Choreography John Neumeier · Composer Peter I. Tschaikowsky
Friday, 05. February 2016
07:00 pm – 10:15 pm
Duration est. 3 hours 15 minutes · 1. Akt (est. 07:00 pm - 08:00 pm ) · Interval (est. 08:00 pm - 08:10 pm ) · 2. Akt (est. 08:10 pm - 08:45 pm ) · Interval (est. 08:45 pm - 09:10 pm ) · 3. Akt (est. 09:10 pm - 10:00 pm )
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- Musikalische Leitung
- Michael Schmidtsdorff
- Choreographie und Inszenierung
- John Neumeier
- Peter I. Tschaikowsky
- Bühne und Kostüme
- Jürgen Rose
- Prinzessin Natalia
- Ekaterina Petina
- Prinzessin Claire
- Katherina Markowskaja
- Der König
- Matej Urban
- Der Mann im Schatten
- Marlon Dino
- Lucia Lacarra
- Graf Alexander
- Javier Amo
- Prinz Siegfried
- Cyril Pierre
- Zuzana Zahradníková
- Prinz Leopold
- Cyril Pierre
- Soloists and corps de ballet of the Bavarian State Ballet
- Bayerisches Staatsorchester
The king escapes into the theatrical reality of this Swan Lake performance, in which he seeks deliverance from his existential agonies. The unfinished walls of the castle on Herrenchiemsee are rediscovered, an image of his unquenchable yearning for completion, while concurrently serving as his prison. None of the women courting him can offer him fulfillment; death and the constantly present man in the shadows become one in the breathtaking final scene, which captures the existential-tragic dimension of the longing for human love in all its devastating inattainability.
The choreographer and director of the Hamburg Ballet, John Neumeier, drew his inspiration for the ballet drama Illusions – Like Swan Lake from the life and tribulations of King Ludwig II. Into this story, he interwove the meticulous reconstruction of a ballet-historical point of culmination, the second act of Swan Lake in the choreography by Lev Ivanov and the "Black Swan Pas de deux" in which the significant choreographic contribution of Marius Petipa to the definitive St. Petersburg version of Swan Lake is rescued.
A King is declared insane during a masked ball, and imprisoned. An unfinished room in one of his own palaces serves as his prison. Left alone, he senses the fleeting presence of another being, the Man in the Shadows. The vision disappears. Exhausted, he collapses next to the model of one of his extravagant palaces.
The Foundation-Stone Celebration
Artisans and the peasant population are celebrating their work on one of the King’s new Palace. The King is accompanied by his confidante, Count Alexander, and takes part in the festivities, joining the peasants in their games and tests of strength. The Queen Mother arrives, accompanied by Prince Leopold and other members of the court, Princess Natalia the King’s fiancée, and Princess Claire to whom Count Alexander is engaged. A quadrille is arranged and the festivities reach their climax with a polonaise, led by the Queen Mother and her escort Prince Leopold. Lost in his own thoughts, the King draws away from the general merriment and remains alone. Princess Natalia finds him but he refuses her company. The Man in the Shadows is again present.
In his prison the King once again stumbles upon one of the objects stored in the unfinished room, draws back its dust cover and discovers it to be a model of the stage set for the ballet “Swan Lake”.
A Private Performance of “Swan Lake”
The ballet is danced for the King alone. It is the story of Princess Odette who was transformed into a swan by the magician Rotbart and may only resume her original human shape for a short period at midnight. Prince Siegfried, out hunting for swans one night, observes the transformation of the swan princess and falls in love with her. The King, completely fascinated by the ballet, identifies himself with the illusions of the stage and assumes the role of Prince Siegfried. Princess Natalia who has secretly come into the theatre observes the King and is surprised by the intensity and passion in his relationship to the swan-
princess. She departs, deeply disturbed by what she has seen. As the tragic ballet ends the evil Rotbart seems, in the eyes of the King to be transformed into the Man in the Shadows.
Loud march music startles the exhausted King in his cell. Tortured by hallucinations, he imagines that the victory procession of his supposed rival Leopold is parading by beneath his window. He accidentally discovers a painting of his coronation. This sudden confrontation causes him again to lose himself in the past.
