Ballet by Slava Samodurov
Musik by Ottorino Respighi
The Russian choreographer and former Soloist of the Kirov Ballet and the Royal Ballet, Slava Samodurov, names his creation for the Bavarian State II "Gli Uccelli". The company seems to fly through the air, alternating between pas de deux and trios, while courting each other in a playful behavior.
Ballet by Jiří Kylián
Music by Antonín Dvořák
One of Jiři Kylian´s early works, choreographed to a score by Antonin Dvořak which sets the tone for the central theme of the piece: The dancing body as part of world culture. The inspiration stems from regional folk dances and becomes evident through the poetic portrayal of three female and male dancers on stage.
Ballet by Terence Kohler
Music by Dimitri Schostakowitsch
Terence Kohler plays with the classical vocabulary and emphasizes its virtuosity. The music is often the point of departure for his choreography. In Intermezzo the female corps de ballet forms geometric lines to suit Schostakovitsch’s ballet suite. „We need to constantly strive to expand the borders of classical ballet to keep it alive.“ says Kohler who seeks inspiration from hip-hop, modern dance and other contemporary art forms.
Ballet by Rolando D'Alesio
Music by Saltacello (Peter Schindler)
A virtuous pas de deux on flat foot with a troublesome t-shirt as the protagonist.
Ballet by Nacho Duato
Music by Heitor Villa-Lobos, arranged by Wagner Tisso (Floresta Amazonica)
Na Floresta, a magnificent ballet praising the beauty of the Amazonian rain forest, draws the very essence of its splendor from folklore. A passionate energy circulates within this work made up of sequences full of both substance and fluidity. Its success at its 1990 premiere was phenomenal. A plotless work to Villa-Lobos’ music, Na Floresta intended to communicate an intimacy and a feeling for nature that is greater than our contact with other beings. „Nacho Duato has that rare quality that consists of being able to express things through the voices of simplicity, restraint and circumspection when it comes to expressing emotion.“
Ballet by Jiří Kylián
Music by Josef Haydn
Symphony in D showcases Jiři Kylián’s innate talent to infuse classical ballet with comedy. He challenges the conventions of dramatic dance through mockery. Set to Haydn’s Symphony No. 101 „The Clock“ and No. 73 „The Hunt“, the young dancers of the Bavarian State Ballet II flaunt their comedic and artistic talents.
Ballet by Marius Petipa, Ray Barra
Music by Alexander Glasunow
The Grand Pas hongrois is the climax of Marius Petipa’s narrative ballet Raymonda and is known as one of the most well-preserved choreographies of Petipa’s. In honour of the King of Hungary and the wedding of Raymonda and Jean de Brienne, the court presents a variety of dances in the form of a Grand pas in Hungarian tradition. Following the dynamic entry is an extensive adagio for the principals, accompanied by an ensemble of eight couples. Ensemble variations and the grand solo of Raymonda and Jean conclude the Grand Pas. Petipa’s mastery of seemlessly interweaving classical ballet and the essence of folklore dancing remains unparalleled
Ballet by Robert North
Music by Batucada / Bob Downes
Set to a stylishly syncopated, Brazilian-flavoured score by Bob Downes, Troy Game is a funny and sexy romp by Robert North. The flowing suite of athletic solos and group numbers can be looked at as a camp or as street-corner Pilobolusing. But beneath its goofy exterior Troy Game is an innovative blend of acting and movement that looks like the purest of pure dance pieces, as well as fashionable minimalist ritual. Along with the jokes and unvarnished gymnastics like push-ups and handstands, the piece is an intricately constructed series of moving friezes. In some, the dancers whip across the stage in exciting diagonals. In others, positions are passed through in dreamy slow motion. Troy Game is also an enjoyable parade of 13 good-looking male dancers’ bodies adorned by the barest of costumes. And each of the seven soloists has dancing that reveals not only handsome pecs but personality.‘ (N.Y.Times)
Ballet by George Balanchine
Music by George Gershwin, orchestrated by Hershy Kay
In 1937, George Gershwin (1898 – 1937) asked Balanchine to work on Samuel Goldwyns „Follies“ in Hollywood, but his early death prevented the collaboration. 30 years after the death of the great American composer, Balanchine choreographed a piece to an array of Gershwin songs. The vivacious ballet embodies the typical Manhattan spirit. The Gala version of Who Cares? includes three pas de deux, four solo variations and a coda by three female and one male dancer, creating a collage in various moods with a seductive and lascivious undertone.
