Steps & Times - Biographies

Scènes de ballet. Daria Sukhorukova, Maxim Chashchegorov, Ensemble. ©Charles Tandy Das Lied von der Erde. Lucia Lacarra, Tigran Mikayelyan. © Staatsballett Five Brahms Waltzes in the Manner of Isadora Duncan. Stephanie Hancox. © Charles Tandy

Steps & Times

Frederick Ashton /
Kenneth MacMillan

Scènes de ballet / Five Brahms Waltzes in the Manner of Isadora Duncan / Frühlingsstimmen / Das Lied von der Erde
Music by Igor Stravinsky, Johannes Brahms, Johann Strauß and Gustav Mahler
Nationaltheater

Sunday, 03. February 2013

Das Lied von der Erde


Set and Costumes

Nicholas Georgiadis

Nicholas Georgiadis was born in  Greece and in 1953 went to  England.  He studied architecture in  Athens, New  York and the Slade School of  Fine Art in  London, where he now lectures on  stage  design.
  His designs for the ballet  include  MacMillan's Danses  Concertantes,  House of Birds, Noctambules,  Agon,  The Burrow, The Invitation, Las  Hermanas, Song of the Earth,  Manon,  Mayerling, Orpheus (for The  Royal Ballet), Benjamin  Britten's  Prince of the Pagodas  (for the  Royal Opera House), Swan  Lake (for the Berlin Opera  House); Nureyev's production of  The Nutcracker, The  Tempest and MacMillan's  production of Manon (for  The  Royal Ballet and the Paris Opera  Ballet), Swan Lake  (Vienna  State Opera House), The  Sleeping  Beauty (La Scala, Milan,  National  Ballet of Canada, Vienna State Opera  and London Festival Ballet),  Raymonda (American Ballet  Theatre, Zurich Opera House and Paris  Opera Ballet), Manfred (Zurich  Opera House), Don Quixote  (Zurich, Berlin and Paris Opera  Houses, and International Ballet  Festival, Boston); and Lynn Seymour's  Intimate Letters  (Sadler's Wells  Royal  Ballet).
Mr. Georgiadis' designs for  Orpheus and The  Tempest won him the London  Evening Standard Ballet Award  for the  most outstanding achievement in  1982.

Mr. Georgiadis' designs for opera  include Aida and The  Trojans (The Royal Opera);  Medea (Frankfurt Opera  House); Anna Bolena (Athens  Opera House); and Don  Giovanni (Athens Festival). He  also designed for  Aix-en-Provence  Festival Mozart's La Clemence de  Tito, and last year Chillea's  Adriana Lecouvreur for the  Athens Opera. His designs for plays  include Lysistrata (Royal  Court), Montherlant's La Reine  Morte (Oxford Playhouse),  Julius Caesar (Old Vic),  Antony and Cleopatra  (Prospect Theatre Company), All  for Love (Prospect),  Captain  Brassbound's Conversion  (Haymarket), more recently  Pirandello's As You Desire Me,  (for which he received the  Carlos Koun  Prize) and Schintzler's  Anatol.  His costume designs for films include  Euripides' The Trojan Woman,  and the reconstruction of the Ballets  Russes designs for  Nijinksy. Mr. Georgiadis received the  C.B.E. at  the 1984 Birthday  Honours.
 

 



Lighting

John B. Read


 

 



Conductor

Ryusuke Numajiri

Ryusuke Numajiri erhielt seine musikalische Ausbildung an der Toho Gakuen School of Music in den Fächern Klavier und Dirigieren bei Seiji Ozawa und Tadaaki Otaka. Bevor er sein Studium an der Universität der Künste in Berlin fortsetzte, war er Assistent von Seiji Ozawa beim New Japan Philharmonic.

Nach seiner Rückkehr nach Japan wurde Ryusuke Numajiri schnell einer der begehrtesten Dirigenten des Landes. Von 1993 – 1998 war er der jüngste Chefdirigent des Japan Shinsei Symphony Orchesters, das er auch auf eine vielbeachtete Europa-Tournee führte. Im selben Jahr gründete er die Tokyo Mozart Players mit denen er alle Beethoven Symphonien aufnahm. Ryusuke Numajiri war von 1999 – 2003 Principal Conductor des Tokyo Philharmonic Orchestra sowie von 2003 – 2006 Chefdirigenten des Nagoya Philharmonic Orchestra. Seit 2003 ist er Principal Conductor des Japan Philharmonic Symphony Orchestra. 2006 wurde er zum Principal Guest Conductor des Nagoya Philharmonic ernannt, ab 2007 übernimmt er die Position des Musikdirektors der Biwako Oper Japan. Auf der Expo 2005 in Nagoya brachte er Schönbergs Gurrelieder zur Aufführung.

Im Westen machte Ryusuke Numajiri auf sich aufmerksam, als er 1990 den 40. Internationalen Besancon Dirigierwettbewerb gewann. Seitdem ist er ständiger Gast bei Orchestern wie dem London Symphony Orchestra, dem Deutschen Symphonie Orchester Berlin, dem Orchestra Sinfonica di Milano "Giuseppe Verdi", dem Orchestre du Capitole de Toulouse, den Düsseldorfer Symphonikern, der Staatskapelle Weimar, dem China Philharmonic Orchestra, dem Wiener Kammerorchester und der Northern Sinfonia.

Ryusuke Numajiris hat ein besonderes Interesse, das Publikum an neues Repertoire heranzuführen. So dirigierte er die japanischen Erstaufführungen von Philip Glass' Peace Symphony, Busonis Klavierkonzert und seinen Doktor Faust, Zemlinskys Der Zwerg, Schönbergs Notturno, Toru Takemitsus Spectral Canticle, sowie Werke von Messiaen, Andriessen, Górecki, Ligeti, Lutoslawski, Berio, Dutilleux, Xenakis, Birtwistle, Matthews und Ichiro Nodaira. Seine Tournee mit dem Nagoya Philharmonic Orchestra im Jahre 2004, wo er Takemitsus Ceremonial und Messiaens Turangalila in europäische Konzertsäle brachte, erhielt hervorragende Kritiken.

