Forever Young - Biographies

The Moor's Pavane. Cyril Pierre, Tigran Mikayelyan. ©Day Kol Choreartium. Ensemble. ©Wilfried Hösl Broken Fall. Ekaterina Petina, Erik Murzagaliyev, Marlon Dino. ©Wilfried Hösl

Forever Young

José Limón /
Léonide Massine /
Russell Maliphant

Broken Fall / The Moor's Pavane / Choreartium
Choreographies by Russell Maliphant / José Limón / Léonide Massine

Music by Henry Purcell, arranged by Simon Sadoff / Johannes Brahms, Symphony Nr. 4 e Moll op. 98 / Barry Adamson
Nationaltheater

Monday, 19. November 2012

Broken Fall

Russell Maliphant

Choreography

Russell Maliphant

Russell Maliphant, choreographer

Russell Maliphant trained at the Royal Ballet School and graduated into Sadler's Wells Royal Ballet Company before leaving to pursue a career in independent dance. As a dancer he worked with companies such as DV8 Physical Theatre, Michael Clark & Company, Laurie Booth and Rosemary Butcher and also studied anatomy, physiology and bio-mechanics. He became certified as a practitioner of the Rolfing Method of Structural Integration in 1994 and this has subsequently informed both his teaching and choreographic work.

He created his first solo in 1992 and formed the Russell Maliphant Company in 1996 which has sought to integrate and explore elements from a diverse range of body practices and techniques, including classical ballet, contact improvisation, yoga, capoeira, tai chi & chi gong. He has collaborated closely with the lighting designer Michael Hulls, and in addition to working with his own company of dancers, has set works on renowned companies and artists including: Sylvie Guillem, Robert Lepage, The Ballet Boyz, Lyon Opera Ballet, Ricochet Dance Company, CobosMika, The Batsheva Ensemble, and Ballet de Lorraine.

In 2003, Russell created Broken Fall with Sylvie Guillem and George Piper Dances, commissioned by George Piper Dances and The Royal Ballet and was awarded an Olivier Award the same year. Broken Fall was restaged at Sadler’s Wells in autumn 2004 as part of a three ballet evening of Russell's work re-titled Rise and Fall, and was awarded a Critic’s Circle National Dance Award for Best Choreography (Modern) in 2006. In autumn 2005, Russell and Guillem were reunited in a new programme entitled PUSH, produced in collaboration with Sadler’s Wells and which, like Rise and Fall has subsequently toured to sell-out audiences across the globe. Russell received a South Bank Show Award and an Oliver Award (2006) for the work.

He also worked on the collaboration titled Eonnagata, a new production created and performed with Sylvie Guillem and Robert Lepage which was produced by and premiered at Sadler’s Wells in March 2009. This piece is continuing to tour internationally during 2010 and 2011.

Throughout these projects, Russell continues to work with his own company, the Russell Maliphant Company, which acts as his creative lab for the development and presentation of new work in its own right with a national and international touring programme. The Company has recently been touring PUSH, reworked for and presented by two of the company dancers, and a new male solo, Flux for which Alexander Varona received the Critic’s Circle National Dance Award for Best Emerging Dancer (Modern) for his performances. In 2007, the Company featured in Cast No Shadow, a new work exploring the ideas of identity and migration created in collaboration with the visual artists Isaac Julien which was presented at Sadler’s Wells and BAM in New York, amongst other places.

In Aril 2009, Two:Four:Ten, a retrospective of works created with Michael Hulls was produced by the Russell Maliphant Company and Sadler’s Wells and presented at the London Coliseum, featuring Russell, Dana Fouras and Daniel Proietto from the Russell Maliphant Company, Adam Cooper, Ivan Putrov from The Royal Ballet and Agnes Oaks and Thomas Edur from English National Ballet.

In his recent work he produces, together with the Composer Mukul Patel, a new piece for the premiere Der gelbe Klang in April 2014 at the BallettFestwoche 2014.
Russell Maliphant © Johan Persson

 



Music

Barry Adamson

For detailed inforamtion about Barry Adamson - please go to www.barryadamson.com

 



Lighting

Michael Hulls



 



Solistin

Stephanie Hancox

Soloist

Stephanie Hancox was born in Australia and started her training at the Tanya Pearson Classical Coaching Academy in Sydney. In January 2001, Stephanie came to Munich to complete her training at Ballett-Akademie/Heinz-Bosl-Foundation. Among others she danced the Corsaire-Pas de deux, in Paquita, in Light Fandango (Robert North) as well as a solo in In the Future (Hans van Manen).

In September 2003 she became member of the Bavarian State Ballet. In season 2004/2005 she danced in Forsythe’s Limb´s Theorem and Hans van Manen’s Black Cake.
She was promoted to soloist in the season 2008/2009.

Debut 2007/2008:
Solo-Ariel in Der Sturm (Mannes)
Solo variation in Brahms-Schönberg-Quartett (Balanchine)
Cambio d´abito (S. Sandroni), creation

Debut 2008/2009
Sister in A Cinderella Story (J. Neumeier)
Aurora in Once Upon An Ever After (T. Kohler)
Prudence in Die Kameliendame (J. Neumeier)
Zugvögel (J. Kylián), creation
Henriette in Raymonda (Petipa/Barra)

Debut 2009/2010
Giselle in Giselle - Mats Ek (M. Ek)
Five Brahms Waltzes in the manner of Isadora Duncan (F. Ashton)

Debut 2010/2011
Woman 2 in My Ravel: Whichever Way he Looks... (J. Mannes)
Solo in Pas Fabergè 3rd Act in Sleeping Beauty (M. Petipa, I. Liška)
Pas de Six in The Taming of the Shrew (J. Cranko)
Lady of the Street in The Taming of the Shrew (J. Cranko)

Debut 2011/2012
Marie's arty aunt/ "The Beauty of Granada" in The Nutcracker (J. Neumeier)
Fairy Variation in The Sleeping Beauty (I. Liska after M. Petipa)
Gods and Dogs (J. Kylián)
Whore in The Taming of the Shrew (J. Cranko)
Sommer 2012
Gala für Tanya Pearson Taming-Pas de deux, Gala Version

Debut 2012/2013
1. and 2. Shade Variation in La Bayadère (M. Petipa/P. Bart)
Broken Fall (R. Maliphant)
4. Variation in Birthday Offering (F. Ashton)
Unitxt (R. Siegal), creation
Hostess in Les Biches (B. Nijinska)

Debut 2013/2014
The Chosen One in Le Sacre du printemps (M. Wigman)
Stephanie Hancox Foto: S. Kletzsch

 



Solist 1

Erik Murzagaliyev

Corps de ballet

Erik Murzagaliyev was born in Almaty, Kazakhstan. He started training at the State Ballet School of Almaty. He was a trainee at the State Theatre of Opera and Ballet Almaty in the season 2007/08. During 2009-2010 he was a member of the Cinevox Junior Company.

In the season 2010/2011 he danced as a Trainee at the Bavarian State Ballet and was promoted to a Corps de ballet dancer at the beginning of the season 2011/2012.

Debut 2011/2012
Broken Fall (R. Maliphant)

Debut 2012/2013
BIPED (M. Cunningham)

Debut 2013/2014
Paris in Romeo und Juliet (J. Cranko)
Spiral Pass (R. Maliphant)
Erik Murzagaliyev.©Sascha Kletzsch

 



Solist 2

Matej Urban

First Soloist

Matej Urban was born in Prague and trained at the National Conservatorium Prague. Then he danced at the National Theatre of Prague for two seasons.

He became a member of the Corps de ballet of the Bavarian State Ballet in the season 2008/2009, became Soloist in the season 2010/2011 and dances as First Solist since the beginning of the season 2011/12.