Third Remembrance: A Masked Ball
The King recalls the grand “Ball of Nations” with which this very night had begun. He had come costumed as Prince Siegfried. Clowns entertain the guests, and function as master of ceremony by organizing the various sets of the cotillion. Guests in varied national costumes dance. The Queen Mother is in Hungarian dress and leads off the festivities with a Salon-Czardas. With the changing of partners during a waltz Princess Natalia meets the King. She lets her cape slip from her shoulders to reveal a costume patterned after that of the swan-princess. The King is delighted with the illusion and is once again transported to the dream-world of Swan Lake. For the first time a spark of sympathy and understanding unites them unexpectedly. It is midnight, the end of carnival, time to unmask. A clown in black approaches the King, unmasking he reveals himself to be the Man in the Shadows. Torn out of his imagined world, the King and the illusion of a relationship with Natalia-Odette are destroyed. The King seems insane and insults the Queen Mother. State officials arrest him.
The King is asleep. Hearing a knock, he awakens, as if from a nightmare. Princess Natalia, still in her carnival swan-costume, is allowed in for a short visit. After a time, he sends her away. Fantastic visions of “Swan Lake” appear mingling with reality. The King senses the presence of the Man in the Shadows and, turning to him, accepts his destiny.
Ekaterina Petina was born in Sevastopol. Ten years old she started training at the Waganova Academy in St. Petersburg. In 2001 she assumed her first engagement at the Mariinsky Theatre St. Petersburg where she among others danced solo parts. She also participated in various Mariinsky Theatre tours across Japan, England, China, Canada and Mexico. In 2009/2010 she became a Soloist with the Bavarian State Ballet and from the beginning of the season 2011/2012 she performed as First Solist. Ekaterina danced in the rank of Principal Dancer from the season 2014/2015 until the season 2015/2016. In the season 2016/2017 she returned as a guest artist.
Debuts with the Bayerisches Staatsballett
Olympia in The Lady of the Camellias (J. Neumeier)
Odaliske in Shéhérazade (M. Fokine)
Girlfriend in Raymonda (R. Barra)
Odalisk in Le Corsaire (M. Petipa/I. Liška)
Pas de deux 2 in Artifact (W. Forsythe)
Rival in Série Noire - A choreographic murder mystery (T. Kohler)
Woman 3 in My Ravel: Whichever Way he looks... (J. Mannes), creation
Nymph in My Ravel: Daphnis and Chloé (T. Kohler), creation
Lilac Fairy, Violente fairy, Duchess and Rubin in Sleeping Beauty (M. Petipa/I. Liška)
Pas de Six in The Taming of the Shrew (J. Cranko)
Bianca in The Taming of the Shrew (J. Cranko)
Princess Odette in Illusions - like Swan Lake (J. Neumeier)
Dulcinea in Don Quijote (R. Barra after M. Petipa/A. Gorski, tradition)
Mercedes in Don Quijote (R. Barra after M. Petipa/A. Gorski, tradition)
Katharina in The Taming of the Shrew (J. Cranko)
Princess Natalia in Illusions - like Swan Lake (J. Neumeier)
Louise in The Nutcracker (J. Neumeier)
Broken Fall (R. Maliphant)
1st Pas de trois in Goldberg-Variations (J. Robbins)
1st Pas de deux in Goldberg-Variations (J. Robbins)
Odette/Odile in Swan Lake (R. Barra)
Nikiya in La Bayadère (M.Petipa/P. Bart)
2nd Pas de deux in Goldberg-Variations (J. Robbins)
The Woman in Song of the Earth (K. MacMillan)
6th Variation in Birthday Offering (F. Ashton)
Hippolyta/Titania in A Midsummer Night's Dream (J. Neumeier)
Paquita in Paquita (M. Petipa/A. Ratmansky)
Marguerite Gautier in The Lady of the Camellias (J. Neumeier)
Soloist 1st movement in Symphony in C (G. Balanchine)
2nd and 3rd Pas de deux in In the Night (J. Robbins)