, Nürnberg Ballett DÉVI­AZELIA SIDNEY SELLY ELIZABETH France TURTSCHI MAX Training: Rosella Hightower Switzerland (Cannes), Rudra Béjart ZACHRISSON Training: Sweden (Lausanne) Ballettschule Theater Basel Training: Previous companies: Previous company: Royal Swedish Ballet School Béjart Ballet,
Recommended publications
  • Information-Package-English NEU.Pdf
    Ballettschule Theater Basel Elisabethenstrasse 16, CH - 4051 Basel [email protected], +41 61 295 14 45 www.ballettschuletheaterbasel.ch What you will find in this package: What you will find in this package: 1 General Information 2 Our Team 3 Curriculum 7 Academic Education 9 Admission Process Senior Professional School 9 Housing 9 Visa requirements 10 Living in Switzerland – facts and figures 11 Cost 12 Contact 13 1 Ballettschule Theater Basel Elisabethenstrasse 16, CH - 4051 Basel [email protected], +41 61 295 14 45 www.ballettschuletheaterbasel.ch General Information The Ballettschule Theater Basel is the largest professional school for dance in the tri-country area of Switzerland, Germany and France and is recognized worldwide as one of the leading professional schools in Europe. Our Junior School provides children and teenagers with high quality classes and our Senior School trains talented students who aspire to a career as a professional dancer. Graduates have joined renown companies throughout the world. The school is closely linked to the city of Basel and the ballet company in Basel. The close association with Ballett Theater Basel and its director, Richard Wherlock, allows students to experience the daily artistic life of a professional theatre and enables selected students to participate in the company’s performances and projects. Scholarships are awarded to exceptionally talented and committed students as required. We work together with regionally, nationally and internationally successful teachers, guest teachers and pianists. In addition to being exposed to the creative process by working with present day choreographers such as Richard Wherlock and Heinz Spoerli, students have performed works of Kenneth McMillian and George Balanchine, two of the greatest choreographers of the 20th Century.
    [Show full text]
  • Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
    DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters.
    [Show full text]
  • Ballett Theater Basel 21/22
    Ballett Theater Basel 21/22 Director: Richard Wherlock The Ballett Theater Basel The Ballett Theater Basel is a dynamic, polyvalent and multi- cultural ensemble in the International class, one of the leading contemporary dance groups in Europe. The members of the Company have thoroughly mastered the vocabulary of both classical ballet and contemporary dance, combining the highest standards of dance with virtuoso dynamism and inspired expressiveness. The ensemble has an outstanding command of both narrative and abstract ballet. There are plenty of contemporary Choreographers working with the Company – Jiri Kylian, Nacho Duato, Ohad Naharin, Alexander Ekman, Johan Inger, Ed Wubbe, Stijn Celis, Hofesh Shechter, Sharon Eyal – to name only a few of them, and of course the outstanding choreographic OEvre of the Director of the Ballett Theater Basel, Richard Wherlock. theater-basel.ch vimeo.com/richardwherlockballet We Have Friends The numerous members of the Basler Ballett Gilde share the passion for dance and support the Ballett Theater Basel: people whose heart beats faster whenever they encounter anything that has to do with dance! Have a look: baslerballettgilde.org 3 4 5 Our Productions 21/22 Cow Empty Thrones La Fille mal Gardée TERRitORy 20. August 2021 (new creation) (new creation) (new creation) Choreography by Alexander Ekman 16. September 2021 6. November 2021 26.02.2022 Music: Mikael Karlsson Choreography by Richard Wherlock Choreography by Choreography by Jeroen Verbruggen Muhammed Kaltuk 90 minutes, 25 dancers Music: Max Zachrisson Music: Louis Ferdinand Hérold, Music: Tobias Herzog 80 minutes, 12 dancers arrangement by John Lanchberry 30 minutes, 10 dancers Bliss → available for touring 90 minutes, 30 dancers 24.