Seit seinem Debüt als Operndirigent, 1997, mit Mozarts Die Entführung aus dem Serail, leitete Ryusuke Numajiri verschiedene Produktionen, darunter Strawinskys Le Rossignol, Zemlinskys Eine florentinische Tragödie, Mozarts Idomeneo, Brittens The Little Sweep, Richard Strauss' Der Rosenkavalier, Bergs Lulu und Kreneks Jonny spielt auf an der Oper Köln. Mit der Staatsballett-Premiere von Mahlers Das Lied von der Erde und John Adams' Chamber Symphony gab er im April 2007 sein Debut als Dirigent des Bayerischen Staatsorchesters. Seit 2007 ist Numajiri Musikdirektor der Biwako Oper Japan, außerdem international als Gast unter anderem beim Montreal Symphony Orchestra, dem Deutschen Symphonie-Orchester Berlin, der Sydney Symphony und dem Wiener Kammerorchester tätig.
Ryusuke Numajiri

 



Choreography

Kenneth MacMillan


Kenneth McMillan

 



Music

Gustav Mahler


 

 



Die Frau

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

 



Der Mann

Marlon Dino

Principal dancer

Marlon Dino was born in Albania and trained at the School of Choreography and Ballet in Tirana. In 1998 he joined the Genève Dance Center under the direction of David Allen. Thereafter in 2001 he danced for the Ballet of the Vienna State Opera.

He became member of the Corps de ballet of the Bavarian State Ballet in 2002, where he danced a solo part in Jiří Kylián’s Six Dances. He created two choreographies within the State Ballet’s Young Choreographers Programme.
He was promoted to soloist in autumn 2005 and at the beginning of the season 2007/2008 to soloist. During the season 2009/2010 he became principal dancer.

His classical and contemporary repertoire includes the forth movement of George Balanchines Brahms-Schönberg-Quartett. In season 2004/2005 he debuted as Count Paris and Tybalt in Cranko´s Romeo and Julia and assumed an important part in Balanchine´s Agon (second pas de trois). Furthermore he danced the Gaston in the Lady of the Camellias (J. Neumeier), the solo in Hans van Manen´s Five Tangos and Rotbart in Swanlake (R. Barra). His first own choreography, a Pas de deux for Cheryl Wimperis and himself, was created in summer 2003 in the context of the "Jungen Choreographen". In summer 2004 followed the choreography Nimm´s wie du willst.

Debut 2003/2004
Brahms-Schoenberg Quartett (G. Balanchine)

Debut 2004/2005:
Count Paris and Tybalt in Romeo and Juliet (J. Cranko)
Agon (G. Balanchine), second pas de trois
Gaston in Lady of the Camelias (J. Neumeier)
Solo in Five Tangos

Debut 2005/2006
Berenger in Raymonda (R. Barra)

Debut 2006/2007
Second Pas de deux in Century Rolls (D. Bombana)
Pas de six in Giselle (P. Wright)
Rotbart in Swan Lake (R. Barra)
Ali and Birbanto in Le Corsaire (M. Petipa, I. Liška)
Photographer in Die Silberne Rose (G. Murphy)
Man in Song of the Earth (K. MacMillan)
Pas Fabergé in The Sleeping Beauty (M. Petipa/I. Liška)
Prince Albrecht in Giselle (P. Wright) on the occasion of Ballett und Wildnis

Debut 2007/2008
Onegin in Onegin (J. Cranko)
Alonso in Der Sturm (J. Mannes), creation
Legende (J. Cranko)
Solor in La Bayadère (Bart)

Debut 2008/2009
Romeo in Romeo and Juliet (J. Cranko)
Siegfried in Once Upon An Ever After (T. Kohler), Kreation
Zeman in Shéhérazade (M. Fokine)
Siegfried in Swan Lake (R. Barra)
Adagio Hammerklavier (H. v. Manen)
Jean de Brienne in Raymonda (M. Petipa)

Debut 2009/2010
The golden slave in Shéhérazade (M. Fokine)
Armand in The Lady of the Camellias (J. Neumeier)
Bach in Multiplicity. Forms of Silence and Emptiness (N. Duato)

Debut 2010/2011
Prince Désiré in Sleeping Beauty (M. Petipa, I. Liška)
Petruccio in The Taming of the Shrew (J. Cranko)
The Man in the Shadows in Illusions - Like Swan Lake (J. Neumeier)
The King in Illusions - Like Swan Lake (J. Neuemeier)
El Trianero, Matador in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Günther in The Nutcracker (J. Neumeier)
Broken Fall (R. Maliphant)

Debut 2012/2013
Choreartium (L. Massine)
Goldberg-Variations (J. Robbins)

Debut 2013/2014
Theseus/Oberon in A Midsummer Night's Dream (J. Neumeier)
Marlon Dino © Sascha Kletzsch

 



Der Ewige

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

 



Von der Jugend

Giuliana Bottino

Corps de ballet

Giuliana Bottino was born in Catania/Italy and started to dance at the age of six. She was trained at the Elmhurst School for Dance in Association with the Royal Ballet. In the season 2007/2008 she was engaged at the Cannes Jeune Ballet in France.

She joined the Corps de ballet of the Bavarian State Ballet in season 2008/2009.

