Marius Petipa

Patrice Bart
Patrice Bart is a French choreographer and was ballet-master and member of the Board of Ballet at the Opéra National de Paris until 2011. He has been connected with this theatre for over fifty years now. This is where his career began and this is where he won international acclaim.
Patrice Bart was born in Paris. He was twelve years old when he took his first steps and joined the École de Danse of the Opéra National de Paris, and just two years later he joined the theatre’s corps de ballet. He was then not yet fifteen, and so he had to obtain special permission to work. In 1963 Patrice Bart was made a coryphée and won the René Blum Prize for talented young French dancers for his achievements. As a first soloist of the Opéra de Paris, in 1969 he was a prize-winner at the I International Ballet Competition in Moscow, where he performed with Francesca Zumbo.
In 1972 Patrice Bart was awarded the honorary French title of 'danseur étoile', while in 1974 he won the Prix Nijinski, which is presented by Paris’ Université de la Danse.

Patrice Bart's repertoire at the Opéra de Paris included lead roles in the ballets The Sleeping Beauty, Don Quixote, Pétrouchka, Prodigal Son, Serge Lifar's Constellations (1969), Roland Petit's Mouvances (1976), Kenneth MacMillan's Métaboles (1978) and Rudolf Nureyev's production of Swan Lake (as Rothbart, 1984). Bart won acclaim as a brilliant virtuoso dancer (the pas de six in Auguste Bournonville's Napoli and the soloist in Arthur Saint-Léon's La Vivandière) and as a wonderful partner (Balanchine's Symphony in C and Le Corsaire), as well as an artist with an unexpected gift for comedy (Pierre Lacotte's version of Coppélia after Saint-Léon and Heinz Spoerli's La Fille mal gardée).
Patrice Bart's career as a dancer came to an end in 1986, but for a few more years he appeared on stage in character roles. At this time he also started coaching with the company's younger performers, and in 1987 became its ballet-master.

Patrice Bart has won acclaim for his active support of high standards and the preservation of the great traditions of the ballet company of the Opéra National de Paris. In 1991 together with Yevgeny Polyakov he prepared a classical version of the ballet Giselle to mark one hundred and fifty years since the work's premiere.
In 1992 Patrice Bart was Rudolf Nureyev's assistant on his production of the ballet La Bayadère at the Opéra National de Paris.
In 1993 Patrice Bart made his debut as a choreographer at the Berliner Staatsoper with a new production of the ballet Don Quixote, and in 1995 he staged this work with the Finnish National Ballet. In 1996 Patrice Bart staged productions of Giselle at the Teatro alla Scala in Milan and Coppélia at the Opéra National de Paris. In 1997 the choreographer created a new version of Swan Lake at the Berliner Staatsoper and in 1998 a new and completed version of Petipa's La Bayadère for the Bayerische Staatsballett in Munich.
In 1999 Patrice Bart staged a production of Verdiana, his own first original ballet to music from operas by Giuseppe Verdi, and he also staged The Nutcracker with the Staatsballett Berlin. In 2001 Patrice Bart set the ballet Verdiana for the Teatro Comunale in Florence. In 2002 at the Staatsballett Berlin the choreographer staged a production of his own version of Prokofiev's Romeo and Juliet, while in 2003 he presented yet another new ballet at the Opéra de Paris – La Petite danseuse de Degas to new music by Denis Levaillant. His next ballet was to be Tchaikovsky, staged in 2005 for the Finnish National Ballet in Helsinki, while in 2008 the Swedish Royal Ballet invited Bart to stage the grandiose historic production Gustav III to music by Carl Maria von Weber and Joseph Martin Kraus.

Before accepting Waldemar Dombrowski's invitation to stage his new ballet Chopin, the Romantic Artist in Warsaw for the Polish National Ballet, Patrice Bart returned to Berlin, where in 2009 he staged the ballet Das Flammende Herz to music by Felix Mendelssohn-Bartholdy about the English romantic poet Percy Shelley.
Patrice Bart holds several honorary French titles, among them Officier de l'Ordre des Arts et Lettres, Officier de l'Ordre National du Mérite and Chevalier de la Légion d'Honneur.

Tomio Mohri
gilt als einer der namhaftesten und vielseitigsten Künstler Japans. Berühmt ist er für seine exquisiten Kostümentwürfe und Ausstellungsinstallationen, er arbeitet jedoch ebenso als Bühnenbildner und Regisseur. Im Zentrum seines Interesses steht nicht zuletzt die Frage der Beziehungen zwischen Bewegung und Raum, die er multimedial zu erfassen sucht.

