NEW/WORKS Spuck / Goecke / Clug / Forsythe 3 Aufbruch!

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Quadruple Bill NEW/WORKS Spuck / Goecke / Clug / Forsythe 3 Aufbruch!

Quadruple Bill NEW/WORKS

Spuck / Goecke / Clug / Forsythe

Presented by

Cassiopeia’s Garden Nachtmerrie Source

Blake Works I 3 Aufbruch!

Quadruple Bill NEW/WORKS

Spuck / Goecke / Clug / Forsythe

Presented by

Cassiopeia’s Garden Nachtmerrie Source

Blake Works I 4 5 New/Works New/Works

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The Stuttgart tradition is innovation: since ballets gradually turned into cheers and 1961, the five Artistic Directors of the Stutt- deep admiration. Choreographers should gart Ballet have commissioned or created be able to work as freely as possible in around 400 new works, many of which were Stuttgart, and the best possible conditions later danced by other companies. A good are created for them to do so. Cranko began handful of the ballets made in Stuttgart have early on to educate an audience which today become classics in the international ballet is sometimes reproached for its love of the repertoire, including not only John Cranko’s old story ballets, but the fact is that in over story ballets but also works by Kenneth 50 years the curious have prevailed over MacMillan, Uwe Scholz or John Neumeier’s the door-slamming faction. It’s an audience Lady of the Camellias. Quite astonishing for which in spite of initial rejection persistently a medium-sized opera house that is not comes back, that greedily reads reviews and even located in the German capital and then nevertheless forms its own opinion, whose ballet company did not play a role in that puts up with a few years of creative international dance world before that. The drought until things become exciting again, seeds John Cranko planted here in just a that looks at a new dance language again few years could not have blossomed more and again until it eventually understands sustainably: In addition to the very special it and falls in love. At every Young Choreo- cohesion of a company made up of different graphers evening, these spectators hope personalities, it was already part of Cranko’s for the next unusual choreographic voice, vision as director to present world premieres for the “step around the next corner”, to use by his contemporaries next to his own works Reid Anderson’s words. Tamas Detrich can and to promote his dancers as choreogra- also rely on this curiosity and celebrates the phers. He gave Kenneth MacMillan refuge 60th anniversary of the company not with when he was not allowed to realise his a retrospective, but with something new, new ideas at the Royal Ballet in London, he with world premieres. And with the return brought Glen Tetley with his modern dance of probably the most revolutionary of Stutt- aesthetic to Stuttgart, shortly before his gart’s Noverre graduates: After a long career death he invited Jerome Robbins to come of discoveries and developments, William Christian Spuck in rehearsal with Alessandro Giaquinto to Stuttgart and he allowed young dancers Forsythe returns to Stuttgart with one of his such as John Neumeier and Jiří Kylián to latest works. develop their own style and respected them as colleagues. From the beginning, Cranko Christian Spuck wanted to see new and innovative works next to his own. From the constellation Cassiopeia come the strongest radio waves in the sky next Curiosity and openness to our sun: the remnant of a supernova that exploded millenia ago leaves discerni- All of his successors learned this curiosity ble traces until today. What from the past and openness from him: Marcia Haydée, who still echoes in us years later? This is what commissioned William Forsythe’s Orpheus Christian Spuck asks himself in his crea- and accepted door-slamming spectators as tion for the anniversary, his first Stuttgart well as protesting dancers for it, or later Reid work since his farewell piece Das Fräulein Anderson, who experienced how the initial von S. nine years ago. Coming from the booing for Marco Goecke’s dark, nightmarish John Cranko School, the young artist from 4 5 New/Works New/Works

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Marburg made an initial foray into contem- sits on her throne in the northern sky as a porary dance in Belgium before returning to constellation, where she is visible all year Stuttgart in 1995. Dos amores was the title round and sends mysterious rays from the of his breakthrough work with the long pen- depths of time. dulums in 1999, and even then it showed the defining elements of the choreographer’s Marco Goecke work: the exciting juxtaposition of baroque and modern, the elegance of the costumes In the beginning, everything about Marco and movements, spiced with a sense of the Goecke’s ballets, costumes, stage and props grotesque, the pictorial power of the overall was black, black, black. The dancers’ arms composition and the sense of proportion fluttered and trembled, one saw mainly the for the architecture of the stage. With Lulu. backs of dancers, the pieces were enigma- Eine Monstretragödie, four years later, he tic in a new aesthetic never seen before. It created the long-awaited new story ballet was strong enough to permanently disturb for a company that had become famous for many spectators, others were fascinated dramatic dance. Again and again, Spuck in disbelieving amazement: after William chooses unusual material from German Forsythe, after the deconstruction of acade- Expressionism or dark Romanticism, taking mic classicism into its individual parts, was inspiration from literature, mythology, films there really anything new in ballet again? or paintings. A love of the grotesque or even At that time, Fritz Höver was the only one the bizarre, an empathy for the outsider and to respond to the many video applications the lonely characterise his pieces. of the young man from Wuppertal and invited him to the Noverre evening in Stuttgart From the depths of time in 2001; today, Goecke’s oeuvre comprises about 80 pieces, he is Artistic Director of Choreographically, Spuck, for all his inclina- the State Theatre Ballet in Hanover and an tion towards dance theatre and the spoken established figure in European dance. Mar- Marco Goecke in rehearsal with Mackenzie Brown and Henrik Erikson word, always maintains a connection to bal- co Goecke is more than happy to return to let, especially with his talent for letting the Stuttgart, where he has gone from being a action culminate in large, visually powerful choreographic maverick to a star, from freak groupe scenes. With a critical admixture to cult, since his first work Chicks and since of emblematic breaks, he continues the Sweet Sweet Sweet, the ballet with the black Stuttgart tradition of using pas de deux for balloons. them: “Nachtmerrie doesn’t mean anything but not grasp. The choreographer quotes depicting relationships, and likes to break negative, I don’t judge it as something bad. Virginia Woolf, whose Orlando he translated the aesthetics of clear lines with a laconic Lost in dreams I’ve always found the word beautiful. At the into dance: “Just when we are idle, when punch line. Musically, he loves collages moment I’m dreaming of old loves and I’m we dream, the sunken truth sometimes and often juxtaposes pure movement with He has remained true to his unique style, quite often surprised that things that have emerges.” text. In Zurich, where he became Artistic but has opened himself more and more been gone for years suddenly reappear. Director of the ballet company in 2012, he to the world – to colours, frontal views, Maybe a work like I’ve been doing for 20 Edward Clug further developed his love of choral music flashing structures, sometimes even to years is always a bit like being lost in a dre- with pieces such as Giuseppe Verdi’s Messa a relaxed serenity instead of despair and am...” As in some of his works, there is a Edward Clug has never been resident cho- di Requiem or Helmut Lachenmann’s Das self-destruction, finally even to story bal- counterpoint at the end, the big showdown: reographer in Stuttgart, but returns regularly Mädchen mit den Schwefelhölzern. Cupid’s lets. More than ever, his dance of the arms “It’s like a dream which you tell someone every two or three years to create a work Garden was the name of a small, lovely is fascinating, this sometimes maddeningly about in the morning, and then you say: for the company, Source being his sixth. duo for Egon Madsen and Eric Gauthier at fast, sometimes dream-like play with ima- it was so absurd, Lady Gaga even showed The then Artistic Director Reid Anderson a gala in Stuttgart in 2004. Now, with Cas- gery and associations. Dream-like is also up at the end!” Perhaps Marco Goecke also discovered the choreographer from Roma- siopeia’s Garden, the ex-Stuttgartian once the pas de deux he has created for the has in mind an earlier Stuttgart work called nia in 2009 and brought him in for Pocket again turns to Greek mythology: Cassiopeia, anniversary: Nachtmerrie is the Dutch word Albums, in which surreal things flitted by, Concerto; almost a bit of an insider tip, Clug Andromeda’s mother, banished by Poseidon, for “nightmare”, but Goecke is not afraid of the meaning of which one could guess at then rose to become a choreographer in 6 7 New/Works New/Works