Debut 2009/2010
Cello in Multiplicity. Forms of Silence and Emptiness (Duato)

Debut 2010/2011
Chloé in My Ravel: Daphnis and Chloé (T. Kohler)
White Cat in Sleeping Beauty (M. Petipa, I. Liška)
Miette qui tombent fairy in Sleeping Beauty (M. Petipa, I. Liška)

Debut 2011/2012
"Esmeralda and the Jesters"  in The Nutcracker (J. Neumeier)
Woman in The Girl and the Knifethrower (S. Sandroni)
Gods and Dogs (J. Kylián)

Debut 2012/2013
Soloist in the Hindu-Dance in La Bayadère (M. Petipa/P. Bart)
Solo "Of Youth" in Song of the Earth (K. MacMillan)
Giuliana Bottino.©Sascha Kletzsch

 



Von der Schönheit

Séverine Ferrolier

First Soloist
Séverine Ferrolier, born in Toulon/France, was trained in the Centre de Danse Christiane Espitalier de La Valette. Having graduated, she danced with the ballet at the Opéra de Toulon, the Ballet National de Nancy under the direction of Pierre Lacotte and with the English National Ballet in London. Between 1997 and 2004 she was engaged at Leipzig Ballet under the direction of Uwe Scholz, since 2002 as a first soloist. Scholz created several parts for her, e.g. in Bruckner 8, Non, je ne regrette rien and h-Moll- Messe. She also danced Mathilde in Scholz' Le Rouge et le Noir.

In 2004 she became a member of the Bavarian State Ballet, giving her debut with the company in George Balanchine's Brahms-Schoenberg Quartet during the company's guest performances in Athens in June. Her Munich repertoire includes the Lilac Fairy in Sleeping Beauty (M. Petipa/I. Liška), Olympia in Neumeier's Lady of the Camellias and prominent solo parts in Forsythe's Limb's Theorem.

Debut 2005/2006
Die Nacht, Pavlova solo (N. Legat)
Marschallin in Die silberne Rose (G.Murphy)
First and third solo in Schattenakt in La Bayadère (P. Bart)
Clémence in Raymonda (R. Barra)
Pas de quatre (L. Jacobson)

Debut 2006/2007
Second Pas de deux in Century Rolls (D. Bombana)
Charlotte, fiancé of Prince Siegfried in Swan lake (R. Barra)
Odaliske and Gulnara in Le Corsaire (M. Petipa, I. Liška)

Debut 2007/2008
Miranda in Der Sturm (J. Mannes), creation
Große Fuge (H. van Manen)
Pas de deux in the fourth movement of  Brahms-Schönberg-Quartett (G. Balanchine)
Adagio Hammerklavier (H. van Manen)
Violakonzert/II (M. Schläpfer), creation
Aus Holbergs Zeit (J. Cranko)

Debut 2008/2009
Mutter in A Cinderella Story (J. Neumeier)
Woman in Blue in Les Biches (B. Nijinska)
Aurora in Once Upon An Ever After (T. Kohler), creation
Marguerite in Die Kameliendame (J. Neumeier)
Zugvögel (J. Kylián), Kreation
Henriette in Raymonda (M. Petipa)

Debut 2010/2011
Bathilde, Myrtha in Gisella-Mats Ek (M.Ek)
Ballerina in Série Noire - A choreographic murder mystery (T. Kohler)
Pas de deux in Artifact (W. Forsythe)
Woman 2 in My Ravel: Whichever Way he Looks... (J. Mannes)
Lykanion in My Ravel: Daphnis and Chloé (T. Kohler)
Lady of the Street in The Taming of the Shrew (J. Cranko)
The Queen Mother in Illusions - Like Swan Lake (J. Neumeier)
Dulcinea in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Nieves in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
Five Brahms Waltzes In The Manner Of Isadora Duncan (F. Ashton)

Debut 2012/2013
The Moor's wife in The Moor's Pavane (José Limón)
Soloist 2. suit in Choreartium (L. Massine)
Athena Parthenos in Heroes (T. Kohler)

Debut 2013/2014
Lady Capulet in Romeo and Juliet (J. Cranko)
Séverine Ferrolier.©Sascha Kletzsch

 



Mezzosopran

Okka von der Damerau


Okka von der Damerau

 



Tenor

Herbert Lippert


Herbert Lippert

 


Five Brahms Waltzes in the Manner of Isadora Duncan


Conductor

Ryusuke Numajiri

Ryusuke Numajiri erhielt seine musikalische Ausbildung an der Toho Gakuen School of Music in den Fächern Klavier und Dirigieren bei Seiji Ozawa und Tadaaki Otaka. Bevor er sein Studium an der Universität der Künste in Berlin fortsetzte, war er Assistent von Seiji Ozawa beim New Japan Philharmonic.

Nach seiner Rückkehr nach Japan wurde Ryusuke Numajiri schnell einer der begehrtesten Dirigenten des Landes. Von 1993 – 1998 war er der jüngste Chefdirigent des Japan Shinsei Symphony Orchesters, das er auch auf eine vielbeachtete Europa-Tournee führte. Im selben Jahr gründete er die Tokyo Mozart Players mit denen er alle Beethoven Symphonien aufnahm. Ryusuke Numajiri war von 1999 – 2003 Principal Conductor des Tokyo Philharmonic Orchestra sowie von 2003 – 2006 Chefdirigenten des Nagoya Philharmonic Orchestra. Seit 2003 ist er Principal Conductor des Japan Philharmonic Symphony Orchestra. 2006 wurde er zum Principal Guest Conductor des Nagoya Philharmonic ernannt, ab 2007 übernimmt er die Position des Musikdirektors der Biwako Oper Japan. Auf der Expo 2005 in Nagoya brachte er Schönbergs Gurrelieder zur Aufführung.

Im Westen machte Ryusuke Numajiri auf sich aufmerksam, als er 1990 den 40. Internationalen Besancon Dirigierwettbewerb gewann. Seitdem ist er ständiger Gast bei Orchestern wie dem London Symphony Orchestra, dem Deutschen Symphonie Orchester Berlin, dem Orchestra Sinfonica di Milano "Giuseppe Verdi", dem Orchestre du Capitole de Toulouse, den Düsseldorfer Symphonikern, der Staatskapelle Weimar, dem China Philharmonic Orchestra, dem Wiener Kammerorchester und der Northern Sinfonia.

