Press Informations of the Bavarian State Ballet
Contact: Susanne Ullmann, Press and Marketing
T +49.(0)89.21 85 17 19
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The press releases will remain here in the order of publication. Please note the release date.
Polina Semionova makes her Munich debut as Nikiya
Nikiya in Marius Petipa's / Patrice Bart's La Bayadère. Alongside her,
Maxim Chashchegorov will give his debut performance as Solor. Joining
the two will be First Soloist Ivy Amista, who makes her first appearance
Marius Petipa / Patrice Bart
Tu 05.03.13, 7:30 pm
Dates Polina Semionova
Fr 08.03.13, 7:30 pm
Mo 11.03.13, 7:30 pm
For press ticket and picture requests and more information, please contact
the press office of the Bavarian State Ballet.
"Migratory Birds" approaching the Nationaltheater
Based around the theme of the theater as a temporary habitat for artists who come and go, Kylián explores the many rooms and unusual spaces of the Nationaltheater and takes the audience on a journey through the creative world of a choreographer.
On February 15, the Migratory Birds return to the Nationaltheater for three performances. Underneath, behind or on stage, on screen or in the auditorium: the Migratory Birds take over all spaces and invite you to join them on their journey.
Fri 15.02.13 2013, from 7:30 p.m.
Fri 22.02.13 2013, from 7:30 p.m.
Thu 28.02.13 2013, from 7:30 p.m.
All performances are part of the Young Audience Program
The first part of the performance is a choreographed guided tour through the below-stage area. This part is not suitable for disabled persons, due to a lack of seating. Appropriate footwear is recommended.
Premiere "Forever Young"
José Limón transforms Shakespeare's great tragedy Othello into a barely fifteen minute long pavane. The Moor’s Pavane is, much like Choreartium a key piece for its respective time and a particular style – in Limón’s case, that is 'Modern Dance'. Created in 1949, it is Limón's response to the McCarthy trials, to the conspiracies, slander and the espionage. He purposefully avoids a direct correlation to Othello by not using the original character names. The abyssal relationship between the four protagonists Othello, Desdemona, Iago and Emilia, could not be expressed in a more concise way, than in the form of this structured processional dance, called pavane.
Choreartium might be the first piece in the history of ballet of purely abstract quality: no storyline, no theme beyond music and the vocabulary of dance, no characters inspired by the human psyche. Léonide Massine translates the mood and structure of Johannes Brahms' 4th Symphony into classical dance, into a variety of formations in space and time. "I created the choreography for Choreartium according to the instrumentation of the musical score. I used woman to accentuate the delicate passages, whereas men dance during the heavier, robust sections. The music, rich in orchestration and contrast, is predestined for this interplay of masculine and feminine movements and steps." (Massine)
Contrary to the standing rule in Munich - to reconstruct historical works as close to the original as possible - Dutchman Keso Dekker, a renowned stage- and costume designer, will imprint his very own personal and modern style on the ballet.
Robertas Šervenikas will direct the Bavarian State Orchestra for Forever Young. He returns to the music podium for the first time since Der Sturm during the 2008/2009 season.
Russell Maliphant / José Limón / Léonide Massine
Sat 17.11.12, 7:30 pm P-r-e-m-i-e-r-e
Mon 19.11.12, 7:30 pm
Fri 23.11.12, 7:30 pm
Thu 29.11.12, 7:30 pm
For press tickets, picture material and further information - please contact the press office of the Bavarian State Ballet.
in cooperation with
Season Opening at the Bavarian State Ballet Vadim Muntagirov, Yun Wang and Svetlana Zakharova to appear as guest artists in "La Bayadère"
Created in 1877, La Bayadère is a mesmerizing fairy tale, thriller and feast of virtuosic dancing all in one evening. It is perhaps, one of the most glamorous and lavish full-length ballets from the prime time of Russian classics, directly connected to the legacy of Marius Petipa. At the center of the tale is the priestess – the Bayadère – Nikiya and her noble warrior, Solor. The ladder however, is ordered to marry the Raja's daughter, Gamzatti. The High Brahmin also only has eyes for Nikiya, who tragically falls victim to murder by her rival Gamzatti. Solor dreams himself to the 'Kingdom of Shades' to reunite with his late love – what is to follow is one of the most beautiful white acts in ballet history.
Vadim Muntagirov, first soloist at the English National Ballet, will appear for the first time as Solor on a German stage on September 21 and 22. In 2011, he was nominated as outstanding young male dancer in London and in the spring of 2012, celebrated as a shooting star at the renowned American Ballet Theater in New York. His partner will be State Ballet first soloist Ekaterina Petina, who will make her debut as Nikiya.
Winning the International Ballet Competition in Helsinki 2012 put this Chinese ballerina on Ivan Liška's radar: Yun Wang. He invited her to guest at the Bavarian State Ballet as Nikiya in La Bayadère. On September 28 and October 4, she will make her Germany debut alongside Lukáš Slavický as Solor.
Svetlana Zakharova, principal of the Bolshoi Ballet Moscow and international superstar, needs no introduction for seasoned balletomanes. She has been seen in Munich on several occasions: dancing the dual role of Odette/Odile during the guest performances of the Kirov Ballet in 1999 and returning as a guest artist at the Bavarian State Ballet in 2001. On October 5 and 13, 2012, she will dance the part of Nikiya in La Bayadère alongside Marlon Dino as Solor.
Marius Petipa / Patrice Bart
Fri 21.09.12, 8.00 pm Revival
Sat 22.09.12, 7.30 pm
Fri 28.09.12, 7.30 pm
Thu 04.10.12, 7.30 pm
Fri 05.10.12, 7.30 pm
Sat 13.10.12, 6.00 pm
For press tickets, photos and further information - please contact the press office of the Bavarian State Ballet.
Revival "La Fille mal gardée"
Frederick Ashton's new production tells the story of young couple Lise and Colas, the widow Simone who tries to put an end to their romance; of farmer Thomas and his clumsy son Alain with refined simplicity and a dose of virtuous naiveté: We see hay wagons, a pony, a rooster and his harem of hens, villagers dancing around a maypole and the sudden onset of a summer thunderstorm. The ingenious choreography transforms these innocent, magical images, accompanied by the sweet score of John Lanchbery, into a delightful celebration of dance.