demand worldwide. His international career William Forysthe today spans from the avant-garde trou- pe of the Nederlands Dans Theater to the Urlicht was the name of William Forsythe’s venerable Bolshoi Ballet. Nevertheless, he very first work, created for the Noverre eve- has remained loyal to his company at the ning in 1976: a short pas de deux to the alto Slovenian National Theatre in Maribor for 30 solo from Gustav Mahler’s Second Sympho- years, first as a dancer and since 2003 as ny. The choreographer danced it together Artistic Director. with his then wife Eileen Brady, an extraor- dinarily intense, dense and yet quite clear To the day duet full of difficult lifts, in which not a single movement is too much. In his next pieces, Clug’s fluid style breaks down the long arcs the young dancer from America, whom John and pathos of ballet into short movements, Cranko had engaged for Stuttgart shortly he then reassembles these small units like a before his death in 1973, simply tried out smooth jigsaw puzzle, with a modern synco- everything: neo-classical à la Balanchi- pated and very refined dynamic. This idiom ne, jazzy, dramatic modern dance, dance can look laconic and dry, sometimes even theatre rich in props, language, screams mechanical, for example when the choreo- and brutality, movement reduced to mini- grapher multiplies motifs. Often, however, malism. As Artistic Director of the Frankfurt he also underpins his style with a quiet, Ballet from 1984 onwards, he deconstructed playful irony, for example in his Patterns in ¾ the classical-academic language and tilted two years ago. For all his renunciation of it off its axis, combining pure abstraction far-reaching drama or high lifts, for all his with absurd theatre to loud electro-synco- minimalism and earthiness, Clug’s dance is pations, drawing inspiration from scientific full of inner tension, so expressively does theories and gradually becoming more her- he vary rhythms and speeds. After small, metic. From ballet he went to performance, mysterious one act ballets, he also crea- rubbery sinuous contortions and dancer- ted full-length ballets such as Peer Gynt or less installations. He had dancers dance Faust with surrealistic images. In his story on point, in slippers or dance socks, he had ballets he loves the ambiguity of symbols, his dancers produce the accompanying he does not tell the story in grand gestures music themselves, he mixed spectators but rather hints at it, builds up drama from with the artists, he questioned most of the inner tension, sadness and happiness from conventions of the stage, from the lights to small movements. His new work is inspired the curtain to the music, he even had robots by John Cranko, who passed away on the dance. After forty years, with Blake Works I, it exact day Clug was born. Although no one seems, he has returned to pure classicism, has ever heard of a choreographic transmi- to stretched legs, rounded arms, to a decla- gration of souls like that of the Dalai Lama, ration of love for ballet. Edward Clug in rehearsal with Rocio Aleman and Friedemann Vogel this coincidence is a little mysterious and inspired him to celebrate not only the father A push into the future of the Stuttgart ballet miracle with Source, but this entire Stuttgart ballet, from which William Forsythe is certainly the most radical so many new dance creators and choreo- of the contemporary ballet choreographers, graphic voices – who have shaped and per- he broke down the classical vocabulary into manently changed the international dance its component parts, but at the same time scene – have emerged over the last 60 years. gave dance a decisive push into the future, 8 9 New/Works New/Works

which has resonated since the 1980s with The big ballet conversation so many younger colleagues, in so many new pieces, styles and languages. For- Has he spent decades distilling the essence sythe brought coolness to ballet: the young from dance to arrive at this almost philoso- dancers no longer imitated decades-old phical lightness? “I like being part of the big models and celebrated their nostalgic art, ballet conversation,” William Forsythe said but showed their own attitude to life – chee- in an interview about the piece, “This is a ky, cool, athletic in the lascivious rhythm celebration of everything ballet has brought of modern beats. Artifact, Impressing the to me in life. It’s just another way to love bal- Czar, Limb’s Theorem or The Second Detail let – and there are so many ways.” Perhaps were the names of his pieces; In the Middle, it’s no coincidence that the seven ballads by Somewhat Elevated was once described as English songwriter James Blake – so much “the work that changed ballet forever”. softer tones than the syncopated beats of Thom Willems that accompanied Forsythe’s Sheer Joy work for years – are reminiscent of the seven songs of Love Songs from 1979, which saw “Sheer joy” were the first words in the New new generations of dancers come of age York Times about Blake Works I when the in Stuttgart. Seeing Blake Works I in Stutt- work premiered at the Paris Opera Ballet in gart closes a circle: this is where William 2016. Tamas Detrich sat in the premiere at Forsythe began to discover, in this piece that time and knew: he wanted this piece. he returns to ballet after a long journey, Although the old Frankfurt Forsythe style probably the most extensive exploration is unmistakable, that irritated classicism ever undertaken by a choreographer: more whose forms suddenly get a kick, alt- knowing, freer, more aware, perhaps with hough the typically nonchalant and loose the wisdom of an intellectual who has been dynamics of that time prevail, the choreo- on the road for a long time and now thinks grapher nevertheless dispenses with the back to his early love. dangerously tilted balances and returns to the middle of the body as the centre. Angela Reinhardt Once again, Forsythe’s structures are con- William Forsythe in rehearsal with Adhonay Soares da Silva via Zoom trapuntal, individual dancers break out of the groups, the symmetry of the ensemble segues with quiet irony into a blur. Every now and then, the piece alludes to ballet history; even the light blue-toned opening image recalls George Balanchine’s Serenade. 10 11 New/Works New/Works

Cassiopeia’s Garden

Choreography Christian Spuck Music I Hate Models: Virtual Punishment Salvatore Sciarrino: 3 Notturni Brillanti per Viola Sola Johann Sebastian Bach: Pastorale in c-minor, BWV 590: Aria Concert No. 3 in d minor, BWV 974: II. Adagio Concert in d minor, BWV 596: Sicilienne Concert in g minor, BWV 975 (after Antonio Vivaldi): II. Largo Yan Cook: Type E György Kurtag: IX. Aus der Ferne Michael Utz: Reverse, Cassiopeia Set Rufus Didwiszus Costumes Emma Ryott Light Design Martin Gebhardt Sound Design Michael Utz Choreographic Assistance Birgit Deharde World Premiere 19th June 2021, Stuttgart Ballet

Martí Fernández Paixà, Rocio Aleman, Clemens Fröhlich 12 13 Cassiopeia’s Garden Aufbruch!

Cassiopeia’s Garden

Martí Fernández Paixà, Rocio Aleman, Clemens Fröhlich 14 15 Cassiopeia’s Garden

» Millions of years ago, an incomprehensible cosmic event occurred in the constellation Cassiopeia. The radio waves from this event are still perceptible today. Shaked Heller, Alessandro Giaquinto (Matteo Miccini, Rocio Aleman, Martí Fernández Paixà) Every event in our lives, even if it lies seemingly far in the past, poses the question: What remains? «

Christian Spuck

Elisa Badenes, Matteo Miccini 14 15 Cassiopeia’s Garden

Christian Spuck

Elisa Badenes, Matteo Miccini 16 17 Cassiopeia’s Garden Cassiopeia’s Garden

Elisa Badenes, Martí Fernández Paixà (Agnes Su, Louis Stiens, Matteo Miccini, Clemens Fröhlich, Rocio Aleman, Alessandro Giaquinto)

Clemens Fröhlich, Rocio Aleman

Louis Stiens, Clemens Fröhlich 16 17 Cassiopeia’s Garden Cassiopeia’s Garden

Elisa Badenes, Martí Fernández Paixà (Agnes Su, Louis Stiens, Matteo Miccini, Clemens Fröhlich, Rocio Aleman, Alessandro Giaquinto)

