Company: Bavarian State BalletFrom today| Date | Event | Composers, Works, Performers |
|---|---|---|
| Sunday 19-May-13 03:00pm |
 National Theatre, MunichLa Bayadère - Revival |
Bavarian State Ballet |
 | ||
| National Theatre, Munich, Munich, Germany Sunday 19-May-13 03:00pm La Bayadère - Revival La Bayadère was the first work in a series of successful reconstructions of 19th century repertory which has been – almost – completed in Munich. This splendid full-length gem of a true Russian classic by master choreographer Marius Petipa, focuses on the two characters of Nikija and Solor, caught in a complicated triangle relationship. Petipa stands for the great era of the Russian Imperial ballet at the Mariinsky Theater St. Petersburg. Most audiences today associate him with the famous and ever popular Tchaikovsky-ballets: The Sleeping Beauty and Swan Lake or Don Quixote with music by Ludwig Minkus.
Created in 1877, La Bayadère is a mixture of an exotic tale, a thriller and a celebration of virtuosity. At its center are the two lovers: the priestess, the Bayadère, Nikija and the soldier Solor. The ladder however is promised in marriage to Gamzatti, the daughter of the Radja, whilst the Great Brahman has fallen in love with his priestess Nikija. Nikija falls victim to murder by her rival and Solor dreams himself into the 'Kingdom of Shades' in order to be reunited with his love. What follows is one of the most famous, magnificent white acts in ballet history.
The Bavarian State Ballet has worked on this version, together with the French choreographer Patrice Bart and the Japanese stage- and costume designer Tomio Mohri. The heart of the piece, the 'Kingdom of Shades' act, the betrothal celebration scene with it ceremonious line filing dance and some elaborate pantomime scenes can be seen in its original version.
The final act, lost in Russia since the beginning of the century, is part a new creation, part reconstruction.Image credit: Wilfried Hösl | ||
| Saturday 25-May-13 07:30pm |
National Theatre, Munich La Bayadère - Revival |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Saturday 25-May-13 07:30pm La Bayadère - Revival La Bayadère was the first work in a series of successful reconstructions of 19th century repertory which has been – almost – completed in Munich. This splendid full-length gem of a true Russian classic by master choreographer Marius Petipa, focuses on the two characters of Nikija and Solor, caught in a complicated triangle relationship. Petipa stands for the great era of the Russian Imperial ballet at the Mariinsky Theater St. Petersburg. Most audiences today associate him with the famous and ever popular Tchaikovsky-ballets: The Sleeping Beauty and Swan Lake or Don Quixote with music by Ludwig Minkus.
Created in 1877, La Bayadère is a mixture of an exotic tale, a thriller and a celebration of virtuosity. At its center are the two lovers: the priestess, the Bayadère, Nikija and the soldier Solor. The ladder however is promised in marriage to Gamzatti, the daughter of the Radja, whilst the Great Brahman has fallen in love with his priestess Nikija. Nikija falls victim to murder by her rival and Solor dreams himself into the 'Kingdom of Shades' in order to be reunited with his love. What follows is one of the most famous, magnificent white acts in ballet history.
The Bavarian State Ballet has worked on this version, together with the French choreographer Patrice Bart and the Japanese stage- and costume designer Tomio Mohri. The heart of the piece, the 'Kingdom of Shades' act, the betrothal celebration scene with it ceremonious line filing dance and some elaborate pantomime scenes can be seen in its original version.
The final act, lost in Russia since the beginning of the century, is part a new creation, part reconstruction.Image credit: Wilfried Hösl | ||
| Friday 31-May-13 08:00pm |
National Theatre, Munich Heroes - Première |
Bavarian State Ballet |
 | ||
| National Theatre, Munich, Munich, Germany Friday 31-May-13 08:00pm Heroes - Première "To become a hero, one must be different. The deeds of a hero shall bring him glory, they can be of physical or intellectual nature: Courage, a willingness to make sacrifices and to stand up for ideals and fellow human beings. Heroes are the counterpart of villains and cowards – or so they should be.”
With Once Upon An Ever After stage designer rosalie and choreographer Terence Kohler have produced a celebrated blockbuster of dance as the centerpiece of the 100 years of Ballets Russes bill. For Heroes the two artists will once again collaborate to create the premiere of the Ballet Festival Week 2013 on the Bavarian State Ballet. Terence Kohler chose musical scores by Alfred Schnittke for his piece. In addition he is working with composer Lera Auerbach. New production.Image credit: Once Upon an Ever After © Wilfried Hösl | ||
| Saturday 1-Jun-13 07:30pm |
National Theatre, Munich Heroes - Première |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Saturday 1-Jun-13 07:30pm Heroes - Première "To become a hero, one must be different. The deeds of a hero shall bring him glory, they can be of physical or intellectual nature: Courage, a willingness to make sacrifices and to stand up for ideals and fellow human beings. Heroes are the counterpart of villains and cowards – or so they should be.”
With Once Upon An Ever After stage designer rosalie and choreographer Terence Kohler have produced a celebrated blockbuster of dance as the centerpiece of the 100 years of Ballets Russes bill. For Heroes the two artists will once again collaborate to create the premiere of the Ballet Festival Week 2013 on the Bavarian State Ballet. Terence Kohler chose musical scores by Alfred Schnittke for his piece. In addition he is working with composer Lera Auerbach. New production.Image credit: Once Upon an Ever After © Wilfried Hösl | ||
| Friday 14-Jun-13 07:00pm |
National Theatre, Munich Illusions - like Swan Lake |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Friday 14-Jun-13 07:00pm Illusions - like Swan Lake Music by Tchaikovsky, Pyotr Ilyich (1840-1893) Choreography by John Neumeier …Silence. An empty room in a gloomy castle. Scattered throughout the room, concealed sculptures fill the empty space. Shown in by reverent guards, a man stares into nowhere. The gate slams shut behind him. Gradually, the king begins to grasp – imprisoned and deprived of power – his situation, his surroundings. In an introverted gesture, he places his hand on his heart… the music meets his lament with the first notes of Swan Lake...
The premiere of llusions – Like Swan Lake was a celebrated success of the Ballet Festival Week of 2011. Finally, John Neumeier’s ballet about the fairy tale king had been brought to its original setting.
Illusions is a Royal thriller with traditional folklore dancing, complete with a good dose of local Bavarian color. The ever-present reference to one of the greatest works in ballet history becomes most apparent in the second act, where Lew Iwanow’s original choreography is integrated: “The reconstruction of a golden hour of St. Petersburg ballet history, elaborate stage design magic supported by the captivating musical score. Most of all, it is a ballet drama that touches us right at the core because of its soulful, vivid characters, instead of showcasing lifeless swans and princes.”Image credit: Charles Tandy | ||
| Sunday 16-Jun-13 03:00pm |
National Theatre, Munich Illusions - like Swan Lake |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Sunday 16-Jun-13 03:00pm Illusions - like Swan Lake Music by Tchaikovsky, Pyotr Ilyich (1840-1893) Choreography by John Neumeier …Silence. An empty room in a gloomy castle. Scattered throughout the room, concealed sculptures fill the empty space. Shown in by reverent guards, a man stares into nowhere. The gate slams shut behind him. Gradually, the king begins to grasp – imprisoned and deprived of power – his situation, his surroundings. In an introverted gesture, he places his hand on his heart… the music meets his lament with the first notes of Swan Lake...
The premiere of llusions – Like Swan Lake was a celebrated success of the Ballet Festival Week of 2011. Finally, John Neumeier’s ballet about the fairy tale king had been brought to its original setting.
Illusions is a Royal thriller with traditional folklore dancing, complete with a good dose of local Bavarian color. The ever-present reference to one of the greatest works in ballet history becomes most apparent in the second act, where Lew Iwanow’s original choreography is integrated: “The reconstruction of a golden hour of St. Petersburg ballet history, elaborate stage design magic supported by the captivating musical score. Most of all, it is a ballet drama that touches us right at the core because of its soulful, vivid characters, instead of showcasing lifeless swans and princes.”Image credit: Charles Tandy | ||
| Saturday 22-Jun-13 07:00pm |
National Theatre, Munich Illusions - like Swan Lake |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Saturday 22-Jun-13 07:00pm Illusions - like Swan Lake Music by Tchaikovsky, Pyotr Ilyich (1840-1893) Choreography by John Neumeier …Silence. An empty room in a gloomy castle. Scattered throughout the room, concealed sculptures fill the empty space. Shown in by reverent guards, a man stares into nowhere. The gate slams shut behind him. Gradually, the king begins to grasp – imprisoned and deprived of power – his situation, his surroundings. In an introverted gesture, he places his hand on his heart… the music meets his lament with the first notes of Swan Lake...
The premiere of llusions – Like Swan Lake was a celebrated success of the Ballet Festival Week of 2011. Finally, John Neumeier’s ballet about the fairy tale king had been brought to its original setting.