Debut 2008/2009
Sidemen in Les Biches (B. Nijinska)

Debut 2009/2010
Albrecht in Giselle - Mats Ek (M. Ek)

Debut 2010/2011
Man 2 in My Ravel: Whichever Way he Looks... (J. Mannes)
Briaxis in My Ravel: Daphnis and Chloé (T. Kohler)
Albrecht in Once Upon an Ever After (T. Kohler)
Solo in Pas Fabergé 3rd Act in Sleeping Beauty (M. Petipa, I. Liška)
Pas de Six in The Taming of the Shrew (J. Cranko)
Count Alexander in Illusions - like Swan Lake (J. Neumeier)
Fernando in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
The Clown in The Girl and the Knifethrower (S. Sandroni)
Gods and Dogs (J. Kylián)
Pas der six in Der Widerspenstigen Zähmung (J. Cranko)
Rotbart in Swan Lake (Ray Barra/Lew Iwanow/Marius Petipa)
Colas in La Fille mal gardée (F. Ashton)
Sommer 2012
Gala for Tanya Pearson Taming-Pas de deux, Gala Version

Debut 2012/2013
Broken Fall (R. Maliphant)
1. Solo-Boy in Choreartium (L. Massine)
'Man in the Shadows' in Illusions - like Swan Lake (J. Neumeier)
Birthday Offering (F. Ashton)
BIPED (M. Cunningham)

Debut 2013/2014
Lysander in A Midsummer Night's Dream (J. Neumeier)
Theseus/Oberon in A Midsummer Night's Dream (J. Neumeier)
Romeo in Romeo and Juliet (J. Cranko)
Matej Urban.©Sascha Kletzsch

 


Choreartium

Léonide Massine

Choreography

Léonide Massine

Born in Moscow in 1895, Leonide Massine received his ballet training at the renowned Imperial Theatre School. While he performed in character roles in ballets at the Bolshoi Theatre, he simultaneously was developing a passion for acting and appeared in plays at the Maly Theatre. He considered a career as an actor but in 1913 Serge Diaghilev saw him dance. As Diaghilev was seeking to replace Nijinsky, he invited Massine to join the Ballets Russes. After performing the role of Joseph in Fokine’s Legend of Joseph in Paris in 1914 and choreographing his first work (Soleil de Nuit) a year later, he became principal dancer and choreographer of the Ballets Russes.
Massine embraced Diaghilev’s pioneering vision of a synthesis in the arts, choreographing numerous works with major artists and composers of the time, including Pablo Picasso, Henri Matisse, Georges Braque, Andre Derain, Leon Bakst, Natalia Gontcharova, Michail Larionov, Robert and Sonia Delaunay, Manuel de Falla, Erik Satie, Igor Stravinsky and Sergei Prokofiev, to name but a few. Between 1917 and 1920, during the chaos and aftermath of World War I, these extraordinary collaborations produced a series of groundbreaking works that propelled dance into the realm of modernity: Parade (Satie/Picasso/Cocteau,1917), The Good Humoured Ladies (Scarlatti-Tommasini /Bakst, 1917), La Boutique Fantasque (Rossini-Respighi/Derain, 1919), Le Tricorne (De Falla/Picasso, 1919), Pulcinella (Stravinsky/Roerich, 1920). In many of these works, Massine was the electrifying lead dancer.
In 1920, following the urge to develop creatively on his own, he started a small company in London, touring Britain and South America where both new works and revivals were a tremendous success. In 1924, he joined Etienne de Beaumont’s "Soirees de Paris" for which he created Salade (Milhaud/Braque1924), Mercure (Satie/Picasso,1924) and the immensely popular Le Beau Danube (Strauss, the Younger/de Beaumont/Guys, 1924). He returned to the Ballets Russes to stage several new works - Zephyre et Flore (Dukelsky/Braque, 1925), Les Matelots (Auric/Pruna,1925), Ode (Nabokov/Tchelitchev-Charbonnier, 1928.)
In 1928 he traveled to the United States to explore creative opportunities. Over two years, he created one ballet each week at the Roxy Theatre in New York City. He staged an acclaimed revival of his Sacre du Printemps in Philadelphia and at the Metropolitan Opera in 1930 with Martha Graham dancing the role of the Chosen Maiden. He returned to Europe in 1932 to join the newly founded Ballets Russes de Monte Carlo as ballet master and choreographer and then as artistic director.

The Ballets Russes de Monte Carlo, through the vitality and variety of its repertoire and the appeal of its brilliant young dancers, engendered a new Ballets Russes era, fostering an enthusiastic appreciation of ballet (until then the privilege of an elite) amongst a vast international audience.
At the creative helm of the Ballets Russes de Monte Carlo, in 1933, Massine realized his aspiration to use a well-known symphony as a choreographic score. This was the first time in the West that a symphony was used for a ballet. Amidst much controversy around this use of music, he created Les Presages to Tchaikovsky’s Fifth Symphony, and later that year,  Choreartium, to Brahms’ Fourth Symphony. While in Les Presages Massine followed the symbolic theme of man’s struggle with destiny, he designed Choreartium as a completely abstract work that was  essentially a visualization of the music. Both ballets became landmarks in the history of dance. He continued to elaborate his interpretations of musical structure with a succession of symphonic ballets: Symphonie Fantastique (Berlioz/Berard-Lourie,1933), Seventh Symphony (Beethoven/Berard,1938), Nobilissima Visione (Hindemith/Tchelitchev, 1938), and finally, Le Rouge et le Noir (Shostakovitch/Matisse,1939). His many other creations for the Ballets Russes de Monte Carlo include Jeux d’Enfants (Bizet/Miro, 1932), Gaiete Parisienne (Offenbach-Rosenthal/de Beaumont, 1938), Capriccio Espanol (Rimsky Korsakov/Andreau, 1939), Bacchanale (Wagner/Dali, 1939) and Labyrinth (Schubert/Dali, 1941). From 1933 to 1939, whether touring the United States, Canada, Mexico, Europe or performing at their home, the Royal Opera House Covent Garden in London, the Ballets Russes de Monte Carlo gained tremendous international fame and Massine’s career as a dancer and choreographer was at its pinnacle. Following the outbreak of World War II, the company left for the United States where for three years they toured the country in grueling one-night stands, performing Massine repertory favorites that then had become a rage with audiences, along with several of his new works. In 1942, Massine and the Ballets Russes de Monte Carlo ended their association and Massine began an extensive international career as choreographer, staging works for major ballet companies around the world.

In 1952, he realized a long-standing dream, choreographing Christ’s passion as a narration in stylized movement, in the spirit of Byzantine mosaics and Italian primitive painting. It was a work that he had originally choreographed in 1916 (Liturgie) for Diaghilev’s Ballets Russes, but which was never performed. Set to thirteenth century Gregorian chants orchestrated by Valentino Bucchi, Laudes Evangelii was performed in European cathedrals (Nantes, 1951; Perugia, 1952) and at La Scala in Milan (1959) and hailed as a monumental artistic achievement. The work was also produced for television and aired in Europe and the United States (April, 1962). In the last part of his life Massine was active in staging revivals, while devoting much of his time to developing and teaching  a  theory of choreography.
Léonide Massine ©Anthony

 



Music

Johannes Brahms


 

 



Set

Keso Dekker



 



Conductor

Robertas Šervenikas


Robertas Servenikas

 



Choreography Staff

Lorca Massine



 



Choreography Staff

Anna Krzyskow



 



Solistin 1

Ivy Amista

First soloist

Ivy Amista, grew up in São Paolo, Brasil, where she achieved professional level at the Camilla Ballet School. She won the gold medal at the IX. International Seminar of Dance in Brasilia. Receiving a scholarship for the Munich Ballet Academy/Heinz-Bosl-Stiftung she came to Munich and became a member of the company of the Bavarian State Ballet in 2001.