Clemens Fröhlich, Rocio Aleman

Louis Stiens, Clemens Fröhlich 18 19 Cassiopeia’s Garden Cassiopeia’s Garden

Matteo Miccini, Rocio Aleman, Clemens Fröhlich, Shaked Heller, Elisa Badenes, Louis Stiens 18 19 Cassiopeia’s Garden Cassiopeia’s Garden

Matteo Miccini, Rocio Aleman, Clemens Fröhlich, Shaked Heller, Elisa Badenes, Louis Stiens 20 21 Cassiopeia’s Garden Cassiopeia’s Garden

Shaked Heller, Elisa Badenes, Louis Stiens

Louis Stiens, Agnes Su, Shaked Heller

Elisa Badenes, Shaked Heller, Alessandro Giaquinto 20 21 Cassiopeia’s Garden Cassiopeia’s Garden

Shaked Heller, Elisa Badenes, Louis Stiens

Louis Stiens, Agnes Su, Shaked Heller

Elisa Badenes, Shaked Heller, Alessandro Giaquinto 22 23 Cassiopeia’s Garden Cassiopeia’s Garden

CHRISTIAN SPUCK Choreographer

Christian Spuck weaves dance, music and and has been danced at galas all over the mit den Schwefelhölzern in 2019, which was language into multi-layered total works of world; numerous companies, including the voted “Production of the Year” by the German art. His speciality are story ballets with a American Ballet Theatre in New York, have dance magazine tanz. In recent years, Spuck dramaturgy that is thought through to the taken the pas de deux into their repertoire. has been increasingly active in the field of last detail. In this way, the Artistic Director opera, creating large-scale, cross-discipli- of Ballett Zürich tells stories in dance which In 2006, Spuck was awarded the German nary productions. After beginning with co- reveal the multi-layered facets of the human Dance Prize in the category “Future”, but productions by the Stuttgart Young Opera or condition. his choreographies have found favour far the Stuttgart Opera and the Stuttgart Ballet, beyond Germany. The Return of Ulysses he has ventured further and further into this Spuck received his dance training at the (2006) was created for the Royal Ballet of terrain, staging productions such as Giusep- John Cranko School in Stuttgart. He began Flanders, and Woyzeck (2011) after Georg pe Verdi’s Falstaff at the Wiesbaden State his career in Jan Lauwers’ Needcompany Büchner premiered at the Norwegian Natio- Theatre and Hector Berlioz’ La Damnation and Anne Teresa de Keersmaeker’s ensem- nal Ballet Oslo. The ballet Die Kinder at the de Faust and Richard Wagner’s Der fliegen- ble Rosas before becoming a dancer with Aalto Ballett Theater Essen was nominated de Holländer at the Deutsche Oper Berlin. the Stuttgart Ballet in 1995. In 1996 he pre- for the Prix Benois de la Danse, and the bal- In Zurich, he dedicated the 2016-17 season sented his first choreography at the Young let Leonce und Lena after Georg Büchner, to Verdi’s Messa da Requiem, which united Choreographers evening of the Noverre which also premiered in Essen, entered soloists, chorus and ballet ensemble on Society: the Pas de deux Duo/Towards The the repertoire of Les Grands Ballets Cana- stage in a massive co-production of opera Night. After several successful pieces for the diens de Montreal and the Stuttgart Ballet. and ballet. The work was not only enthu- Stuttgart Ballet, then Artistic Director Reid The world premiere of Poppea//Poppea for siastically received, but also broadcast on Anderson appointed him Resident Choreo- Gauthier Dance at the Theaterhaus Stuttgart international television. Spuck succeeded in grapher in 2001. In 2003, Spuck created was voted one of the ten most successful creating a similarly moving work in 2018 with his first full-length story ballet Lulu. Eine dance productions worldwide by Dance Winterreise to Franz Schubert’s song cycle, Monstretragödie freely adapted from Frank Europe magazine in 2010 and was awarded for which he was awarded the Prix Benois de Wedekind. With Lulu, Spuck proved what his the German theatre prize Der Faust 2011 and la Danse 2019. Most recently Ballett Zürich previous one-act pieces had foreshadowed: the Italian Danza/Danza Award. Most recent- was named “Company of the Year 2020” by Christian Spuck * 28th September 1969 in Marburg, Germany extraordinary talent for the large, full-length ly, his ballet Orlando after Virginia Woolf pre- the German dance magazine tanz. As of format and the mastery of a dance language miered at the Bolshoi Theatre in Moscow in the season 2023-24 Christian Spuck will be played the clarinet which convincingly translates literary con- March 2021. Artistic Director of the Staatsballett Berlin.

did his civilian service in a psychiatric clinic tent into dance. By 2012, Spuck had created a total of 19 world premieres for the Stutt- Christian Spuck has been director of Ballett was inspired for Carlotta’s Porträt by Alfred gart Ballet, including the full-length story Zürich since the 2012-13 season. Here he Hitchcock’s film Vertigo ballets Der Sandmann (2006) and Das Fräu- created Romeo and Juliet (2012) followed lein von S. (2012) after E.T.A. Hoffmann. He by Anna Karenina (2014) after Leo Tolstoy. also choreographed dos amores (1999), das The latter ballet has entered the repertoire siebte blau (2000), Carlotta’s Portrait (2001), of the Norwegian National Ballet, the Sta- Pieces from a Lost Paradise (2004), Sleepers nislavsky and Nemirovich-Danchenko Music Chamber (2007) for the company. Le Grand Theatres, the Korean National Ballet and the Pas de deux (2000), a hilarious and loving Bavarian State Ballet. After Nussknacker und spoof of classical ballet became a sensation Mäusekönig (2017), he created Das Mädchen 22 23 Cassiopeia’s Garden Cassiopeia’s Garden

CHRISTIAN SPUCK Choreographer

RUFUS DIDWISZUS EMMA RYOTT Set Designer Costume Designer

Born in Cologne, Rufus Didwiszus studied set taken him to the Schaubühne, Komische Oper Emma Ryott studied theatre design in design. Further costume designs for Spuck design with Jürgen Rose at the Academy of and Deutsches Theater in Berlin, the Schau- Nottingham before starting her career as in Zurich Romeo und Julia (2012), Messa da Fine Arts in Stuttgart. Since then he has wor- spielhaus Hamburg, the Münchner Kam- assistant to the costume director at English Requiem (2016), Winterreise (2018) and Das ked regularly with directors Barrie Kosky and merspiele and the Bayerische Staatsoper, National Ballet. She then worked for several Mädchen mit den Schwefelhölzern (2019), Stefan Larsson, but also with Tomas Alfred- among others. Beyond Germany, Didwiszus years as costume manager at the Royal among others. In addition, their joint work son, Christian Lollike, Thomas Ostermeier, has worked at the Bolshoi Theatre in Moscow, Shakespeare Company. As freelance artist has taken them to other theatres, such as Christian Stückl and Evgeny Titov. In recent the Royal Opera in Stockholm, the Salzburg she has worked with Christian Spuck for the Deutsche Oper Berlin and most recent- years in particular, he has created stage Festival, the Vienna Festival Weeks and many years. At the Stuttgart Ballet she desig- ly the Bolshoi Theatre. She has also worked designs for Christian Spuck: Der Nussknacker the Festival d’Aix-en-Provence. Since 2004 ned the costumes for Lulu. Eine Monstre- with director Keith Warner on several occa- (2017), Der fliegende Holländer (2017), Winter- Didwiszus has been collaborating as desig- tragödie (2003), Der Sandmann (2006), Das sions, for example on Manon Lescaut (2000) reise (2018), Das Mädchen mit den Schwefel- ner and co-director with the director and per- Fräulein von S. (2012) and many others. For at English National Opera, Mathis der Maler hölzern (2019), Dornröschen (2020) and former Joanna Dudley. He also pursues his Spuck’s opera productions Berenice (2005) (2012) at Theater an der Wien and The Great Orlando (2021). Didwiszus has also created own music theatre productions and creates and Falstaff (2010) as well as for the dance Gatsby (2015) at Semperoper Dresden. Ryott designs for choreographers Sidi Larbi Cherka- installations. pieces Don Q. Eine nicht immer getanzte has also worked at the Finnish National oui and Sasha Waltz. His engagements have Revue über den Verlust der Wirklichkeit Ballet, the National Theatre London, and the (2007) and Poppea//Poppea (2010), Ryott Salzburg Festival, among others. created both the costumes and the set 24 25 Cassiopeia’s Garden Cassiopeia’s Garden

