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

Friday, 23. 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

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

 



Solist 2

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

 


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

Luisa Díaz González

First Soloist

Luisa Díaz González comes from Switzerland and has Mexican roots. She started training at the School of American Ballet in New York and later went on to the National School of Dance of Mexico (Honors Award) before graduating from the École de Danse de l’Opéra de Paris in 2000.
Whilst still a student, she won several honors, including the gold medal at the Mexican National Dance Competition (1995, 1996, 1997), the Mexican Morelos Award (1997), the gold medal of the French Salle Pleyel Institute of ballet (2000) and in 2001, the Italian “Danza e Danza” Award. During the same year, she received the National Youth Award from the Mexican president.

She danced with the New York City Ballet, the Paris Opera Ballet and the National Dance Company of Mexico. From 2001 to 2012 she was a First Soloist at the Béjart Ballet Lausanne, where she danced nearly every leading role. Le Sacre du Printemps, Romeo and Juliet, Serait ce la mort, The Magic Flute, Le Presbytère, Wien, Wien nur du allein or Sonate á trois, as well as many classical parts like The Nutcracker or Swan Lake belong to her repertory.

Luisa Díaz González joined the Bavarian State Ballet as First Soloist in September 2012.

Debut 2012/2013
3. Shade-variation in La Bayadère (M. Petipa/P. Bart)
1. Solo-Girl in Choreartium (L. Massine)
BIPED (M. Cunningham)

Debut 2013/2014
Gypsy in Romeo and Juliet (J. Cranko)
Luisa Diaz González © Sascha Kletzsch

 



Solistin 2

Luiza Bernardes Bertho

Corps de ballet

Born in Rio de Janeiro, Brazil. Studied at Petite Danse School of Dance and Brazilian Conservatory of Dance in Rio de Janeiro. From 2005, parallel to her studies, dancing in the  Corps de ballet of the Brazilian Company of Ballet, from 2008 also in the Corps de ballet of the Municipal Theatre Ballet of Rio de Janeiro. Gold Medal at the competition of the Dance Festivals of Joinville in Santa Catarina, Brazil in 2007 und 2008. Semi-Finalist at 36th Prix de Lausanne, Switzerland und Bronze Medal at the 2nd International Ballet Competition in Beijing, China in 2008.
She danced leading roles like the title role in  Giselle, Kitri in Don Quixote, various Soli in The Nutcracker and Gamzatti in La Bayadère with the Brazilian Company of Ballet between 2008 und 2010. In Spring 2010, she performed with the Cuban Classical Ballet of Miami, USA, dancing Mercedes in Don Quixote.

Since September 2010, she was engaged  as a Trainee and promoted to a Corps de ballet dancer at the beginning of the season 2011/12.

Debut 2012/2013
2. Solo-Girl in Choreartium (L. Massine)
5. Variation in Birthday Offering (F. Ashton)
BIPED (M. Cunningham)
Luiza Bernardes Bertho.©Sascha Kletzsch

 



Solistin 3

Evgenia Dolmatova

Soloist

Evgenia Dolmatova was born in Lida, Belarus. She trained at the Vaganova Ballet Academy. In 2005 she joined the Mariinsky Theatre St. Petersburg where she performed in nearly every classical ballet like La Sylphide, Giselle, La Bayadère, Raymonda, The Nutcracker, Sleeping Beauty, Romeo and Juliet, Anna Karenina, Shéhérazade, The Fire Bird, Swan Lake, Symphony in C, La Valse, Cinderella, Don Quixote, amongst others. Furthermore she took part in tours all over Europe, the USA and Japan.

Evgenia Dolmatova joined the Bavarian State Ballet at the Soloist rank in August 2012.

