2013 SEASON Melbourne 29 August – 7 September Arts Centre Melbourne, State Theatre with Orchestra Victoria Sydney 7 – 25 November Joan Sutherland Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra Supporting Partner Principal Partner Cover: Madeleine Eastoe in La Sylphide Image – 3 Deep with Georges Antoni Above: Lucinda Dunn in Paquita Photography Justin Smith Madeleine Eastoe and Kevin Jackson in La Sylphide Image – 3 Deep with Georges Antoni NOTE FROM THE ARTISTIC DIRECTOR La Sylphide premiered in Paris, 14 years earlier than Paquita, and it heralded the era of Romantic ballet. The first Sylph, Marie Taglioni, is credited with being the mother of pointe work, and she used her incredible ability to balance on her toes for the first time in this work. The illusion of barely touching the floor, hovering on the tips of the toes, gave Taglioni a weightlessness that removed her from the earthly realm and enabled her to inhabit the world of the woodland fairy she portrayed. What Taglioni began has now evolved into a technique employed by every ballerina. Our production of La Sylphide was staged by the great Danish dancer Erik Bruhn in 1985. This version is choreographed by the famous Danish choreographer August Bournonville; although not the same version danced by Taglioni, it is one of ballet’s most authentic historical works, as it has been lovingly handed down by generations of Danish ballet masters since its creation in 1836. With evocative designs by Anne Fraser and a lively score by Herman Løvenskiold, this work holds a special place in our repertoire. I wish to thank Martin James, a former principal artist of The Royal Danish Ballet, who has been with us as a guest teacher and coach for this season of La Sylphide. I remember enjoying Martin’s performances as a dancer, and it has been wonderful to see him hand on his knowledge of this ballet and the Bournonville technique with such enthusiasm and generosity. The Romantic period was a fertile time for ballet. I also want to thank our Principal Sponsor Telstra, This was when the ballerina first began dancing en which for 29 years has enabled us to remain “on our pointe, which became one of the defining elements of toes” and to spread the love of dance across the our art form. Narratives full of exotic and supernatural nation. It is also incredibly fitting that we welcome beings made for extraordinary flights of fantasy, and as our new Official Pointe Shoe Partner Bloch introduced to the stage a whole new universe of Australia, which for the past 81 years has been magical creatures to seduce and bewitch humans, producing beautiful ballet shoes and a whole range and teach us important moral lessons. Tonight brings of dancewear for dancers around the globe, and who together two works from either ends of the era. custom-make the pointes that many of our ballerinas wear. Coincidentally, the first style of pointe shoe Paquita, which premiered in 1846, is recognised Bloch manufactured – which is still sold today – is as one of the last of the Romantic ballets. Although called the Sylphide! I would also like to thank our originally it was a full-length work, over time its grand many patrons and donors, and most particularly pas de deux, taken from the marriage scene in the last The Australian Ballet Society, which has generously act, has become most widely known and performed. supported this season. Although it was staged originally by Joseph Mazilier, the choreography we know today is that of the ballet I hope you enjoy this evening of fabulous supremo Marius Petipa, who revised the work while Romantic ballet! ruling over the Imperial Ballet of the Mariinsky Theatre. It is a dazzling showpiece for the two principals and the entourage of corps de ballet and soloist ladies who support them. This season, the ballet has been masterfully staged by the company’s Associate Artistic Director, Danilo David McAllister AM Radojevic. With glorious tutus by Hugh Colman and Artistic Director a “gotta dance” score by Ludwig Minkus, Paquita offers the dancers rich opportunities to shine. Artists of The Australian Ballet in La Sylphide, 2005 Photography Jeff Busby LA SYLPHIDE PAQUITA The Sylphide shows herself at the window and declares Choreography Marius Petipa her love for James, telling him that she has followed Music Ludwig (Léon) Minkus and protected him for years. As the festivities are Costume design Hugh Colman about to begin, James hides the Sylph under a rug Lighting design Francis Croese on the armchair. He is unable to concentrate on his Variations 5 and 9 are arrangements courtesy of Barry Wordsworth, wedding; the Sylphide keeps appearing, although only Music Director of The Royal Ballet, Covent Garden he can see her. Just before the ceremony she entices him away into the forest. Effie dissolves into tears. LA SYLPHIDE