On July 5, Ilana Werner will debut in the role of the badly guarded girl, Lise. Opposite Ms. Werner, Lukáš Slavický will make his debut as Lise's lover, Colas. Widow Simone, traditionally a travesty role, will be portrayed by Cyril Pierre. Once again, Ilia Sarkisov proves his comedic talent as the clumsy Alain.
For the first time since Ray Barra's Don Quijote in June 2000, the Munich Symphony Orchestra under conductor Myron Romanul will accompany the Bavarian State Ballet for this production.
La Fille mal gardée
Thu 05/07/12, 7.30 pm
Fri 06/07/12, 7.30 pm
Sun 08/07/12, 3.00 pm and 7.30 pm
Wed 11/07/12, 7.30 pm
For press tickets and further information – please contact the press office of the Bavarian State Ballet.
The Bavarian State Ballet to perform at the International Festival for Music and Dance in Granada
The programme features around 40 shows, among which the Bavarian State Ballett will present its exquisite Swan Lake along with the Mixed Bill Steps & Times In addition there'll be larger concerts in the Alhambra, performances in civic centres, chapels, churches, cafés and clubs throughout the city, which range from small classical ensembles to jazz and world music.
Ferderick Ashton / Kenneth MacMillan
Steps & Times
Wed 27/06/12, 10.30 pm
Ray Barra / lew Iwanow / Marius Petipa
Fri 29/06/12, 10.30 pm, s-o-l-d o-u-t
For press tickets and further information – please contact the press office of the Bavarian State Ballet.
Premiere "Goldberg-Variations / Gods and Dogs" on April 22, 2012
Jerome Robbins' body of work counts well over sixty ballets, including gems that are performed by large ballet ensembles throughout the world such as The Cage (1951), Afternoon of a Faun (1953), The Concert (1956) and Dances at a Gathering (1969). Goldberg Variations (1971) has been a piece reserved exclusively to the New York City Ballet for over forty years and is scheduled to make its debut, danced by the Bavarian State Ballet, at the opening night of the Ballet Festival Week 2012.
Bach structured his composition in thirty variations on the theme of the "Aria" and the "Da Capo al fine". Robbins references this scheme in his choreography: his work starts with a pas de deux, followed by accumulating pas de trois’, ensemble parts, soli and pas de deux until finally "a flock of dancers pour out onto the stage". The piece concludes exactly how it started: in a singular pas de deux. Robbins' distinct choreographic signature is a seamless blend of classical vocabulary enriched with jazzy, Broadway influences. His intuitive sense for choreographic structure and direct 'translation' of Bach's musical cosmos into dance creates a completed masterpiece of transcendental quality.
In 2008, Jiří Kylián created a mysterious, almost mystical ballet for four couples at the Netherlands Dance Theater together with a similar team of composers, stage and projection design as for Munich's Migratory Birds. In Gods and Dogs, a mysterious dual character appears that is based on an ancient myth: god created a dog in order to keep Adam company on his walks. The loyal animal by his side should serve Adam as a constant reminder of his eternal love for god. A similarly mysterious dog-like god appears in the world of the pharaohs. Perhaps, it is no coincidence that 'dog' is a palindrome of 'god'. The choreographer may or may not reference these stories in particular, but a ghostlike dog-wolf reappears throughout the piece on the projection screen.
The piece offers another insight into the current mindset of the Czech choreographer, who says of himself: "I am interested in the borderline between the normal and insanity, between health and illness and in the norms that define these opposites."
The Goldberg-Variations request a cast of more than thirty dancers. Led by Principals Lucia Lacarra, Roberta Fernandes, Tigran Mikayelyan and Lukáš Slavický. On the piano will be Elena Mednik.
Together, Wlademir Faccioni, Emma Barrowman, Matej Urban, Roberta Fernandes, Karen Azatyan, Monika Hejduková, Lukáš Slavický and Zuzana Zahradníková will begin their hunt for the mystical dual character in Gods and Dogs.
Jerome Robbins / Jiří Kylián
Goldberg-Variations / Gods and Dogs
Sun 04/22/12, 7.30 pm
Thu 04/26/12, 7.30 pm
Wed 05/30/12, 7.30 pm
Fry 06/08/12, 7.30 pm
Sat 06/23/12, 7.30 pm
Mon 07/02/12, 7.30 pm
For press tickets and further information – please contact the press office of the Bavarian State Ballet.
“If you are looking for me, I am the girl walking on bare feet.” – Premiere at the Bavarian State Ballet on January 30th, 2012
A young girl, homeless and lost yet confident and full of pride entrusts her life every evening to the man who throws knives at her. In light of the danger, emotions and thoughts are growing more and more abundant.
Since being published in 1997, author Wolf Wondratschek envisioned his poetry cycle The Girl and the Knife Thrower to be an integral part of a ballet production. Ivan Liška made this vision come to life by commissioning choreographer Simone Sandroni, who works in both the freelance dance scene and for renowned ballet ensembles - much like his contemporaries Sidi Larbi Cherkaoui or Russell Maliphant. The stage design by Lenka Flory is a run-down playground which is filled with bored teenagers who linger around to pass their time and constantly break into fights. Whenever there is nothing else left to do, dance bursts out of them and starts to alter the group dynamics: the heavy, disheartened feeling of loneliness and redundancy quickly transforms into action, attack and velocity in motion. Simone Sandroni created the choreography set to a musical arrangement by 48nord. His highly physical movement vocabulary is influenced by martial arts. It requires a high level of energy and focus from the dancers who must constantly remain alert, ready to move at the blink of an eye. In this environment, the story of the young girl who only feels truly alive when faced with the danger of knife throwing, unfolds. Emma Barrowman and Wlademir Faccioni will be dancing the leading roles.
British choreographer Russell Maliphant worked with some of Britain's most groundbreaking contemporary ensembles as a dancer - DV8 Physical Theatre, Michael Clark Company, Laurie Booth and others. In 2003, he started collaborating with world famous ballerina, Sylvie Guillem and created several works on her. As a result of this flourishing collaboration came the trio Broken Fall, which is being staged by two members of the Ballet Boyz on Ekaterina Petina, Marlon Dino and Erik Murzagaliyev. Maliphant' work is a blend of tradition and avant-garde which never fails to be innovative. Inspired by the Ballet Russes, he created the solo AfterLight to music by Erik Satie on dancer Daniel Proietto who will perform the piece at the Prinzregententheater.