Ryusuke Numajiris hat ein besonderes Interesse, das Publikum an neues Repertoire heranzuführen. So dirigierte er die japanischen Erstaufführungen von Philip Glass' Peace Symphony, Busonis Klavierkonzert und seinen Doktor Faust, Zemlinskys Der Zwerg, Schönbergs Notturno, Toru Takemitsus Spectral Canticle, sowie Werke von Messiaen, Andriessen, Górecki, Ligeti, Lutoslawski, Berio, Dutilleux, Xenakis, Birtwistle, Matthews und Ichiro Nodaira. Seine Tournee mit dem Nagoya Philharmonic Orchestra im Jahre 2004, wo er Takemitsus Ceremonial und Messiaens Turangalila in europäische Konzertsäle brachte, erhielt hervorragende Kritiken.

Seit seinem Debüt als Operndirigent, 1997, mit Mozarts Die Entführung aus dem Serail, leitete Ryusuke Numajiri verschiedene Produktionen, darunter Strawinskys Le Rossignol, Zemlinskys Eine florentinische Tragödie, Mozarts Idomeneo, Brittens The Little Sweep, Richard Strauss' Der Rosenkavalier, Bergs Lulu und Kreneks Jonny spielt auf an der Oper Köln. Mit der Staatsballett-Premiere von Mahlers Das Lied von der Erde und John Adams' Chamber Symphony gab er im April 2007 sein Debut als Dirigent des Bayerischen Staatsorchesters. Seit 2007 ist Numajiri Musikdirektor der Biwako Oper Japan, außerdem international als Gast unter anderem beim Montreal Symphony Orchestra, dem Deutschen Symphonie-Orchester Berlin, der Sydney Symphony und dem Wiener Kammerorchester tätig.
Ryusuke Numajiri

 



Choreography

Frederick Ashton

Sir Frederick Ashton was born in 1904 and spent his childhood in South America. He studied with Leonide Massine and Marie Rambert, who also gave him his first opportunities as a choreographer.

A Tragedy of Fashion, a commission in 1926, was his first ballet to be staged as part of a revue entitled Riverside Nights. In 1928, he joined Ida Rubinstein's company in Paris, where he also came under the influence of Bronislava Nijinska from whom, he acknowledged, he learned his craft. He came to England in 1929 to choreograph for Rambert and the Camargo Society. He also danced with the Rambert Company in both the classics and modern works, and partnered Tamara Karsavina, Lydia Lopokova and Alicia Markova, at the same time pursuing a successful career as a dancer in musicals and revues.

In 1931, he created his first work, Regatta, for Ninette de Valois' Vic-Wells Ballet, and four years later was invited to become Resident Choreographer. Ashton remained De Valois' associate until 1948 when his position as Associate Director was publicly recognized. In 1963, he succeeded Dame Ninette as Director of the company (now called The Royal Ballet), a position he held until he retired in 1970. In 1935, Ashton began his association with Margot Fonteyn, creating the Bride in Le Baiser de la Fée for her. Among the ballets he has since made with her in mind are Nocturne, Horoscope, Dante Sonata, Symphonic Variations, his first ballet for the Covent Garden stage Daphnis and Chloë, Ondine and Marguerite and Armand (for Fonteyn and Nureyev). Ashton's choreography has caused an unmistakably lyrical style to emerge in British ballet. In addition to comic and dramatic ballets and those of "pure" dance, his innate sense of theatre is always apparent.

Of nearly 100 ballets, many have been landmarks, including Cinderella, Daphnis and Chloë, The Two Pigeons, and Birthday Offering for the company's Silver Jubilee. In addition to the inspiration of Fonteyn, he created The Dream for Anotinette Sibley and Anthony Dowell. La Fille mal gardée, has been a brilliant success throughout the world, often mounted by Ashton himself.

More recent full scale ballets have been Rhapsody, created for Mikhail Baryshnikov, in honor of Her Majesty Queen Elizabeth The Queen Mother’s 80th birthday; Verdi Capricci, premiered on April 19, 1983, the opening night of The Royal Ballet's season at the Metropolitan Opera House, New York; and before that, A Month in the Country.

During 1985, Ashton choreographed a solo for Merle Park, La Chatte Metamorphoses en Femme, for a gala in honor of Fanny Elssler in Vienna and supervised London Festival Ballet's revival of his Romeo and Juliet. Ashton first worked in opera in 1934, when he staged Virgil Thomson's Four Saints in Three Acts, in the United States. In 1953, he staged Gluck's Orfeo at Covent Garden, with Kathleen Ferrier singing the title role in her last appearance. Benjamin Britten's last opera Death in Venice, also includes dances choreographed by Ashton. In 1981, he created choreography for the Nightingale and the Fisherman (on Natalia Makarova and Anthony Dowell) for Igor Stravinsky's opera Le Rossignol for the Metropolitan Opera's triple-bill Stravinsky Centenary evening. In September, 1983, this production, with designs by David Hockney, was taken into the repertoire of the Royal Opera at Covent Garden.

Frederick Ashton was made a CBE in 1950, and knighted in 1962. In 1970, he became a Companion of Honour, and in October 1977, he was invited by The Queen to become a member of the Order of Merit. France admitted Ashton to the Legion d'Honneur in 1962 and Denmark made him a Commander of the Order of the Dannebrog in 1963. Recognition of his achievement came in 1959 from the Royal Academy of Dancing, which gave him its Queen Elizabeth II Coronation Award; in 1972 from the Carina Aria Foundation in Sweden with its Gold Medal; and with honorary degrees: as Doctor of Letters in the Universities of Durham (1962) and East Anglia (1967), and as Doctor of Music in the Universities of London (1970) and Oxford (1976).

