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BILDER EINER AUSSTELLUNG / AFFAIRS OF THE HEART / BEDROOM FOLK

Choreography Alexei Ratmansky, David Dawson, Sharon Eyal | New Production

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Cast for all dates

Musikalische Leitung
Tom Seligman


BILDER EINER AUSSTELLUNG

Choreographie
Alexei Ratmansky
Musik
Modest Mussorgsky
Kostüme
Adeline André
Licht und Projektionen
Wendall K. Harrington, Mark Stanley

Pianist
Dmitry Mayboroda (05-23-2020, 05-25-2020, 06-06-2020, 06-19-2020, 06-28-2020, 07-09-2020, 07-16-2020)


AFFAIRS OF THE HEART

Choreographie
David Dawson
Musik
Marjan Mozetich
Bühne
Eno Henze
Kostüme
Yumiko Takeshima
Licht
Bert Dalhuysen


BEDROOM FOLK

Choreographie
Sharon Eyal
Choreographische Mitgestaltung
Gai Behar
Musik
Ori Lichtik
Licht
Thierry Dreyfus
Kostüme
Rebecca Hytting

  • Soloists and corps de ballet of the Bavarian State Ballet
  • Bayerisches Staatsorchester
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Alexei Ratmansky is undoubtedly one of the most sought-after choreographers of our time. He has proven his talent for working with great classical companies both in his reconstructions of important classics and in his own story ballets and abstract new creations. In 2014 he created Pictures at an Exhibition for the New York City Ballet to Modest Mussorgsky’s famous composition in the original version for piano. The choreography is sensitively interwoven with the character of the respective musical numbers, sometimes celebratory shiny, sometimes heavy melancholic and then again cheerful, airy and playful.

British choreographer David Dawson is one of the few contemporary choreographers that continue to further develop classical ballet and its language of movement with their works. In his both narrative and abstract ballets he confronts dance with atmospherically charged stage worlds and consequently creates poignant contemporariness. For his creation at the Bayerisches Staatsballett Dawson works with the music of the contemporary Canadian composer, Marjan Mozetich. Affairs of the Heart is a concerto for violin and strings, a lyrically and dramatically charged composition filled with driving force.

The Israeli choreographer Sharon Eyal will complete the evening with her piece  Bedroom Folk. The ballet was created together with the  Nederlands Dans Theater 1 in 2015. Eyal is one of the most notable names in contemporary choeography and started her career, while still dancing with the Batsheva Dance Company. Her style is known to be radical, at times touching or unsettling.  Bedroom Folk represents the collaborative effort to put sound and lighting side by side with the performance, suggesting the feeling of equality between the three elements.

Alexei Ratmansky created the choreography for Pictures at an Exhibition in 2014 for the New York City Ballet – a company in the tradition of George Balanchine’s neoclassical ballet, which has produced a well-functioning marriage out of the relationship between music and dance. Ratmansky’s works also emerge here from the music, effortlessly enchanting the spectator, because they are clever and cheeky, highly demanding and masterly, but always dancer-friendly. So they challenge the dancers, taking them to their limits (after all, dancers want to dance!), but demand nothing absurd of them. The beauty of the classical form language is preserved. The language that Ratmansky speaks, created from a neoclassical vocabulary that presupposes the academic technique. Nonetheless, time and again he finds surprising ways to vary and sort of turn an apparently well-known sequence of movements on its head. Seen from afar the reference is clear – examine with a more watchful eye and we recognise the peculiarity. Which is charming. In Pictures at an Exhibition, ten dancers meet in various constellations, and before the viewer’s eyes form a living connection with the stage set. The constantly transforming projections of Wassily Kandinsky’s Colour Study, Squares with Concentric Circles, boost the action on the stage to an additional dynamic level, while designer Adeline André’s costumes are visibly inspired by Kandinsky’s images. The result is an organic, entirely harmonised piece, which finds new life and vibrancy here in Munich of all places, where Kandinsky himself lived and worked for several years.

