Wohin er auch blickt... / Daphnis und Chloé

Tuesday, 12. July 2011
07:30 pm – 10:30 pm

Duration est. 3 hours · Wohin er auch blickt... (est. 07:30 pm - 08:05 pm ) · Interval (est. 08:05 pm - 08:35 pm ) · Daphnis und Chloé (est. 08:35 pm - 09:35 pm )

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Musikalische Leitung
Kent Nagano

Wohin er auch blickt...

Jörg Mannes
Maurice Ravel
Tina Kitzing
Lenka Radecky-Kupfer
Christian Kass
Brigitte Knöß

Frau 1
Daria Sukhorukova
Frau 2
Séverine Ferrolier
Frau 3
Ekaterina Petina
Man 1
Tigran Mikayelyan
Man 2
Matej Urban

Daphnis und Chloé

Terence Kohler
Maurice Ravel
Bühne und Kostüme
Jordi Roig
Jordi Roig
Terence Kohler
David Bofarull
Francesc Sitges-Sardà
Miquel Angel Raió
Sören Eckhoff
Chor der Bayerischen Staatsoper

Karen Azatyan
Mai Kono
Ilya Shcherbakov
Roberta Fernandes
Wlademir Faccioni
Nymphe 1
Emma Barrowman
Nymphe 2
Ekaterina Petina
Nymphe 3
Zuzana Zahradníková
Freya Thomas
Monika Hejduková
Gregory Mislin
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Learn more

Does it need a word of explanation for an evening of creations uniting several of so overwhelmingly great compositions by Maurice Ravel? Yet three aspects should be emphasized to characterize the programmatic profile of his première:

First: for the first time on over fifty years the general music director of the opera was responsible for the musical direction of a ballet premiere. Kent Nagano conducted a ballet premiere, after Georg Solti and Rudolf Kempe half a century ago. Not to belittle the achievements of all the excellent conductors who for decades have worked with the Munich Ballet, yet the collaboration of the Bavarian State Ballet with Kent Nagano means particular recognition of the artistic quality and notable esteem for the company. By the way, Kent Nagano once started his career in the theatre as ballet repetiteur, is an extraordinary expert in this form of art and its demands. This collaboration may bring new impulses and inspiration for the State Ballet.

Then, the programme continues the memory of the Ballets Russes whose centenary jubilee has been celebrated by a wonderfully successful program with “Sheherazade”, “Les Biches”, “Once Upon An Ever After”. Maurice Ravel composed quite a few works for Serge Diaghilev's company, so used to both success and scandals. In fact Daphnis and Chloé was ordered for this company and choreographed by Mikhail Fokine in 1912.

A further mark is the engagement of the young Australian choreographer Terence Kohler to create a new interpretation of the antique myth of Daphnis and Chloé whose love is threatened by pirates and gloriously saved by God Pan. Kohler, whose movement language quite consciously remains in concordance with classical ballet and on the other hand has freshness originality not to destroy his tradition but rather transform it, deal with it in an intellectually stimulating way.

The repeat engagement of the choreographer Jörg Mannes to create a new program also guaranteed fundamentally high concentration on musical substance. His evening-length ballet “The Tempest” for the Bavarian State Ballet is distinguished by fine musical standard, the courage to tell the story in an individual way, to confront a hold form of abstraction with the concrete. Together with Kent Nagano Jörg Mannes, Ballet director in Hannover, selected three pieces of music by Ravel, with his piano concerto for the left hand at the centre, that inspired his stage imagination.


Jörg Mannes/Maurice Ravel

Jörg Mannes does not tell a story in his ballet, but he does deal with motives that are very close to Maurice Ravel’s music.

At the focal point is the “Piano Concerto for the Left Hand” by Maurice Ravel. The composition was written for piano virtuoso Paul Wittgenstein, who had lost his right arm. For Jörg Mannes this music communicates a strong sense of menace, loss and loneliness, which he works out choreographically.

Initially, however, we hear “Une barque sur l’océan” (“A Barge on the Ocean”), a work Ravel dedicated to his friend, the painter Paul Sordes. They both belonged to a group of impressionistic artists they called “Les Apaches”. To this piece, Manes creates a prélude, imbued with longing and hope.

At the end, we have “Pavane pour une infante défunte” (“Pavane for a Deceased Princess”). Inspired by the Spanish nostalgia of the early 20th century, Ravel describes it as “a reminiscence of a pavane a little princess might have danced in olden times at the Spanish court”. Inspired by the piano interpretation of the composer himself, Mannes stresses the open spaces and the tiny shimmer of hope that resounds from them. And yet, the forlornness and hopelessness of the individual remains, which resound in the title of the ballet – Whichever Way he Looks…

Terence Kohler/Maurice Ravel

Mrthale and Lamon, Nape and Dryas till their fields. They find two abandoned children, Daphnis and Chloé, and take them in.

Daphnis and Chloé – in all their childish innocence – succumb to their love for one another. Their naïveté causes them to take it to disquieting limits, which they cannot understand and are unable to surmount.

Three nymphs and the god Pan guide Daphnis and Chloé on their way into life. Destiny separates the two for a long time.

Daphnis meets Lykanion, with whom he discovers and develops his sexuality.

Chloé leaves her homeland and arrives on a foreign island. Men discover her and oppress her with a cruelty she has never known before. Briaxis liberates her from danger: but he also importunes her with an unfamiliar, menacing desire. She holds him off with growing strength that is ultimately superior to his and returns to her native island.

Daphnis and Chloé meet again at the place where they were found long ago. Their love has matured. They no longer need the guidance of Pan and the nymphs.

A new generation comes of age, to make its own discoveries and profit from its own experiences.

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Kent Nagano, geboren in Kalifornien, war Musikdirektor des Berkeley Symphony Orchestra, der Opéra National de Lyon, des Hallé Orchestra und der Los Angeles Opera sowie künstlerischer Leiter und Chefdirigent des Deutschen Symphonieorchesters Berlin. Von 2006 bis 2013 war er Generalmusikdirektor der Bayerischen Staatsoper. Seit der Spielzeit 2015/16 ist er Generalmusikdirektor der Hamburgischen Staatsoper sowie Chefdirigent des Philharmonischen Staatsorchesters Hamburg. In seiner Zeit an der Bayerischen Staatsoper leitete er zahlreiche Neuproduktionen, darunter Billy Budd, Chowanschtschina, Eugen Onegin, Idomeneo, Ariadne auf Naxos, Wozzeck, Lohengrin, Die schweigsame Frau, Saint François d’Assise sowie die Uraufführungen von Wolfgang Rihms Das Gehege, Unsuk Chins Alice in Wonderland, Minas Borboudakis’ liebe.nur liebe und Jörg Widmanns Babylon. (Stand: 2020)

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