On August, 19, 1988, Frederick Ashton died in his sleep at his country home in Eye, Suffolk. He was 83.

Ashton's works remain sparingly represented in Munich repertoire. The German premiere of his masterpiece La Fille mal gardée at the Nationaltheater in 1971, starring Gislinde Skroblin, Heinz Bosl and Ferenc Barbay in the leading roles, was a sensational success. The ballet remained in the repertory for decades until its restaging at the Bavarian State Ballet in 1994. After a prolonged break, this beloved ballet comedy returns to Munich in 2012 as part of the season "Very British?!".

In 1972, Ashton's Les Rendezvous was premiered at the Nationaltheater. The charming and brief work dissappeared from the repertoire shortly afterwards. Frederick Ashton's Five Brahms Waltzes in the Manner of Isadora Duncan was first seen at the Nationaltheater Munich in 1996, danced by Evelyn Hart. Ten years later, with Sherelle Charge and Stephanie Hancox as dancers, it was added to the repertory and is part of the mixed bill premiere Steps & Times in December 2011. The latter, a homage to British Dance, brings one of Ashton's most important works, Scènes de ballet to Munich for the first time. Completing the bill will be Voices of spring, Frederick Ashton's delightful and captivating pas de deux which was first seen in Munich in 2006 during the Terpsichore-Gala IV.

Another significant work of Sir Frederick Ashton will be performed as part of a guest appearance by the Birmingham Royal Ballet during the Ballet Festival Week 2012. Ashton's version of Shakespeare's The Dream has only been performed in part during the Ballet Festival Week Gala in 1972.
Sir Frederick Ashton

 



Music

Johannes Brahms


 

 



Solistin

Stephanie Hancox

First 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.
As of the season 2014/15, she was promoted to First Soloist.

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

 



Klavier

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. 

Maria Babanina Foto: Sascha Kletzsch

 


Frühlingsstimmenwalzer


Conductor

Ryusuke Numajiri

Ryusuke Numajiri erhielt seine musikalische Ausbildung an der Toho Gakuen School of Music in den Fächern Klavier und Dirigieren bei Seiji Ozawa und Tadaaki Otaka. Bevor er sein Studium an der Universität der Künste in Berlin fortsetzte, war er Assistent von Seiji Ozawa beim New Japan Philharmonic.

Nach seiner Rückkehr nach Japan wurde Ryusuke Numajiri schnell einer der begehrtesten Dirigenten des Landes. Von 1993 – 1998 war er der jüngste Chefdirigent des Japan Shinsei Symphony Orchesters, das er auch auf eine vielbeachtete Europa-Tournee führte. Im selben Jahr gründete er die Tokyo Mozart Players mit denen er alle Beethoven Symphonien aufnahm. Ryusuke Numajiri war von 1999 – 2003 Principal Conductor des Tokyo Philharmonic Orchestra sowie von 2003 – 2006 Chefdirigenten des Nagoya Philharmonic Orchestra. Seit 2003 ist er Principal Conductor des Japan Philharmonic Symphony Orchestra. 2006 wurde er zum Principal Guest Conductor des Nagoya Philharmonic ernannt, ab 2007 übernimmt er die Position des Musikdirektors der Biwako Oper Japan. Auf der Expo 2005 in Nagoya brachte er Schönbergs Gurrelieder zur Aufführung.

Im Westen machte Ryusuke Numajiri auf sich aufmerksam, als er 1990 den 40. Internationalen Besancon Dirigierwettbewerb gewann. Seitdem ist er ständiger Gast bei Orchestern wie dem London Symphony Orchestra, dem Deutschen Symphonie Orchester Berlin, dem Orchestra Sinfonica di Milano "Giuseppe Verdi", dem Orchestre du Capitole de Toulouse, den Düsseldorfer Symphonikern, der Staatskapelle Weimar, dem China Philharmonic Orchestra, dem Wiener Kammerorchester und der Northern Sinfonia.

Ryusuke Numajiris hat ein besonderes Interesse, das Publikum an neues Repertoire heranzuführen. So dirigierte er die japanischen Erstaufführungen von Philip Glass' Peace Symphony, Busonis Klavierkonzert und seinen Doktor Faust, Zemlinskys Der Zwerg, Schönbergs Notturno, Toru Takemitsus Spectral Canticle, sowie Werke von Messiaen, Andriessen, Górecki, Ligeti, Lutoslawski, Berio, Dutilleux, Xenakis, Birtwistle, Matthews und Ichiro Nodaira. Seine Tournee mit dem Nagoya Philharmonic Orchestra im Jahre 2004, wo er Takemitsus Ceremonial und Messiaens Turangalila in europäische Konzertsäle brachte, erhielt hervorragende Kritiken.

Seit seinem Debüt als Operndirigent, 1997, mit Mozarts Die Entführung aus dem Serail, leitete Ryusuke Numajiri verschiedene Produktionen, darunter Strawinskys Le Rossignol, Zemlinskys Eine florentinische Tragödie, Mozarts Idomeneo, Brittens The Little Sweep, Richard Strauss' Der Rosenkavalier, Bergs Lulu und Kreneks Jonny spielt auf an der Oper Köln. Mit der Staatsballett-Premiere von Mahlers Das Lied von der Erde und John Adams' Chamber Symphony gab er im April 2007 sein Debut als Dirigent des Bayerischen Staatsorchesters. Seit 2007 ist Numajiri Musikdirektor der Biwako Oper Japan, außerdem international als Gast unter anderem beim Montreal Symphony Orchestra, dem Deutschen Symphonie-Orchester Berlin, der Sydney Symphony und dem Wiener Kammerorchester tätig.
Ryusuke Numajiri

 



Choreography

Frederick Ashton

Sir Frederick Ashton was born in 1904 and spent his childhood in South America. He studied with Leonide Massine and Marie Rambert, who also gave him his first opportunities as a choreographer.