RUFUS DIDWISZUS EMMA RYOTT Set Designer Costume Designer

MICHAEL UTZ Sound Designer

As a sound designer, Michael Utz combines his expertise in music and electronics. At MARTIN GEBHARDT the age of 11, he received music lessons and began playing the guitar. Music became his Lighting Designer passion, so he started composing and par- ticipated in (inter)national music projects. In addition, he trained as an electronics technician and dealt intensively with audio Martin Gebhardt began his career as lighting technology. Utz established himself as a designer and lighting master at the Ham- sound technician, while at the same time burg Ballet. As of 2002 he worked with Heinz he was in demand as a composer. He also Spoerli’s Zurich Ballet and with the Zurich trained as a composer for film and media Opera House. Since the 2012-13 season Geb- music and deepened his knowledge through hardt has been head of lighting at the Zurich further training in audio technology and pro- Opera House. He has a close working rela- ject management. Since 2017, he has been tionship with choreographer Christian Spuck, working at the Zurich Opera House as deputy for whose ballets he created the lighting: sound engineer while at the same time wor- Messa da Requiem (2016), Nussknacker und king as a freelance composer and producer. Mäusekönig (2017), Winterreise (2018), Das Mädchen mit den Schwefelhölzern (2019) and Dornröschen (2020), among others. Their most recent work Orlando premiered at the Bolshoi Theatre in 2021. Gebhardt has also worked for the choreographers Edward Clug, Marco Goecke, Douglas Lee and Alexei Ratmansky. In the field of musical theatre, he has recently worked with Christoph Marthaler in Zurich and Anna Viebrock in Hamburg. In 2020, he designed the lighting for Les Hugue- nots at Geneva Opera, directed by Jossi Wieler and Sergio Morabito. 26 27 Cassiopeia’s Garden Cassiopeia’s Garden

MICHAEL UTZ Sound Designer

Nachtmerrie

Choreography Marco Goecke Music Keith Jarrett: Part 7 and 8 from Budapest Concert Lady Gaga: Bad Romance Costumes Thomas Lempertz Light Design Udo Haberland Choreographic Assistance Rolando D’Alesio World Premiere 19th June 2021, Stuttgart Ballet 28 Mackenzie Brown, Henrik Erikson 29 Aufbruch!

Nachtmerrie

» Dreams have always played a big role in my life. Nachtmerrie is the Dutch word for nightmare. For me the word doesn’t mean anything negative, I don’t judge it as something bad. I’ve always found the word beautiful. At the Mackenzie Brown, Henrik Erikson moment I’m dreaming of old loves and I’m quite often surprised that things which happened years ago suddenly reappear. Maybe a work such as I've been doing for 20 years is always a bit like a dream ... «

Marco Goecke 30 31 Nachtmerrie Einssein

Marco Goecke 32 33 Nachtmerrie Nachtmerrie

Mackenzie Brown, Henrik Erikson

Mackenzie Brown, Henrik Erikson 32 33 Nachtmerrie Nachtmerrie

Mackenzie Brown, Henrik Erikson

Mackenzie Brown, Henrik Erikson 34 35 Nachtmerrie Nachtmerrie

After he had applied unsuccessfully to vari- In addition to his work for the Stuttgart Bal- ous theatres and competitions with a video let, Goecke has developed a close relation- of his choreography, Fritz Höver invited him ship with the NDT (Nederlands Dans Theater) to the Young Choreographers evening of the in The Hague, where he has held the title Noverre Society in Stuttgart. There he was of Associate Choreographer since the 2013- discovered by then Artistic Director of the 14 season. In 2017 he received the Dutch Stuttgart Ballet, Reid Anderson. His Stuttgart Dance Zwaan Award for Midnight Raga, debut Chicks (2001) was followed by further which he choreographed for NDT II. He was works for Noverre. These include Blushing also resident choreographer at Scapino (2003), which won the “Prix Dom Perignon” Ballet Rotterdam from 2005 to 2013. Since at the Hamburg Choreographers’ Competi- 2018, Goecke is Artist in Residence at Gaut- tion. In 2004, he also received an invitation hier Dance at Theaterhaus Stuttgart. With that was of great personal significance to the start of the 2019-20 season he beca- the Wuppertal-born choreographer: Pina me Artistic Director of the State Ballet of Bausch invited him to show two of his pie- Hanover. His first world premiere there, Kiss ces – Blushing and Mopey – at her annual a Crow (2020), was followed in 2021 by his dance festival in Wuppertal. fifth full-length work: The Lover, based on the novel of the same name by the French With the 2005-06 season, Anderson appo- author Marguerite Duras. inted Goecke Resident Choreographer and commissioned his first work for the Stuttgart Goecke has created a total of over 80 cho- MARCO GOECKE Ballet: Sweet Sweet Sweet (2005). Almost reographies, including for the Paris Opera Choreographer at the same time he was awarded the Prix Ballet, Les Ballets de Monte Carlo, Pacific Nijinsky in the category “Upcoming Choreo- Northwest Ballet in Seattle, the São Pau- grapher” at the Monaco Dance Forum in lo Companhia de Dança, the Norwegian Monte Carlo. As if to prove his extraordinary National Ballet and Ballet Zurich, as well The nervous movements and unsettling Marco Goecke talent, in 2007 Goecke created a bold and as in Germany for the Ballet of the Gärtner- atmosphere of Marco Goecke’s pieces have * 12th April 1972 in Wuppertal, Germany critically acclaimed new interpretation of platztheater in Munich, Ballett am Rhein taken dance beyond conventional ballet the ballet classic The Nutcracker for the in Düsseldorf/Duisburg, Leipziger Ballett, loves his dachshund Gustav aesthetics. The classical form is sensitively Stuttgart Ballet, which was nominated for Staatsballett Berlin. shattered and garnished with subtle humour. often found inspiration in his older sister’s the German Theatre Prize Der Faust and Because of this unique movement langua- record collection broadcast on national tv. Five years later he ge and the profoundness of his works, the wears sunglasses even while at work in created another full-length story ballet for current Artistic Director of the Hanover State the ballet studio the company: Orlando (2010) based on the Theatre Ballet is one of the most celebrated novel of the same name by Virginia Woolf. In choreographers in Europe today. addition, he created Albums (2008), the solo Fancy Goods (2009), Black Breath (2012), On Goecke began his dance training at the Velvet (2013), Lucid Dream (2016) for the Ballet Academy in Cologne and the Heinz Stuttgart Ballet, among others, which cul- Bosl Foundation in Munich before gradua- minated in recognition of Goecke’s unusual ting from the Royal Conservatory in The choreographic voice. Last but not least, he Hague. His first engagement took him to was voted Choreographer of the Year by the the Staatsoper Unter den Linden in Berlin, German dance magazine tanz in 2015. In followed by the theatre in Hagen, where 2018 he created Almost Blue, his 16th piece he created his first piece Loch in 2000. for the company. 34 35 Nachtmerrie Nachtmerrie