Lange Jahre war er künstlerischer Direktor für die Ausstellungen von Issey Miyake. Für diese Kostüminstallationen entwickelte er einen neuen Stil von visueller Performance, der bis heute weltweit als beispielhaft gilt. Darunter befanden sich so spektakuläre Präsentationen wie Issey Miyake A un im Musée d`Art Décoratif in Paris, Arbeiten für das San Francisco Museum of Modern Art und das Victoria and Albert Museum in London. Als Theaterautor und Regisseur zeichnete er in Tokio für verschiedene Produktionen verantwortlich, die sich als Maskentänze zwischen Tanz und No-Theater bewegten. Seine Laufbahn als Kostüm- und Bühnenbildner begann 1980 mit einer Arbeit für Maurice Béjart (Casta Diva) und setzte sich 1984 mit Kostümentwürfen für die Oper Le Coq d'Or für das Theatre Chatelet in Paris fort. Unter seinen Werken in Europa sind vor allem die Kostüme für Schwanensee beim Ballett der Opéra in Paris (1992) zu nennen und die Kostüme für Die Frau ohne Schatten (Bayerische Staatsoper), die als Premiere 1992 in Tokio herauskam und 1993 ins Münchner Nationaltheater einzog, sowie die Kostüme für Madame von Sado an der Berliner Schaubühne. Bei La Bayadère fürs Bayerische Staatsballett in München (Premiere am 23. März 1998 in der Neufassung von Patrice Bart) hat Tomio Mohri sowohl die Kostüme als auch das Bühnenbild entworfen. Tomio Mohris engste Mitarbeiterin bei der Realisierung seiner Entwürfe ist Kumiko Sakurai.   Buch, Regie und künstlerische Leitung:
1988 Kyorai, Ishikawa Prefectural Noh Theater, Kanazawa (Maskentanz 1)
1990 Dance, Spiral Hall, Tokyo (Maskentanz 2)
1991 Rinsoubu, Tanz von Tomio Mohri für NHK (Maskentanz 3) Künstlerische Leitung und Design der Mannequin Objekte für den Raum:
1983 Issey Miyake Körperarbeiten, Ausstellung Laforet Museum Migura, Tokyo; Otia-Parsons Gallery, Los Angeles; San Francisco Museum for Modern Art, San Francisco; Victoria & Albert Museum, Bollerhouse Project, London (1985)

1986 Mohri No Fuku, Installation für Raum und Kostüme. Spiral Hall, Toyko

1988 Issey Miyake A un, Musée des Arts Décoratifs, Paris

1991 3. IAAF Weltmeisterschaft im Turnen, Tokyo. Eröffnungsfeier Teil 3 im Nationalstadion von Tokyo
Mohri No Aka, Zeichnungen in der Parco Gallery, Tokyo Bühnen- und Kostümentwürfe:
1980 Casta Diva (Ballett von Maurice Béjart), IRCAM, Centre Georges Pompidou, Paris
(Zusammenarbeit mit Issey Miyake, Kostüme)

1984 Le Coq d'Or (Oper) Theatre Musical de Paris Chatelet, Paris (Kostüme)

1986 Yamato Takeru (Kabuki), Shinbashi Enbujo, Tokyo (Kostüme)

1989 Ryu-Oh (Kabuki-Peking-Oper), Shinbashi Enbujo, Tokyo (Kostüme)

1991 Oguri (Kabuki)  Shinbashi Enbujo, Tokyo (Kostüme)
Ryusel (Kabuki), Kabukiza, Tokyo (Bühnenbild und Kostüme)
Bokutoukidan (Theaterstück), Imperial Theatre, Tokyo (Bühnenbild und Kostüme)

1992 Turandot (Oper), Auditorium Maurice Ravel, Lyon (Kostüme)
Schwanensee (Ballett) beim Ballet de L'Opéra de Paris, Bastille (Kostüme)
Die Frau ohne Schatten (Oper), Bayerische Staatsoper im Aichi Prefecturai Theater, Nagoya , und NHK Hall, Tokyo , 1993 im Münchner Nationaltheater (Kostüme)

1993 Dakkenden (Kabuki), Shinbashi Enbujo, Tokyo (Kostüme)

1994 Susano, Carrière de Boulbon, Avigon (Kostüme)

1996 Tristan und Isolde, Prinzregententheater München (Kostüme)
Madame von Sado, Schaubühne am Lehniner Platz, Berlin (Kostüme)

1997 La Bayadére, Bayerisches Staatsballett, Nationaltheater, München Veröffentlichungen:
1990 Tomio Mohri Kostüm-Installationen, Rikuyosha

Maurizio Montobbio
Geboren am 10. Juni 1957 in Genua, ausgebildet in den USA. Arbeitet für Oper, Schauspiel und Tanz. U.a. Opéra Paris, Mailänder Scala, Deutsche Oper Berlin. Häufiger Lichtdesigner für Patrice Bart und den kanadischen Choreographen Jean Grand-Maitre. In München bislang Lightdesign für La Bayadère, Ecclesia und Emma B.. Als Beleuchtungschef auch mehrere Jahre lang verantwortlich für die europäischen Vorstellungen von Mikhail Baryschnikow und seinem White Oak Dance Project.

Maria Babanina

Pianist

Maria Babanina was born in St. Petersburg (then Leningrad) on July 2nd, 1952. She studied the piano and musicology at the Leningrad Conservatory and specialised in historic research of ballet music. She taught at the Waganowa Academy, worked as music coach at the Maly Theatre in St. Petersburg and became pianist with the Kirov Ballet in 1978. Since September 1990 she has been pianist for the Bayerische Staatsballett and performed on stage, too, e.g. in Trois Gnossiennes, Other Dances , Songs without words, Zakouski, Jerome Robbins’ In the Night, and, most recently Hans van Manen's Adagio Hammerklavier. She has been responsible for the musical research and new music arrangements of the score for La Bayadère as well as for the musical arrangement of Ray Barra’s Raymonda and Le Corsaire (Liska/Petipa) for the Bavarian State Ballet.

Maria Babanina is chairwoman of the Alexander Glasunow foundation. 

Wolfgang Oberender

Assistant Director of Bavarian State Ballet

He studied German literature and history in Stuttgart, and opera direction in Hamburg. He was engaged as a dramatic adviser at the music theatre in Gelsenkirchen, in Essen, worked in Basel with Heinz Spoerli and in Regensburg.

Since 1992 he has been press officer and head of production at the Bavarian State Ballet. Ivan Liska promoted him - with Bettina Wagner-Bergelt - to Assistant Director.

 

Michael Schmidtsdorff

 

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