Illusions is a Royal thriller with traditional folklore dancing, complete with a good dose of local Bavarian color. The ever-present reference to one of the greatest works in ballet history becomes most apparent in the second act, where Lew Iwanow’s original choreography is integrated: “The reconstruction of a golden hour of St. Petersburg ballet history, elaborate stage design magic supported by the captivating musical score. Most of all, it is a ballet drama that touches us right at the core because of its soulful, vivid characters, instead of showcasing lifeless swans and princes.”Image credit: Charles Tandy | ||
| Sunday 23-Jun-13 07:00pm |
National Theatre, Munich Illusions - like Swan Lake |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Sunday 23-Jun-13 07:00pm Illusions - like Swan Lake Music by Tchaikovsky, Pyotr Ilyich (1840-1893) Choreography by John Neumeier …Silence. An empty room in a gloomy castle. Scattered throughout the room, concealed sculptures fill the empty space. Shown in by reverent guards, a man stares into nowhere. The gate slams shut behind him. Gradually, the king begins to grasp – imprisoned and deprived of power – his situation, his surroundings. In an introverted gesture, he places his hand on his heart… the music meets his lament with the first notes of Swan Lake...
The premiere of llusions – Like Swan Lake was a celebrated success of the Ballet Festival Week of 2011. Finally, John Neumeier’s ballet about the fairy tale king had been brought to its original setting.
Illusions is a Royal thriller with traditional folklore dancing, complete with a good dose of local Bavarian color. The ever-present reference to one of the greatest works in ballet history becomes most apparent in the second act, where Lew Iwanow’s original choreography is integrated: “The reconstruction of a golden hour of St. Petersburg ballet history, elaborate stage design magic supported by the captivating musical score. Most of all, it is a ballet drama that touches us right at the core because of its soulful, vivid characters, instead of showcasing lifeless swans and princes.”Image credit: Charles Tandy | ||
| Tuesday 25-Jun-13 07:00pm |
Prinzregententheater, Munich Biped |
Bavarian State Ballet |
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| Prinzregententheater, Munich, 81675 Munich, Germany Tuesday 25-Jun-13 07:00pm "Biped is a signature piece of Merce Cunningham’s late body of works. 42 minutes of pure dance co-exist on stage without correlation to projection and music.
„It was one of the first new musical compositions commissioned by Merce Cunningham since the death of John Cage in 1992. Like all of Merce‘s work it involved a collaboration with visual artists, in this case Paul Kaiser and Shelley Eshkar who had developed a very striking technique of video motion capture. In working on the music Merce and I agreed that we would follow the method established between himself and John Cage of working independently but towards a common goal, thereby avoiding any planned one-to-one relationship between music, dance and décor.”
(Composer Gavin Bryars about Biped)
Ballet by Richard Siegal
„…suddenly, Richard Siegal stops the rehearsal, tells what he intended to insert here and there, asks the audience for their opinion, drops all inquiries and jumps to the next scene (…) it takes a while to realize what game is being played here – but even then, a hint of uncertainty is left behind. The means of presentation are chosen intentionally: the casual tone of voice, the official tone, minute details in choreographed passages where he articulates every single muscle like a cat, stand-up comedy followed by solemn seriousness. A wide-spectrum.” – TANZ magazine wrote about Richard Siegal as choreographer and performer. His new creation is yet to be named.Image credit: Merce Cunningham © Annie Liebovitz | ||
| Wednesday 26-Jun-13 07:00pm |
Prinzregententheater, Munich Biped |
Bavarian State Ballet |
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| Prinzregententheater, Munich, 81675 Munich, Germany Wednesday 26-Jun-13 07:00pm "Biped is a signature piece of Merce Cunningham’s late body of works. 42 minutes of pure dance co-exist on stage without correlation to projection and music.
„It was one of the first new musical compositions commissioned by Merce Cunningham since the death of John Cage in 1992. Like all of Merce‘s work it involved a collaboration with visual artists, in this case Paul Kaiser and Shelley Eshkar who had developed a very striking technique of video motion capture. In working on the music Merce and I agreed that we would follow the method established between himself and John Cage of working independently but towards a common goal, thereby avoiding any planned one-to-one relationship between music, dance and décor.”
(Composer Gavin Bryars about Biped)
Ballet by Richard Siegal
„…suddenly, Richard Siegal stops the rehearsal, tells what he intended to insert here and there, asks the audience for their opinion, drops all inquiries and jumps to the next scene (…) it takes a while to realize what game is being played here – but even then, a hint of uncertainty is left behind. The means of presentation are chosen intentionally: the casual tone of voice, the official tone, minute details in choreographed passages where he articulates every single muscle like a cat, stand-up comedy followed by solemn seriousness. A wide-spectrum.” – TANZ magazine wrote about Richard Siegal as choreographer and performer. His new creation is yet to be named.Image credit: Merce Cunningham © Annie Liebovitz | ||
| Friday 28-Jun-13 07:00pm |
Prinzregententheater, Munich Biped |
Bavarian State Ballet |
| ||
| Prinzregententheater, Munich, 81675 Munich, Germany Friday 28-Jun-13 07:00pm "Biped is a signature piece of Merce Cunningham’s late body of works. 42 minutes of pure dance co-exist on stage without correlation to projection and music.
„It was one of the first new musical compositions commissioned by Merce Cunningham since the death of John Cage in 1992. Like all of Merce‘s work it involved a collaboration with visual artists, in this case Paul Kaiser and Shelley Eshkar who had developed a very striking technique of video motion capture. In working on the music Merce and I agreed that we would follow the method established between himself and John Cage of working independently but towards a common goal, thereby avoiding any planned one-to-one relationship between music, dance and décor.”
(Composer Gavin Bryars about Biped)
Ballet by Richard Siegal
„…suddenly, Richard Siegal stops the rehearsal, tells what he intended to insert here and there, asks the audience for their opinion, drops all inquiries and jumps to the next scene (…) it takes a while to realize what game is being played here – but even then, a hint of uncertainty is left behind. The means of presentation are chosen intentionally: the casual tone of voice, the official tone, minute details in choreographed passages where he articulates every single muscle like a cat, stand-up comedy followed by solemn seriousness. A wide-spectrum.” – TANZ magazine wrote about Richard Siegal as choreographer and performer. His new creation is yet to be named.Image credit: Merce Cunningham © Annie Liebovitz | ||
| Tuesday 2-Jul-13 07:30pm |
National Theatre, Munich Forever Young |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Tuesday 2-Jul-13 07:30pm Forever Young Forever Young – the title of a mixed-bill program featuring José Limón’s The Moor‘s Pavane and Choreartium by Léonide Massine, with a hint of irony, reflects on a central theme of dance research which recently has been strongly endorsed by the National Culture Foundation: What is dance heritage and how do we pass it on? How do we handle the responsibility of keeping alive the legacies created by past choreographers? When the quality of the work itself transcends all of its contemporary ties and cross-references, it carries over seamlessly to the next generation: it is indeed Forever young… A certain part of this legacy arguably is to be kept in archives – the rest needs to stay alive through performance.
The Bavarian State Ballet responds to the call for innovation in dance during the season by dedicating it to the classic modernity as well as challenging its audience’s perceptions with original contemporary works. With his masterpiece Choreartium, originating from the tradition of the Ballets Russes, choreographer Léonide Massine laid the groundwork for future artists by visualizing music through dance. Thereby, he created unsentimental works that, apart from their metaphysical content, stand for pure aesthetic 'material' which will be accessible to many generations to come. José Limón’s ballet The Moor‘s Pavane, a take on Shakespeare’s drama between Otello and Desdemona, focuses on the human inability to love, trust and his lack of compassion and empathy. To this day, the ballet by Mexican-American choreographer José Limón from 1949 is considered one of the key-repertory pieces of American Modern dance.Image credit: José Limón | ||
| Sunday 7-Jul-13 07:30pm |
National Theatre, Munich Heroes - Première |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Sunday 7-Jul-13 07:30pm Heroes - Première "To become a hero, one must be different. The deeds of a hero shall bring him glory, they can be of physical or intellectual nature: Courage, a willingness to make sacrifices and to stand up for ideals and fellow human beings. Heroes are the counterpart of villains and cowards – or so they should be.”