In October of the same year she was invited by the Heinz-Bosl-Stiftung to perform Paquita under the assembly of Konstanze Vernon. At the beginning of the season 2004/2005 Ivan Liška made her Soloist. She was promoted to First Soloist at the beginning of the season 2007/2008.

In autumn 2005 Ivy Amista was awarded with the Bayerischer Kunstförderpreis-Dance.

Debut 2003/2004
Pas Fabergé, Fairy Fleur de farine, Fairy Miettes qui tombent in Sleeping Beauty (M.Petipa/I. Liška)
Six Dances (J. Kylián)
Friends in Raymonda (R. Barra)
3 Solo Ladies in Brahms-Schönberg-Quartett (G. Balanchine)
Olympia in The Lady of the Camelias (J. Neumeier)

Debut 2004/2005
Princess Florine in The Sleeping Beauty (M. Petipa/I. Liska)
First Shadow Variation and Nikija in La Bayadère (P. Bart)

Debut 2006/2007
Pas de six in Giselle (P. Wright)
Charlotte, fiancé of Prince Siegfried in Swan Lake (R. Barra)
Odaliske and Gulnara in Le Corsaire (M. Petipa, I. Liska)
Solo in Song of the Earth (K. MacMillan)

Debut 2007/2008
Olga in Onegin (J. Cranko)
Solo-Ariel in Der Sturm (J. Mannes)
Pas de deux in the third movement of Brahms-Schönberg-Quartett (G. Balanchine)
Große Fuge (H. van Manen)
Ebony Concerto (J. Cranko)

Debut 2008/2009
Second Variation in Once Upon An Ever After (T. Kohler), creation
Lady in blue in Les Biches (B. Nijinska)
Manon Lescaut in Die Kameliendame (J. Neumeier)

Debut 2010/2011
Nymph in My Ravel: Daphnis and Chloé (T. Kohler)
Solo in Pas Fabergé 3rd Act in Sleeping Beauty (M. Petipa, I. Liška)
Princess Aurora in Sleeping Beauty (M. Petipa, I. Liška)
Bianca in The Taming of the Shrew (J. Cranko)
Princess Claire in Illusions - like Swan Lake (J. Neumeier)
Kitri in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Second Dream Variation in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2012/2013
1. Solo-Girl in Choreartium (L. Massine)
Lise in La Fille mal gardée (F. Ashton)
Gamzatti, Radscha´s daughter in La Bayadère (Marius Petipa, Patrice Bart)
2. Variation in Birthday Offering (F. Ashton)

Debut 2013/2014
1. Pas de trois and 1. Pas de deux in Goldberg-Variations (J. Robbins)
Julia in Romeo and Juliet (J. Cranko)
3. shade-variation in La Bayadère (M. Petipa/ P. Bart)
Marie in The Nutcracker (J. Neumeier)
Hippolyta/Titania in A Midsummer Night's Dream (J. Neumeier)
Ivy Amista.©Sascha Kletzsch

 



Solistin 2

Zuzana Zahradníková.

First soloist

Zuzana Zahrdaníková was born in Olomouc (Moravia) and trained at the Prague Conservatory. At competitions in Vienna and Budapest she became finalist and danced in several gala-performances. After being an apprentice in season 1999-2000, she joined the Bavarian State Ballet one year later as a corps de ballet dancer. In autum 2004, Zuzana Zahradníková was promoted to soloist, in 2007/2008 to first soloist. Her repertory includes solo roles in La Bayadère (P. Bart), Don Quichote, Brahms-Schoenberg Quartet (G. Balanchine), the second detail and Limb´s Theorem (W. Forsythe), as well as the White Lady in Raymonda (R. Barra), Helena in Neumeier’s Midsummer Night’s Dream and the fiancée in Kyliáns Svadebka.
She was promoted to first soloist at the beginning of the season 2007/2008.

Debut 2005/2006
Solopartie in Century Rolls (D. Bombana), creation
Myrtha in Giselle (P. Wright)

Debut 2006/2007
Odaliske in Le Corsaire (M. Petipa, I. Liška)
Solopartie in Chamber Symphony (L. Childs)

Debut 2007/2008
Solo-Ariel in Der Sturm (J. Mannes)
Große Fuge (H. van Manen)
White Couple in Katalyse (J. Cranko)

Debut 2008/2009
Sister in A Cinderella Story (J. Neumeier)
Odaliske in Shéhérazade (M. Fokine)
Prudence in Die Kameliendame (J. Neumeier)
Zugvögel (J. Kylián), Kreation

Debut 2009/2010
Lady of the House in Les Biches (B. Nijinska)

Debut 2010/2011
Madame Larina in Onegin (J. Cranko)
Fleur de Farine Fairy and Duchess in Sleeping Beauty (M. Petipa, I. Liška)
Lady of the Street in The Taming of the Shrew (J. Cranko)
Queen Mother in Illusions - like Swan Lake (J. Neumeier)

Debut 2011/2012
Frau Konsulin Stahlbaum/ "La fille du Pharao" in The Nutcracker (J. Neumeier)
Gods and Dogs (J. Kylián)
1. Pas de trois in Goldberg-Variationen (J. Robbins)

Debut 2012/2013
Gamzatti in La Bayadère (M. Petipa/P. Bart)
2. Solo-Girl in Choreartium (L. Massine)
Unitxt (R. Siegal), Creation

Debut 2013/2014
Girl with Crown in Le Sacre du printemps (M. Wigman)
Zuzana Zahradníková Foto: S. Kletzsch

 



Solistin 3

Ilana Werner

First Soloist

Ilana Werner– whose parents were both dancers - was born in Zurich (Switzerland) and trained in her native town, in Monte Carlo and at the Munich Ballet Academy. She got a scholarship from the Ambrosoli Foundation and the Migros Kulturgenossenschaft.

Having graduated, she joined the Bavarian State Ballet in season 2003/2004 as a Corps de ballet dancer. Her repertoire includes Mats Ek’s Apartment, Forsythe’s Limb’s Theorem, one of the shadow variations in La Bayadère, Kylián's Bella Figura, a solo in van Manens Five Tangos and Balanchines Serenade.
She was promoted to soloist in February 2009 and to First Soloist in July 2012.

Debut 2006/2007
Solo in Song of the Earth (MacMillan)
Fairy variation in The Sleeping Beauty (Petipa, Liška)

Debut 2007/2008
Miranda in Der Sturm (Mannes)

Debut 2008/2009
Sister in A Cinderella Story (J. Neumeier)
Julia in Romeo and Juliet (J. Cranko)
Girl in Grey in Les Biches (B. Nijinska)
Olympia in Lady of the Camelias (J. Neumeier)
Solo in Viola Concerto II (M. Schläpfer)
Odalisque in Le Corsaire (M. Petipa/I. Liška)
Pas de six in Swan Lake (M. Petipa/L. Iwanow/R.Barra)
Clémence in Raymonda (M. Petipa)
Olga in Onegin (J. Cranko)

Debut 2009/2010
Giselle in Once Upon An Ever After (T. Kohler)
Solo in Dämmern in Terpsichore-Gala IX (J. Neumeier)

Debut 2010/2011
Princess Claire in Illusions - Like Swan Lake (J. Neumeier)
2. dream variation in Don Quijote (R. Barra;  M. Petipa, A. Gorski, Tradition)
Rocio in Don Quijote (R. Barra nach M. Petipa, A. Gorski, Tradition)
Princess Florine in Sleeping Beauty (I. Liška, M. Petipa)

Debut 2011/2012
Bianca in The Taming of the Shrew (J. Cranko)
Voices of Spring (F. Ashton)
Pas fabergée in Sleeping Beauty (M. Petipa / I. Liška)
Marie in The Nutcracker (J. Neumeier)
Solo "Of Youth" in Song of the Earth (K. MacMillan)
The Youngest Sister in Las Hermanas (K. MacMillan)
2. Pas de trois in Goldberg-Variations (J. Robbins)
Lise in La Fille mal gardée (F. Ashton)

Debut 2012/2013
2. Shade Variation in La Bayadère (M. Petipa/P. Bart)
1. Pas de deux in Goldberg-Variations (J. Robbins)
3. Solo-Girl in Choreartium (L. Massine)
The Moor's wife in The Moor's Pavane (José Limón)

Debut 2013/2014
The Chosen One in Le Sacre du printemps (M. Wigman)
Ilana Werner © Sascha Kletzsch

 



Solistin 4

Lisa-Maree Cullum.