UDO HABERLAND Lighting Designer

Udo Haberland was a photographer in Berlin before he started working as a lighting designer at the State Theatre Stuttgart in 1988. As a freelance lighting designer and lighting master, he was also engaged for commissioned works in the fields of ballet, dance, opera and drama in Europe, the USA and Australia. He has worked at various fes- tivals (including the Ludwigsburg Festival, the Salzburg Festival and the Vienna Fes- tival Weeks), in the event sector and in film and television. Haberland has developed the lighting design for all of Marco Goecke’s creations at the Stuttgart Ballet, including THOMAS LEMPERTZ the two full length ballets Der Nussknacker Costume Designer (2006) and Orlando (2010). Their close collaboration also extends to the works Goecke created for the Scapino Ballet Rotterdam, Les Ballets de Monte Carlo, the Nederlands Thomas Lempertz came to costume design for Egon Madsen’s project Greyhounds (2015) Dans Theater, the Staatsballett Berlin and and the fine arts via dance. Born in Pforz- with a solo by Goecke. Constantly swivelling the Norwegian National Ballet in Oslo. He heim, he studied at the John Cranko School between dance, art and costumes, Lem- also did the lighting design for Goecke’s and was subsequently engaged as a dancer pertz’s wide-ranging interests eventually latest full-length work: Der Liebhaber (2021) by the Stuttgart Ballet. There he danced an led him to further his studies in the field of with the Staatsballett Hannover. In the field extensive repertoire of works by John Cranko, Intermedia Arts at the Academy of Fine Arts of dance, Haberland has also worked with William Forsythe, Hans van Manen among in Stuttgart from 2015 to 2017. Since then, he choreographers Orjan Andersson, Bridget others and was promoted to Soloist. In 2003, has shifted his focus more and more to the Breiner, Jerome Delbey, Giovanni Di Palma he retired from dancing to devote himself visual arts. In 2019, his first solo exhibition and Cayetano Soto. to fashion design and opened his own bou- “Liquid Skin” was presented. Until 11 July tique. Since 2013, Lempertz has been crea- 2021, his current exhibition “Motion is Solu- ting costumes for international choreogra- tion” can be seen at the Galerie der Stadt phers, including Marco Goecke and Demis Sindelfingen. Volpi. After 12 years, he returned to the stage 36 37 Nachtmerrie Nachtmerrie

UDO HABERLAND Lighting Designer

Source

Choreography Edward Clug Music Milko Lazar: Stuttgart Suite (commissioned score) Set Marko Japelj Costumes Leo Kulaš Light Design Tom Visser World Premiere 19th June 2021, Stuttgart Ballet

Mizuki Amemiya, Ciro Ernesto Mansilla, Vittoria Girelli 38 39 Source Licht

Source

Choreography Edward Clug Music Milko Lazar: Stuttgart Suite (commissioned score) Set Marko Japelj Costumes Leo Kulaš Light Design Tom Visser World Premiere 19th June 2021, Stuttgart Ballet

Mizuki Amemiya, Ciro Ernesto Mansilla, Vittoria Girelli 40 41 Source Aufbruch!

» The unusual coincidence that John Cranko died on the day I was born, connects me with this place in a special way. John Cranko was the creator of the Stuttgart Ballet and the source for many others to become creators themselves. I feel very proud to be a passenger of this 60 years journey and to contribute to this evening of celebration. «

Edward Clug

Rocio Aleman, Friedemann Vogel 40 41 Source Aufbruch!

Edward Clug

Rocio Aleman, Friedemann Vogel 42 43 Source Source

Ciro Ernesto Mansialla, Jessica Fyfe, Miriam Kacerova, Mizuki Amemiya, Roman Novitzky, Friedemann Vogel, Rocio Aleman, Timoor Afshar, Vittoria Girelli, Fabio Adorisio 42 43 Source Source

Ciro Ernesto Mansialla, Jessica Fyfe, Miriam Kacerova, Mizuki Amemiya, Roman Novitzky, Friedemann Vogel, Rocio Aleman, Timoor Afshar, Vittoria Girelli, Fabio Adorisio 44 45 Source Source

Friedemann Vogel Mizuki Amemiya, Timoor Afshar

Friedemann Vogel, Rocio Aleman

Vittoria Girelli, Rocio Aleman 44 45 Source Source

Friedemann Vogel Mizuki Amemiya, Timoor Afshar

Friedemann Vogel, Rocio Aleman

Vittoria Girelli, Rocio Aleman 46 47 Source Source

Clug created his eponymous version to Bolshoi to create The Master and Margarita, EDWARD CLUG Stravinsky’s music, bringing water onto the based on the novel by Mikhail Bulgakov. Choreographer stage in Maribor. In addition to his one-acts, he also devotes himself to the full-length Clug has received numerous international ballet: in 2015 he created Peer Gynt for his awards for his choreography at ballet and company. Clug has also worked on co-pro- dance competitions in Varna, Moscow, Whether he translates Bauhaus aesthe- ductions between the his Slovenian National Hanover and Nagoja. He has also been tics into movement or lets the strains of Ballet and other companies, such as the awarded the highest Slovenian cultural Frédéric Chopin’s nocturnes shimmer on Slovenian National Theatre in Ljubljana. prizes, the Prešern Foundation Prize (2005) stage - Edward Clug has a feeling for moods. and the Glazer Charter (2008). In 2010 he He has been ballet director in Maribor, Slove- Clug holds particularly close ties to the was nominated four times for the highest nia, for over fifteen years and is in demand Stuttgart Ballet. In 2009, he presented him- Russian theatre prize, the Golden Mask, for worldwide as a choreographer. self for the first time to the Stuttgart Ballet Quatro, a ballet he created with Principal audience as a guest choreographer with Dancers of the Mariinsky Theatre. In 2011, In his Romanian homeland, Clug was trai- the world premiere of Pocket Concerto. His he also received the prize for choreography ned as a dancer at the State Ballet School in second work for the Stuttgart Ballet followed for Roses for Anne Teresa / Football Stories Cluj-Napoca. Immediately after graduating in 2012 with Ssss... to the Nocturnes of Fré- at the MESS International Theatre Festival in 1991, he was engaged as Soloist at the déric Chopin. Two years later, he created the in Sarajevo. Slovenian National Theatre in Maribor. Here all-male ballet No Men’s Land to a commis- he met the famous Slovene theatre direc- sioned score by Milko Lazar. As part of the tor Tomaž Pandur, with whom he started week-long celebration of Reid Anderson’s to collaborate as a dancer in avant-garde 20th anniversary as artistic director, Clug productions. Noticing his creative potential created Daydreamers (2016). Most recently, Pandur asked him to create the choreogra- in the 2018/19 season, he created Patterns phy for the performance Babylon, which pre- in ¾, inspired by the 100th anniversary of miered in 1996. After his first choreographic the Weimar Constitution and the Bauhaus experience, Clug embarked on a new artistic school, which earned him a nomination for journey and in 1998 he created his first full the German theatre prize Der Faust. length ballet Tango, together with costume designer Leo Kulaš and set designer Marko Throughout the years Clug has also develo- Japelj, who became his constant creative ped a strong relationships with Ballett Zürich team. Later in 2008 composer Milko Lazar and the Nederlands Dans Theater [NDT]. For joined the team in the project Pret-a-Porter the Swiss company, he created Faust (2018). and they have continued to collaborate In the Netherlands, he has created several intensively ever since. productions for NDT 1 and for the junior company NDT 2. In 2017 he created Handman Edward Clug * 26th June 1973 in Beiuș, Romania In 2003, the General Director of the Sloveni- with NDT 2, which earned him a nomination an National Theatre Maribor, Danilo Rošker, for the highest dance award, the Prix Benois left his family at the age of 10 to go to a ballet appointed Edward Clug Artistic Director of de la Danse. His most recent ballet for NDT boarding school and escape the communist regime of Nicolae Ceaușescu the ballet and he began to lead the company 1, Aperture (2019), received accolades from in a new direction. In 2005 he created Radio critics and audiences alike. In addition, Clug started skiing at the age of three, but had to quit & Juliet to the music by Radiohead, which has created choreographies for renowned because of ballet and is happy to do it again now became an international hit and attracted companies including the Bolshoi Ballet, the has two children worldwide attention because of its unique Royal Ballet of Flanders, the Vienna State choreographic style. In 2020, on the occa- Ballet, Les Grand Ballet Canadiens and the sion of the 100th anniversary of the premiere national ballets of Portugal, Croatia, Bucha- of Igor Stravinsky’s Le Sacre du Printemps, rest and Ukraine. This year he returns to the 46 47 Source Source