The evening will open with a work by Kenneth MacMillan: Las Hermanas. In 1963, he translated Lorca’s Bernada Albas Haus into 25 minutes of condensed dance. Frank Martin's concert for cembalo and small orchestra seems to be a perfect fit for MacMillan’s interpretation of the storyline. The British choreographer expands on the expressivity and movement potential of classical ballet and reconfigures the story which ends in complete disaster, to a choreographic masterpiece of the 20th century.
The role of the mother will be played by Beatrice Cordua, a longtime soloist with John Neumeier's Hamburg Ballet, known for her expressive aptitude. She is also a company teacher with Johann Kresnik in Berlin and has been a freelance dancer and choreographer since 2004. The part of the older sister will be danced by Lucia Lacarra; her fiancé will be portrayed by Cyril Pierre. Roberta Fernandes, Monika Hejduková, Mia Rudic and Ilana Werner complete the sisterly quintet.
Sandroni / Maliphant / MacMillan
The Girl and the Knife Thrower / AfterLight / Broken Fall / Las Hermanas
Mon 30/01/12, 7:30 p.m.
Performances also on
Tue 31/01/12, 7:30 p.m.
Wed 01/02/12, 7:30 p.m.
Th 02/02/12, 7:30 p.m.
For press tickets, photographic materials and further information, please do not hesitate to contact the press department of the Bavarian State Ballet.
"Steps & Times" - Première at the Bavarian State Ballet on December 22, 2011
Frederick Ashton created Scènes de ballet in 1948 for the Sadler’s Wells Ballet, which is known today as the Royal Ballet, one of the world’s most elite ballet companies. Until his death, Ashton considered this piece his masterwork. Barely 25 minutes long, Scènes de ballet captivates the audience with simple elegance and virtuous, sublimely structured classical dance set to Stravinsky’s witty neoclassicism. The main focus of the ballet is the principal ballerina and her cavalier. They are accompanied by a corps de ballet of twelve female dancers, all of them bejewelled and dressed in tutus, as well as four male dancers.
In 1976, Frederick Ashton created a choreographic miniature meant as an homage to Isadora Duncan to five waltzes by Johannes Brahms. Duncan, an icon of modern dance, broke with the rigid aesthetics of ballet, bare footed and dressed in a Greek style tunica – a piece of clothing that makes no effort to conceal the distinct attributes of the female body. Ashton allows the soloist to explore passionate outbursts of emotion, while keeping the overall structure of the piece by implementing clear themes in each section.
The Voices of Spring Pas de deux, choreographed in 1977 to the waltz of the same name by Johannes Strauss equals Five Brahms Waltzes in the Manner of Isadora Duncan in its dynamic approach: fast-paced choreography, infused with spectacular lifts - Voices of Spring puts the audience in a gala state of mind.
Kenneth MacMillan’s Song of the Earth has become an indispensable part of international ballet repertory. Shortly after its premiere in 1965, it was obvious that a masterpiece of historic importance was at hand. MacMillan’s choreographic language is based on classical dance. In Song of the Earth, his choreography blends seamlessly with the lyric content of Mahler’s composition of the same name. In a narrative manner, without gravitating towards traditional story telling, MacMillan creates luscious emotional landscapes inspired by the songs "About Youth" and "About Beauty". Three predominant characters reoccur throughout the work: ‘the man’, ‘the woman’ and ‘the messenger of death’. With the help of Mahler’s score, MacMillan reflects on life, death and the hope for transcendence.
The premiere includes performances by Daria Sukhorukova and Maxim Chashchegorov as the principal couple in Scènes des ballet and Stephanie Hancox as Isadora Duncan in Five Brahms Waltzes in the Manner of Isadora Duncan. Ashton’s Voices of Spring will be performed by Lukáš Slavický and guest dancer Katherina Markowskaja. Lucia Lacarra, Tigran Mikayelyan and Marlon Dino, the original cast of 2007, will portray the central characters of ‘the man’, ‘the woman’ and ‘the messenger of death’ in Song of the Earth.
The conductor of the evening will be the highly regarded opera- and concert conductor, Ryusuke Numajiri. He has been the music director of the Biwako Opera in Japan since 2007. Numajiri’s guest engagements include the Montréal Symphony Orchestra, the German Symphony Orchestra Berlin, the Sydney Symphony, the Vienna Chamber Orchestra and others. He made his debut as conductor for the Bavarian State Ballet in 2007.
Mezzo soprano Heike Grötzinger and tenor Bernhard Berchtold will be the vocal soloists for Song of the Earth.
Frederick Ashton / Kenneth MacMillan
Steps & Times
Th 22.12.11, 7:30 pm Premiere
Fr 23.12.11, 7:30 pm
Wed 28.12.11, 7:30 pm
Wed 04.01.11, 7:30 pm
For press tickets, photo materials and further inquiries, please contact the press department of the Bavarian State Ballet.
Gözde Özgür receives Bavaria State Art Award 2011
"Her interpretation of the protagonist in Mats Ek's Giselle impressed not only trade press – experts were astonished by her versatile, expressive and sensitive portrayal of the role, an outstanding achievement for a young artist." – Statement of explanation from the Bavarian State Ministry of Sciences, Research and the Arts.
Ankara-born Gözde Özgür received her training at the National Conservatory of Ankara. At age 15, she transferred to the Ballet Academy Zurich where she graduated with a diploma in 2008. Ms. Özgür was offered a corps de ballet contract with the Bavarian State Ballet in 2008 and was promoted to the rank of demi-soloist at the beginning of the 2011/2012 season. She recently made her debut as Amor in Ray Barra’s Don Quijote.
Ms. Özgür's impassioned interpretation of Giselle, for which she will accept the 5.000 Euro award at the Munich Residence, can be seen at the Prinzregententheater on October 1st.
To start the new season the Bavarian State Ballet will present great ballerinas as guests in "Don Quijote"
Curtain up! A survey of the New Season is the title of the first performance at the Prinzregententheater on September 22, 2011. Ballet director Ivan Liška and his dancers will present a sort of revue with short excerpts of dance, projections and texts to show the artistic vision around which the season was planned.
