The Latest News - Bavarian State Ballet

"The Yellow Sound" in April and May

Der gelbe Klang. Peter Jolesch. ©Wilrfried Hösl Spiral Pass. ©Wilfried Hösl Konzert für Violine und Orchester. Ensemble. ©Wilfried Hösl
The Bavarian State Ballet will show also end of April and in May the abstract artwork, a fusion of dance, painting and sound: The Yellow Sound / Spiral Pass / Concert for Violin and Orchestra.

Inspired by Wassily Kandinsky's eponymous concept concerning the commingling of and interaction between sound and colour, the choreographer and stage designer Michael Simon presents his own interpretation of The Yellow Sound. Interestingly, this concept was never realized during its author’s own lifetime due to its technical unfeasibility: The stage-, lighting- and illusion-techniques and apparatuses of Kandinsky’s time simply could never have achieved the effects he sought. Michael Simon's piece, in which colour, sound, projections, lighting and movement continuously melt into new tableaus, is set to an idiosyncratic score by Frank Zappa and is as humourous as it is poetic.

Spiral Pass, a choreography specifically created for the Bavarian State Ballet by the British choreographer Russell Maliphant, will be the second premiere of the evening. The title derives from a technical term in American Football or Rugby which denotes the rapid rotations of the ball in flight. Maliphant's transformation of this image into acrobatic movement is sure to entrance both dancers and audience alike. This choreography features music by Mukul, a multi-facetted underground-composer from London who created the score specifically for this piece.

The program closes with Concert for Violin and Orchestra, Aszure Barton’s first ever production in Germany. In this creation, the dancers as well as the lighting are set in contrast to the minimalistic stage design, as they perform movements reminiscent of neoclassicism, Modern Dance and quotidian gestures, in patterns as complex as lace. Barton’s choreography is set to Mason Bates’ composition entitled Concert for Violin and Orchestra.

Michael Simon / Russell Maliphant / Aszure Barton
The Yellow Sound / Spiral Pass / Concert for Violin and Orchestra
Sun 27.04.14, 7.30 pm, t-i-c-k-e-t-s
Fri 02.05.14, 7.30 pm, t-i-c-k-e-t-s
Thu 08.05.14, 7.30 pm, t-i-c-k-e-t-s 
Sun 11.05.14, 7.30 pm, t-i-c-k-e-t-s
Sat 17.05.14, 7.30 pm, t-i-c-k-e-t-s
Nationaltheater

Sponsored by

That's it for the Ballet Festival Week 2014

©Wilfried Hösl
With last night's performance of Forever Young the Ballet Festival Week 2014 drew to a close. Eight evening performances, one matinée and two additional Ballet extra events were scheduled for our ten-day marathon.

Three world premieres opened the Festival Week on 4. April: The Yellow Sound, Spiral Pass, Concert for Violin and Orchestra. This thoroughly heterogeneous evening provoked all sorts of reactions – ovations as well as jeers. As a follow-up, the company Sasha Waltz & Guests showed just how magical the symbiosis between dance and opera can be. This, their long awaited guest performance of Dido & Aeneas belonged programmatically to this season’s motto TANZLAND DEUTSCHLAND.
Daria Sukhorukova starred in the tragic role of Nikija in La Bayadère, while Ivy Amista showed herself from her shrewd side in her debut as Hippolyta/Titania in A Midsummer Night’s Dream. After Amista, Polina Semionova gave her interpretation of those same roles. There were also two world premieres for the Junior Company on Sunday during the matinée of the Heinz-Bosl-Foundation: About:Time by Sebastian Goffin and Pictures at an Exhibition, jointly choreographed by Artistic Director Ivan Liška, Ayman Harper and Norbert Graf. The Ballet Festival Week was further enriched by the exhibition "Wie klingt gelb?" in the National Theatre, in which artist Hubertus Hamm ("Molded Mirrors – Synchronized"), the German Master School for Design in Munich ("Kandinsky Collection") as well as our audience and fans ("Wie klingt gelb in Ihren Ohren?") collectively exhibited their works.
The Bavarian State Ballet is proud to announce the attendance of over 16500 audience members.

Bettina Wagner-Bergelt receives Irène Lejeune Ballet Award

©Charles Tandy
Dr. h.c. Irène Lejeune, embassador of the Bavarian State Ballet, awarded the fifth consecutive Irène Lejeune Ballet Award to Associate Artistic Director Bettina Wagner-Bergelt after yesterday's performance of Forever Young. For the first time in its young history, the award went not to a dancer, but to a member of the ensemble and directorate whose influence and importance has proven profound.

Bettina Wagner-Bergelt has been with the State Ballet since it was founded 25 years ago by Konstanze Vernon, and has been responsible for the conceptualization of each year’s programme, as well as for the strategic development of the company on which its international reputation and profile lies. In her laudation, chamber dancer Judith Turos emphasized Wagner-Bergelt's commendable dedication to the youth programme of the Bavarian State Ballet which came into being on the latter's initiative, without which the youth programme of the opera, CAMPUS, would be equally inconceivable. Additionally, Bettina Wagner-Bergelt has taken on a number of challenges of a more culture-political nature over the past few years, and is considered one of the most important lobbyists for dance.