MARKO JAPELJ Set Designer

Marko Japelj has been a freelance set designer for 35 years. He studied architecture in Ljubljana, the capital of his home country Slovenia. Since then he has created over 200 set designs for music theatre, drama and dance. He has worked with numerous theatres in the states of the former Yugoslavia, in Europe and beyond, including the opera houses in Bucharest, Riga and Bratislava as well as the Bolshoi Theatre, the Vienna State Opera, the Royal Ballet of Flanders, the Nati- onal Theatres in Zagreb and Belgrade, the MILKO LAZAR Nederlands Dans Theater, the West Australi- Composer an Ballet, and Les Grands Ballets Canadiens. Marko Japelj has been working with Edward Clug since 1998. Tango (1998) was followed by set designs for Radio & Juliet (2005), Milko Lazar is a composer as well as a pia- orchestral and chamber music works. His Prêt-à-Porter (2008), Watching Others (2010), nist, harpsichordist and saxophonist. He performances have taken place at venues Le Sacre du printemps (2012), Peer Gynt studied piano and saxophone at the Music such as Carnegie Hall, Steinway Hall in New (2015), Carmina Burana (2019), among Academy in Graz, as well as harpsichord and York, the Kennedy Center in Washington others. At the Stuttgart Ballet, Japelj’s set baroque music at the Royal Conservatory in D.C., the Fine Arts Building in Chicago and design was last seen in Patterns in ¾ by The Hague. For 15 years he was engaged as the Mikhailovsky Theatre in Saint Peters- Clug in 2019. solo saxophonist and lead composer with burg, among others. Lazar regularly com- the big band of the radio station RTV in poses for film producers, theatre and opera his homeland Slovenia. During his 20-year directors and choreographers. He has been jazz career, Lazar has recorded over 50 LPs working closely with Edward Clug since and CDs. In addition to jazz compositions, 2008. Together they have already collabo- Lazar’s oeuvre includes a large number of rated on over 15 ballet productions. For the orchestral works, concertos and chamber Stuttgart Ballet, Clug created Pocket Con- music pieces. Among other awards, Lazar certo to Lazar’s music in 2009; for No Men’s received the most prestigious Slovenian art Land (2014), Lazar composed a ballet suite prize Nagrada Prešernovega sklada in 2005, for cello and orchestra. Most recently, Clug and the Župančičeva nagrada in 2010 for his used Lazar’s music for Patterns in ¾ (2019). 48 49 Source Source

MARKO JAPELJ Set Designer

TOM VISSER Lighting Designer

Irish lighting designer Tom Visser began working in concert and musical theatre at the age of 18 before turning to contempo- LEO KULAŠ rary theatre and dance. In 2003 he became Costume Designer part of the Nederlands Dans Theater (NDT). In addition, numerous other companies have engaged him, including the Royal Swedish Ballet Stockholm, the Compañía The set and costume designer Leo Kulaš Prešeren Fund Award. In 2008 he received Nacional de Danza, Den Norske Ballet, Bal- studied costume and fashion design at the the Maribor Theatre Festival Award for Das let Vlaanderen, Sydney Dance Company, Academy of Fine Arts in Belgrade. He crea- Käthchen von Heilbronn in Ljubljana. Most Göteborgs Operans Danskompani, Hubbard ted his first costume design in 1983 and recently, in 2020, he created the costumes Street Dance Company Chicago and Les has since created costumes for over 200 for the musical Les Misérables and the Ballets de Monte-Carlo. Visser has worked theatre, opera, film and TV productions in opera Elektra at Sofia Opera. He has been particularly often with Alexander Ekman, Europe. Kulaš has worked with renowned working with Edward Clug for over 20 years. including on Flockwork (2006) and A Swan directors and at prestigious venues, such as Kulaš created the costumes for Clug’s early Lake (2014), and with Crystal Pite, including the Hanover State Opera, the Thalia Theater ballets Tango (1998) and Radio & Juliet on The Season’s Canon (2016) with the Paris Hamburg, the Landestheater Linz, the Vien- (2005), among others, as well as for his most Opera Ballet and Flight Pattern (2017) with na State Opera, the Latvian National Opera recent works Patterns in ¾ (2019) with the the Royal Ballet in London. For Johan Inger, and the Bolshoi Theatre in Moscow. For The Stuttgart Ballet, Carmina Burana (2019) with he created the lighting for Carmen and for Divine Comedy at the Slovenian National Les Grands Ballets Canadiens de Montréal, Out of Breath (2002), which was performed Theatre Maribor, Kulaš was awarded with and Aperture (2019) with the Nederlands at the Stuttgart Ballet in 2019. the Maribor Theatre Festival Award and the Dans Theater. 50 51 Source Source

TOM VISSER Lighting Designer

Blake Works I

Choreography William Forsythe Music James Blake: Songs aus “The Colour in Anything”: I Need a Forest Fire, Put That Away and Talk to Me, The Colour in Anything, I Hope My Life, Waves know Shores, Two Men Down, F.O.R.E.V.E.R. Set William Forsythe Light Design Tanja Rühl, William Forsythe Costumes Dorothee Merg, William Forsythe Staging Stefanie Arndt, Ayman Harper World Premiere 4th July 2016, Ballet de l’Opéra de Paris German Premiere 19th June 2021, Stuttgart Ballet 52 David Moore, Hyo-Jung Kang 53 GroßeAufbruch! Fuge Aufbruch!Licht

Blake Works I

» I like being part of the big ballet conversation. Blake Works I is a celebration of everything ballet has brought to me in life. It’s just another way to love ballet — Agnes Su, Clemens Fröhllich David Moore, Hyo-Jung Kang and there are so many ways. «

William Forsythe 54 55 Blake Works I Aufbruch!