Principal dancer

Lisa-Marre Cullum, born in New Zealand, trained in New Zealand, Sidney and Monte Carlo. She started her professional carreer with the English National Ballet. 
From 1990 to 1998 Lisa-Maree Cullum was a leading ballerina with the Ballet of the Deutsche Oper Berlin, dancing all the ballerina roles (Giselle, Sleeping Beauty, Swan Lake etc) as well as a large modern repertory. 

Since season 1998/99 she dances with the Bayerische Staatsballett, since 1999/2000 as a principal.
She started with roles like Olga in Onegin (J. Cranko), Nikiya in La Bayadère (P. Bart), Manon, Prudence in Lady of the Camellias (J. Neumeier), and Terpsichore in Balanchines Apollo. In the modern repertory she danced leading roles in Peter Martin`s Fearful Symmetries and Zakouski, as well as William Forsythe`s Artifact II . 1999 she created the role of the Virgin Mary in Grand-Maître`s Emma B.
Since then dancing a great variety of leading roles: title role in A Cinderella Story (J. Neumeier), Manon in Kenneth MacMillan’s Manon, Juliet in John Cranko’s Romeo and Juliet, Tatjana in Cranko’s Onegin, Swan Lake, Giselle, Kitri in Don Quijote, Balanchine’s Who Cares?, Concerto Barocco, The Four Temperaments, Brahms-Schoenberg Quartet, Jerome Robbins’ In the Night and many others. She created the role of Raymonda in Ray Barra’s new Raymonda production.

In 1988 she was gold-medalist at the Adéline Genée-Competition in London and the Prix de Lausanne, in 1995 winner of the Leonide Massine-Award in Positano/Italy.
In 1998, Lisa-Maree Cullum was acclaimed "dancer of the year" by a leading Munich newspaper. She was nominated for the “Prix Benois” in Moskau 2002 and she was acclaimed  “Dancer of the Year 2002” for her outstanding interpretation of the titel role in Sleeping Beauty with the Ballet of the Opera of Rome. She has appeared as a guest dancer on stages worldwide, like Kirov Ballet/St Petersburg and Royal Danish Ballet/Kopenhagen. 
In 2008, she was awarded the honorary title "Kammertänzerin" by the Bavarian Ministry of Culture.

Debut 2004/2005
Nora I in Limb’s Theorem (W. Forsythe)
Two (H. van Manen)
Five Tangos (H. van Manen)                                                           Agon (G. Balanchine)

Debut 2005/2006
Sophie in The Silver Rose (G. Murphy)
Century Rolls (D. Bombana), creation
Sylvia Pas de deux (G. Balanchine)

Debut 2006/2007
Medora in Le Corsaire (M. Petipa, I. Liška)

Debut 2008/2009
Hostess in Les Biches (B. Nijinska)
Gulnara in Le Corsaire (M. Petipa/I. Liška
Giselle in Once Upon An Ever After (T. Kohler), creation

Debut 2009/2010
Pas de deux 2 in Artifact (W. Forsythe)

Debut 2012/2013
4. Solo-Girl in Choreartium (L. Massine)
Leading ballerina (7th variation and pas de deux) in Birthday Offering (F. Ashton)
Unitxt (R. Siegal), Creation

Debut 2013/2014
Helena in A Midsummer Night's Dream (J. Neumeier)
Priestess in Le Sacre du printemps (M. Wigman)
Lisa-Maree Cullum.©Sascha Kletzsch

 



Solistin 5

Katherina Markowskaja

First Soloist

Katherina Markowskaja was born in Kiev, Ukraine where she completed her training at the National Ballet Academy of Arts. As a student, she was cast in performances of the National Ballet of Kiev. At the age of sixteen, she accepted a scholarship of the Heinz-Bosl-Foundation, offered to her by Konstanze Vernon. Ms. Markowskaja graduated from the Ballet-Academy Munich and subsequently joined the Saxon State Opera Ballet Dresden under artistic director Vladimir Derevianko. She was promoted to the rank of first soloist two years later. In 1999, she received the Mary Wigman Award.

Her repertory includes, among others, classical principal roles such as Aurora (Sleeping Beauty), Giselle, Kitri (Don Quijote), Lise (La Fille mal gardée), Bianca (The Taming of the Shrew – Cranko) and Otilie (Wahlverwandtschaften – Schilling) as well as in John Neumeier's ballets Natalia and Princess Claire (Illusions – like Swan Lake), Marie (Nutcracker), Hermia (A Midsummer Night's Dream), Rosalind (As you like it) and Chloé (Daphnis and Chloé).

Since 2010, she works as a freelance ballerina and trains with the Bavarian State Ballet. Since the beginning of the season 2012/13 she is a First Soloist.

Debuts in Munich 2010/2011
Aurora in The Sleeping Beauty (M. Petipa/ I. Liška)

Debuts in Munich 2011/2012
Marie in The Nutcracker (J. Neumeier)
Bianca in The Taming of the Shrew (J. Cranko)
Voices of Spring (F. Ashton)
1. Pas de deux in Goldberg-Variationen (J. Robbins
3. Pas de deux in Goldberg-Variationen (J. Robbins)
Lise in La Fille mal gardée (F. Ashton)

Debut 2012/2013
5. Solo-Girl in Choreartium (L. Massine)
Pandora in Helden (T. Kohler)
Unitxt (R. Siegal), Creation

Debut 2013/2014
Juliet in Romeo and Juliet (J. Cranko)
Konzert für Violine und Orchester (A. Barton)
The Chosen One in Le Sacre du printemps (M. Wigman)
Katherina Markowskaja © Sascha Kletzsch

 



Solistin 2. Satz

Lucia Lacarra

Principal dancer 

Lucia Lacarra, born in San Sebastián, knew from earliest childhood that she was born to be a ballerina. Whenever she saw pictures of the ballet school in Monte Carlo, sponsored by Grace Kelly, she cried because she still had no chance to dance. It was only when in her small Basque hometown a studio was opened that she was able to begin with lessons. She was ten at that time. Soon she was sent to a summer course directed by Rosella Hightower. There Lucia´s mother was strongly advised to support her daughter's obvious talent. So she was sent to San Sebastián to Mentxu Medel who worked with Lucia for three years in a completely unselfish way to prepare her for the audition to Victor Ullate´s school in Madrid. Already in her second year there she was given a contract to the Ballet de Victor Ullate. She was just fifteen when she danced Balanchine´s Allegro Brillante. In the course of four seasons this was followed by Concerto Barocco, Fokine´s Les Sylphides, four works by Hans van Manen, Nils Christe´s Before Nightfall, as well as four pieces by her mentor Ullate who gave her the necessary self-confidence.