With Once Upon An Ever After stage designer rosalie and choreographer Terence Kohler have produced a celebrated blockbuster of dance as the centerpiece of the 100 years of Ballets Russes bill. For Heroes the two artists will once again collaborate to create the premiere of the Ballet Festival Week 2013 on the Bavarian State Ballet. Terence Kohler chose musical scores by Alfred Schnittke for his piece. In addition he is working with composer Lera Auerbach. New production.Image credit: Once Upon an Ever After © Wilfried Hösl | ||
| Friday 12-Jul-13 07:30pm |
Prinzregententheater, Munich La fille mal gardée - revival Munich Opera Festival |
Bavarian State Ballet |
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| Prinzregententheater, Munich, 81675 Munich, Germany Friday 12-Jul-13 07:30pm La fille mal gardée - revival Who, if not an Englishman, and what Englishman, if not Sir Frederick Ashton, could look back at the times of the first narrative ballet that has been passed down to us with such a “very British” perception – so naïve and yet so sophisticated, so charming and yet so technically virtuosic? Needless to say, love triumphs across the board at the end – the badly guarded daughter gets her beloved Alain – neither her mother, the widow Simone, nor the rich farmer with his dolt of a son can prevent it. And the widow surprisingly gets a man as well. | ||
| Saturday 13-Jul-13 07:30pm |
Prinzregententheater, Munich La fille mal gardée - revival Munich Opera Festival |
Bavarian State Ballet |
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| Prinzregententheater, Munich, 81675 Munich, Germany Saturday 13-Jul-13 07:30pm La fille mal gardée - revival Who, if not an Englishman, and what Englishman, if not Sir Frederick Ashton, could look back at the times of the first narrative ballet that has been passed down to us with such a “very British” perception – so naïve and yet so sophisticated, so charming and yet so technically virtuosic? Needless to say, love triumphs across the board at the end – the badly guarded daughter gets her beloved Alain – neither her mother, the widow Simone, nor the rich farmer with his dolt of a son can prevent it. And the widow surprisingly gets a man as well. | ||
| Sunday 14-Jul-13 03:00pm |
Prinzregententheater, Munich La fille mal gardée - revival Munich Opera Festival |
Bavarian State Ballet |
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| Prinzregententheater, Munich, 81675 Munich, Germany Sunday 14-Jul-13 03:00pm La fille mal gardée - revival Who, if not an Englishman, and what Englishman, if not Sir Frederick Ashton, could look back at the times of the first narrative ballet that has been passed down to us with such a “very British” perception – so naïve and yet so sophisticated, so charming and yet so technically virtuosic? Needless to say, love triumphs across the board at the end – the badly guarded daughter gets her beloved Alain – neither her mother, the widow Simone, nor the rich farmer with his dolt of a son can prevent it. And the widow surprisingly gets a man as well. | ||
| Tuesday 16-Jul-13 07:30pm |
Prinzregententheater, Munich Biped |
Bavarian State Ballet |
| ||
| Prinzregententheater, Munich, 81675 Munich, Germany Tuesday 16-Jul-13 07:30pm "Biped is a signature piece of Merce Cunningham’s late body of works. 42 minutes of pure dance co-exist on stage without correlation to projection and music.
„It was one of the first new musical compositions commissioned by Merce Cunningham since the death of John Cage in 1992. Like all of Merce‘s work it involved a collaboration with visual artists, in this case Paul Kaiser and Shelley Eshkar who had developed a very striking technique of video motion capture. In working on the music Merce and I agreed that we would follow the method established between himself and John Cage of working independently but towards a common goal, thereby avoiding any planned one-to-one relationship between music, dance and décor.”
(Composer Gavin Bryars about Biped)
Ballet by Richard Siegal
„…suddenly, Richard Siegal stops the rehearsal, tells what he intended to insert here and there, asks the audience for their opinion, drops all inquiries and jumps to the next scene (…) it takes a while to realize what game is being played here – but even then, a hint of uncertainty is left behind. The means of presentation are chosen intentionally: the casual tone of voice, the official tone, minute details in choreographed passages where he articulates every single muscle like a cat, stand-up comedy followed by solemn seriousness. A wide-spectrum.” – TANZ magazine wrote about Richard Siegal as choreographer and performer. His new creation is yet to be named.Image credit: Merce Cunningham © Annie Liebovitz | ||
| Saturday 14-Sep-13 09:45am |
Probenhaus, Munich Ballet Extra: A Rehearsal with the Bavarian State Ballet |
See More info... for programme details. Bavarian State Ballet |
 | ||
| Probenhaus, Munich, Platzl 7, 80331 Munich, Germany Saturday 14-Sep-13 09:45am Ballet Extra: A Rehearsal with the Bavarian State Ballet An open rehearsal with the ensemble and ballet master of the Bavarian State Ballet, beginning with morning training. Tickets €9. Written orders will begin on 20 June 2013. | ||
| Saturday 21-Sep-13 07:30pm |
National Theatre, Munich Romeo and Juliet |
Bavarian State Ballet |
 Charles Tandy, Wilfried Hosl.jpg "Image credit: (c) Charles Tandy, Wilfried Hosl") | ||
| National Theatre, Munich, Munich, Germany Saturday 21-Sep-13 07:30pm Even though John Cranko is South African, he counts as one of the most significant English choreographers of the 20th century. Furthermore, he is a central figure in German ballet history – after all, he contributed greatly to the fact that Germany returned to the forefront of the ballet world in the 1960s. In particular his version of Romeo and Juliet, created in 1962, directed the eyes of the ballet world back to the "Dance Country Germany" after it had been the catalyst of "Ausdruckstanz" and Modern Dance during the first third of the 20th century.
Cranko's Romeo and Juliet is told in the most clear and concise way, making explanations in the program book almost completely redundant. In his choreographic handwriting, each movement resembles an emotion. It is purely classical, but combines different styles and influences: from the near acrobatic virtuosity of the soviet ballet to the subtle elegance of the English style. This mixture is especially evident in his pas de deux between lovers. Ever since 1968, the ballet has been in the repertory of the Bavarian State Ballet. Every new generation of audiences and dancer alike is enchanted and devastated by the drama of this piece.
Prices G: 70 / 63 / 53 / 40 / 29 / 17 / 10 / 7.
Written orders are processed beginning 20th June 2013.Image credit: (c) Charles Tandy, Wilfried Hosl | ||
| Saturday 28-Sep-13 08:00pm |
Probenhaus, Munich Ballet Extra: Shakespeare in Ballet |
See More info... for programme details. Bavarian State Ballet |
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| Probenhaus, Munich, Platzl 7, 80331 Munich, Germany Saturday 28-Sep-13 08:00pm Ballet Extra: Shakespeare in Ballet A look behind the scenes with open rehearsal in the intimate setting of a ballet studio, with master classes, discussions and lectures. Tickets €12. Written orders will begin on 20 June 2013. | ||
| Saturday 5-Oct-13 07:30pm |
National Theatre, Munich Romeo and Juliet |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Saturday 5-Oct-13 07:30pm Even though John Cranko is South African, he counts as one of the most significant English choreographers of the 20th century. Furthermore, he is a central figure in German ballet history – after all, he contributed greatly to the fact that Germany returned to the forefront of the ballet world in the 1960s. In particular his version of Romeo and Juliet, created in 1962, directed the eyes of the ballet world back to the "Dance Country Germany" after it had been the catalyst of "Ausdruckstanz" and Modern Dance during the first third of the 20th century.
Cranko's Romeo and Juliet is told in the most clear and concise way, making explanations in the program book almost completely redundant. In his choreographic handwriting, each movement resembles an emotion. It is purely classical, but combines different styles and influences: from the near acrobatic virtuosity of the soviet ballet to the subtle elegance of the English style. This mixture is especially evident in his pas de deux between lovers. Ever since 1968, the ballet has been in the repertory of the Bavarian State Ballet. Every new generation of audiences and dancer alike is enchanted and devastated by the drama of this piece.
Prices G: 70 / 63 / 53 / 40 / 29 / 17 / 10 / 7.
Written orders are processed beginning 20th June 2013.Image credit: (c) Charles Tandy, Wilfried Hosl | ||
| Monday 7-Oct-13 07:30pm |
National Theatre, Munich Romeo and Juliet |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Monday 7-Oct-13 07:30pm Even though John Cranko is South African, he counts as one of the most significant English choreographers of the 20th century. Furthermore, he is a central figure in German ballet history – after all, he contributed greatly to the fact that Germany returned to the forefront of the ballet world in the 1960s. In particular his version of Romeo and Juliet, created in 1962, directed the eyes of the ballet world back to the "Dance Country Germany" after it had been the catalyst of "Ausdruckstanz" and Modern Dance during the first third of the 20th century.
Cranko's Romeo and Juliet is told in the most clear and concise way, making explanations in the program book almost completely redundant. In his choreographic handwriting, each movement resembles an emotion. It is purely classical, but combines different styles and influences: from the near acrobatic virtuosity of the soviet ballet to the subtle elegance of the English style. This mixture is especially evident in his pas de deux between lovers. Ever since 1968, the ballet has been in the repertory of the Bavarian State Ballet. Every new generation of audiences and dancer alike is enchanted and devastated by the drama of this piece.
Prices G: 70 / 63 / 53 / 40 / 29 / 17 / 10 / 7.
Written orders are processed beginning 20th June 2013.Image credit: (c) Charles Tandy, Wilfried Hosl | ||
| Sunday 13-Oct-13 07:30pm |
National Theatre, Munich Midsummer Night's Dream |
Bavarian State Ballet |
 Charles Tandy.jpg "Image credit: (c) Charles Tandy") | ||
| National Theatre, Munich, Munich, Germany Sunday 13-Oct-13 07:30pm A Midsummer Night's Dream [Neumeier] Music by Mendelssohn, Felix (1809-1847)/Ligeti, György (1923-2006) Choreography by John Neumeier Why have composers and choreographers been fascinated for decades by Shakespeare's A Midsummer Night's Dream? Maybe it is the historical period of the play, maybe the caste system, maybe the versatile stylistic means of writing and the tangled plot? Fairy tale characters like Oberon and Titania fight sensual and witty battles, next to figures from Greek mythology, such as Theseus and Hippolyta which cause great confusion in the life of a clumsy craftsman and a group of lovers from present times.