Bedroom Folk, developed in 2015 for the Nederlands Dans Theater 1, is an ecstatically pulsating work. Sharon Eyal and Gai Behar have created a cosmos that transposes both the dancers and the audience into a trance-like state, making us forget time. 
As a group of conspirators they appear to us focused straight ahead, and yet also entirely introverted, guided by the beats, inexorably moving from one foot to the other, perhaps following a secretive command. There is something inexplicable, almost spooky about this group and therefore also about its movement vocabulary – weird dislocations of the arms, fragmented sharp movement patterns, but also sinuous, catlike loops. The expression is cool and graceful, there is almost no partnering, only the dynamics of the group as a disciplined swarm, nestled together, drifting apart, and individually dissolving out, to show themselves individually characterised. Eyal invokes and processes, samples quasi classic step material and folk dance-like elements. Again and again the bodies entangle in the looped music sequences, are thrown back to the beginning of the movement – the repetition making these moments of beguiling banality. Pauses, standstill and distended moments are rare and therefore all the more effective. The unsettlingly beautiful curiosity peaks in ritually charged scenes, contrasted with club and rave exertions before an orange-red illuminated light wall. It’s an intoxicating maelstrom that we mistrust, as we scrutinise its authenticity. We feel the infusible tension of absolute dedication and complete control – and the radicality of the bodies.

Sharon Eyal is revising Bedroom Folk for the Bayerisches Staatsballett. She originally dimensioned the piece for four female and four male dancers, and is now expanding it to a currently undetermined number. 

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Biographies

Alexei Ratmansky wurde 1968 in St. Petersburg geboren und erhielt seine Ballettausbildung an der Bolschoi Ballettakademie in Moskau. Er tanzte als Erster Solist beim Ukrainischen Nationalballett, beim Royal Winnipeg Ballet und beim Royal Danish Ballet. Noch als aktiver Tänzer begann er eine aufsehenerregende Karriere als Choreograph. Seither arbeitet er für die bedeutendsten Ensembles der Welt, darunter das Ballett des Mariinsky Theaters in St. Petersburg, das Ballett der Pariser Oper, das Royal Ballet in London, das Royal Danish Ballet, Royal Swedish Ballet, das Nierderländische Nationalballett, das New York City Ballet, Amercian Ballet Theatre oder San Francisco Ballet.

Daneben hat er Choreographien für Tänzerstars wie Nina Ananiashvili, Wendy Wheelan, Diana Vishneva oder Mikhail Baryshnikov geschaffen. Von 2004 bis 2008 war Ratmansky der künstlerische Direktor des Bolschoi Balletts in Moskau, für das er abendfüllende Ballette wie The Bright Stream (2003), The Bolt (2005) und Verlorene Illusionen (2011) schuf. Außerdem brachte er dort als Kombination von Rekonstruktion und Neuproduktion Le Corsaire (2007) und „Die Flammen von Paris“ (2008) heraus. Seit 2009 ist er dem American Ballet Theatre in New York durch einen langfristigen Vertrag als Artist in Residence verbunden. Für das Bayerische Staatsballett erarbeitete er bereits 2014 Marius Petipas Paquita.
Sein choreographisches Werk wurde mit vielen Preisen gewürdigt. Angefangen von der Goldenen Maske für Dreams of Japan (1998), die ihm danach noch dreimal verliehen wurde (2004, 2007 und 2010). 2005 erhielt Ratmansky für Anna Karenina den Prix Benois de la Danse. Es folgten 2006 der Dmitry Shostakovich Preis sowie ein Londoner Critics' Circle Award. Hinzu kamen in den USA der Bessie Award und der Dance Magazine Award, die er 2011 erhielt. Im selben Jahr wurde er von der Dänischen Königin Margrethe II mit dem Dannebrogorden ausgezeichnet.

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