In 1994 she joined Roland Petit´s Ballets de Marseille as principal. Petit immediately entrusted her with the role of Esmeralda, with Patrick Dupont as her partner, in Notre Dame de Paris, replacing Dominique Khalfouni. From Roland Petit she learned above all to always be emotionally present on stage and she felt that in this company everything was danced in a somewhat more classical style. Within three years she danced the leading roles in seven ballets by Roland Petit, four of which were created on her, most notably Angélique in Le Guépard and, as partner of Nicolas Le Riche, in the famous Le Jeune homme et la Mort. In her pursuit of classicism she then decided to join the San Francisco Ballet. Under the direction of Helgi Tomasson she could dance Giselle, Swan Lake, The Sleeping Beauty for the first time, i.e. some of the classical roles that a young ballerina has to master. The Cage, In the Night and Dances at a Gathering by Jerome Robbins became part of her repertoire, as well as six Balanchine ballets, from Serenade to Jewels, and Victor Gsovsky´s Grand Pas Classique, three ballets by Helgi Tomasson, MacMillian´s The Invitation, van Manen´s Black Cake, Nacho Duato´s Without Words, Roland Petit´s L'Arlésienne and Desdemona in Lar Lubovitch´s contemporary Othello.

Lucia Lacarra has joined the Bayerisches Staatsballett with the 2002/2003 season in order to return towards the leading European choreographers. In the course of the first three months in Munich she danced Raymonda, Tatjana and Odette/Odile as well as the third pas de deux of In the Night, always together with her partner of many years, Cyril Pierre who has also joined the company as principal. Together they are guests in the big theatres around the world. She also danced in Portrait John Neumeier in Jupiter Symphony and In the Blue Garden. In the autumn 2003 she danced Louise in John Neumeier's The Nutcracker as well as Titania/Hippolyta in his A Midsummer Night's Dream and the title role in Ivan Liška's new production of The Sleeping Beauty.

Lucia Lacarra was awarded with the Prix Nijinsky in Monte Carlo in December 2002, followed by the Prix Benois which she won in Moskau in April 2003. She was nominated in 2004 and 2005 for the Merkur Theaterpreis in Munich. In November 2005 she was awarded with the Spanish Premio Nacional de Danza 2005. This prize, endowed with 30.000,- Euro is one of the highest awards the Spanish government gives out. In 2007 she was announced honorary citizen and cultural messenger of her home town San Sebastián. In 2008, she was awarded the honorary title "Kammertänzerin" by the Bavarian Ministry of Culture.

Debut 2003/2004
Marguerite in Lady of the Camellias (J. Neumeier)
Brahms-Schoenberg Quartett (G. Balanchine)
the second detail (W. Forsythe)

Debut 2004/2005
Juliet in Romeo and Juliet (J. Cranko)
Five Tangos (H. van Manen)
Black Cake (H. van Manen), 3rd pas de deux
Agon (G. Balanchine)
Nikija in La Bayadère (P. Bart)

Debut 2005/2006
Sophie in The Silver Rose (G. Murphy),creation
Century Rolls (D. Bombana), creation

Debut 2006/2007
Giselle (P. Wright)
Medora in Le Corsaire (M. Petipa, I. Liška)
The Woman in Song of the Earth  (K. MacMillan)

Debut 2007/2008
Ariel in Der Sturm (J. Mannes), creation
Violakonzert/II (M. Schläpfer), creation
Adagio Hammerklavier (H. v. Manen)
Legende (J. Cranko), Pas de deux

Debut 2008/2009
Zobeide in Shéhérazade (M. Fokine)
Odette in Once Upon An Ever After
(T. Kohler), creation

Debut 2009/2010
Pas de deux 1 in Artifact (W. Forsythe)
The French Ballerina in Série Noire - A choreographic murder mystery (T. Kohler)

Debut 2010/2011
The Old Men and Me (H. van Manen)
Princess Natalia in Illusions - Like Swan Lake (J. Neumeier)

Debut 2011/2012
Dulcinea in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
Katharina in The Taming of the Shrew (J. Cranko)
Princess Odette in Illusions - Like Swan Lake (J. Neumeier)
The Oldest Sister in Las Hermanas (K. MacMillan)
3. Pas de deux in Goldberg-Variationen (J. Robbins)

Debut 2012/2013
Solo-Girl 2. suit in Choreartium (L. Massine)
Broken Fall (R. Maliphant)

Debut 2013/2014
Hippolyta/Titania in A Midsummer Night's Dream (J. Neumeier)
Spiral Pass (R. Maliphant)
Lucia Lacarra © Sascha Kletzsch

 



Solist 1

LukᚠSlavický

Principal dancer

Lukáš Slavický was born in Prague and received his training at the conservatory where his father Jaroslav Slavický is director of the dance department. Since both his parents were ballet dancers dance was in his blood from boyhood and he very soon attracted attention. While still a student he danced solo parts in Nutcracker and La Fille mal gardée. When the school guested at the theatre in Brno he danced the Don Quixote pas de deux. For this and many other performances he chose Zuzana Zahradníková as his partner and together they came to Munich in 1999, Zuzana as apprentice and Lukáš as corps de ballet dancer.

In 1997 Lukáš Slavický won the first prize at the ballet competition in Vienna, was in the finals of the Prix de Lausanne in 1998 and was awarded the third prize at the Nureyev competition in Budapest the same year, and again, one year later, in Nagoya, Japan. Even before his first professional engagement he was invited to dance at galas, e.g. in 1997 and 1998 in Ludwigsburg for the Birgit-Keil-Foundation, and again at the gala on the occasion of the award of the German Tanzpreis to Birgit Keil. In 1999 he appeared at the Kremlin Palace in Moscow with the Jeune Ballet de France and at the Nureyev memorial gala in Budapest.

Since the season 1999/2000 Lukáš Slavický has been a member of the Bavarian State Ballet. Even in his first year in the corps de ballet he was given small solo parts, e.g. in the pas de six in Giselle and as Bird-Spirit in A Cinderella Story by Neumeier. At the beginning of the 2000/2001 season he made his debut as Romeo in John Cranko’s ballet Romeo and Juliet and as Prince in Neumeier’s A Cinderella Story, in both cases as partner of Anna Villadolid. The same season Lucinda Childs created one of the leads in her Händel/Corelli for him. In December 2001 he danced Jean de Brienne in Raymonda for the first time and danced in Balanchine’s Brahms-Schönberg Quartett as well a created role in Jacopo Godani’s After Dark. With the beginning of the 2002/2003 season he was appointed first soloist and in 2003/2004 he was appointed principal.

In May 2003, he received the Prix Benois in the category “best male dancer”.

In 2002/2003 he danced Basilio in Don Quijote (Ray Barra), Lenski in Onegin (John Cranko), After Dark (Jacopo Godani), Lysander in Ein Sommernachtstraum (John Neumeier) und Solo in Jupiter-Sinfonie (John Neumeier).

Debut 2003/2004
Günther in Nutcracker (J. Neumeier,)
Prinz Désiré and Blue Bird in The Sleeping Beauty (M. Petipa, I. Liška)
Bridegroom in Svadebka (J. Kylián)
Apartment (M. Ek)
Brahms-Schönberg Quartett (G. Balanchine) the second detail (W. Forsythe)

Debut 2004/2005
Limb`s Theorem (W. Forsythe)
Agon
(G. Balanchine)
Five Tangos (H. van Manen)
Solo (H. van Manen)

Debut 2005/2006
Ricercare (I. Liška), creation for the Terpsichore-Gala V
Octavian in The silver rose (G. Muphy), creation
Century Rolls (D. Bombana)
My way (S. Toss)

Debut 2006/2007
Konrad in Le Corsaire (M.Petipa, I.Liška)

Debut 2007/2008
Ferdinand in Der Sturm (J. Mannes), creation
Große Fuge (H. van Manen)
Aus Holbergs Zeit (J. Cranko)
Adagio Hammerklavier (H. van Manen)

Debuts 2008/2009
Benvolio in Romeo and Juliet (J. Cranko)
Mercutio in Romeo und Juliet (J. Cranko)
Golden Slave in Shéhérazade (M.Fokine)
Armand and Gaston Rieux in Die Kameliendame (J. Neumeier)
Zugvögel (J. Kylián), creation

Debut 2009/2010
Hilarion in Giselle - Mats Ek (M. Ek)