A Tragedy of Fashion, a commission in 1926, was his first ballet to be staged as part of a revue entitled Riverside Nights. In 1928, he joined Ida Rubinstein's company in Paris, where he also came under the influence of Bronislava Nijinska from whom, he acknowledged, he learned his craft. He came to England in 1929 to choreograph for Rambert and the Camargo Society. He also danced with the Rambert Company in both the classics and modern works, and partnered Tamara Karsavina, Lydia Lopokova and Alicia Markova, at the same time pursuing a successful career as a dancer in musicals and revues.

In 1931, he created his first work, Regatta, for Ninette de Valois' Vic-Wells Ballet, and four years later was invited to become Resident Choreographer. Ashton remained De Valois' associate until 1948 when his position as Associate Director was publicly recognized. In 1963, he succeeded Dame Ninette as Director of the company (now called The Royal Ballet), a position he held until he retired in 1970. In 1935, Ashton began his association with Margot Fonteyn, creating the Bride in Le Baiser de la Fée for her. Among the ballets he has since made with her in mind are Nocturne, Horoscope, Dante Sonata, Symphonic Variations, his first ballet for the Covent Garden stage Daphnis and Chloë, Ondine and Marguerite and Armand (for Fonteyn and Nureyev). Ashton's choreography has caused an unmistakably lyrical style to emerge in British ballet. In addition to comic and dramatic ballets and those of "pure" dance, his innate sense of theatre is always apparent.

Of nearly 100 ballets, many have been landmarks, including Cinderella, Daphnis and Chloë, The Two Pigeons, and Birthday Offering for the company's Silver Jubilee. In addition to the inspiration of Fonteyn, he created The Dream for Anotinette Sibley and Anthony Dowell. La Fille mal gardée, has been a brilliant success throughout the world, often mounted by Ashton himself.

More recent full scale ballets have been Rhapsody, created for Mikhail Baryshnikov, in honor of Her Majesty Queen Elizabeth The Queen Mother’s 80th birthday; Verdi Capricci, premiered on April 19, 1983, the opening night of The Royal Ballet's season at the Metropolitan Opera House, New York; and before that, A Month in the Country.

During 1985, Ashton choreographed a solo for Merle Park, La Chatte Metamorphoses en Femme, for a gala in honor of Fanny Elssler in Vienna and supervised London Festival Ballet's revival of his Romeo and Juliet. Ashton first worked in opera in 1934, when he staged Virgil Thomson's Four Saints in Three Acts, in the United States. In 1953, he staged Gluck's Orfeo at Covent Garden, with Kathleen Ferrier singing the title role in her last appearance. Benjamin Britten's last opera Death in Venice, also includes dances choreographed by Ashton. In 1981, he created choreography for the Nightingale and the Fisherman (on Natalia Makarova and Anthony Dowell) for Igor Stravinsky's opera Le Rossignol for the Metropolitan Opera's triple-bill Stravinsky Centenary evening. In September, 1983, this production, with designs by David Hockney, was taken into the repertoire of the Royal Opera at Covent Garden.

Frederick Ashton was made a CBE in 1950, and knighted in 1962. In 1970, he became a Companion of Honour, and in October 1977, he was invited by The Queen to become a member of the Order of Merit. France admitted Ashton to the Legion d'Honneur in 1962 and Denmark made him a Commander of the Order of the Dannebrog in 1963. Recognition of his achievement came in 1959 from the Royal Academy of Dancing, which gave him its Queen Elizabeth II Coronation Award; in 1972 from the Carina Aria Foundation in Sweden with its Gold Medal; and with honorary degrees: as Doctor of Letters in the Universities of Durham (1962) and East Anglia (1967), and as Doctor of Music in the Universities of London (1970) and Oxford (1976).

On August, 19, 1988, Frederick Ashton died in his sleep at his country home in Eye, Suffolk. He was 83.

Ashton's works remain sparingly represented in Munich repertoire. The German premiere of his masterpiece La Fille mal gardée at the Nationaltheater in 1971, starring Gislinde Skroblin, Heinz Bosl and Ferenc Barbay in the leading roles, was a sensational success. The ballet remained in the repertory for decades until its restaging at the Bavarian State Ballet in 1994. After a prolonged break, this beloved ballet comedy returns to Munich in 2012 as part of the season "Very British?!".

In 1972, Ashton's Les Rendezvous was premiered at the Nationaltheater. The charming and brief work dissappeared from the repertoire shortly afterwards. Frederick Ashton's Five Brahms Waltzes in the Manner of Isadora Duncan was first seen at the Nationaltheater Munich in 1996, danced by Evelyn Hart. Ten years later, with Sherelle Charge and Stephanie Hancox as dancers, it was added to the repertory and is part of the mixed bill premiere Steps & Times in December 2011. The latter, a homage to British Dance, brings one of Ashton's most important works, Scènes de ballet to Munich for the first time. Completing the bill will be Voices of spring, Frederick Ashton's delightful and captivating pas de deux which was first seen in Munich in 2006 during the Terpsichore-Gala IV.

Another significant work of Sir Frederick Ashton will be performed as part of a guest appearance by the Birmingham Royal Ballet during the Ballet Festival Week 2012. Ashton's version of Shakespeare's The Dream has only been performed in part during the Ballet Festival Week Gala in 1972.
Sir Frederick Ashton

 



Music

Johann Strauß


 

 



Solistin

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

 



Solist

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. As of the season 2014/15, he was promoted to Principal Dancer.

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

 


Scènes de ballet

Frederick Ashton
Kenneth MacMillan

Conductor

Ryusuke Numajiri

Ryusuke Numajiri erhielt seine musikalische Ausbildung an der Toho Gakuen School of Music in den Fächern Klavier und Dirigieren bei Seiji Ozawa und Tadaaki Otaka. Bevor er sein Studium an der Universität der Künste in Berlin fortsetzte, war er Assistent von Seiji Ozawa beim New Japan Philharmonic.