Choreographer John Neumeier created his version of Sommernachtstraum in 1977 and the piece has been a steady part of the Bavarian State Ballet's repertory since 1993. After a 10 year break, the revival will now return to the stage of the Nationaltheater.
Though the mastermind behind this creation is of American descend, it was made in and for the "Dance Country Germany". Proof lies in its unique and thoughtful, virtuosic approach to developing drama. After all, the complex mixture of musical layers would be worth a separate panel discussion. Felix Mendelssohn Bartholdy's atmospheric musical score for Sommernachtstraum reflects the world of the mortals, while Györgi Ligeti's siren-esque organ pieces bring to mind the fairy kingdom depicted in Shakespeare's play. The craftsmen's dance is underlined by dominant opera paraphrases for the barrel organ which satirize even the noblest melodies.
As with the musical layers, together with his stage- and costume designer Jürgen Rose, Neumeier mixes the historical settings cleverly. What would be more suited to the sounds of Mendelsohn's score than a sweet Biedermeier set? An olive tree is a perfect symbol of the antique, mythology and fairy tales in one.
John Neumeier's Sommernachtstraum always has been a wonderful representation of an full-length classical ballet made in the ladder half of the 20th century, the 1970s in Germany. A time of departure from the narrative through Pina Bausch's work – a chapter that is also closed now, and is also being re-examined by today's dance artists and scholars.Tickets €8-€88. Written orders will be begin on June 20, 2013. | ||
| Monday 14-Oct-13 07:30pm |
National Theatre, Munich Midsummer Night's Dream |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Monday 14-Oct-13 07:30pm A Midsummer Night's Dream [Neumeier] Music by Mendelssohn, Felix (1809-1847)/Ligeti, György (1923-2006) Choreography by John Neumeier Why have composers and choreographers been fascinated for decades by Shakespeare's A Midsummer Night's Dream? Maybe it is the historical period of the play, maybe the caste system, maybe the versatile stylistic means of writing and the tangled plot? Fairy tale characters like Oberon and Titania fight sensual and witty battles, next to figures from Greek mythology, such as Theseus and Hippolyta which cause great confusion in the life of a clumsy craftsman and a group of lovers from present times.
Choreographer John Neumeier created his version of Sommernachtstraum in 1977 and the piece has been a steady part of the Bavarian State Ballet's repertory since 1993. After a 10 year break, the revival will now return to the stage of the Nationaltheater.
Though the mastermind behind this creation is of American descend, it was made in and for the "Dance Country Germany". Proof lies in its unique and thoughtful, virtuosic approach to developing drama. After all, the complex mixture of musical layers would be worth a separate panel discussion. Felix Mendelssohn Bartholdy's atmospheric musical score for Sommernachtstraum reflects the world of the mortals, while Györgi Ligeti's siren-esque organ pieces bring to mind the fairy kingdom depicted in Shakespeare's play. The craftsmen's dance is underlined by dominant opera paraphrases for the barrel organ which satirize even the noblest melodies.
As with the musical layers, together with his stage- and costume designer Jürgen Rose, Neumeier mixes the historical settings cleverly. What would be more suited to the sounds of Mendelsohn's score than a sweet Biedermeier set? An olive tree is a perfect symbol of the antique, mythology and fairy tales in one. John Neumeier's Sommernachtstraum always has been a wonderful representation of an full-length classical ballet made in the ladder half of the 20th century, the 1970s in Germany. A time of departure from the narrative through Pina Bausch's work – a chapter that is also closed now, and is also being re-examined by today's dance artists and scholars. Tickets €8-€88. Written orders will be begin on June 20, 2013. | ||
| Thursday 17-Oct-13 07:30pm |
National Theatre, Munich Midsummer Night's Dream |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Thursday 17-Oct-13 07:30pm A Midsummer Night's Dream [Neumeier] Music by Mendelssohn, Felix (1809-1847)/Ligeti, György (1923-2006) Choreography by John Neumeier Why have composers and choreographers been fascinated for decades by Shakespeare's A Midsummer Night's Dream? Maybe it is the historical period of the play, maybe the caste system, maybe the versatile stylistic means of writing and the tangled plot? Fairy tale characters like Oberon and Titania fight sensual and witty battles, next to figures from Greek mythology, such as Theseus and Hippolyta which cause great confusion in the life of a clumsy craftsman and a group of lovers from present times.
Choreographer John Neumeier created his version of Sommernachtstraum in 1977 and the piece has been a steady part of the Bavarian State Ballet's repertory since 1993. After a 10 year break, the revival will now return to the stage of the Nationaltheater.
Though the mastermind behind this creation is of American descend, it was made in and for the "Dance Country Germany". Proof lies in its unique and thoughtful, virtuosic approach to developing drama. After all, the complex mixture of musical layers would be worth a separate panel discussion. Felix Mendelssohn Bartholdy's atmospheric musical score for Sommernachtstraum reflects the world of the mortals, while Györgi Ligeti's siren-esque organ pieces bring to mind the fairy kingdom depicted in Shakespeare's play. The craftsmen's dance is underlined by dominant opera paraphrases for the barrel organ which satirize even the noblest melodies.
As with the musical layers, together with his stage- and costume designer Jürgen Rose, Neumeier mixes the historical settings cleverly. What would be more suited to the sounds of Mendelsohn's score than a sweet Biedermeier set? An olive tree is a perfect symbol of the antique, mythology and fairy tales in one. John Neumeier's Sommernachtstraum always has been a wonderful representation of an full-length classical ballet made in the ladder half of the 20th century, the 1970s in Germany. A time of departure from the narrative through Pina Bausch's work – a chapter that is also closed now, and is also being re-examined by today's dance artists and scholars. Tickets €8-€88. Written orders will be begin on June 20, 2013. | ||
| Saturday 19-Oct-13 07:30pm |
National Theatre, Munich Midsummer Night's Dream |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Saturday 19-Oct-13 07:30pm A Midsummer Night's Dream [Neumeier] Music by Mendelssohn, Felix (1809-1847)/Ligeti, György (1923-2006) Choreography by John Neumeier Why have composers and choreographers been fascinated for decades by Shakespeare's A Midsummer Night's Dream? Maybe it is the historical period of the play, maybe the caste system, maybe the versatile stylistic means of writing and the tangled plot? Fairy tale characters like Oberon and Titania fight sensual and witty battles, next to figures from Greek mythology, such as Theseus and Hippolyta which cause great confusion in the life of a clumsy craftsman and a group of lovers from present times.
Choreographer John Neumeier created his version of Sommernachtstraum in 1977 and the piece has been a steady part of the Bavarian State Ballet's repertory since 1993. After a 10 year break, the revival will now return to the stage of the Nationaltheater.
Though the mastermind behind this creation is of American descend, it was made in and for the "Dance Country Germany". Proof lies in its unique and thoughtful, virtuosic approach to developing drama. After all, the complex mixture of musical layers would be worth a separate panel discussion. Felix Mendelssohn Bartholdy's atmospheric musical score for Sommernachtstraum reflects the world of the mortals, while Györgi Ligeti's siren-esque organ pieces bring to mind the fairy kingdom depicted in Shakespeare's play. The craftsmen's dance is underlined by dominant opera paraphrases for the barrel organ which satirize even the noblest melodies.
As with the musical layers, together with his stage- and costume designer Jürgen Rose, Neumeier mixes the historical settings cleverly. What would be more suited to the sounds of Mendelsohn's score than a sweet Biedermeier set? An olive tree is a perfect symbol of the antique, mythology and fairy tales in one. John Neumeier's Sommernachtstraum always has been a wonderful representation of an full-length classical ballet made in the ladder half of the 20th century, the 1970s in Germany. A time of departure from the narrative through Pina Bausch's work – a chapter that is also closed now, and is also being re-examined by today's dance artists and scholars. Tickets €8-€88. Written orders will be begin on June 20, 2013. | ||
| Wednesday 23-Oct-13 07:30pm |
National Theatre, Munich Midsummer Night's Dream |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Wednesday 23-Oct-13 07:30pm A Midsummer Night's Dream [Neumeier] Music by Mendelssohn, Felix (1809-1847)/Ligeti, György (1923-2006) Choreography by John Neumeier Why have composers and choreographers been fascinated for decades by Shakespeare's A Midsummer Night's Dream? Maybe it is the historical period of the play, maybe the caste system, maybe the versatile stylistic means of writing and the tangled plot? Fairy tale characters like Oberon and Titania fight sensual and witty battles, next to figures from Greek mythology, such as Theseus and Hippolyta which cause great confusion in the life of a clumsy craftsman and a group of lovers from present times.