From September 23 the innkeeper’s pretty daughter Kitri and the penniless barber Basilio will assert their love against the avarice of Kitri’s father in Ray Barra’s version of Don Quijote. With shrewd wit and quite some help from Don Quijote they can finally celebrate their wedding – a colourful festivity of dance in all facets.
At the start of the season the Bavarian State Ballet welcomes two guest ballerinas in this humorous, yet highly demanding ballet, two renowned starts of the international dance scene: Iana Salenko, Principal Dancer of the State Ballet Berlin, who will make her Munich debut and the Bolshoi ballerina Ekaterina Krysanova who had a huge success in this ballet already at the end of the past season. Iana Salenko will be partnered by Karen Azatyan who danced his first Basilio during the 2010/11 season. Ekaterina Krysanova will be partnered by Lukáš Slavický. He had been scheduled to dance his first Basilio to Krysanova's Kitri last season but sustained an injury during their final rehearsal and so had to postpone his debut in the role.
For the performance of October 2, 2011, negotiations with another world-famous couple are still under way. On October 3 Ivy Amista will surely dance an even more convincing Kitri after her debut in the role last season. Her Basilio will be Tigran Mikayelyan, back after quite a long time of injury, and for him it will be his first Basilio in Munich.
Curtain up! A Survey of the New Season
Th 22/09/11, 7.30 pm
Fr 23/09/11, 7.30 pm (Iana Salenko and Karen Azatyan)
Sa 24/09/11, 7.20 pm (Iana Salenko and Karen Azatyan)
So 25/09/11, 3.00 pm* (Ekaterina Krysanova and Lukáš Slavický)
Tu 27/09/11, 7.30 pm (Ekaterina Krysanova and Lukáš Slavický)
Su 02/10/11, 3.00 pm* (Negotiations still under way)
Mo 03/10/11, 7.30 pm (Ivy Amista and Tigran Mikayelyan)
* Performance for families and Young audience
For press tickets and further information – please contact the press office of the Bavarian State Ballet.
Of Windmills and Barbers in Love. On June 24, The Bavarian State Ballet celebrates the revival of "Don Quijote"
Twenty years ago marked the première of Don Quijote, the first new production of a classic by the newly formed Bavarian State Ballet. Ray Barra's version of Marius Petipa's ballet classic, world-premièred in 1896, is a much celebrated highlight of the Munich repertoire to this day, and will be revived at the Prinzregententheater after an eight-year pause.
Barra provided a second outstanding role for a ballerina through the accentuation on Dulcinea beside Kitri, and with the brilliant-humorous delineation of the Knight of the Woeful Countenance and his servant Sancho Panza, he affectionately expanded the classic original. Composer Ludwig Minkus collaborated with Marius Petipa on the scores for a series of great works, including La Bayadère, Paquita and Don Quijote. He ranks beside Pyotr Ilyitch Tchaikovsky as one of the most creative musical minds to create Russian ballet music.
The ballet Don Quijote concentrates on an episode in the second part of Cervantes's novel, which tells the love story of the Barber Basilio and the innkeeper's daughter Kitri. On the insistence of her father, Kitri is to marry the wealthy Gamacho, but she loves the penniless barber Basilio. With wit and finesse (as well as a little help from Don Quijote) the two lovers finally get their way – the way that leads to the altar.
While the first part whisks us away to a gaudily colored dance panorama sparkling with the high spirits and Latin temperament of a Spanish marketplace, Don Quijote's dream world, one of the legendary dance scenes, which peaks in the solo variations for Quijote's unattainable idol, Dulcinea, represents a striking contrast to the bustling activity of the opening sequence. The glorious wedding of Kitri and Basilio forms the climax and conclusion of this "breathtaking celebration of dance".
At the revival on June 24 and the afternoon performance on June 26, Ekaterina Krysanova from the Bolshoi Ballet in Moscow will be on stage as Kitri. Her partner is Lukáš Slavický, who will be dancing the role of Basilio for the first time in Munich. On June 25, Ivy Amista and Karen Azatyan will be making their débuts as Kitri and Basilio, dancing again in the evening performance on June 26.
Marius Petipa/Ray Barra/Ludwig Minkus
Friday, June 24, 2011, 7.30 pm revival
Saturday, June 25, 2011, 7.30 pm
Sunday, June 26, 2011, 3.00 pm* and 7.30 pm
* Performance for families and Young Audience
For press tickets and further information - please contact the press office of the Bavarian State Ballet.
Paradises and Poetic Refuges
“We have to create paradises for ourselves, poetic refuges, where we can forget the gruesome world we live in.” (King Ludwig II)
Munich, March 2011 – after a long overdue homeward journey the Munich production of Illusionen – wie Schwanensee (Illusions – Like Swan Lake) can now return to the place from which it first emerged: the Nationaltheater – where the Bavarian monarch once took refuge from the demands of the daily grind. On April 21, the Bavarian State Ballet will present the opening première of the Ballet Festival Week.
The choreographer and director of the Hamburg Ballet, John Neumeier, drew his inspiration for the ballet drama Illusionen – wie Schwanensee from the life and tribulations of King Ludwig II. Into this story, he interwove the meticulous reconstruction of a ballet-historical point of culmination, the second act of Swan Lake in the choreography by Lev Ivanov and the "Black Swan Pas de Deux" in which the significant choreographic contribution of Marius Petipa to the definitive St. Petersburg version of Swan Lake is rescued.
The king escapes into the theatrical reality of this Swan Lake performance, in which he seeks deliverance from his existential agonies. The unfinished walls of the castle on Herrenchiemsee are rediscovered, an image of his unquenchable yearning for completion, while concurrently serving as his prison. None of the women courting him can offer him fulfillment; death and the constantly present Man in the shadow become one in the breathtaking final scene, which captures the existential-tragic dimension of the longing for human love in all its devastating inattainability.
John Neumeier’s ballet, world premièred in 1976, forms a part of his series of new versions of historical narrative and fairy-tale ballets, a series that also includes The Nutcracker, Sleeping Beauty and Sylvia. The choreographer’s artistic intention was geared toward the large form. One important objective was to find new, more contemporary forms for the full evening ballet and to place these forms in the context of the classical ballet tradition.