    [Show full text]
  • English National Ballet Emerging Dancer
    English National Ballet Emerging Dancer Sadler’s Wells, London Tuesday 7 May 2019 Performance at 7.30pm Tickets: £12- £30 Box office: 020 7845 9300 and ballet.org.uk/emerging Celebrating its tenth year, English National Ballet’s Emerging Dancer competition will be held at Sadler’s Wells on Tuesday 7 May 2019. Through this ‘highly anticipated annual event’ [Pointe Magazine], English National Ballet recognises the excellence of its artists. Selected by their peers, six of the company's most promising dancers perform in front of an eminent panel of expert judges, before one receives the 2019 Emerging Dancer Award. The recipients of the People's Choice Award, selected by members of the public, and the Corps de Ballet Award, acknowledging the work on and off-stage of a member of the Corps de Ballet, will also be revealed. Emerging Dancer is a key part of English National Ballet’s commitment to developing and nurturing talent within the Company and is generously supported by Graeme and Sue Sloan. Last year’s Emerging Dancer Award winner, Daniel McCormick has since performed the role of Nutcracker in the Christmas favourite, the Pas de Trois and Spanish dance in Swan Lake and Lescaut in Manon. The 2019 finalists are: Alice Bellini Bellini trained at La Scala Ballet School and Royal Ballet Upper School before joining English National Ballet as an Artist of the Company in 2017. One of her career highlights to date was dancing the pas de deux in Aszure Barton’s Fantastic Beings. Bellini was voted the 2018 People’s Choice Award winner at last year’s Emerging Dancer competition.
    [Show full text]
  • Ballet, Culture and Elite in the Soviet Union on Agrippina Vaganova’S Ideas, Teaching Methods, and Legacy
    Ballet, culture and elite in the Soviet Union On Agrippina Vaganova’s Ideas, Teaching Methods, and Legacy Magdalena L. Midtgaard Magdalena Midtgaard VT 2016 Examensarbete, 15 hp Master program, Idéhistoria 120 hp Balett, kultur och elit i Sovjetunionen Om Agrippina Vaganovas idéer, undervisningsmetoder och arv Magdalena Midtgaard vt. 2016 Abstract. Balettutbildning har varit auktoritär och elitistisk i århundraden. Med utgångspunkt i Agrippina Vaganova och hennes metodiska systematisering av balettundervisning diskuteras frågor om elit, lärande och tradition inom balettundervisning. Vaganova var en länk mellan tsartidens Ryssland och det nya Sovjet och bidrog aktivt till att balett som konstform, trots sin aristokratiska bakgrund, fördes vidare och blev en viktig kulturpolitiskt aktivitet i Sovjet. Med underlag i texter av Bourdieu och Said diskuteras elit, kulturellt kapital och elitutbildning för att förklara några av de politiska och samhällsmässiga mekanismer som bidragit till balettens unika position i Sovjet. För att placera Vaganova som pedagog i förhållande till balettundervisning och balett genom tiden, presenteras korta informativa kapitel om baletthistoria, och utveckling och spridning av Vaganovas metod, både i Sovjet/Ryssland och i andra länder. Key words: Classical ballet, Vaganova, ballet education, elite education, cultural politics in the Soviet Union My sincere thanks to Sharon Clark Chang for proof reading and correcting my English, and to Louise Midtgaard and Sofia Linnea Berglund for valuable thoughts on Vaganova and ballet pedagogy and education in general. 2 Contents 1. Introduction p. 5 1.1 Sources and method p. 6 1.2 Theoretical perspectives on elite culture p. 7 2. Background p. 8 2.1 A short history of ballet p.
    [Show full text]
  • Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia by Arthur E. Lafex Submitted To
    Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia By Copyright 2013 Arthur E. Lafex Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music. ________________________________ Chairperson Alicia Levin ________________________________ Paul R. Laird ________________________________ David Alan Street Date Defended: April 15, 2013 The Thesis Committee for Author (Arthur E. Lafex) certifies that this is the approved version of the following thesis: Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia ________________________________ Chairperson Alicia Levin Date approved: April 15, 2013 ii Abstract Léo Delibes (1836-1891) wrote ballet scores that have inspired composers and have entertained generations of ballet lovers. His scores have been cited for their tunefulness, appropriateness for their narrative, and for their danceability. However, Delibes remains an obscure figure in music history, outside the musical canon of the nineteenth century. Likewise, his ballet music, whose harmonic resources are conventional and whose forms are variants of basic structures, has not received much scholarly and theoretical attention. This thesis addresses Delibes’s music by examining his ballet score for Coppélia, its support of narrative and also its support of dance. Chapter 1 begins with a historical view of ballet and ballet music up to the time of Delibes. Following a biographical sketch of the composer, a review of aspects of the score for Giselle by his mentor, Adolphe Adam (1803-1856) establishes a background upon which Delibes’s ballets can be considered.