Choreographer John Neumeier created his version of Sommernachtstraum in 1977 and the piece has been a steady part of the Bavarian State Ballet's repertory since 1993. After a 10 year break, the revival will now return to the stage of the Nationaltheater.
Though the mastermind behind this creation is of American descend, it was made in and for the "Dance Country Germany". Proof lies in its unique and thoughtful, virtuosic approach to developing drama. After all, the complex mixture of musical layers would be worth a separate panel discussion. Felix Mendelssohn Bartholdy's atmospheric musical score for Sommernachtstraum reflects the world of the mortals, while Györgi Ligeti's siren-esque organ pieces bring to mind the fairy kingdom depicted in Shakespeare's play. The craftsmen's dance is underlined by dominant opera paraphrases for the barrel organ which satirize even the noblest melodies.
As with the musical layers, together with his stage- and costume designer Jürgen Rose, Neumeier mixes the historical settings cleverly. What would be more suited to the sounds of Mendelsohn's score than a sweet Biedermeier set? An olive tree is a perfect symbol of the antique, mythology and fairy tales in one. John Neumeier's Sommernachtstraum always has been a wonderful representation of an full-length classical ballet made in the ladder half of the 20th century, the 1970s in Germany. A time of departure from the narrative through Pina Bausch's work – a chapter that is also closed now, and is also being re-examined by today's dance artists and scholars. Tickets €8-€88. Written orders will be begin on June 20, 2013. | ||
| Saturday 26-Oct-13 07:30pm |
National Theatre, Munich Midsummer Night's Dream |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Saturday 26-Oct-13 07:30pm A Midsummer Night's Dream [Neumeier] Music by Mendelssohn, Felix (1809-1847)/Ligeti, György (1923-2006) Choreography by John Neumeier Why have composers and choreographers been fascinated for decades by Shakespeare's A Midsummer Night's Dream? Maybe it is the historical period of the play, maybe the caste system, maybe the versatile stylistic means of writing and the tangled plot? Fairy tale characters like Oberon and Titania fight sensual and witty battles, next to figures from Greek mythology, such as Theseus and Hippolyta which cause great confusion in the life of a clumsy craftsman and a group of lovers from present times.
Choreographer John Neumeier created his version of Sommernachtstraum in 1977 and the piece has been a steady part of the Bavarian State Ballet's repertory since 1993. After a 10 year break, the revival will now return to the stage of the Nationaltheater.
Though the mastermind behind this creation is of American descend, it was made in and for the "Dance Country Germany". Proof lies in its unique and thoughtful, virtuosic approach to developing drama. After all, the complex mixture of musical layers would be worth a separate panel discussion. Felix Mendelssohn Bartholdy's atmospheric musical score for Sommernachtstraum reflects the world of the mortals, while Györgi Ligeti's siren-esque organ pieces bring to mind the fairy kingdom depicted in Shakespeare's play. The craftsmen's dance is underlined by dominant opera paraphrases for the barrel organ which satirize even the noblest melodies.
As with the musical layers, together with his stage- and costume designer Jürgen Rose, Neumeier mixes the historical settings cleverly. What would be more suited to the sounds of Mendelsohn's score than a sweet Biedermeier set? An olive tree is a perfect symbol of the antique, mythology and fairy tales in one. John Neumeier's Sommernachtstraum always has been a wonderful representation of an full-length classical ballet made in the ladder half of the 20th century, the 1970s in Germany. A time of departure from the narrative through Pina Bausch's work – a chapter that is also closed now, and is also being re-examined by today's dance artists and scholars. Tickets €8-€88. Written orders will be begin on June 20, 2013. | ||
| Saturday 2-Nov-13 07:30pm |
National Theatre, Munich Goldberg Variations / Gods and Dogs |
Bavarian State Ballet |
 Thomas Kirchgraber.jpg "Image credit: (c) Thomas Kirchgraber") | ||
| National Theatre, Munich, Munich, Germany Saturday 2-Nov-13 07:30pm Goldberg Variations / Gods and Dogs In 2008 Jiří Kylián created this mysterious, almost mystical ballet for four couples for the NDT with almost the identical team of composers, stage designers and project designers who had realized his “Zugvögel” (“Migratory Birds”) in Munich. “Gods and Dogs”, a puzzling double figure that emerged from the realm of the pharaohs, is a further step into the current cosmos of the Czech choreographer, who says of himself: “I am interested in the borderlines between normality and madness, between health and illness, and the norms which define both. At any moment of his life, a person can be designated as being in the one or the other category. But the precise moment when he is ultimately pushed over the border into pathological madness is beyond his perception.”
The Goldberg-Variations have tempted the widest variety of choreographers to venture interpretations over the decades, and they in turn have discovered the widest variety of valid solutions. One indisputable fact however is that the crown belongs to Jerome Robbins’s 1971 creation. “A terpsichorean play of jubilation”, wrote Horst Koegler after the world première: “the choreography as a paraphrase of space and motion, playing around the music, competing with it… a demonstration of a dance philosophy obligated only to itself, instructions for learning how to watch dance.” Robbins’s unmistakable adoption and casual variation of the classic motion canon, his instinct for structure and his absorption into Bach’s musical cosmos – the physical perfection of ballet transcended into a metaphysical event.
Tickets €6-60 Written orders will be processed beginning 2. August 2013 | ||
| Thursday 7-Nov-13 07:30pm |
National Theatre, Munich Goldberg Variations / Gods and Dogs |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Thursday 7-Nov-13 07:30pm Goldberg Variations / Gods and Dogs In 2008 Jiří Kylián created this mysterious, almost mystical ballet for four couples for the NDT with almost the identical team of composers, stage designers and project designers who had realized his “Zugvögel” (“Migratory Birds”) in Munich. “Gods and Dogs”, a puzzling double figure that emerged from the realm of the pharaohs, is a further step into the current cosmos of the Czech choreographer, who says of himself: “I am interested in the borderlines between normality and madness, between health and illness, and the norms which define both. At any moment of his life, a person can be designated as being in the one or the other category. But the precise moment when he is ultimately pushed over the border into pathological madness is beyond his perception.”
The Goldberg-Variations have tempted the widest variety of choreographers to venture interpretations over the decades, and they in turn have discovered the widest variety of valid solutions. One indisputable fact however is that the crown belongs to Jerome Robbins’s 1971 creation. “A terpsichorean play of jubilation”, wrote Horst Koegler after the world première: “the choreography as a paraphrase of space and motion, playing around the music, competing with it… a demonstration of a dance philosophy obligated only to itself, instructions for learning how to watch dance.” Robbins’s unmistakable adoption and casual variation of the classic motion canon, his instinct for structure and his absorption into Bach’s musical cosmos – the physical perfection of ballet transcended into a metaphysical event.
Tickets €6-60 Written orders will be processed beginning 2. August 2013 | ||
| Sunday 10-Nov-13 02:30pm |
National Theatre, Munich Romeo and Juliet |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Sunday 10-Nov-13 02:30pm Even though John Cranko is South African, he counts as one of the most significant English choreographers of the 20th century. Furthermore, he is a central figure in German ballet history – after all, he contributed greatly to the fact that Germany returned to the forefront of the ballet world in the 1960s. In particular his version of Romeo and Juliet, created in 1962, directed the eyes of the ballet world back to the "Dance Country Germany" after it had been the catalyst of "Ausdruckstanz" and Modern Dance during the first third of the 20th century.
Cranko's Romeo and Juliet is told in the most clear and concise way, making explanations in the program book almost completely redundant. In his choreographic handwriting, each movement resembles an emotion. It is purely classical, but combines different styles and influences: from the near acrobatic virtuosity of the soviet ballet to the subtle elegance of the English style. This mixture is especially evident in his pas de deux between lovers. Ever since 1968, the ballet has been in the repertory of the Bavarian State Ballet. Every new generation of audiences and dancer alike is enchanted and devastated by the drama of this piece.
Prices F: 60 / 53 / 45 / 35 / 25 / 16 / 9 / 6.
Written orders are processed beginning 10th August 2013.Image credit: (c) Charles Tandy, Wilfried Hosl | ||
| Sunday 10-Nov-13 07:30pm |
National Theatre, Munich Romeo and Juliet |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Sunday 10-Nov-13 07:30pm Even though John Cranko is South African, he counts as one of the most significant English choreographers of the 20th century. Furthermore, he is a central figure in German ballet history – after all, he contributed greatly to the fact that Germany returned to the forefront of the ballet world in the 1960s. In particular his version of Romeo and Juliet, created in 1962, directed the eyes of the ballet world back to the "Dance Country Germany" after it had been the catalyst of "Ausdruckstanz" and Modern Dance during the first third of the 20th century.
Cranko's Romeo and Juliet is told in the most clear and concise way, making explanations in the program book almost completely redundant. In his choreographic handwriting, each movement resembles an emotion. It is purely classical, but combines different styles and influences: from the near acrobatic virtuosity of the soviet ballet to the subtle elegance of the English style. This mixture is especially evident in his pas de deux between lovers. Ever since 1968, the ballet has been in the repertory of the Bavarian State Ballet. Every new generation of audiences and dancer alike is enchanted and devastated by the drama of this piece.