Illusionen – wie Schwanensee
Thursday, April 21, 2011, 7.00 p.m. première
Saturday, April 23, 2011, 7.00 p.m.
Thursday, April 28, 2011, 7.00 p.m.
Friday, May 6, 2011, 7.30 p.m.
Sunday, May 15, 2011, 7.30 p.m.
Wednesday, May 18, 2011, 7.00 p.m.
Saturday, May 21, 2011, 7.00 p.m.
Monday, May 23, 2011, 7.00 p.m.
On the day of the première, we cordially invite to attend the opening of the exhibition All the World’s a Stage by Hubertus Hamm in the Ionic Halls and the Royal Hall at 6:00 P.M. Molded Mirrors is the title of a group of works in which Hubertus Hamm uses the deformation of highly reflective, colored stainless steel slabs, dedicating himself here to the theme of Transformation. This project began in 2010 with the realization of three steel relièfs installed in the atrium of the LHI Leasing GmbH. The work is now being continued under the title All the World’s a Stage (William Shakespeare: As You Like It) to commemorate the 2011 Ballet Festival Week.
Please note that the exhibition can only be attended by holders of tickets to the performance.
For press-ticktes and further information – please contact the press office of the Bavarian State Ballet.
Katharina's still feisty...
Munich, January 2011 - John Cranko’s wonderful choreography, based on William Shakespeare’s eponymous comedy, is back. A scant eight years after the last performance of The Taming of the Shrew the ensemble of the Bavarian State Ballet is in the throes of preparations for the revival on February 26, 2011.
The center of attention is initially focused on Bianca, Katharina’s younger sister and the darling of Hortensio, Lucentio and Gremio. On orders from the young ladies’ father, all the courtship attempts of this trio of suitors will remain fruitless until her older sister has been led to the altar.
Finally an exuberant tippler by the name of Petruchio reveals himself to be a potential bridegroom. The prospect of a generous dowry has tempted him to apply for Katharina’s hand, and after a dramatic duel, she finally gives up her resistance, much to the good fortune of Lucentio, whose way to Bianca’s heart is now cleared.
Fresh from the wedding, the newlyweds make their way to Petruchio’s home town, but Katharina’s shrewish nature still stands in the way of a happy and harmonious union, but Petruchio has the wit and cunning to rein her in...
Given its première at the Nationaltheater in 1976, The Taming of the Shrew joins forces with Onegin and Romeo and Juliet to form a magnificent triumvirate of full-evening ballets by John Cranko, which for decades have ranked as keyworks in the repertoire of the Bavarian State Ballet. Cranko tells the core passages of the story in three grand pas de deux: featuring the feisty Katharina in the first one, the convincing, conquering Petruchio in the second and finally the loving couple in the third pas de deux. World literature in choreography.
Roberta Fernandes and Marlon Dino will dance the roles of Katharina and Petruchio on Saturday, February 26 and Monday, February 28, 2011. Natalia Osipova, principal dancer at the Bolshoi Ballet and Lukáš Slavický will be the leading couple on Saturday, March 12 and Thursday, March 17, 2011. The orchestra will be conducted by Myron Romanul.
The Taming of the Shrew
Saturday, February 26, 2011, 7.30 p.m. (revival)
Monday, February 28, 2011, 7.30 p.m.
Wednesday, March 2, 2011, 7.30 p.m.
Saturday, March 12*, 2011, 7.30 p.m.
Thursday, March 17, 2011, 7.30 p.m.
Monday, March 21, 2011, 7.30 p.m.
Tuesday, April 26, 2011, 7.30 p.m.
Sunday, July 3, 2011, 7.30 p.m.
* Performance for families and young audience
For press tickets and further information - please contact the press office of the Bavarian State Ballett
Natalia Osipova will dance “Sleeping Beauty” on 2/11/2011
Munich, December 2010 - Ballet director Ivan Liška has been able to engage the principal dancer of the Bolshoi Ballet, Natalia Osipova, for the performance Sleeping Beauty on February 11, 2011. She will dance the role of Princess Aurora.
Natalia Osipova, prima ballerina of the Bolshoi Ballet in Moscow, is a graduate of the Moscow Ballet Academy. Immediately after completing her studies in 2004, she entered the corps de ballet at the Bolshoi Ballet. Her career then advanced with breathtaking rapidity: in the space of just a few years she danced herself a position amongst the most prominent ballerinas of the world. In Germany she became an overnight success with her interpretation of Kitri in Don Quixote, which she danced at a guest performance of the Bolshoi Ballet at the Munich Ballet Festival Week in May of 2007. She acquired her international status primarily from performances by the Bolshoi Ballet in London, Paris, New York and Tokyo, where she triumphed in both classic (Don Quixote, Giselle) and contemporary works (Twyla Tharp, Balanchine). Since then she is a much sought-after guest artist, making regular appearances, among other places, with the American Ballet Theatre in New York, the ballet of the Opéra de Paris and the ballet of La Scala Milan.
At the Bolshoi Ballet her nominal career initially ran slower than the career on stage. Not until May of 2010 did she receive the rank of a principal dancer, after she had already danced virtually all the leading roles in her category, among them in Giselle, La Sylphide, Esmeralda, Le Corsaire, Coppelia, La Bayadère and Die Flamme von Paris, mostly in the first cast at opening performances.
Less surprising is the fact that Natalia Osipova has been singled out for countless awards, beginning with the Grand Prix in Luxembourg (in 2003, while still a student) running all the way to the Benois de la Dance (2007), the British Richard Sherrington Award (2007) and the Italian Positano Leonide Massine Dance Award, the Moscow “Golden Mask” (2008). The German dance magazine “ballet-tanz” selected her as 2007 Dancer of the Year.
Marius Petipa/Ivan Liška
Friday, February 11, 2011, 7.30 p.m., tickets
Please find all other performance dates here
For press ticktes and further information - please contact the press office of the Bavarian State Ballet.
World première of “Mein Ravel: Wohin er auch blickt…/Daphnis und Chloé”
Munich, October 2010 - In its first première of the 2010/2011 season, the Bavarian State Ballet presents two world premières to music by Maurice Ravel: Wohin er auch blickt… (“Whichever Way he Looks…”) by Jörg Mannes and Daphnis and Chloé by Terence Kohler.