Nach seiner Rückkehr nach Japan wurde Ryusuke Numajiri schnell einer der begehrtesten Dirigenten des Landes. Von 1993 – 1998 war er der jüngste Chefdirigent des Japan Shinsei Symphony Orchesters, das er auch auf eine vielbeachtete Europa-Tournee führte. Im selben Jahr gründete er die Tokyo Mozart Players mit denen er alle Beethoven Symphonien aufnahm. Ryusuke Numajiri war von 1999 – 2003 Principal Conductor des Tokyo Philharmonic Orchestra sowie von 2003 – 2006 Chefdirigenten des Nagoya Philharmonic Orchestra. Seit 2003 ist er Principal Conductor des Japan Philharmonic Symphony Orchestra. 2006 wurde er zum Principal Guest Conductor des Nagoya Philharmonic ernannt, ab 2007 übernimmt er die Position des Musikdirektors der Biwako Oper Japan. Auf der Expo 2005 in Nagoya brachte er Schönbergs Gurrelieder zur Aufführung.

Im Westen machte Ryusuke Numajiri auf sich aufmerksam, als er 1990 den 40. Internationalen Besancon Dirigierwettbewerb gewann. Seitdem ist er ständiger Gast bei Orchestern wie dem London Symphony Orchestra, dem Deutschen Symphonie Orchester Berlin, dem Orchestra Sinfonica di Milano "Giuseppe Verdi", dem Orchestre du Capitole de Toulouse, den Düsseldorfer Symphonikern, der Staatskapelle Weimar, dem China Philharmonic Orchestra, dem Wiener Kammerorchester und der Northern Sinfonia.

Ryusuke Numajiris hat ein besonderes Interesse, das Publikum an neues Repertoire heranzuführen. So dirigierte er die japanischen Erstaufführungen von Philip Glass' Peace Symphony, Busonis Klavierkonzert und seinen Doktor Faust, Zemlinskys Der Zwerg, Schönbergs Notturno, Toru Takemitsus Spectral Canticle, sowie Werke von Messiaen, Andriessen, Górecki, Ligeti, Lutoslawski, Berio, Dutilleux, Xenakis, Birtwistle, Matthews und Ichiro Nodaira. Seine Tournee mit dem Nagoya Philharmonic Orchestra im Jahre 2004, wo er Takemitsus Ceremonial und Messiaens Turangalila in europäische Konzertsäle brachte, erhielt hervorragende Kritiken.

Seit seinem Debüt als Operndirigent, 1997, mit Mozarts Die Entführung aus dem Serail, leitete Ryusuke Numajiri verschiedene Produktionen, darunter Strawinskys Le Rossignol, Zemlinskys Eine florentinische Tragödie, Mozarts Idomeneo, Brittens The Little Sweep, Richard Strauss' Der Rosenkavalier, Bergs Lulu und Kreneks Jonny spielt auf an der Oper Köln. Mit der Staatsballett-Premiere von Mahlers Das Lied von der Erde und John Adams' Chamber Symphony gab er im April 2007 sein Debut als Dirigent des Bayerischen Staatsorchesters. Seit 2007 ist Numajiri Musikdirektor der Biwako Oper Japan, außerdem international als Gast unter anderem beim Montreal Symphony Orchestra, dem Deutschen Symphonie-Orchester Berlin, der Sydney Symphony und dem Wiener Kammerorchester tätig.
Ryusuke Numajiri

 



Choreography

Frederick Ashton

Sir Frederick Ashton was born in 1904 and spent his childhood in South America. He studied with Leonide Massine and Marie Rambert, who also gave him his first opportunities as a choreographer.

A Tragedy of Fashion, a commission in 1926, was his first ballet to be staged as part of a revue entitled Riverside Nights. In 1928, he joined Ida Rubinstein's company in Paris, where he also came under the influence of Bronislava Nijinska from whom, he acknowledged, he learned his craft. He came to England in 1929 to choreograph for Rambert and the Camargo Society. He also danced with the Rambert Company in both the classics and modern works, and partnered Tamara Karsavina, Lydia Lopokova and Alicia Markova, at the same time pursuing a successful career as a dancer in musicals and revues.

In 1931, he created his first work, Regatta, for Ninette de Valois' Vic-Wells Ballet, and four years later was invited to become Resident Choreographer. Ashton remained De Valois' associate until 1948 when his position as Associate Director was publicly recognized. In 1963, he succeeded Dame Ninette as Director of the company (now called The Royal Ballet), a position he held until he retired in 1970. In 1935, Ashton began his association with Margot Fonteyn, creating the Bride in Le Baiser de la Fée for her. Among the ballets he has since made with her in mind are Nocturne, Horoscope, Dante Sonata, Symphonic Variations, his first ballet for the Covent Garden stage Daphnis and Chloë, Ondine and Marguerite and Armand (for Fonteyn and Nureyev). Ashton's choreography has caused an unmistakably lyrical style to emerge in British ballet. In addition to comic and dramatic ballets and those of "pure" dance, his innate sense of theatre is always apparent.

Of nearly 100 ballets, many have been landmarks, including Cinderella, Daphnis and Chloë, The Two Pigeons, and Birthday Offering for the company's Silver Jubilee. In addition to the inspiration of Fonteyn, he created The Dream for Anotinette Sibley and Anthony Dowell. La Fille mal gardée, has been a brilliant success throughout the world, often mounted by Ashton himself.

More recent full scale ballets have been Rhapsody, created for Mikhail Baryshnikov, in honor of Her Majesty Queen Elizabeth The Queen Mother’s 80th birthday; Verdi Capricci, premiered on April 19, 1983, the opening night of The Royal Ballet's season at the Metropolitan Opera House, New York; and before that, A Month in the Country.