Prices G: 70 / 63 / 53 / 40 / 29 / 17 / 10 / 7.
Written orders are processed beginning 10th August 2013.Image credit: (c) Charles Tandy, Wilfried Hosl | ||
| Wednesday 13-Nov-13 07:30pm |
Mikhailovsky Theatre, St Petersburg Gods and Dogs |
Bavarian State Ballet |
 Wilfried Hösl.jpg "Image credit: (c) Wilfried Hösl") | ||
| Mikhailovsky Theatre, St Petersburg, Iskusstv sq. 1, St Petersburg, Russia Wednesday 13-Nov-13 07:30pm In 2008 Jiří Kylián created this mysterious, almost mystical ballet for four couples for the NDT with almost the identical team of composers, stage designers and project designers who had realized his “Zugvögel” (“Migratory Birds”) in Munich. “Gods and Dogs”, a puzzling double figure that emerged from the realm of the pharaohs, is a further step into the current cosmos of the Czech choreographer, who says of himself: “I am interested in the borderlines between normality and madness, between health and illness, and the norms which define both. At any moment of his life, a person can be designated as being in the one or the other category. But the precise moment when he is ultimately pushed over the border into pathological madness is beyond his perception.”Image credit: (c) Wilfried Hösl | ||
| Thursday 14-Nov-13 07:30pm |
Mikhailovsky Theatre, St Petersburg Gods and Dogs |
Bavarian State Ballet |
| ||
| Mikhailovsky Theatre, St Petersburg, Iskusstv sq. 1, St Petersburg, Russia Thursday 14-Nov-13 07:30pm In 2008 Jiří Kylián created this mysterious, almost mystical ballet for four couples for the NDT with almost the identical team of composers, stage designers and project designers who had realized his “Zugvögel” (“Migratory Birds”) in Munich. “Gods and Dogs”, a puzzling double figure that emerged from the realm of the pharaohs, is a further step into the current cosmos of the Czech choreographer, who says of himself: “I am interested in the borderlines between normality and madness, between health and illness, and the norms which define both. At any moment of his life, a person can be designated as being in the one or the other category. But the precise moment when he is ultimately pushed over the border into pathological madness is beyond his perception.”Image credit: (c) Wilfried Hösl | ||
| Saturday 16-Nov-13 08:00pm |
Probenhaus, Munich Ballet Extra: Rehearsal of "La Bayadere" |
Bavarian State Ballet |
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| Probenhaus, Munich, Platzl 7, 80331 Munich, Germany Saturday 16-Nov-13 08:00pm Ballet Extra: Rehearsal of "La Bayadere" Rehearsal of La Bayadere.
Tickets € 12.
Written orders will be processed beginning 16. August 2013 | ||
| Friday 22-Nov-13 07:30pm |
National Theatre, Munich La Bayadere |
Bavarian State Ballet |
 Wilfried Hösl.jpg "Image credit: (c) Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Friday 22-Nov-13 07:30pm La Bayadere La Bayadère was the first work in a series of successful reconstructions of 19th century repertory which has been – almost – completed in Munich. This splendid full-length gem of a true Russian classic by master choreographer Marius Petipa, focuses on the two characters of Nikija and Solor, caught in a complicated triangle relationship. Petipa stands for the great era of the Russian Imperial ballet at the Mariinsky Theater St. Petersburg. Most audiences today associate him with the famous and ever popular Tchaikovsky-ballets: The Sleeping Beauty and Swan Lake or Don Quixote with music by Ludwig Minkus.
Created in 1877, La Bayadère is a mixture of an exotic tale, a thriller and a celebration of virtuosity. At its center are the two lovers: the priestess, the Bayadère, Nikija and the soldier Solor. The ladder however is promised in marriage to Gamzatti, the daughter of the Radja, whilst the Great Brahman has fallen in love with his priestess Nikija. Nikija falls victim to murder by her rival and Solor dreams himself into the 'Kingdom of Shades' in order to be reunited with his love. What follows is one of the most famous, magnificent white acts in ballet history.
The Bavarian State Ballet has worked on this version, together with the French choreographer Patrice Bart and the Japanese stage- and costume designer Tomio Mohri. The heart of the piece, the 'Kingdom of Shades' act, the betrothal celebration scene with it ceremonious line filing dance and some elaborate pantomime scenes can be seen in its original version.
The final act, lost in Russia since the beginning of the century, is part a new creation, part reconstruction.
Tickets 7-70€ | ||
| Friday 29-Nov-13 07:30pm |
National Theatre, Munich La Bayadere |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Friday 29-Nov-13 07:30pm La Bayadere La Bayadère was the first work in a series of successful reconstructions of 19th century repertory which has been – almost – completed in Munich. This splendid full-length gem of a true Russian classic by master choreographer Marius Petipa, focuses on the two characters of Nikija and Solor, caught in a complicated triangle relationship. Petipa stands for the great era of the Russian Imperial ballet at the Mariinsky Theater St. Petersburg. Most audiences today associate him with the famous and ever popular Tchaikovsky-ballets: The Sleeping Beauty and Swan Lake or Don Quixote with music by Ludwig Minkus.
Created in 1877, La Bayadère is a mixture of an exotic tale, a thriller and a celebration of virtuosity. At its center are the two lovers: the priestess, the Bayadère, Nikija and the soldier Solor. The ladder however is promised in marriage to Gamzatti, the daughter of the Radja, whilst the Great Brahman has fallen in love with his priestess Nikija. Nikija falls victim to murder by her rival and Solor dreams himself into the 'Kingdom of Shades' in order to be reunited with his love. What follows is one of the most famous, magnificent white acts in ballet history.
The Bavarian State Ballet has worked on this version, together with the French choreographer Patrice Bart and the Japanese stage- and costume designer Tomio Mohri. The heart of the piece, the 'Kingdom of Shades' act, the betrothal celebration scene with it ceremonious line filing dance and some elaborate pantomime scenes can be seen in its original version.
The final act, lost in Russia since the beginning of the century, is part a new creation, part reconstruction.
Tickets 7-70€ | ||
| Saturday 30-Nov-13 07:30pm |
National Theatre, Munich La Bayadere |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Saturday 30-Nov-13 07:30pm La Bayadere La Bayadère was the first work in a series of successful reconstructions of 19th century repertory which has been – almost – completed in Munich. This splendid full-length gem of a true Russian classic by master choreographer Marius Petipa, focuses on the two characters of Nikija and Solor, caught in a complicated triangle relationship. Petipa stands for the great era of the Russian Imperial ballet at the Mariinsky Theater St. Petersburg. Most audiences today associate him with the famous and ever popular Tchaikovsky-ballets: The Sleeping Beauty and Swan Lake or Don Quixote with music by Ludwig Minkus.
Created in 1877, La Bayadère is a mixture of an exotic tale, a thriller and a celebration of virtuosity. At its center are the two lovers: the priestess, the Bayadère, Nikija and the soldier Solor. The ladder however is promised in marriage to Gamzatti, the daughter of the Radja, whilst the Great Brahman has fallen in love with his priestess Nikija. Nikija falls victim to murder by her rival and Solor dreams himself into the 'Kingdom of Shades' in order to be reunited with his love. What follows is one of the most famous, magnificent white acts in ballet history.
The Bavarian State Ballet has worked on this version, together with the French choreographer Patrice Bart and the Japanese stage- and costume designer Tomio Mohri. The heart of the piece, the 'Kingdom of Shades' act, the betrothal celebration scene with it ceremonious line filing dance and some elaborate pantomime scenes can be seen in its original version.
The final act, lost in Russia since the beginning of the century, is part a new creation, part reconstruction.
Tickets 7-70€ | ||
| Tuesday 3-Dec-13 07:30pm |
National Theatre, Munich La Bayadere |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Tuesday 3-Dec-13 07:30pm La Bayadere La Bayadère was the first work in a series of successful reconstructions of 19th century repertory which has been – almost – completed in Munich. This splendid full-length gem of a true Russian classic by master choreographer Marius Petipa, focuses on the two characters of Nikija and Solor, caught in a complicated triangle relationship. Petipa stands for the great era of the Russian Imperial ballet at the Mariinsky Theater St. Petersburg. Most audiences today associate him with the famous and ever popular Tchaikovsky-ballets: The Sleeping Beauty and Swan Lake or Don Quixote with music by Ludwig Minkus.
Created in 1877, La Bayadère is a mixture of an exotic tale, a thriller and a celebration of virtuosity. At its center are the two lovers: the priestess, the Bayadère, Nikija and the soldier Solor. The ladder however is promised in marriage to Gamzatti, the daughter of the Radja, whilst the Great Brahman has fallen in love with his priestess Nikija. Nikija falls victim to murder by her rival and Solor dreams himself into the 'Kingdom of Shades' in order to be reunited with his love. What follows is one of the most famous, magnificent white acts in ballet history.