Kohler tells the mythical story about the two young lovers, Daphnis and Chloé from a new perspective with a particular accentuation on the psychological development of the characters. Jörg Mannes drew the inspiration for his ballet from the “Piano Concerto for the Left hand in D major”, framed by “Une barque sur l’océan” (“A Barge on the Ocean”) and “Pavane pour une infante défunte” (“Pavane for a Deceased Infanta”). The themes of the ballet revolve around such mo-tifs as separation and farewell in times of war and misery. For the first time in over 50 years, an incumbent General Music Director of the Bavarian State Opera will be on the podium: Maestro Kent Nagano! And the Chorus of the Bavarian State Opera will sing.
In every sense of the word, a ballet evening with a top-flight cast!
Jörg Mannes/Terence Kohler
Mein Ravel: Wohin er auch blickt.../Daphnis und Chloé
Sunday, November 21, 7.30 p.m., world première
Monday, November 22, 7.30 p.m.
Friday, November 26, 7.30 p.m.
Sunday, November 28, 6.00 p.m.
Revival of “Sleeping Beauty”
Munich, October 2010 - In a version as true to the original as possible by Ivan Liška, the fairy tale will be presented on the same high level as the artistic classical masterwork. A combination which has placed Sleeping Beauty in the ranks of those rare artworks, in which both naïve and intellectual spectators will get equal measures of enjoyment. Featured in the principal roles are Lucia Lacarra, Daria Sukhorukova and Ivy Amista (Aurora), Tigran Mikayelyan, Marlon Dino and Lukaš Slavický (Prince Désiré), Cyril Pierre and Norbert Graf as Carabosse and Séverine Ferrolier, Roberta Fernandes and Ekaterina Petina as the Lilac Fairy. The musical direction is in the hands of Valery Ovslanikov.
Marius Pertipa/Ivan Liška
Friday, December 17, 6.00 p.m., revival
Monday, December 20, 7.30 p.m.
Saturday, December 25, 6.00 p.m.
Six Awards from Dance Europe
Lucia Lacarra was singled out for her performance in the role of the French ballerina in Série Noire – A Choreographic Murder Mystery; Alen Bottaini, up to the end of last season principal dancer for the role of the detective in the same ballet. The former soloist Silvia Confalonieri was cited for her part in Forsythe’s Artifact and first soloist Norbert Graf for his solo part by Simone Sandroni at the Terpsichore Gala X.
Two guest dancers with the Bavarian State Ballet were also honored: Kate Strong in Artifact and Sylvie Guillem at the Terpsichore Gala X in a Pas de deux from Mats Ek’s Apartment.
Weddings at the Bavarian State Ballet
They dominate the stage with spectacular performances, and the wedding of Lucia Lacarra and Marlon Dino last summer was no less glamorous. The famous couple of the Bavarian State Ballet first celebrated in the prima ballerina’s homeland, the Spanish Basque country, then moved on to no less lavish nuptials in Albania, where Marlon Dino’s family has its roots. The performances of the couple, whose love story began three years ago with their artistic partnership in MacMillan’s Lied der Erde (“Song of the Earth”), have since then been regarded as a stirring attraction on stage when they perform the great tragic love stories: as Romeo and Juliet, Onegin and Tatiana, Zobéide and the Golden Slave, to mention just a few.
Things were no less colorful during the several days of festivities for Brazilian dancer Maira Fontes and Javier Amo Gonzalez from Spain. They, too, joined together in the bond of holy matrimony in both of their home countries, Brazil and Spain.
Lights off… Curtain up! The Bavarian State Ballet opens the new season 2010/11 with an autumn-season at the Prinzregententheater.
Munich, September 2010
For the twenty-first time the curtain will rise after the theatre holidays for the Bavarian State Ballet to start a new season. Its leading themes will be in close context with Munich and the National Theatre, but will also bring the great wide world to Munich.
The opening matinée Curtain Up! Prospects for the New Season on September 19, 2010 at 11a.m. at the Prinzregententheater will present the whole diversity of the repertoire of the new season in short excerpts. With choreographic snippets from the repertoire, film sequences and talks with artists the company will welcome their audiences as well as the new dancers, volunteers and scholarship holders. The pro-gram will be presented by the well-established trio of ballet director Ivan Liška and his co-directors Bettina Wagner-Bergelt and Wolfgang Oberender.
On September 21, the series of performances of Giselle - Mats Ek will be continued. For her captivating interpretation of Giselle Gözde Özgür was nominated for the title “Female Dancer of the Year” by the international dance magazine “Tanz” in their critics’ survey. She will lead off the dance around love, betrayal and sacrifice - to-gether with Matej Urban as Albrecht, Lukáš Slavický as Hilarion and Emma Barrow-man as Bathilde.
With Terence Kohler’s Série Noire – a Choreographic murder mystery to music by Philip Glass on September 28, the search for the murderer of the principal dancer will be taken up again. Since the Hollywood thriller “Black Swan” has now likewise discovered the murderous atmosphere behind the wings of a ballet company Série Noire is absolutely trendy…
Performances at the Prinzregententheater
Curtain Up! Prospects for the New Season
Sunday, September 19, 2010, at 11.00 a.m.
Giselle – Mats Ek
Tuesday, Sept. 21, 2010, at 7.30 p.m.
Wednesday, Sept. 22, 2010, at 7.30 p.m.
Friday, Sept. 24, 2010, at 7.30 p.m. (family performance)
Saturday, Sept. 25, 2010, at 7.30 p.m.
Sunday, Sept. 26, 2010, at 6.00 p.m.
Série Noire – a Choreographic murder mystery
Tuesday, Sept. 28, 2010, at 7.30 p.m.
Wednesday, Sept. 29, 2010, at 7.30 p.m.
Friday, Oct. 1, 2010, at 7.30 p.m.
Saturday, Oct. 2, 2010, at 6.00 p.m.
For press tickets, pictures and further information – please contact the press office of the Bavarian State Ballet.