Debut 2010/2011
Man 2 in My Ravel: Whichever Way he Looks... (J. Mannes)
Petruccio in The Taming of the Shrew (J. Cranko)
Count Alexander in Illusions - Like Swan Lake (J. Neumeier)

Debut 2011/2012
Basilio in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
Voices of Spring (F. Ashton)
The Eternal One in Song of the Earth (K. MacMillan)
1. Pas de deux in Goldberg-Variations (J. Robbins)
Gods and Dogs (J. Kylián)
Colas in La Fille mal gardée (F. Ashton)

Debut 2012/2013
Solor in La Bayadère (M. Petipa/P. Bart)
1. Solo-Boy in Choreartium (L. Massine)
The Moor's friend in The Moor's Pavane (José Limón)
Prometheus in Helden (T. Kohler)
Der König in Illusionen - wie Schwanensee (J. Neumeier)

Debut 2013/2014
Konzert für Violine und Orchester (A. Barton)

Lukas Slavický Foto: S. Kletzsch

 



Solist 2

Tigran Mikayelyan

Principal dancer

Tigran Mikayelyan was born in Yerevan/ Armenia and trained at the Armenian Ballet school Erewan from 1989-1997. In 1997 he got a scholarship from the Nurejev - Foundation and joined the Suisse Ballet Academy SBBS in Zurich. He won several international prizes including the 1st prize in the Armenian Ballet Competition "Amadeus" as well as the Prix Niveau Professional of the Prix de Lausanne. Having graduated in 1998 he was engaged with the Zurich Ballet where he was promoted to soloist in 1999 and to first soloist in 2003. During his time at the Zurich Ballet he danced a broad repertoire of Heinz Spoerli's choreographies as well as the part of Dorkon in Daphnis und Chloé, the Solo-Boy in Rubies, in Hans van Manen's Solo and Große Fuge as well as Allegro Brillante by George Balanchine.

In 2005/2006 he joined the Bavarian State Ballet as a first Soloist and was promoted to Principal at the beginning of the season 2007/2008.
In 2007, his home country announced Tigran Mikayelyan as "Honoured Artist of Armenia", the highest appreciation artists of his country can achieve.
In summer 2007 he received the theatre award of the Münchner Merkur.

Debut 2005/2006
Béranger in Raymonda (R. Barra)
Golden Idol, La Bayadère (P. Bart)
Mercutio, Romeo and Juliet (J. Cranko)
Elemental (J. Godani), creation

Debut 2006/2007
Limb's Theorem (W. Forsythe)
Prince Siegfried in Swanlake (R. Barra)
Romeo in Romeo and Juliet (J. Cranko)
Ali and Konrad in Le Corsaire (M. Petipa, I. Liška)
Sylvia Pas de deux (G. Balanchine)
The Eternal in Song of the Earth (K. MacMillan)

Debut 2007/2008
Antonio in Der Sturm (J. Mannes), creation
Große Fuge (H. v. Manen)
Solor in La Bayadère (Bart)
Adagio Hammerklavier (H. v. Manen) 

Debut 2008/2009
Ghost Birds in A Cinderella Story (J. Neumeier)
First variation in Once Upon An Ever After (T. Kohler), creation
Des Grieux and Gaston Rieux in Lady of the Camelias (J. Neumeier)
Zugvögel (J. Kylián), Kreation
Faun in L'après-midi d'un faune (V. Nijinsky)
Béranger in Raymonda (M. Petipa)

Debut 2009/2010
Lenski in Onegin (J. Cranko)
Abderakhman in Raymonda (M. Petipa)
Pas de deux 1 in Artifact (W. Forsythe)
First soloist in Série Noire - A choreographic murder mystery (T. Kohler)
Sylvia Pas de deux (G. Balanchine)

Debut 2010/2011
Man 1 in My Ravel: Whichever Way he Looks... (J. Mannes)
Briaxis in My Ravel: Daphnis and Chloé (T. Kohler)
Prince Désire in Sleeping Beauty (M. Petipa, I. Liška)
The King in Illusions - like Swan Lake (J. Neumeier)

Debut 2011/2012
Basilio in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition
Drosselmeier in The Nutcracker (J. Neumeier)
Petrucchio in The Taming of the Shrew (J. Cranko)
3. Pas de deux in Goldberg-Variations (J. Robbins)

Debut 2012/2013
The Moor's friend in The Moor's Pavane (José Limón)
2. Solo-Boy in Choreartium (L. Massine)
Unitxt (R. Siegal), Creation

Debut 2013/2014
Theseus/Oberon in A Midsummer Night's Dream (J. Neumeier)
Leader of the Men in Le Sacre du printemps (M. Wigman)
Tigran Mikayelyan. ©Sascha Kletzsch

 



Solist 3

Javier Amo

First Soloist

Javier Amo was born in Bilbao, started training at the Jon Beitia School in his home town and completed his dance education at the John-Cranko-School in Stuttgart.
In 1999 he joined the Stuttgarter Ballet and danced all important productions of the classical and modern repertoire including several solo parts like Balanchine's Symphony in C, Marguerite Donlon's Somewhere Between Remembering and Forgetting, Daniela Kurz's, Paper Scissor Stone, Christian Spuck's Nocturne, Jerome Robbins' Dances at a Gathering, Hans van Manen's Grosse Fuge, as well as Benvolio in Cranko's Romeo and Juliet.

Since autumn 2005 Javier Amo has been a corps de ballet member of the Bavarian State Ballet. He was promoted to Soloist at the beginning of the season 2007/2008 and to first Soloist in the season 2009/2010.

Debut 2005/2006
Benvolio in Romeo and Juliet (J. Cranko)
Limbs Theorem (W. Forsythe)
Pas de six in Giselle (P. Wright)
Grand Pas and male variation in Raymonda (R. Barra)

Debut 2006/2007
Solo (H. van Manen)
Pas de six and russian dance in Swanlake (R. Barra)
Song of the earth (K. MacMillan)
Birbanto in Le Corsaire (I. Liška, M. Petipa)
Blue Bird in The Sleeping Beauty (M. Petipa, I. Liška)

Debut 2007/2008
Ferdinand in Der Sturm (J. Mannes)
Große Fuge (H. van Manen)

Debut 2008/2009
Ghost Birds in A Cinderella Story (J. Neumeier)
Athlet in Les Biches (B. Nijinska)
Benno in Swan Lake (R. Barra)
Zugvögel (J. Kylián), creation
Béranger in Raymonda (M. Petipa)
Solo (H. van Manen)

Debut 2009/2010
Albrecht in Giselle - Mats Ek (M. Ek)
Chaconne (J. Limón)

Debut 2010/2011
French Soloist in Série Noire - A choreographic murder mystery (T. Kohler)
Lenski in Onegin (J. Cranko)
Cavalier in Sleeping Beauty (M. Petipa, I. Liška)
Pas de Six in The Taming of the Shrew (J. Cranko)
Lucentio in The Taming of the Shrew (J. Cranko)
Pepe in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
El Trianero, Matador in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
Lucentio in The Taming of the Shrew (J. Cranko)
Drosselmeier in The Nutcracker (J. Neumeier)
1. Pas de trois in Goldberg-Variationen (J. Robbins

Debut 2012/2013
3. Solo-Boy in Choreartium (L. Massine)
Birthday Offering (F. Ashton)
Unitxt (R. Siegal), Creation

Debut 2013/2014
Demetrius in A Midsummer Night's Dream (J. Neumeier)
A Young Man in Le Sacre du printemps (M. Wigman)
Javier Amo Gonzalez.©Sascha Kletzsch

 



Solist 4

Maxim Chashchegorov

First Soloist

Maxim Chashchegorov, born in Russia, received his dance education at the Ballet Academy in St Petersburg. Directly after his graduation he became a member of the corps de ballet from the Marijinsky Theatre and started soon to impersonate bigger roles as the prince Siegfried / Rotbart in Swanlake, Blue bird in Sleeping Beauty, and was for example to see in more modern roles like Four Temperaments (G. Balanchine) and different choreographies of William Forsythe.