The Bavarian State Ballet has worked on this version, together with the French choreographer Patrice Bart and the Japanese stage- and costume designer Tomio Mohri. The heart of the piece, the 'Kingdom of Shades' act, the betrothal celebration scene with it ceremonious line filing dance and some elaborate pantomime scenes can be seen in its original version.
The final act, lost in Russia since the beginning of the century, is part a new creation, part reconstruction.
Tickets 7-70€ | ||
| Thursday 5-Dec-13 07:30pm |
National Theatre, Munich La Bayadere |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Thursday 5-Dec-13 07:30pm La Bayadere La Bayadère was the first work in a series of successful reconstructions of 19th century repertory which has been – almost – completed in Munich. This splendid full-length gem of a true Russian classic by master choreographer Marius Petipa, focuses on the two characters of Nikija and Solor, caught in a complicated triangle relationship. Petipa stands for the great era of the Russian Imperial ballet at the Mariinsky Theater St. Petersburg. Most audiences today associate him with the famous and ever popular Tchaikovsky-ballets: The Sleeping Beauty and Swan Lake or Don Quixote with music by Ludwig Minkus.
Created in 1877, La Bayadère is a mixture of an exotic tale, a thriller and a celebration of virtuosity. At its center are the two lovers: the priestess, the Bayadère, Nikija and the soldier Solor. The ladder however is promised in marriage to Gamzatti, the daughter of the Radja, whilst the Great Brahman has fallen in love with his priestess Nikija. Nikija falls victim to murder by her rival and Solor dreams himself into the 'Kingdom of Shades' in order to be reunited with his love. What follows is one of the most famous, magnificent white acts in ballet history.
The Bavarian State Ballet has worked on this version, together with the French choreographer Patrice Bart and the Japanese stage- and costume designer Tomio Mohri. The heart of the piece, the 'Kingdom of Shades' act, the betrothal celebration scene with it ceremonious line filing dance and some elaborate pantomime scenes can be seen in its original version.
The final act, lost in Russia since the beginning of the century, is part a new creation, part reconstruction.
Tickets 7-70€ | ||
| Sunday 8-Dec-13 06:00pm |
National Theatre, Munich Midsummer Night's Dream |
Bavarian State Ballet |
| ||
| National Theatre, Munich, Munich, Germany Sunday 8-Dec-13 06:00pm A Midsummer Night's Dream [Neumeier] Music by Mendelssohn, Felix (1809-1847)/Ligeti, György (1923-2006) Choreography by John Neumeier Why have composers and choreographers been fascinated for decades by Shakespeare's A Midsummer Night's Dream? Maybe it is the historical period of the play, maybe the caste system, maybe the versatile stylistic means of writing and the tangled plot? Fairy tale characters like Oberon and Titania fight sensual and witty battles, next to figures from Greek mythology, such as Theseus and Hippolyta which cause great confusion in the life of a clumsy craftsman and a group of lovers from present times.
Choreographer John Neumeier created his version of Sommernachtstraum in 1977 and the piece has been a steady part of the Bavarian State Ballet's repertory since 1993. After a 10 year break, the revival will now return to the stage of the Nationaltheater.
Though the mastermind behind this creation is of American descend, it was made in and for the "Dance Country Germany". Proof lies in its unique and thoughtful, virtuosic approach to developing drama. After all, the complex mixture of musical layers would be worth a separate panel discussion. Felix Mendelssohn Bartholdy's atmospheric musical score for Sommernachtstraum reflects the world of the mortals, while Györgi Ligeti's siren-esque organ pieces bring to mind the fairy kingdom depicted in Shakespeare's play. The craftsmen's dance is underlined by dominant opera paraphrases for the barrel organ which satirize even the noblest melodies.
As with the musical layers, together with his stage- and costume designer Jürgen Rose, Neumeier mixes the historical settings cleverly. What would be more suited to the sounds of Mendelsohn's score than a sweet Biedermeier set? An olive tree is a perfect symbol of the antique, mythology and fairy tales in one. John Neumeier's Sommernachtstraum always has been a wonderful representation of an full-length classical ballet made in the ladder half of the 20th century, the 1970s in Germany. A time of departure from the narrative through Pina Bausch's work – a chapter that is also closed now, and is also being re-examined by today's dance artists and scholars. Tickets €8-€88. Written orders will be begin on June 20, 2013. | ||
| Saturday 14-Dec-13 07:30pm |
National Theatre, Munich Midsummer Night's Dream |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Saturday 14-Dec-13 07:30pm A Midsummer Night's Dream [Neumeier] Music by Mendelssohn, Felix (1809-1847)/Ligeti, György (1923-2006) Choreography by John Neumeier Why have composers and choreographers been fascinated for decades by Shakespeare's A Midsummer Night's Dream? Maybe it is the historical period of the play, maybe the caste system, maybe the versatile stylistic means of writing and the tangled plot? Fairy tale characters like Oberon and Titania fight sensual and witty battles, next to figures from Greek mythology, such as Theseus and Hippolyta which cause great confusion in the life of a clumsy craftsman and a group of lovers from present times.
Choreographer John Neumeier created his version of Sommernachtstraum in 1977 and the piece has been a steady part of the Bavarian State Ballet's repertory since 1993. After a 10 year break, the revival will now return to the stage of the Nationaltheater.
Though the mastermind behind this creation is of American descend, it was made in and for the "Dance Country Germany". Proof lies in its unique and thoughtful, virtuosic approach to developing drama. After all, the complex mixture of musical layers would be worth a separate panel discussion. Felix Mendelssohn Bartholdy's atmospheric musical score for Sommernachtstraum reflects the world of the mortals, while Györgi Ligeti's siren-esque organ pieces bring to mind the fairy kingdom depicted in Shakespeare's play. The craftsmen's dance is underlined by dominant opera paraphrases for the barrel organ which satirize even the noblest melodies.
As with the musical layers, together with his stage- and costume designer Jürgen Rose, Neumeier mixes the historical settings cleverly. What would be more suited to the sounds of Mendelsohn's score than a sweet Biedermeier set? An olive tree is a perfect symbol of the antique, mythology and fairy tales in one. John Neumeier's Sommernachtstraum always has been a wonderful representation of an full-length classical ballet made in the ladder half of the 20th century, the 1970s in Germany. A time of departure from the narrative through Pina Bausch's work – a chapter that is also closed now, and is also being re-examined by today's dance artists and scholars. Tickets €8-€88. Written orders will be begin on June 20, 2013. | ||
| Friday 28-Feb-14 07:30pm |
National Theatre, Munich Romeo and Juliet |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Friday 28-Feb-14 07:30pm Even though John Cranko is South African, he counts as one of the most significant English choreographers of the 20th century. Furthermore, he is a central figure in German ballet history – after all, he contributed greatly to the fact that Germany returned to the forefront of the ballet world in the 1960s. In particular his version of Romeo and Juliet, created in 1962, directed the eyes of the ballet world back to the "Dance Country Germany" after it had been the catalyst of "Ausdruckstanz" and Modern Dance during the first third of the 20th century.
Cranko's Romeo and Juliet is told in the most clear and concise way, making explanations in the program book almost completely redundant. In his choreographic handwriting, each movement resembles an emotion. It is purely classical, but combines different styles and influences: from the near acrobatic virtuosity of the soviet ballet to the subtle elegance of the English style. This mixture is especially evident in his pas de deux between lovers. Ever since 1968, the ballet has been in the repertory of the Bavarian State Ballet. Every new generation of audiences and dancer alike is enchanted and devastated by the drama of this piece.
Prices G: 70 / 63 / 53 / 40 / 29 / 17 / 10 / 7.
Written orders are processed beginning 28th November 2013.Image credit: (c) Charles Tandy, Wilfried Hosl | ||
| Saturday 1-Mar-14 07:30pm |
National Theatre, Munich Romeo and Juliet |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Saturday 1-Mar-14 07:30pm Even though John Cranko is South African, he counts as one of the most significant English choreographers of the 20th century. Furthermore, he is a central figure in German ballet history – after all, he contributed greatly to the fact that Germany returned to the forefront of the ballet world in the 1960s. In particular his version of Romeo and Juliet, created in 1962, directed the eyes of the ballet world back to the "Dance Country Germany" after it had been the catalyst of "Ausdruckstanz" and Modern Dance during the first third of the 20th century.
Cranko's Romeo and Juliet is told in the most clear and concise way, making explanations in the program book almost completely redundant. In his choreographic handwriting, each movement resembles an emotion. It is purely classical, but combines different styles and influences: from the near acrobatic virtuosity of the soviet ballet to the subtle elegance of the English style. This mixture is especially evident in his pas de deux between lovers. Ever since 1968, the ballet has been in the repertory of the Bavarian State Ballet. Every new generation of audiences and dancer alike is enchanted and devastated by the drama of this piece.