During 1985, Ashton choreographed a solo for Merle Park, La Chatte Metamorphoses en Femme, for a gala in honor of Fanny Elssler in Vienna and supervised London Festival Ballet's revival of his Romeo and Juliet. Ashton first worked in opera in 1934, when he staged Virgil Thomson's Four Saints in Three Acts, in the United States. In 1953, he staged Gluck's Orfeo at Covent Garden, with Kathleen Ferrier singing the title role in her last appearance. Benjamin Britten's last opera Death in Venice, also includes dances choreographed by Ashton. In 1981, he created choreography for the Nightingale and the Fisherman (on Natalia Makarova and Anthony Dowell) for Igor Stravinsky's opera Le Rossignol for the Metropolitan Opera's triple-bill Stravinsky Centenary evening. In September, 1983, this production, with designs by David Hockney, was taken into the repertoire of the Royal Opera at Covent Garden.

Frederick Ashton was made a CBE in 1950, and knighted in 1962. In 1970, he became a Companion of Honour, and in October 1977, he was invited by The Queen to become a member of the Order of Merit. France admitted Ashton to the Legion d'Honneur in 1962 and Denmark made him a Commander of the Order of the Dannebrog in 1963. Recognition of his achievement came in 1959 from the Royal Academy of Dancing, which gave him its Queen Elizabeth II Coronation Award; in 1972 from the Carina Aria Foundation in Sweden with its Gold Medal; and with honorary degrees: as Doctor of Letters in the Universities of Durham (1962) and East Anglia (1967), and as Doctor of Music in the Universities of London (1970) and Oxford (1976).

On August, 19, 1988, Frederick Ashton died in his sleep at his country home in Eye, Suffolk. He was 83.

Ashton's works remain sparingly represented in Munich repertoire. The German premiere of his masterpiece La Fille mal gardée at the Nationaltheater in 1971, starring Gislinde Skroblin, Heinz Bosl and Ferenc Barbay in the leading roles, was a sensational success. The ballet remained in the repertory for decades until its restaging at the Bavarian State Ballet in 1994. After a prolonged break, this beloved ballet comedy returns to Munich in 2012 as part of the season "Very British?!".

In 1972, Ashton's Les Rendezvous was premiered at the Nationaltheater. The charming and brief work dissappeared from the repertoire shortly afterwards. Frederick Ashton's Five Brahms Waltzes in the Manner of Isadora Duncan was first seen at the Nationaltheater Munich in 1996, danced by Evelyn Hart. Ten years later, with Sherelle Charge and Stephanie Hancox as dancers, it was added to the repertory and is part of the mixed bill premiere Steps & Times in December 2011. The latter, a homage to British Dance, brings one of Ashton's most important works, Scènes de ballet to Munich for the first time. Completing the bill will be Voices of spring, Frederick Ashton's delightful and captivating pas de deux which was first seen in Munich in 2006 during the Terpsichore-Gala IV.

Another significant work of Sir Frederick Ashton will be performed as part of a guest appearance by the Birmingham Royal Ballet during the Ballet Festival Week 2012. Ashton's version of Shakespeare's The Dream has only been performed in part during the Ballet Festival Week Gala in 1972.
Sir Frederick Ashton

 



Music

Igor Strawinsky


 

 



Set and Costumes

André Beaurepaire


 

 



Lighting

John B. Read


 

 



Solistin

Daria Sukhorukova

Principal dancer

Daria Sukhorukova, born in St. Petersburg, completed her dance education at the famous Waganowa academy in her home town and directly received a contract at the Marijinsky Theatre in 2001. During the six years of her carrier in Russia she got the opportunity to enlarge her repertoire with important dance parts such as the female title role of Romeo and Juliet and different kind of soli in The Sleeping Beauty, Les Sylphides (M. Fokine), Jewels (G. Balanchine) or La Sylphide (F. Taglioni).

In the season 2007/2008 she joined the Bavarian State Ballet as a first soloist and became a principal dancer in the season 2010/2011

Debut 2007/2008
Medora and Odaliske in Le Corsaire (M. Petipa/I. Liška)
Odette/Odile in Swan Lake (R. Barra)
Pas de deux in the second movement of  Brahms-Schönberg-Quartett
Ariel in Der Sturm (J. Mannes)
Nikija in La Bayadère (Petipa, Bart)

Debut 2008/2009
Sister in A Cinderella Story (J. Neumeier)
Odaliske in Shéhérazade (M. Fokine)
Adagio Hammerklavier (H. v. Manen)
Manon Lescaut in Lady of the Camelias (J. Neumeier)
Leading Nymph in L'après-midi d'un faune (V. Nijinsky)

Debut 2009/2010
Title Role in Raymonda (M. Petipa)
Woman in blue dress in Les Biches (B. Nijinska)
Zobéide in Shéhérazade (M. Fokine)
Sylvia Pas de deux (G. Balanchine)

Debut 2010/2011
Woman 1 in My Ravel: Whichever Way he Looks... (J. Mannes)
Topas in Sleeping Beauty (M. Petipa, I. Liška)
Princess Odette in Illusions - like Swanlake (J. Neumeier)
Princess Natalia in Illusions - like Swan Lake (J. Neumeier)
Princess Aurora in Sleeping Beauty (M. Petipa, I. Liška)
First Dream Variation in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Louise in The Nutcracker (J. Neumeier)
Bianca in The Taming of the Shrew (J. Cranko)
First Soloist in Scènes de ballet (F. Ashton)

Debut 2013/2014
Hermia in a Midsummer Night's Dream (J. Neumeier)
Choreartium (L. Massine), Creation
Motherly Figure in Le Sacre du printemps (M. Wigman)
Daria Sukhorukova.©Sascha Kletzsch

 



Solist

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)