After his guest-performance as Blue Bird in spring 2007, he now is engaged as a soloist of the Bavarian State Ballet from the season 2007/2008 on. Since 2009/2010 he is a first Soloist.

Debut 2007/2008
Pas de six and Spanish Dance in Swanlake (R. Barra)
Pas de deux in the second movement of Brahms-Schönberg-Quartett (G. Balanchine)
White Couple in Katalyse (J. Cranko)
Alonso in The Tempest (J. Mannes)

Debut 2008/2009
Ghost Birds in A Cinderella Story (J. Neumeier)
Count Paris in Romeo and Juliet (J. Cranko)
Athlet in Les Biches (B. Nijinska)
Benno in Swanlake (R. Barra)
Des Grieux in Lady of the Camellias (J. Neumeier)
Bernard in Raymonda (M. Petipa)

Debut 2009/2010
Bernard de Ventadour in Raymonda (M. Petipa)
Pas de deux 2 in Artifact (W. Forsythe)
The Russian soloist in Série Noire - A choreographic murder mystery (T. Kohler)
Aus Holbergs Zeit (J. Cranko), Pas de deux

Debut 2010/2011
First Soloist in Série Noire - a choreographic murder mystery (T. Kohler)
Lucentio in The Taming of the Shrew (J. Cranko)
Prince Désiré in Sleeping Beauty (M. Petipa, I. Liška)
Eduardo in Don Quijote (R. Barra nach M. Petipa, A. Gorski, Tradition)

Debut 2011/2012
El Trianero, Matador in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
First Soloist in Scènes de ballet (F. Ashton)
Günther in The Nutcracker (J. Neumeier)
The Man in the Shadows in Illusions - like Swan Lake (J. Neumeier)
2. Pas de deux in Goldberg-Variationen (J. Robbins)
Lucentio in The Taming of the Shrew (J. Cranko)

Debut 2012/2013
4. Solo-Boy in Choreartium (L. Massine)
Solor, a warrior in La Bayadère (Marius Petipa, Patrice Bart)
Birthday Offering (F. Ashton)

 


The Moor's Pavane

José Limón

Conductor

Robertas Šervenikas


Robertas Servenikas

 



Choreography Staff

Sarah Stackhouse

Sarah Stackhouse was born in the Midwest of the United States and lived her early years in Michigan until her family moved to a suburb of New York City.
She began her study of modern dance in a small dance school, which in retrospect, seems now to her like a cross between the aesthetics of Isadora Duncan and Mary Wigman. Having won a scholarship Sarah Stackhouse was fortunate to be able to attend the American Dance Festival (ADF) at Connecticut College, the six week summer teaching residence of Martha Graham and José Limón.
She continued her education at the University of Wisconsin and studied in the first dance major in an American University. The teachers and artists that influenced her the most are José Limón, Merce Cunningham and Antony Tudor.
In 1959 she joined the José Limón Company, working also as José Limón’s assistant at the Julliard School. 10 years later she left America and moved to Italy. In 1972 she returned to the United States to teach at the State University of New York and dance as free-lance since then.

Today Sarah Stackhouse is one of the important ballet mistresses who rehearse the Limón ballets in companies around the world.
 

 



Costumes

Pauline Lawrence


 

 



Choreography

José Limón

José Limón (1908-1972) was a crucial figure in the development of modern dance: his powerful dancing shifted perceptions of the male dancer, while his choreography continues to bring a dramatic vision of dance to audiences around the world.Born in Mexico, Limón moved to New York City in 1928 after a year at UCLA as an art major. In 1946, after studying and performing for 10 years with Doris Humphrey and Charles Weidman, he established his own company with Humphrey as Artistic Director.

Limón’s choreographic works were quickly recognized as masterpieces and the Company itself became a landmark of American dance. Many of his dances — There is a Time, Missa Brevis, Psalm, The Winged — are considered classics of modern dance. Limón was a consistently productive choreographer until his death in 1972 — he choreographed at least one new piece each year — and he was also an influential teacher and advocate for modern dance. He was in residence each summer at the American Dance Festival, a key faculty member in The Juilliard School’s Dance Division beginning in 1953, and the director of Lincoln Center’s American Dance Theatre from 1964-65.

Limón received two Dance Magazine Awards, the Capezio Award and honorary doctorates from four universities in recognition of his achievements. He was the subject of a major retrospective exhibition at the New York Public Library for the Performing Arts, The Dance Heroes of José Limón (Fall 1996), and in 1997 he was inducted into the Hall of Fame at the National Museum of Dance in Saratoga Springs, NY. His autobiographical writings, An Unfinished Memoir, were edited by Lynn Garafola and published in 1999 by Wesleyan University Press.
José Limon

 



Music

Henry Purcell


 

 



arrangiert von

Simon Saddoff


 

 



Der Mohr

Léonard Engel

Soloist

Léonard Engel was born in Mulhouse / France and was trained at the Paris Opera Ballet School. In his last year at the Ballet Academy he danced in Cinderella at the Paris Opera Ballet. Then he got engaged for three seasons at the Victor Ullate Ballet Madrid.

He was engaged from the Bavarian State Ballet in the season 2008/2009 as a member of the Corps de ballet and promoted to Soloist rank in July 2012.

Debut 2010/2011
Pan in My Ravel: Daphnis and Chloé (T. Kohler)
1. Pas de trois in Goldberg-Variationen (J. Robbins)

Debut 2011/2012
Hortensio in The Taming of the Shrew (J. Cranko)
1. Pas de trois in Goldberg-Variations (J. Robbins)

Debut 2012/2013
The Moor in The Moor's Pavane (José Limón)
Birthday Offering (F. Ashton)
Unitxt (R. Siegal), Creation

Debut 2013/2014
Lysander in A Midsummer Night's Dream (J. Neumeier)
Benvolio in Romeo and Juliet (J. Cranko)
Léonard Engel.©Sascha Kletzsch

 



Seine Frau

Ilana Werner

First Soloist

Ilana Werner– whose parents were both dancers - was born in Zurich (Switzerland) and trained in her native town, in Monte Carlo and at the Munich Ballet Academy. She got a scholarship from the Ambrosoli Foundation and the Migros Kulturgenossenschaft.

Having graduated, she joined the Bavarian State Ballet in season 2003/2004 as a Corps de ballet dancer. Her repertoire includes Mats Ek’s Apartment, Forsythe’s Limb’s Theorem, one of the shadow variations in La Bayadère, Kylián's Bella Figura, a solo in van Manens Five Tangos and Balanchines Serenade.
She was promoted to soloist in February 2009 and to First Soloist in July 2012.