Prices G: 70 / 63 / 53 / 40 / 29 / 17 / 10 / 7.Image credit: (c) Charles Tandy, Wilfried Hosl | ||
| Monday 3-Mar-14 07:30pm |
National Theatre, Munich Romeo and Juliet |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Monday 3-Mar-14 07:30pm Even though John Cranko is South African, he counts as one of the most significant English choreographers of the 20th century. Furthermore, he is a central figure in German ballet history – after all, he contributed greatly to the fact that Germany returned to the forefront of the ballet world in the 1960s. In particular his version of Romeo and Juliet, created in 1962, directed the eyes of the ballet world back to the "Dance Country Germany" after it had been the catalyst of "Ausdruckstanz" and Modern Dance during the first third of the 20th century.
Cranko's Romeo and Juliet is told in the most clear and concise way, making explanations in the program book almost completely redundant. In his choreographic handwriting, each movement resembles an emotion. It is purely classical, but combines different styles and influences: from the near acrobatic virtuosity of the soviet ballet to the subtle elegance of the English style. This mixture is especially evident in his pas de deux between lovers. Ever since 1968, the ballet has been in the repertory of the Bavarian State Ballet. Every new generation of audiences and dancer alike is enchanted and devastated by the drama of this piece.
Prices G: 70 / 63 / 53 / 40 / 29 / 17 / 10 / 7.Image credit: (c) Charles Tandy, Wilfried Hosl | ||
| Tuesday 18-Mar-14 07:30pm |
National Theatre, Munich Goldberg Variations / Gods and Dogs |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Tuesday 18-Mar-14 07:30pm Goldberg Variations / Gods and Dogs In 2008 Jiří Kylián created this mysterious, almost mystical ballet for four couples for the NDT with almost the identical team of composers, stage designers and project designers who had realized his “Zugvögel” (“Migratory Birds”) in Munich. “Gods and Dogs”, a puzzling double figure that emerged from the realm of the pharaohs, is a further step into the current cosmos of the Czech choreographer, who says of himself: “I am interested in the borderlines between normality and madness, between health and illness, and the norms which define both. At any moment of his life, a person can be designated as being in the one or the other category. But the precise moment when he is ultimately pushed over the border into pathological madness is beyond his perception.”
The Goldberg-Variations have tempted the widest variety of choreographers to venture interpretations over the decades, and they in turn have discovered the widest variety of valid solutions. One indisputable fact however is that the crown belongs to Jerome Robbins’s 1971 creation. “A terpsichorean play of jubilation”, wrote Horst Koegler after the world première: “the choreography as a paraphrase of space and motion, playing around the music, competing with it… a demonstration of a dance philosophy obligated only to itself, instructions for learning how to watch dance.” Robbins’s unmistakable adoption and casual variation of the classic motion canon, his instinct for structure and his absorption into Bach’s musical cosmos – the physical perfection of ballet transcended into a metaphysical event.
Tickets €6-60 Written orders will be processed beginning 2. August 2013 | ||
| Thursday 10-Apr-14 07:30pm |
National Theatre, Munich La Bayadere |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Thursday 10-Apr-14 07:30pm La Bayadere La Bayadère was the first work in a series of successful reconstructions of 19th century repertory which has been – almost – completed in Munich. This splendid full-length gem of a true Russian classic by master choreographer Marius Petipa, focuses on the two characters of Nikija and Solor, caught in a complicated triangle relationship. Petipa stands for the great era of the Russian Imperial ballet at the Mariinsky Theater St. Petersburg. Most audiences today associate him with the famous and ever popular Tchaikovsky-ballets: The Sleeping Beauty and Swan Lake or Don Quixote with music by Ludwig Minkus.
Created in 1877, La Bayadère is a mixture of an exotic tale, a thriller and a celebration of virtuosity. At its center are the two lovers: the priestess, the Bayadère, Nikija and the soldier Solor. The ladder however is promised in marriage to Gamzatti, the daughter of the Radja, whilst the Great Brahman has fallen in love with his priestess Nikija. Nikija falls victim to murder by her rival and Solor dreams himself into the 'Kingdom of Shades' in order to be reunited with his love. What follows is one of the most famous, magnificent white acts in ballet history.
The Bavarian State Ballet has worked on this version, together with the French choreographer Patrice Bart and the Japanese stage- and costume designer Tomio Mohri. The heart of the piece, the 'Kingdom of Shades' act, the betrothal celebration scene with it ceremonious line filing dance and some elaborate pantomime scenes can be seen in its original version.
The final act, lost in Russia since the beginning of the century, is part a new creation, part reconstruction.
Tickets 7-70€ | ||
| Saturday 12-Apr-14 07:30pm |
National Theatre, Munich Midsummer Night's Dream |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Saturday 12-Apr-14 07:30pm A Midsummer Night's Dream [Neumeier] Music by Mendelssohn, Felix (1809-1847)/Ligeti, György (1923-2006) Choreography by John Neumeier Why have composers and choreographers been fascinated for decades by Shakespeare's A Midsummer Night's Dream? Maybe it is the historical period of the play, maybe the caste system, maybe the versatile stylistic means of writing and the tangled plot? Fairy tale characters like Oberon and Titania fight sensual and witty battles, next to figures from Greek mythology, such as Theseus and Hippolyta which cause great confusion in the life of a clumsy craftsman and a group of lovers from present times.
Choreographer John Neumeier created his version of Sommernachtstraum in 1977 and the piece has been a steady part of the Bavarian State Ballet's repertory since 1993. After a 10 year break, the revival will now return to the stage of the Nationaltheater.
Though the mastermind behind this creation is of American descend, it was made in and for the "Dance Country Germany". Proof lies in its unique and thoughtful, virtuosic approach to developing drama. After all, the complex mixture of musical layers would be worth a separate panel discussion. Felix Mendelssohn Bartholdy's atmospheric musical score for Sommernachtstraum reflects the world of the mortals, while Györgi Ligeti's siren-esque organ pieces bring to mind the fairy kingdom depicted in Shakespeare's play. The craftsmen's dance is underlined by dominant opera paraphrases for the barrel organ which satirize even the noblest melodies.
As with the musical layers, together with his stage- and costume designer Jürgen Rose, Neumeier mixes the historical settings cleverly. What would be more suited to the sounds of Mendelsohn's score than a sweet Biedermeier set? An olive tree is a perfect symbol of the antique, mythology and fairy tales in one. John Neumeier's Sommernachtstraum always has been a wonderful representation of an full-length classical ballet made in the ladder half of the 20th century, the 1970s in Germany. A time of departure from the narrative through Pina Bausch's work – a chapter that is also closed now, and is also being re-examined by today's dance artists and scholars. Tickets €8-€88. Written orders will be begin on June 20, 2013. | ||
| Friday 18-Apr-14 08:00pm |
Royal Opera House, Muscat Romeo and Juliet |
Bavarian State Ballet |
| More info... | ||
| Royal Opera House, Muscat, Al Kharjiyah St, Muscat, Oman Friday 18-Apr-14 08:00pm Even though John Cranko is South African, he counts as one of the most significant English choreographers of the 20th century. Furthermore, he is a central figure in German ballet history – after all, he contributed greatly to the fact that Germany returned to the forefront of the ballet world in the 1960s. In particular his version of Romeo and Juliet, created in 1962, directed the eyes of the ballet world back to the "Dance Country Germany" after it had been the catalyst of "Ausdruckstanz" and Modern Dance during the first third of the 20th century. Cranko's Romeo and Juliet is told in the most clear and concise way, making explanations in the program book almost completely redundant. In his choreographic handwriting, each movement resembles an emotion. It is purely classical, but combines different styles and influences: from the near acrobatic virtuosity of the soviet ballet to the subtle elegance of the English style. This mixture is especially evident in his pas de deux between lovers. Ever since 1968, the ballet has been in the repertory of the Bavarian State Ballet. Every new generation of audiences and dancer alike is enchanted and devastated by the drama of this piece. | ||
| Saturday 19-Apr-14 08:00pm |
Royal Opera House, Muscat Romeo and Juliet |
Bavarian State Ballet |
| More info... | ||
| Royal Opera House, Muscat, Al Kharjiyah St, Muscat, Oman Saturday 19-Apr-14 08:00pm Even though John Cranko is South African, he counts as one of the most significant English choreographers of the 20th century. Furthermore, he is a central figure in German ballet history – after all, he contributed greatly to the fact that Germany returned to the forefront of the ballet world in the 1960s. In particular his version of Romeo and Juliet, created in 1962, directed the eyes of the ballet world back to the "Dance Country Germany" after it had been the catalyst of "Ausdruckstanz" and Modern Dance during the first third of the 20th century. Cranko's Romeo and Juliet is told in the most clear and concise way, making explanations in the program book almost completely redundant. In his choreographic handwriting, each movement resembles an emotion. It is purely classical, but combines different styles and influences: from the near acrobatic virtuosity of the soviet ballet to the subtle elegance of the English style. This mixture is especially evident in his pas de deux between lovers. Ever since 1968, the ballet has been in the repertory of the Bavarian State Ballet. Every new generation of audiences and dancer alike is enchanted and devastated by the drama of this piece. | ||