    [Show full text]
  • The Joffrey Ballet's 10 New Ballet Dancers Span Six Countries
    The Joffrey Ballet’s 10 new ballet dancers span six countries, including Russia, South Korea, and Colombia. Their ages range from 19 to 26. Mixed backgrounds and ages aside, they're now all united by one thread: Joffrey Artistic Director Ashley Wheater saw something in each that helped them make the cut among several hundred applicants. “I happen to agree with Robert Joffrey that a dancer doesn’t come with one look or one skin color and I think a true dancer comes in all different shapes and sizes,” said the Scottish-born Wheater. “When I look at the company, it’s just such a beautiful tapestry of people.” In assembling the diverse group, Wheater – who joined Joffrey just before the death of founding artistic director Gerald Arpino – stays in line with past choices of the company, which, under Arpino, embraced both atypical ballet bodies and bold, plot-less ballets. Founded by Robert Joffrey and Arpino in 1956, the Chicago company touts itself as a school of “firsts” – the first classical dance company to commission a ballet based on rock music, the first to have a major motion picture based on it (Robert Altman’s The Company), and the first U.S. ballet company to livestream video of a rehearsal on YouTube. Joffrey’s most recent addition reflects young dancers who must contend with their own newly emerging public identities almost as readily as they practice their turnout. Last year, Valeriia Chaykina, a dancer from Russia, was cast in an ongoing series from Teen Vogue. In 2011, Colombian-born Joan Sebastián Zamora starred in the documentary First Position, which followed six young ballet dancers preparing for New York City’s Youth American Grand Prix, one of the world’s largest ballet competitions.
    [Show full text]
  • Guide to Dance 2018-2019 Study Guide
    GUIDE TO DANCE 2018-2019 STUDY GUIDE Learn about the art of dance and go behind-the-scenes with a professional dance company. Written and compiled by Ambre Emory-Maier, Director of Education, and other contributors l ©2018 BalletMet Columbus TABLE OF CONTENTS Behind the Scenes ............................................................................................................................................. 2 Brief History of BalletMet ................................................................................................................................. 3 BalletMet Offerings ........................................................................................................................................... 4 The Five W’s and H of Dance .......................................................................................................................... 5 Brief History of Ballet ..................................................................................................................................... 6-7 Important Tutu Facts ......................................................................................................................................... 8 Important Pointe Shoe Facts .......................................................................................................................... 9 Glossary of Dance Terms ......................................................................................................................... 10-12 Ballet Terminology..........................................................................................................................................
    [Show full text]
  • A History of Ballet. by Jennifer Homans
    Books Apollo’s Angels: A History of Ballet. By Jennifer Homans. New York: Random House, 2010; 672 pp.; illustrations. $20.00 paper. Downloaded from http://direct.mit.edu/dram/article-pdf/56/2 (214)/209/1823062/dram_r_00180.pdf by guest on 26 September 2021 I have long thought a social history of ballet would be a good idea — ­perhaps something modeled after Arnold Hauser’s classic Social History of Art (1951). Apollo’s Angels reviews four centuries of ballet history with a focus on tech- nique and styles that are strongly tied to national identity. Stories of the dancers and choreographers are interwoven with plot outlines from ballet libretti and thumbnail sketches of major and minor historical events. But, although impressive for its vast coverage, the book tends to be unreliable in its analysis and contradictory in its methodology. From the geometrical dances of 1581 in Le Ballet Comique de la Reine to Nijinsky’s American tour in 1916, many claims are compromised by the findings of recent scholar- ship, which the author has apparently not consulted. An agenda drives this chronicle. Jennifer Homans separates the wheat from the chaff of history by distinguishing what she considers to be “pure” ballet. This leads to value judgments, not social history. It is revealing to understand what Homans means by pure: ballet that does not tell a story, but evokes an essence or a feeling; ballet that exudes a godlike nobility; ballet that is rooted in highly conservative ideologies. Stylistic purity is above all aristocratic, conservative, and, at her own admission, “stuck” in the past: “It was stuck, but that also meant that it marked a historical place and fiercely guarded the aristocratic principle that was its guid- ing force” (264).