William Forsythe 56 57 Blake Works I Blake Works I

Elisa Badenes, Jason Reilly

Elisa Badenes, Flemming Puthenpurayil 56 57 Blake Works I Blake Works I

Elisa Badenes, Jason Reilly

Elisa Badenes, Flemming Puthenpurayil 58 59 Blake Works I Blake Works I

David Moore

Flemming Puthenpurayil Hyo-Jung Kang 58 59 Blake Works I Blake Works I

David Moore

Flemming Puthenpurayil Hyo-Jung Kang 60 61 Blake Works I Blake Works I

William Forsythe has been active as a cho- The Forsythe Company, which he directed WILLIAM FORSYTHE reographer for over 50 years. His work is from 2005 to 2015. Works produced with Choreographer acknowledged for reorienting the practice this ensemble include Three Atmospheric of ballet from its identification with classi- Studies (2005), You made me a monster cal repertoire to a dynamic 21st century art (2005), Human Writes (2005), Heterotopia form. Forsythe’s deep interest in the funda- (2006), The Defenders (2007), Yes we can’t mental principles of diverse disciplines has (2008/2010), I don’t believe in outer space led him to realize a wide range of projects (2008), The Returns (2009) and Sider (2011). including installations, films, and internet- Forsythe’s works developed during this time based knowledge creation. were performed exclusively by The Forsythe Company, while his earlier pieces are pro- Raised in New York he initially trained in Flo- minently featured in the repertoire of virtu- rida with Nolan Dingman and Christa Long. ally every major ballet company in the world, He then danced for two years with the Joff- including the Mariinsky Ballet, New York City rey Ballet before John Cranko engaged him Ballet, San Francisco Ballet, National Bal- as a dancer for the Stuttgart Ballet in 1973. let of Canada, Semperoper Ballet Dresden, Three years later he created his first piece, England’s Royal Ballet, the Paris Opera Bal- Urlicht, as part of the Stuttgart Noverre let, and, of course, Stuttgart Ballet. More Society’s evening Young Choreographers, recently, he has once again created works as following which the then Artistic Director a freelance choreographer, including Blake Marcia Haydée appointed him resident cho- Works I (2016) for the Paris Opera Ballet, reographer of the Stuttgart Ballet. He went works for English National Ballet and Boston on to create seven more works for the com- Ballet, and the production A Quiet Evening pany, with Orpheus (1979), to commissioned of Dance (2018) produced by Sadler’s Wells music by Hans Werner Henze, becoming a Theatre. This year he choreographed via landmark in his career. From 1981 to 1984, Zoom with all rehearsals and filming entirely Forsythe worked as a freelance choreogra- remotely The Barre Project (Blake Works II), pher for various companies, among others a tribute to the ballet barre to music by in Berlin, The Hague, London, New York and James Blake. William Forsythe Paris. * 30th December 1949 in New York, USA In addition to his work as a director and From 1984 to 2004, he wrote an epochal choreographer, Forsythe has developed danced as a child from what he had seen in musical films chapter in dance history as artistic direc- new approaches to dance documentation, tor of the Frankfurt Ballet. During this time, research, and education. Across disciplines, choreographed his first musical in a church Forsythe questioned the technique as well he has explored the concept of “choreogra- at the age of 14 as the choreographic approach of classical phy”, and to this end explored the subjects continues to develop his works even after ballet: he broke with the rigid central axis of mathematics and architecture. His 1994 the premiere of the body and brought a whole new range computer application “Improvisation Tech- of movement to the fore as well as crea- nologies: A Tool for the Analytical Dance ted movements tailored to the individual Eye”, developed with the ZKM / Zentrum für dancers through improvisation and par- Kunst und Medientechnologie Karlsruhe, ticipation. Signature works from this time is used as a teaching tool by professional include Artifact (1984), Impressing the Czar companies, dance conservatories, univer- (1988), The Loss of Small Detail (1991), Eidos: sities, postgraduate architecture programs, Telos (1995), Endless House (1999), Kammer/ and secondary schools worldwide. 2009 Kammer (2000) and Decreation (2003). marked the launch of “Synchronous Objects for One Flat Thing, reproduced”, a digital After the closure of the Ballet Frankfurt in online score developed with The Ohio State 2004, Forsythe established a new ensemble, University that reveals the organizational 60 61 Blake Works I Blake Works I

principles of the choreography and demon- Awards received by Forsythe and his ensem- strates their possible application within bles include the New York Dance and Per- other disciplines. “Synchronous Objects” formance “Bessie” Award (1988, 1998, 2004, was the pilot project for Forsythe’s “Motion 2007) and London’s Laurence Olivier Award Bank”, a research platform focused on (1992, 1999, 2009). Forsythe has been con- the creation and research of online digital veyed the title of Commandeur des Arts et scores in collaboration with guest choreo- Lettres (1999) by the government of France graphers. and has received the Hessischer Kultur- preis/Hessian Culture Award (1995), the In addition, Forsythe has repeatedly left German Distinguished Service Cross (1997), the theatre setting to create installations. the Wexner Prize (2002) the Golden Lion As an architect and performance artist, he of the Venice Biennale (2010), the Samuel constantly stretches the concept of cho- H Scripps/American Dance Festival Award reography. In his "Choreographic Objects" for Lifetime Achievement (2012) and most he addresses the curiosity of the viewer recently the German theatre award DER and invites them to enter into contact with FAUST for live time achievement (2020). the individual space and to explore the rela- tionship to the respective environment. His performance, film and installation works are shown in numerous museums and JAMES BLAKE exhibitions, including the Whitney Biennial Composer in New York, the Louvre Museum in Paris, Pinakothek der Moderne in Munich, the Tate Modern in London, MoMA in New York, the Venice Biennale, Museum Folkwang in The British singer, songwriter and producer As a producer, he has been involved in tracks Essen, Kunsthaus Zürich. James Blake is currently one of the most by hip-hop and R&B stars such as Beyoncé, successful in his field. His versatile style is JAY-Z, Frank Ocean and Kendrick Lamar. He As an educator, Forsythe is regularly invited often categorised as dubstep, but with its has also performed with Stevie Wonder and to lecture and give workshops at universities melancholic note and experimental sound- Kid Cudi, among others. In 2019, he colla- and cultural institutions. In 2002, Forsythe scapes, it can hardly be assigned to clear borated with Jay Rock, Kendrick Lamar and was chosen as one of the founding Dance categories. His debut album James Blake Future on the single King’s Dead from the Mentors for The Rolex Mentor and Protégé was released in 2011, followed by Overgrown Black Panther soundtrack and earned him Arts Initiative. Forsythe is an Honorary (2013), for which he received the Mercury Pri- a GRAMMY Award in the “Best Rap Perfor- Fellow at the Laban Centre for Movement ze for Best British Music Album. Blake could mance” category. Additionally, he oversees and Dance in London and holds an Honorary even surpass his previous critical and com- 1–800 Dinosaur, which spans a club night, Doctorate from The Juilliard School in New mercial success with the albums The Colour record label, and radio show. York. In Anything (2016) and Assume Form (2019). 62 63 Blake Works I Blake Works I

DOROTHEE MERG Costume Designer

Dorothee Merg joined the Frankfurt Opera House in 1989 as a costume designer where she began working for William Forsythe. As of 2005, she began working for The Forsythe Company and designed the costumes for several of Forsythe’s ballets. She is respon- sible for the costumes of, among others, Heterotopia (2006), I don’t believe in outer space (2008) and Sider (2011). Today she is head of costume design for the Dresden TANJA RÜHL Frankfurt Dance Company under Artistic Director Jacopo Godani and has created the Lighting Designer costumes for various dance and theatre productions over the years.

In 1999 Tanja Rühl began her training as an Garnier in Paris, the Brooklyn Academy of event technology specialist at the Frankfurt Music in New York, the Tate Modern in Lon- Opera House. Three years later she came to don, the Ruhrtriennale at the Jahrhundert- the Frankfurt Ballet under Artistic Director halle in Bochum, the Kawasaki Arts Center William Forsythe. When she completed in Japan and the Taichung National Theatre her master’s degree in event technology in Taiwan. In addition, as a member of the specialised in lighting in 2007, she took Forsythe productions team, she advises over the position of lighting master for the international companies on the technical newly founded The Forsythe Company. In and creative realisation of Forsythe’s ballets the same year, she created her first light- and works as a designer for his new projects. ing designs for dance productions. Since At the Stuttgart Ballet, she most recently 2014, Rühl has been working as a freelance created the lighting design for Louis Stiens’ lighting designer. Her work has been part of Messenger (2020). productions at venues such as the Opera 64 65 Blake Works I Blake Works I