Debut 2012/2013
3. Solo-Girl in Choreartium (L. Massine)
3. Shadow variation in La Bayadère (M. Petipa / P. Bart)
2. Pas de deux in Goldberg-Variations (J. Robbins)
3. Variation in Birthday Offering (F. Ashton)
BIPED (M. Cunningham)

Debut 2013/2014
Gamzatti in La Bayadère (M. Petipa/ P. Bart)
Evgenia Dolmatova © Sascha Kletzsch

 



Solistin 4

Gözde Özgür

Soloist

Gözde Özgür was born in Ankara/Turkey and was trained at the State Conservatorium Ankara. At the age of 15 she joined the Ballet Academy Zürich, where she received her diploma in 2008.

She joined the Corps de ballet of the Bavarian State Ballet in the season 2008/2009.
She danced a solo variation in Jiří Kylián's creation Zugvögel.
She was promoted to a Soloist since the beginning of the season 2011/12.

Debut 2009/2010
Girl in grey in Les Biches (B. Nijinski)
Giselle in Giselle - Mats Ek (M. Ek)
Cello in Multiplicity. Forms of Silence and Emptiness (N. Duato)

Debut 2010/2011
Amor in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
Nieves in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Fairy Variation in The Sleeping Beauty (I. Liska after M. Petipa)

Debut 2012/2013
2. Pas de trois in Goldberg-Variations (J. Robbins)
The friend's wife in The Moor's Pavane (J. Limón)
4. Solo-Girl in Choreartium (L. Massine)
Marie in The Nutcracker (J. Neumeier)
1. Variation in Birthday Offering (F. Ashton)
Gözde Özgür.©Sascha Kletzsch

 



Solistin 5

Mai Kono

Soloist

Mai Kono, born in Japan, started her dance education at the Hitomi Kikuchi Ballet Studio, and completed it at the Heinz-Bosl-Stiftung in Munich. During her young career she already won different kind of dance awards, such as the NBA Ballet Competition of Japan 2004, the Saitama Dance Competition of Japan 2005 and in 2007 she received the audience award at the Prix de Lausanne.

She was promoted to a Soloist at the beginning of the season 2011/12.

Debut 2010/2011
Chloé in My Ravel: Daphnis and Chloé (T. Kohler)
Fairy Variation and Princess Florine in Sleeping Beauty (M. Petipa, I. Liška)
Amor in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Rocio in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
"The Chinese Bird" in The Nutcracker (J. Neumeier)
Voices of Spring (F. Ashton)


Debut 2012/2013
Gods and Dogs (J. Kylián)
5. Solo-Girl in Choreartium (L. Massine)
Pandora in Helden (T. Kohler)
BIPED (M. Cunningham)

Debut 2013/2014
2. shade-variation in La Bayadère (M. Petipa/ P. Bart)
Woman in Love in Le Sacre du printemps (M. Wigman)
Mai Kono. ©Sascha Kletzsch

 



Solistin 2. Satz

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

 



Solist 1

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

 



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

Wlademir Faccioni

First Soloist

Wlademir Faccioni was born in Brazil and was trained in the Munich Ballett-Akademie/Heinz-Bosl-Stiftung. In 2002 he joined the Bavarian State Ballet as an apprentice and became a member of the corps de ballet in January 2003.

His repertoire includes Jiří Kylián's Six Dances and Svadebka, Hans van Manen’s Solo and a prominent part in Itzik Galilis So nah so fern.

His first choreography Vivace (on music by Vivaldi) was created in 2004 as part of the State Ballet’s Young Choreographers Program.

He was promoted to a Soloist at the beginning of the season 2007/2008 and dances as a First Soloist since the beginning of the season 2011/12.