Debut 2006/2007
Solo in Song of the Earth (MacMillan)
Fairy variation in The Sleeping Beauty (Petipa, Liška)

Debut 2007/2008
Miranda in Der Sturm (Mannes)

Debut 2008/2009
Sister in A Cinderella Story (J. Neumeier)
Julia in Romeo and Juliet (J. Cranko)
Girl in Grey in Les Biches (B. Nijinska)
Olympia in Lady of the Camelias (J. Neumeier)
Solo in Viola Concerto II (M. Schläpfer)
Odalisque in Le Corsaire (M. Petipa/I. Liška)
Pas de six in Swan Lake (M. Petipa/L. Iwanow/R.Barra)
Clémence in Raymonda (M. Petipa)
Olga in Onegin (J. Cranko)

Debut 2009/2010
Giselle in Once Upon An Ever After (T. Kohler)
Solo in Dämmern in Terpsichore-Gala IX (J. Neumeier)

Debut 2010/2011
Princess Claire in Illusions - Like Swan Lake (J. Neumeier)
2. dream variation in Don Quijote (R. Barra;  M. Petipa, A. Gorski, Tradition)
Rocio in Don Quijote (R. Barra nach M. Petipa, A. Gorski, Tradition)
Princess Florine in Sleeping Beauty (I. Liška, M. Petipa)

Debut 2011/2012
Bianca in The Taming of the Shrew (J. Cranko)
Voices of Spring (F. Ashton)
Pas fabergée in Sleeping Beauty (M. Petipa / I. Liška)
Marie in The Nutcracker (J. Neumeier)
Solo "Of Youth" in Song of the Earth (K. MacMillan)
The Youngest Sister in Las Hermanas (K. MacMillan)
2. Pas de trois in Goldberg-Variations (J. Robbins)
Lise in La Fille mal gardée (F. Ashton)

Debut 2012/2013
2. Shade Variation in La Bayadère (M. Petipa/P. Bart)
1. Pas de deux in Goldberg-Variations (J. Robbins)
3. Solo-Girl in Choreartium (L. Massine)
The Moor's wife in The Moor's Pavane (José Limón)

Debut 2013/2014
The Chosen One in Le Sacre du printemps (M. Wigman)
Ilana Werner © Sascha Kletzsch

 



Der Freund

LukᚠSlavický

Principal dancer

Lukáš Slavický was born in Prague and received his training at the conservatory where his father Jaroslav Slavický is director of the dance department. Since both his parents were ballet dancers dance was in his blood from boyhood and he very soon attracted attention. While still a student he danced solo parts in Nutcracker and La Fille mal gardée. When the school guested at the theatre in Brno he danced the Don Quixote pas de deux. For this and many other performances he chose Zuzana Zahradníková as his partner and together they came to Munich in 1999, Zuzana as apprentice and Lukáš as corps de ballet dancer.

In 1997 Lukáš Slavický won the first prize at the ballet competition in Vienna, was in the finals of the Prix de Lausanne in 1998 and was awarded the third prize at the Nureyev competition in Budapest the same year, and again, one year later, in Nagoya, Japan. Even before his first professional engagement he was invited to dance at galas, e.g. in 1997 and 1998 in Ludwigsburg for the Birgit-Keil-Foundation, and again at the gala on the occasion of the award of the German Tanzpreis to Birgit Keil. In 1999 he appeared at the Kremlin Palace in Moscow with the Jeune Ballet de France and at the Nureyev memorial gala in Budapest.

Since the season 1999/2000 Lukáš Slavický has been a member of the Bavarian State Ballet. Even in his first year in the corps de ballet he was given small solo parts, e.g. in the pas de six in Giselle and as Bird-Spirit in A Cinderella Story by Neumeier. At the beginning of the 2000/2001 season he made his debut as Romeo in John Cranko’s ballet Romeo and Juliet and as Prince in Neumeier’s A Cinderella Story, in both cases as partner of Anna Villadolid. The same season Lucinda Childs created one of the leads in her Händel/Corelli for him. In December 2001 he danced Jean de Brienne in Raymonda for the first time and danced in Balanchine’s Brahms-Schönberg Quartett as well a created role in Jacopo Godani’s After Dark. With the beginning of the 2002/2003 season he was appointed first soloist and in 2003/2004 he was appointed principal.

In May 2003, he received the Prix Benois in the category “best male dancer”.

In 2002/2003 he danced Basilio in Don Quijote (Ray Barra), Lenski in Onegin (John Cranko), After Dark (Jacopo Godani), Lysander in Ein Sommernachtstraum (John Neumeier) und Solo in Jupiter-Sinfonie (John Neumeier).

Debut 2003/2004
Günther in Nutcracker (J. Neumeier,)
Prinz Désiré and Blue Bird in The Sleeping Beauty (M. Petipa, I. Liška)
Bridegroom in Svadebka (J. Kylián)
Apartment (M. Ek)
Brahms-Schönberg Quartett (G. Balanchine) the second detail (W. Forsythe)

Debut 2004/2005
Limb`s Theorem (W. Forsythe)
Agon
(G. Balanchine)
Five Tangos (H. van Manen)
Solo (H. van Manen)

Debut 2005/2006
Ricercare (I. Liška), creation for the Terpsichore-Gala V
Octavian in The silver rose (G. Muphy), creation
Century Rolls (D. Bombana)
My way (S. Toss)

Debut 2006/2007
Konrad in Le Corsaire (M.Petipa, I.Liška)

Debut 2007/2008
Ferdinand in Der Sturm (J. Mannes), creation
Große Fuge (H. van Manen)
Aus Holbergs Zeit (J. Cranko)
Adagio Hammerklavier (H. van Manen)

Debuts 2008/2009
Benvolio in Romeo and Juliet (J. Cranko)
Mercutio in Romeo und Juliet (J. Cranko)
Golden Slave in Shéhérazade (M.Fokine)
Armand and Gaston Rieux in Die Kameliendame (J. Neumeier)
Zugvögel (J. Kylián), creation

Debut 2009/2010
Hilarion in Giselle - Mats Ek (M. Ek)

Debut 2010/2011
Man 2 in My Ravel: Whichever Way he Looks... (J. Mannes)
Petruccio in The Taming of the Shrew (J. Cranko)
Count Alexander in Illusions - Like Swan Lake (J. Neumeier)

Debut 2011/2012
Basilio in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
Voices of Spring (F. Ashton)
The Eternal One in Song of the Earth (K. MacMillan)
1. Pas de deux in Goldberg-Variations (J. Robbins)
Gods and Dogs (J. Kylián)
Colas in La Fille mal gardée (F. Ashton)

Debut 2012/2013
Solor in La Bayadère (M. Petipa/P. Bart)
1. Solo-Boy in Choreartium (L. Massine)
The Moor's friend in The Moor's Pavane (José Limón)
Prometheus in Helden (T. Kohler)
Der König in Illusionen - wie Schwanensee (J. Neumeier)

Debut 2013/2014
Konzert für Violine und Orchester (A. Barton)

Lukas Slavický Foto: S. Kletzsch

 



Dessen Frau

Emma Barrowman.

Soloist

Emma Barrowman was born in Sherbrook/Canada. She received her dance education at the Royal Winnipeg Ballet School and gained important experience at the Cannes Jeune Ballet under the direction of Monique Loudières. At the Royal Winnipeg Ballet Company she danced in Swan Lake, Nutcracker and The Magic Flute by Mark Godden.

Emma Barrowman became an Apprentice of the Bavarian State Ballet in autumn 2006. One year later she became a member of the corps de ballet and was engaged as a soloist in the season 2010/2011.

Debut 2006/2007
Solo in Chamber Symphony (Childs)

Debut 2008/2009
Odaliske in Shéhérazade (M. Fokine)
Myrtha in Once Upon An Ever After (T. Kohler)
Zugvögel (J. Kylián), creation

Debut 2009/2010
Other Person in Artifact (W. Forsythe)
Bathilde and Myrtha in Giselle - Mats Ek (M. Ek)

Debut 2010/2011
Nymph in My Ravel: Daphnis and Chloé (T. Kohler)
Woman 1 in My Ravel: Whichever Way he Looks... (J. Mannes)
Pas de Six in The Taming of the Shrew (J. Cranko)
Lady of the Street in The Taming of the Shrew (J. Cranko)

Debut 2011/2012
The Girl in The Girl and the Knifethrower (S. Sandroni)
Gods and Dogs (J. Kylián)
Whore in The Taming of the Shrew (J. Cranko)

Debut 2012/2013
The friend's wife in The Moor's Pavane (José Limón)
Athena Parthenos in Helden (T. Kohler)
BIPED (M. Cunningham)
Emma Barrowman Foto: Sascha Kletzsch