DOROTHEE MERG Costume Designer

AYMAN HARPER Staging

In his 25-year career, Ayman Harper has approach that both emphasises the acces- performed in over 20 countries and taught sibility of movement for all and encourages for companies and universities across five non-violent communication. Beyond the continents. He received his dance training scope of dance, he has collaborated with from Lynette Mason Gregg, Royal Academy other artists, such as New York musician of Fine Arts followed by the High School for Arto Lindsay and Thai artist Rirkrit Tiravani- the Performing and Visual Arts in Houston, jaa, to create a parade for the Nuit Blanche Texas. As a dancer and choreographer, Har- Festival in Paris. Other projects included an per has worked with the Forsythe Company, installation for the Johnson Space Center in Ballett Frankfurt, Nederlands Dans Theater II Houston, Texas. and Hubbard Street Dance Chicago, among others. Notably, in 2009, Harper was exten- ded an invitation from Mikhail Baryshnikov to perform alongside side him in a performance for the Baryshnikov Arts Center Gala. As a ballet master, Harper rehearses STEFANIE ARNDT works – primarily by William Forsythe – with international companies. His love of peda- Staging gogy has led Harper to develop a teaching

Stefanie Arndt received her education at she joined Frankfurt Ballet as a Principal the School of the Hamburg Ballet. In 1983 Dancer and collaborated and worked clo- she won the Prix de Lausanne and joined sely with William Forsythe dancing in all his John Neumeier’s Hamburg Ballet. She major works. Since 2002 she stages William became a Principal Dancer and danced Forsythe’s works all over the world. In addi- leading roles of the classical as well as tion, Arndt works internationally as teacher the contemporary repertoire. She worked and coach. She also has been assisting with many renowned choreographers and David Dawson and Jacopo Godani with created several roles. Her work as a dancer several ballets. has been honoured many times. In 1994 66 67 Blake Works I Blake Works I

AYMAN HARPER Staging

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 PERSONAL ASSISTANT Martina Marin Pia Christine Boekhorst CREW 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 LIGHTING Hyo-Jung Kang Alicia Garcia Torronteras DRAMATURGY Reinhard Traub Anna Osadcenko Anouk van der Weijde Sina Eger Meriel Wille CHIEF LIGHTING INSPECTOR David Moore Noan Alves BALLET Roman Novitzky ASSISTANT MUSIC DIRECTOR / Valentin Däumler

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

BALLET MISTRESS / STAGE MANAGERS BALLET MASTER Ekkehard Kleine Yseult Lendvai Janis Vollert Marc Ribaud PHYSIOTHERAPY DIRECTOR OF PRODUCTION Matthias Knop (Director) HONORARY MEMBERS AND BALLET MASTER Marcia Haydée Michael Lachenmayer

Krzysztof Nowogrodzki Alexander Mc Gowan Ciro Ernesto Mansilla Martí Fernández Paixà Georgette Tsinguirides 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 68 69 The Company // 2020-2021 Season The Company

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 71 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 70 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 71 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 72 73 Imprint Aufbruch!

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

EDITOR Vivien Arnold

ASSISTANT EDITOR Pia Christine Boekhorst

TEXTS The introductory text NEW/WORKS was written by Angela Reinhardt for this programme. The choreographers Christian Spuck, Marco Goecke and Edward Clug are quoted from conversations about their world premieres for this evening. William Forsythe is quoted from: “William Forsythe: Isn’t ballet delightful?”, The New York Times (1st March 2019). The biographies are contributions of the editors. Texts were translated with www.DeepL.com/Translator, edited by the editors.

PHOTOS Cover The Stuttgart Ballet (Elisa Badenes and Jason Reilly in Blake Works I) Rehearsal Photos Roman Novitzky Performance Photos Stuttgarter Ballett Portraits Jos Schmid (Christian Spuck), Regina Brocke (Marco Goecke), Oliver Kröning (Thomas Lempertz), Simen Zupancic (Edward Clug), Damjan Švarc (Leo Kulaš), Laurens Bouvrie (Tom Visser), Dominik Mentzos (William Forsythe), Universal Music (James Blake), Holger Badekow (Stefanie Arndt). All the other portraits: private. The Company Carlos Quezada, Roman Novitzky, Sebastien Galtier, Altin Kaftira, Mirka Kleemola, Paolo Laudicina, Terri Barbush

MUSIC RIGHTS AND CREDITS Cassiopeia’s Garden Salvatore Sciarrino © Salvatore Sciarrino: Di volo, Cadenza (aus: 3 Notturni brillanti per viola sola), © Casa Ricordi Srl. Milano, vertreten durch G. Ricordi Bühnen – und Musikverlag GmbH, Berlin. Interpret: Nils Mönkemeyer (P) 2021 Sony Music Entertainment Germany GmbH. With kind permission by Sony Music Entertainment Germany GmbH György Kurtág: Aus der Ferne für Klavier, aus Spiele V, © Universal Music Publishing Editio Musica Budapest, vertreten durch G. Ricordi Bühnen- und Musikverlag GmbH, Berlin. Játékok: Aus der Ferne (To Alfred Schlee on his 80th birthday) (György Kurtág – Editio Musica Budapest) Márta Kurtág: Klavier (P) 1997 ECM Records GmbH Johann Sebastian Bach: Sicilienne from Concerto in D Minor, BWV 596; Interpret: Khatia Buniatishvili (P) 2020 Sony Music Entertainment. With kind permission by Sony Music Entertainment Germany GmbH Yan Cook: Type-E Track ISRC: NL-CK4-10-56897. Musik & Text: Yan Pylypchuk. Label: ARTS. P+C; ARTS, 2019 Johann Sebastian Bach: Konzert in G Moll, BWV 975: 2. Largo (nach Antonio Vivaldi RV 316); Interpret: Anna Gourari, Klavier, A pas de deux of aus ECM 2612 „Elusive Affinity“ (P) 2019 ECM Records GmbH. With kind permission by ECM Records I Hate Models: Virtual Punishment. Produced & composed by Guillaume Labadie. Published by Rotary RM (administrated by District 6 France Publishing) Nachtmerrie Keith Jarrett – Cavelight Music: Budapest Concert, Part VII & VIII. Interpret: Keith Jarrett, Klavier (P) 2020 ECM Records GmbH power and emotion. Lady Gaga: Bad Romance, Music & Text: Nadir Khayat, Stefani Germanotta © Songs Of Redone / Sony Music Publishing LLC / House Of Gaga Publishing LLC; Sony Music Publishing (Germany) GmbH Source Milko Lazar (commissioned piece): Stuttgart Suite Blake Works I James Blake: I Need a Forest Fire; Musik & Text: Justin Deyarmond Edison Vernon, James Blake © April Base Publishing / Buzzard and Kestrel LTD / Sony/ATV Allegro; Kobalt Music Publishing LTD / Sony Music Publishing (Germany) GmbH; Porsche and the Stuttgart Ballet. Published by Chris In The Morning Music LLC, administered by Kobalt Music Publishing Ltd. James Blake: Put That Away And Talk To Me, The Colour in Anything; Musik & Text: Litherland, James Blake © Sony/ATV Allegro; Sony Music Publishing (Germany) GmbH James Blake: I Hope My Life, Waves Know Shores, Two Men Down, F.O.R.E.V.E.R; Music & Text: Litherland, James Blake © Sony/ATV Allegro / Buzzard and Kestrel LTD; Sony Music Publishing (Germany) GmbH

GRAPHIC DESIGN Discodoener, Stuttgart

www.stuttgart-ballet.de

Main sponsor of the Stuttgart Ballet: STATE THEATRE STUTTGART Marc-Oliver Hendriks, Managing Director 72 73 Imprint Aufbruch!

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

EDITOR Vivien Arnold

ASSISTANT EDITOR Pia Christine Boekhorst

GRAPHIC DESIGN Discodoener, Stuttgart

www.stuttgart-ballet.de

Main sponsor of the Stuttgart Ballet: STATE THEATRE STUTTGART Marc-Oliver Hendriks, Managing Director 74 Aufbruch!

2020-2021 Season