Debuts 2007/2008
Hilarion in Giselle (Ballett und Wildnis)
Caliban in Der Sturm (Mannes), creation
Ebony Concerto (J. Cranko)
Cambio d´abito (S. Sandroni), creation

Debut 2009/2010
Zugvögel (J. Kylián), creation

Debut 2010/2011
Detective in Série Noire - A choreographic murder mystery (T. Kohler)
Pan in My Ravel: Daphnis and Chloé (T. Kohler)
Tom thumb in Sleeping Beauty (M. Petipa, I. Liška)
Gremio in The Taming of the Shrew (J. Cranko)

Debut 2011/2012
Paco in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
The Knifethrower in The Girl and the Knifethrower (S. Sandroni)
2. Pas de trois in Goldberg-Variationen (J. Robbins)
Gods and Dogs (J. Kylián)

Debut 2012/2013
Joker in Choreartium (L. Massine)
3. Solo-Boy in Choreartium (L. Massine)
Birthday Offering (F. Ashton)
Epimetheus in Helden (T. Kohler)
Unitxt (R. Siegal), creation

Debut 2013/2014
Benvolio in Romeo and Juliet (J. Cranko)
Wlademir Faccioni.©Sascha Kletzsch

 



Solist 4

Karen Azatyan

First Soloist

Karen Azatyan, born in Armenia, started his dance education at the Yerevan Dancing Art State College and completed it in 2007 at the Dance Academy in Zurich. During his time in Zurich he received the second price at the competition “Tanz Olymp Berlin 2005” in the category classic variation and in the same year the Prix de Lausanne scholarship and won the young promising dancer award of the international ballet competition Varna in 2006.

From the season 2007/2008 on, he has joined the Bavarian State Ballet as a member of the Corps de ballet and was promoted to a Soloist in autumn 2010. With the beginning of the season 2012/13 Karen Azatyan became First Soloist.

Debut 2007/2008
Sebastian and Antonio in The Tempest (J. Mannes)

Debut 2008/2009
Romeo in Romeo and Juliet (J. Cranko)
Zugvögel (J. Kylián), creation

Debut 2009/2010
Athlet in Les Biches (B. Nijinska)

Debut 2010/2011
Albrecht in Once Upon an Ever After (T. Kohler)
Daphnis in My Ravel: Daphnis and Chloé (T. Kohler)
Hortensio in The Taming of the Shrew (J. Cranko)
Count Alexander in Illusions - like Swan Lake (J. Neumeier)
Basilio in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Fritz in The Nutcracker (J. Neumeier)
Lucentio in The Taming of the Shrew (J. Cranko)
Bluebird in Sleeping Beauty (M. Petipa / I. Liška)
Voices of Spring-Pas de deux (F. Ashton)
Gods and Dogs (J. Kylián)
Pas de six and Russian dance in Swan Lake (R. Barra)

Debut 2012/2013
Golden Idol in La Bayadère (M. Petipa/P. Bart)
4. Solo-Boy in Choreartium (L. Massine)
Birthday Offering (F. Ashton)
Prometheus in Heroes (T. Kohler)

Debut 2013/2014
Mercutio in Romeo and Juliet (J. Cranko)
Demetrius in A Midsummer Night's Dream (J. Neumeier)
Unitxt (R. Siegal), creation
Karen Azatyan.©Sascha Kletzsch

 


The Moor's Pavane

José Limón

Conductor

Robertas Šervenikas


Robertas Servenikas

 



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

 



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


 

 



Music

Henry Purcell


 

 



arrangiert von

Simon Saddoff


 

 



Der Mohr

Cyril Pierre

Principal dancer

Cyril Pierre was born in Nancy, France, and trained at the Conservatoire of his native town, before joining Serge Golovine's class at the Ballet School of the Opéra National de Paris.
Having graduated, he was engaged at Roland Petit's Ballet National de Marseille, where he was promoted to first solist in 1990 and to étoile (Principal) in 1992. Four years later, Helgi Tomasson invited him to join the San Francisco Ballet as a Principal Dancer. His San Francisco repertory included all major classical roles, as well as contemporary creations by Helgi Tomasson, James Kudelka and others.

Together with his partner Lucia Lacarra he joined the Bavarian State Ballet as a Principal Dancer in autumn 2002, dancing such important roles as Onegin, Prince Siegfried (Swanlake) and Abderakhman (Raymonda) in his very first Munich season.

During season 2003-04, he enlarged his repertoire with Günther in John Neumeier's Nutcracker, Oberon/Theseus in Neumeier's Midsummer Night's Dream and Prince Désiré in The Sleeping Beauty (Marius Petipa/Ivan Liška).