    [Show full text]
  • Press Information → 2020/21 Season
    Press Information → 2020/21 Season THE VIENNA ① STATE BALLET 2020/21 »Along with my team and my dancers, I intend to work towards developing the Vienna State Ballet into a major hotspot of the art of dance in Austria and Europe forming an ensemble that reflects and inspires the traditions, changes and innovations of the lively metropolis, city of art and music, Vienna.« Martin Schläpfer Martin Schläpfer takes over the direction of the Vienna State Ballet with the 2020 / 21 season. The renowned Swiss choreographer and ballet director has recently led the multi-award-winning Ballett am Rhein Düsseldorf Duisburg to international acclaim. His works fascinate with their intensity, their virtuosity, their deeply moving images and a concise language of movement, which is understood as making music with the body, but always reflects the atmosphere and questions of today’s world. Several performances offer the opportunity to encounter Martin Schläpfer’s art – including two world premieres: Two new pieces for Vienna are being created to Gustav Mahler’s 4th Symphony and Dmitri Shostakovich’s 15th Symphony, which also mark the beginning of the intensive creative dialogue that Martin Schläpfer will be establishing with the artists of his ensemble in the coming years. As director, Martin Schläpfer is a bridge-builder who will naturally continue to cultivate the great ballet traditions, but will also enrich the programme with important contemporary artists and a great variety of choreographic signatures. The masters of American neo-classical ballet George Balanchine and Jerome Robbins will continue to be among the fixed stars of the Vienna repertoire, as will the Dutchman Hans van Manen.
    [Show full text]
  • Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009
    http://oac.cdlib.org/findaid/ark:/13030/c8c24wzf No online items Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009 Preliminary processing by Andrea Wang; fully processed by Mike D'Errico in 2012 in the Center for Primary Research and Training (CFPRT), with assistance from Jillian Cuellar; machine-readable finding aid created by Caroline Cubé. The processing of this collection was generously supported by Arcadia funds. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2012 The Regents of the University of California. All rights reserved. Lewis Segal Collection of Dance 1890 1 and Theater Materials, 1902-2011; Bulk, 1970-2009 Descriptive Summary Title: Lewis Segal Collection of Dance and Theater Materials Date (inclusive): 1902-2011; Bulk, 1970-2009 Collection number: 1890 Collector: Segal, Lewis Extent: 24 record cartons (24 linear ft.) Abstract: Lewis Segal is a performing arts critic who has written on various topics related to the performing arts, from ballet to contemporary dance and musicals. He began working as a freelance writer in the 1960s for a number of publications, including the Los Angeles Times, Performing Arts magazine, the Los Angeles Free Press, Ballet News, and High Performance magazine. He joined the staff of the Los Angeles Times in 1976. From 1996 to 2008 he held the full-time position of chief dance critic, writing full features and reviews on dance companies and performing arts organizations from around the world.
    [Show full text]
  • Dance Brochure
    Boosey & Hawkes Music Publishers Limited Dance 2006 Edition Also see www.boosey.com/downloads/dance06icolour.pdf Figure drawings for a relief mural by Ivor Abrahams (courtesy Bernard Jacobson Gallery) The Boosey & Hawkes catalogue contains many of the most significant and popular scores in the dance repertoire, including original ballets (see below) and concert works which have received highly successful choreographies (see page 9). To hear some of the music, a free CD sampler is available upon request. Works written as ballets composer work, duration and scoring background details Andriessen Odyssey 75’ Collaboration between Beppie Blankert and Louis Andriessen 4 female singers—kbd sampler based on Homer’s Odyssey and James Joyce’s Ulysses. Inspired by a fascination with sensuality and detachment, the ballet brings together the ancient, the old and the new. Original choreography performed with four singers, three dancers and one actress. Argento The Resurrection of Don Juan 45’ Ballet in one act to a scenario by Richard Hart, premiered in 1955. 2(II=picc).2.2.2—4.2.2.1—timp.perc:cyms/tgl/BD/SD/tamb— harp—strings Bernstein The Dybbuk 50’ First choreographed by Jerome Robbins for New York City Ballet 3.3.4.3—4.3.3.1—timp.perc(3)—harp—pft—strings—baritone in 1974. It is a ritualistic dancework drawing upon Shul Ansky’s and bass soli famous play, Jewish folk traditions in general and the mystical symbolism of the kabbalah. The Robbins Dybbuk invites revival, but new choreographies may be created using a different title. Bernstein Facsimile 19’ A ‘choreographic essay’ dedicated to Jerome Robbins and 2(II=picc).2.2(=Ebcl).2—4.2.crt.2.1—timp.perc(2)— first staged at the Broadway Theatre in New York in 1946.
    [Show full text]