Série Noire – A Choreographic Thriller by Terence Kohler
Série Noire - A Choreographic Thriller
Creation with the Bavarian State Ballet at the Prinzregenten Theatre on June 22, 2010
Munich, June 2010 – With the creation of Série Noire – A Choreographic Thriller – at the Prinzregenten Theatre on June 22, the Bavarian State Ballet show their murderous joy of dancing. Série Noire is a ballet created by the young choreographer Terence Kohler for the Munich Company. Inspired by classical criminal novels and espionage thrillers Terence Kohler uses classical choreography full of tension to express a criminal story and interlinks three plots.
At its centre there is a fictitious ballet that was performed only twice within 150 years. At each premiere the prima ballerina met her death in a tragic, mysterious way. And the revival of the piece at the beginning of the twenty-first century seems doom laden. During rehearsals the unsuspecting company experiences a series of strange events which, at the two previous premieres, each time had caused the mysterious death of the ballerina.
In danced flashbacks the audience learns more about the backgrounds of the fatal events. The search for traces leads back to the time and places of the first two performances - to Paris of the twentieth century and even farther back to St. Petersburg of the nineteenth century.
The music for the ballet was selected from the large oeuvre of Philip Glass to accompany the journey through the centuries. In addition there is the piece for piano “Série Noire” by Pierre Jodlowski, that has given the ballet its title, the “music of truth”, as Kohler has called it, the music of the detective.
Terence Kohler, choreographer from Sydney, Australia, is at present choreographer in residence with the Bavarian State Ballet. Previously he had been dancer and choreographer with the Baden state theatre and in the course of his four-year engagement there he was awarded several prizes for his work. At the end of the 2007/2008 season Terence Kohler left the company in Karlsruhe and created Once Upon an Ever After for the Bavarian State Ballet. This was the successful start into a career as a freelance choreographer.
Série Noire – A Choreographic Thriller
Tuesday, June 22, at 19.30 – premiere
Wednesday, June 23, at 19.30
Friday, June 25, at 19.30
at the Prinzregenten Theatre
Tickets are available from € 21,00 to € 58,00
For press tickets, picture material and further information please contact the press office of the Bavarian State Ballet.
Artifact by William Forsythe – Premiere with the Bavarian State Ballet on April 25, 2010
The Bavarian State Ballet presents one of the prime examples of the legendary choreographer William Forsythe
Munich, April 2010 - With the premiere of Artifact on April 25, the Bavarian State Ballet opens the festival weeks with William Forsythe's early master-piece that reflects upon structures and history of the dance. Now the company presents the work in its full length, after, many years ago, they pre-sented a central part of it.
This ballet, created by Forsythe in 1984, is his first evening-length work that he created for the Frankfort Ballet as their new director. In fact, the four-part work to music by Johann Sebastian Bach and Eva Crossmann-Hecht corresponds to the structure of a classical story ballet of the 19th century, its content, however, goes far beyond. It analyses the elements and functioning of ballet, playing with the audience's habits of viewing things, with reality and perception.
At its centre there are three characters: one "Person in historical costume", one "Person with a megaphone", and an enigmatic grey "Other person". Like dream figures they move through the space, traverse the symmetrical lines of movement and groups of the great ensemble, independent of any organisation.
The "Woman in historical costume" tells ever new stories, using the ever same vocabulary, the other two characters communicate with hand and arm movements - metaphors of Forsythe's idea of dance. He is concerned with relations-choreographic signs that are interrelated, human bodies in relation to one another: "In my pieces dance, just as language, is subject to certain signs and rules. These signs do not exist by themselves, but only in relation to one another, like in any system. Therefore in ballet I never speak of movement but of relations. These are new with me. The movements themselves remain the same in every ballet, they always were." (William Forsythe)
William Forsythe is one of the leading pioneers in contemporary dance. His work has had a significant part in breaking open the limits of the classical repertoire, in developing dance to a dynamic form of art of the twenty-first century. At present Forsythe works in a wide range of projects like installations, films and internet-based development of knowledge. At this year's Biennale in Venice he will be awarded the "Golden Lion" for his life achievement.
For press tickets and further information please contact the press office of the Bavarian State Ballet. Any photo material can be obtained directly via the website www.staatsballett.de or through the press office.
Preview for the season 2010 / 2011
At the yearly press conference of the Bavarian State Ballet Director Ivan Liška presented the plans for the company for the forthcoming season
Munich, April 2010 – At the yearly press conference of the Bavarian State Ballet Ivan Liška announced the plans for the forthcoming season. The sea-son 2010 / 2011 will be marked by creations and productions with particular relationship to Munich and the National Theatre.
First – this fourteenth season presents a true Munich sensation: for the first time in fifty years the general music director of the opera house will conduct a ballet premiere with two creations for the Bavarian State Ballet! While half a century ago it was no less than Georg Solti who conducted “Le Sacre du printemps” it is now Kent Nagano. The GMD has always had close affinity with dance and ballet and frequently visits performances of the Bavarian State Ballet together with his family. The conception of the program with works by Maurice Ravel was born of his own idea and his wish to conduct a premiere of the State Ballet. As choreographers Ivan Liška has chosen two artists already well acquainted with the State Ballet – Terence Kohler who will choreograph Daphnis et Chloé and Jörg Mannes who will create a work with the title Wherever he looks on Ravel´s “Piano Concerto for the Left Hand”, “Une barque sur l´océan” and “Pavane pour une infante défunte”.
The second premiere is remarkable for quite different reasons: during the past two decades John Neumeier has given some of his most beautiful choreographies to Munich at regular intervals since he knew they were in good hands first with Konstanze Vernon, then with his former first soloist Ivan Liška – A Midsummer Night´s Dream, The Nutcracker, The Lady of the Ca-mellias, A Cinderella Story. One work, however, should, as it were, have come to Munich long years ago and will be produced in the spring of 2011 – Illusions ... like Swan Lake.
In this work John Neumeier – always his own ingenious dramatist – has connected the tragic life and love story of the Bavarian King Ludwig II with the myth of Swan Lake. In spring 2011, at the 125th anniversary of the tragic death of King Ludwig II, this ballet will be premiered with the Bavarian State Ballet at the National Theatre that for Ludwig himself once was a place of escape from reality when he withdrew there into the haunted solitude of his private performances.