As a guest dancer, Cyril appears on stages world wide, in full performances (Berlin, Prague, Naples, Milan), as well as in galas, mostly together with his partner Lucia Lacarra.

Debut 2004/2005
Romeo und Mercutio in Romeo und Julia (J. Cranko)
Gaston in Die Kameliendame (J.Neumeier)
Black Cake (H. van Manen)
Bella Figura (J. Kylián)
Agon (G. Balanchine)
Solor in La Bayadère (P.Bart)

Debut 2005/2006
Baron Ochs in The Silver Rose/Die silberne Rose (G. Murphy), creation
Century Rolls (D. Bombana), creation
Hilarion in Giselle (P. Wright)

Debut 2006/2007
Prinz Albrecht in Giselle (P. Wright)

Debut 2006/2007
Lankedem and Birbanto in Le Corsaire (M. Petipa, I. Liška)

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

Debut 2008/2009
Vater in A Cinderella Story (J. Neumeier)
Tybalt in Romeo and Juliet (J. Cranko)
Shariar in Shéhérazade (M. Fokine)
Center Man in Les Biches (B. Nijinska)
Zugvögel (J. Kylián), creation

Debut 2009/2010
Abderakham in Raymonda (M. Petipa)
Freund der Ballerina des 20. Jahrhunderts in Série Noire - A choreographic murder mystery (T. Kohler)

Debut 2010/2011
Tsar in Série Noire - A choreographic murder mystery (T. Kohler)
Pas de deux in Artifact (W. Forsythe)
Man 1 in My Ravel: Whichever Way he Looks... (J. Mannes)
Carabosse in Sleeping Beauty (M. Petipa, I. Liška)
Prince Leopold in Illusions - Like Swan Lake (J. Neumeier)
Don Quijote in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
El Trianero, Matador in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Drosselmeier in The Nutcracker (J. Neumeier)
Hortensio in The Taming of the Shrew (J. Cranko)
Man in Song of the Earth (K. MacMillan)
The Fiancé in Las Hermanas (K. MacMillan)
Widow Simone in La Fille mal gardée (F. Ashton)


Debut 2012/2013
1. Pas de deux in Goldberg-Variationen (J. Robbins)
The Moor in The Moor's Pavane (José Limón)
Partner der Primaballerina und Pas de deux in Birthday Offering (F. Ashton)

Debut 2013/2014
Lord Capulet in Romeo and Juliet (J. Cranko)
Zettel in A Midsummer Night's Dream (J. Neumeier)
The Wise One in Le Sacre du printemps (M. Wigman)

Cyril Pierre.©Sascha Kletzsch

 



Seine Frau

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

 



Der Freund

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

 



Dessen Frau

Gözde Özgür

Soloist

Gözde Özgür was born in Ankara/Turkey and was trained at the State Conservatorium Ankara. At the age of 15 she joined the Ballet Academy Zürich, where she received her diploma in 2008.

She joined the Corps de ballet of the Bavarian State Ballet in the season 2008/2009.
She danced a solo variation in Jiří Kylián's creation Zugvögel.
She was promoted to a Soloist since the beginning of the season 2011/12.

Debut 2009/2010
Girl in grey in Les Biches (B. Nijinski)
Giselle in Giselle - Mats Ek (M. Ek)
Cello in Multiplicity. Forms of Silence and Emptiness (N. Duato)

Debut 2010/2011
Amor in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
Nieves in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Fairy Variation in The Sleeping Beauty (I. Liska after M. Petipa)

Debut 2012/2013
2. Pas de trois in Goldberg-Variations (J. Robbins)
The friend's wife in The Moor's Pavane (J. Limón)
4. Solo-Girl in Choreartium (L. Massine)
Marie in The Nutcracker (J. Neumeier)
1. Variation in Birthday Offering (F. Ashton)
Gözde Özgür.©Sascha Kletzsch