Choreography Erik Bruhn after August Bournonville Act II – a woodland glade Music Herman Løvenskiold Led by Madge, several witches are cooking up a Costume and set design Anne Fraser scarf in a magic cauldron. James enters with the Original lighting design William Akers Sylphide, who shows him her realm. She brings him Reproduced by Francis Croese berries and water, but avoids him when he tries to catch her. She calls on her sisters, and the forest CHARACTERS fills with sylphides dancing their airy dances for James. The Sylphide Meanwhile, the young farmers have set out to look for James him. Gurn finds James’ hat, but Madge convinces him His mother to say nothing, and to propose to the heart-broken Effie, his fiancée Effie, who accepts him. Gurn, his cousin Nancy, Effie’s friend When they have all left, James emerges and Madge Madge, a witch gives him the scarf, telling him that it will bind the Sylphide to him, so she cannot fly away. James is Act I – James’ farmhouse delighted; when the Sylphide returns and sees the James, a young Scottish farmer, dozes in an armchair. scarf, she is also charmed by it, and allows James The Sylphide, a woodland sprite, kneels by his side. to place it around her shoulders. After flitting around the room, she kisses him on the forehead and he awakens, confused. He is to be Immediately, her wings fall off and the Sylphide dies. married that day to Effie, but the Sylphide, who is in Effie and Gurn get married as the Sylphide is borne love with James, tempts him. He runs after her, but through the air by her sisters. James realises that she disappears up the chimney. The preparations for Madge was the catalyst for the loss of both the the wedding at the farm are in full swing, and Effie’s Sylph and Effie and confronts her, but is repelled friends arrive with gifts. The old fortune-teller Madge by her magic and collapses lifeless. Madge is has slipped in to warm herself by the fire. James triumphant in her revenge. wants to throw her out, but she is permitted to remain and after a few brandies begins to tell fortunes. She predicts that Gurn, James’ rival, will win Effie. James, This season of La Sylphide is proudly supported in a fury, chases Madge out; she curses him. by The Australian Ballet Society Miwako Kubota in Paquita, 2007 Artists of The Australian Ballet in Don Quixote, 2013 Lana Jones and Olivia Bell in Paquita, 2007 Photography Jim McFarlane Photography Jeff Busby Photography Jim McFarlane Leanne Stojmenov in The Sleeping Beauty, 2009 Photography Jim McFarlane For Marius Petipa, the offer was as unexpected as Olivia Bell in Paquita, 2007 mostly his productions that were passed into the it was welcome. Would he leave Paris to become Photography Jim McFarlane repertoires of ballet companies in the 20th century. a premier danseur at the Imperial Theatres in St Petersburg? Yes, he would, and within days, the Petipa began his Russian years as a dancer but he Frenchman set sail from Le Havre with his mother’s soon began to teach, take rehearsals and refine his warnings in his ears. “You wrap yourself up well. choreographic ideas as an apprentice to Perrot. When Take care that your nose and ears don’t freeze. Perrot left Russia, Petipa and St Léon stepped up to It is so cold there the streets have to be heated.” become rivals as resident choreographers; Petipa was BALLET’S the winner, outmaneuvering St Léon and taking control Madame Victorine Petipa couldn’t have known that as chief ballet master of the Imperial Theatres in the job meant a very long separation from her beloved 1869. For the next three decades, Petipa was the son, who made Russia and the Imperial Theatres his overlord of Russian ballet. His own creations or his home for more than six decades. As he wrote in his revivals dominated the repertoire. He had a run of memoirs, “Sixty years of service in one place, in one successes, including Don Quixote in 1869 and La institution is quite rare, and a destiny not granted to Bayadère in 1877, and, soon after, his revivals of MASTER many mortals.” Mazilier’s Le Corsaire and Paquita. “Quite rare” was an understatement. His record as Petipa had a sentimental attachment to Paquita – his a ballet master and choreographer has never been brother Lucien created the role of the ballet’s hero for surpassed, not just because of the duration of his the Paris premiere in 1846. Two years later, Marius career but for the creation of what became known made his Russian debut dancing the same role. as the Russian Imperial style – an amalgam of the French and Danish schools of ballet with a dash of Mazilier’s Paquita, of the genre known as ARCHITECT Italian virtuosity – that reached its zenith with Swan “pantomime ballet”, tells the story of a French Marius Petipa transformed the art form, creating the gems Lake and The Sleeping Beauty.