The new season will start on September 21, 2010 with Mats Ek´s modern Giselle that will be revived in a carefully rehearsed reproduction in June 2010. Typically, the Swedish choreographer uses a powerfully coarse modern dance idiom with at times moments of delicate tenderness, to the classical music by Adolphe Adam.
In the repertoire remain, beside the two premieres of April and June 2010, Artifact by William Forsythe and Série Noire – A Choreographic Thriller by Terence Kohler, John Cranko´s masterpiece Onegin as well as the hit suc-cess of the present season Multiplicity. Forms of Silence and Emptiness by Nacho Duato.
Furthermore, there will be revivals of three great classics – Don Quijote, The Sleeping Beauty and Cranko´s The Taming of the Shrew.
The program for children and young people of the Bavarian State Ballet, “Campus”, will again offer a widely varied program with many new creative projects for school classes and youth groups. Besides a continuation of Anna Dances, the successful project that already won several prizes and in 2009 as a project for two generations created quite a stir and caused a wave of research, the Bavarian State Ballet continues work with Dancing Classroom and with the city / state cooperation TuSCH with BOS.
Advance booking by mail for the 2010 / 2011 season will start June 19, 2010. Ticket sale at the box office, by telephone or online is form July 17 to July 31, 2010 and again, after the theatre holidays, from September 1.
For further information and requests of press tickets please contact the press office of the Bavarian State Ballet.
Ballet Festival Weeks 2010 – The Bavarian State Ballet will celebrate the finale of the jubilee year from April 25 till May 9, 2010
Munich, April 2010 – From April 25 to May 9 the Bavarian State Ballet will celebrate the finale of the jubilee year and present milestones from two decades of ballet and dance history – from classics to contemporary dance.
With the premiere of William Forsythe´s Artifact, the guest performances of the Tanztheater Wuppertal Pina Bausch and the two Terpsichore Galas, with international guest stars, the program presents three special highlights. It will be completed by successful pieces from the rich repertoire of the Bavarian State Ballet: Le Corsaire, The Tempest, One Hundred Years Ballets Russes, Migratory Birds and Multiplicity. Forms of Silence and Emptiness.
One of the key works of modern ballet marks the beginning: the Munich Company will present Artifact, the first evening-length ballet by William Forsythe from his early time with the Ballet Frankfurt (1984). For the Bavarian State Ballet this is the second great Forsythe premiere after Limb´s Theorem some six years ago. In the four-part choreography to music by Johann Sebastian Bach and Eva Crossmann-Hecht acts one and three advance the action, acts two and four show abstract neoclassical dance. Thus Forsythe´s work follows the structure of a classical story ballet, yet presents it under a new perspective – full of irony, surprise and highly dynamic.
In Masurca Fogo the Tanztheater Wuppertal invokes the spirit of Pina Bausch, the great protagonist of German dance, in the National Theatre. Pina Bausch can no longer accompany her long awaited guest performances in Munich. She died in the summer last year. Masurca Fogo was created in Lisbon in 1998, a hymn to life and dance. Pina Bausch and her company received inspiration for this work in everyday Portuguese life and encounters with different representatives of Portuguese art and cultural scene. It led to a richly colourful work of dance theatre, celebrating the South, a profession of beauty, intimacy, closeness and tenderness.
The two Terpsichore Galas IX and X will complete the Ballet Festival Weeks with a retrospective of twenty years of Munich dance history. Two different, though thematically coherent programs promise a new encounter with choreographies selected from 63 premieres and 42 creations throughout these two decades.
The ensemble of the Bavarian State Ballet and international guests – among them Alina Cojocaru (Royal Ballet, London), Uljana Lopatkina (Ballet of the Mariinsky Theatre, St. Petersburg), Daniil Simkin (American Ballet Theatre, New York), Viengsay Valdes (Cuban National Ballet) will undertake a tour through the history of dance. They will show their personal interpretation of outstanding works of the Munich repertoire and choreographers closely related to it. From the Pas de Quatre by Leonid Jacobson, a Pas de Deux from Emma B and Shannon Rose to the Chaconne by José Limón – an encounter with the past that strives for the future.
Furthermore, even in the frame of a dance retrospective a special accent is set on future: the ensemble of the Bavarian State Ballet will start both gala performances with a creation of the young Australian choreographer Terence Kohler to a movement form Camille Saint-Saëns` first piano con-certo. A ballet especially created for the jubilee. Thus Terence Kohler, after his Once Upon An Ever After and before his creation of Série Noire – A Choreographic Murder Mystery demonstrates his close connection to the Bavarian State Ballet.
For press tickets and further information please contact the press office of the Bavarian State Ballet (Bayerisches Staatsballett). Photo material can be directly downloaded through the press section of the website of the Bavarian State Ballet or may be ordered from the press office.
Leap to the very top
Marlon Dino becames principal dancer
Munich, February 2010 – Marlon Dino has mastered the leap into the top line of the Bavarian State Ballet. Ballet director Ivan Liška has promoted first soloist Marlon Dino to principal dancer as from February 2010. Marlon Dino has been particularly convincing in the classical repertoire by dramatically expressive portrayals of various roles: his Onegin, quite cool at first, then very passionate, together with his partner Lucia Lacarra, aroused enthusiastic applause from the Munich ballet audience. He also gave technically perfect interpretation, full of dramatic emotion, of Jeanne de Brienne in Raymonda (Marius Petipa/Ray Barra) and of Armand in The Lady of the Camellias (J. Neumeier). For the first time he created a leading role in a modern ballet in the recent premiere of Nacho Duato’s homage to Bach Multiplicity. Forms of Silence and Emptiness.
Marlon Dino was born in Albania and started his studies in 1991 at the School of Choreography and Ballet in Tirana, Albania. In 1998 he went to Switzerland to continue his studies at the Geneva Dance Centre under the directions of David Allen. In January 2001 he was offered a contract with the Vienna State Opera. From 2002 he has been a member of the Bavarian State Ballet. Very soon he was entrusted with the solo parts so that in 2005 he was promoted to soloist, followed by the promotion to first soloist in the 2007/2008.
For further information please contact Monika Feldschow, press office of the Bavarian State Ballet, Phone: +89/2185-1719, Email: firstname.lastname@example.org Press photos can be obtained directly through the website of the Bavarian State Ballet @ www.staatsballett.de, or ordered from the press office.