Sinfonie in C / In the Night / Adam is - UA Barton (2015)
Choreography Jerome Robbins / Aszure Barton / George Balanchine · Composer Fréderic Chopin / Curtis Macdonald / George Bizet
Tuesday, 22. December 2015
07:30 pm – 09:35 pm
Duration est. 2 hours 05 minutes · Sinfonie in C (est. 07:30 pm - 08:05 pm ) · Interval (est. 08:05 pm - 08:35 pm ) · In the Night (est. 08:35 pm - 09:00 pm ) · Adam is (est. 09:00 pm - 09:35 pm )
Prices G , € - /- /53 /40 /29 /17 /10 /7
Premiere at 20. December 2015
Sinfonie in C
- Erster Satz, Solo Paar
- Ekaterina Petina, Erik Murzagaliyev
- Zweiter Satz, Solo Paar
- Lucia Lacarra, Marlon Dino
- Dritter Satz, Solo Paar
- Ivy Amista, Maxim Chashchegorov
- Vierter Satz, Solo Paar
- Daria Sukhorukova, Adam Zvonař
In the Night
- Jerome Robbins
- Frédéric Chopin
- Anthony Dowell
- Jennifer Tipton
- Christine Redpath
- I. Pas de deux
- Ivy Amista, Javier Amo
- II. Pas de deux
- Ekaterina Petina, Tigran Mikayelyan
- III. Pas de deux
- Lucia Lacarra, Cyril Pierre
Adam is - UA Barton (2015)
- Aszure Barton
- Curtis Macdonald
- Michelle Jank
- Burke Brown
- Tobin del Cuore
- Léonard Engel, Ilia Sarkisov, Shawn Throop, Javier Amo, Jonah Cook, Nicholas Losada, Erik Murzagaliyev, Nicola Strada, Matej Urban
- Soloists and corps de ballet of the Bavarian State Ballet
- Bayerisches Staatsorchester
This evenings' performance presents two milestone works of classical ballet. Sinfonie in C combines the mastery of a young genius, sixteen year old Georges Bizet, and the mature confidence of Georges Balanchine who choreographed this ode to classical dance set to four movements.
The original title Le Palais de Cristal speaks more to the glamour, beaming joy and virtuosity of the piece whereas Sinfonie in C highlights the intellectual clarity and abstract nature of this dance feast while staying true to the language of the danse d’école. This Balanchine gem celebrated its Munich premiere in 1975 and has since involved many generations of dancers and audiences, making every performance shine in a fresh new light.
In the Night is paradigmatic of Jerome Robbin’s oeuvre, who in many ways could be seen as Balanchine’s opposite. Three pairs and four Nocturnes by Chopin - the ballet takes the audience on a journey, paints a vivid image of internal landscapes. Robbins visits the borders of classical dance with his choreography without overstepping them. He is as well-versed in the Broadway world and has an innate understanding of high art paired with impeccable taste - a combination of skills that he was able to combine in his words like no other choreographer of the 20th century.
Aszure Barton created her first work (Concert for Violin and Orchestra) for the Bavarian State Ballet in 2014, a work driven by musicality and the power of emotion that sets the Munich ensemble apart. For this upcoming premiere, Barton will create a piece for an all-male ensemble as a counterpoint to the female dominated Sinfonie in C set to an original score composed bythe Canadian composer, Curtis Macdonald. Barton belongs to a young generation of choreographers that dissolves boundaries between classic art and pure entertainment. She often works and experiments at avant-garde centers such as the Baryshnikov Arts Center while she has been commissioned by classical and modern ensembles around the globe such as The American Ballet Theatre or the Nederlands Dans Theater. Barton has also worked on Broadway, just like Jerome Robbins.
George Balanchine und Jerome Robbins in München
51 Jahre Aufführungsgeschichte der in der Bayerischen Metropole getanzten Werke von George Balanchine und Jerome Robbins entblättern sich in der angefügten Fotodokumentation. Siebzehn Ballette von George Balanchine und sechs von Jerome Robbins wurden im Lauf dieser Jahrzehnte in München getanzt.
Aus Anlass der jüngsten Premiere im Nationaltheater, die Balanchines Sinfonie in C und Robbins‘ In the Night präsentiert, haben wir in den Fotoarchiven des Balletts der Bayerischen Staatsoper und des daraus hervorgegangenen Bayerischen Staatsballetts gestöbert und Ihnen einen ausführlichen Rückblick zusammengestellt. Er wird dem regelmäßigen Münchner Ballettbesucher sicherlich viele Gesichter wieder vor die Seele rufen. Manche Namen werden felsenfest in Ihrem Gedächtnis eingebrannt sein; manche mögen durch die Jahrzehnte verblasst oder fast vergessen sein. Vielleicht erwachen sie durch die neuerliche Lektüre in der Erinnerung zu neuem Leben.
George Balanchine (full name: Georgi Melitonovich Balanchivadze) was born the 22 January 1904 in St. Peterburg where he studied classical dance at the Imperial Ballet School as well as music at the conservatory.
Still a ballet student he created his first choreography: the pas de deux La Nuit (music: Anton Rubinstein). After his graduation in 1921 he was engaged for the corps de ballet at the State Academic Theatre for Opera and Ballet. While he was touring through Western Europe with three singers and three dancers in 1924, he met Sergej Diaghilew in Paris, who hired him to dance with his legendary Ballets Russes. Only one year later, Balanchine was promoted to chef choreographer of the company. For the production of Le Chant du Rossignol he worked together with Igor Stravinsky for the first time, who became a lifelong friend both at work and in private life. In 1928, by choreographing to Stravinsky’s ballet music Apollon Musagète, Balanchine became an icon of the dancelike and musical neoclassic. Several pieces for the Ballets Russes followed, such as Barabau (1925) and Le Bal (1929) with music from Vittorio Rieti and Le fils prodigue (1929) with music from Sergej Prokofjev. After Diaghilew died in 1929, Balanchine created different choreographic works for European companies until he was engaged as director of the School of American Ballet in 1934 by the rich, American ballet enthusiast Lincoln Kirstein. For his first American ballet company, which was affiliated to the Metropolitan Opera in New York from 1935 to 1938, he choreographed Serenade (1934), Le Baiser de la Fee (1937) and Jeux de cartes (1937). Additionally, he created the pieces Ballet Imperial and Concerto Barocco (1941) for a South America tour of the American Ballet Caravan. Along with Lincoln Kirstein, Balanchine founded a new ballet company in 1946 – the Ballet Society – for which he choreographed nine ballets including The Four Temperaments (1946) and Orpheus (1948). In 1947 he created the ballet Le Palais Cristal for the Paris Opera Ballet, which was later renamed Symphony in C. It was in 1948 that Balanchine founded the New York City Ballet, which he directed until his death. He created numerous pieces for the New York City Ballet, amongst others Firebird (1949), La Valse (1951), Scotch Symphony (1952), The Nutcracker (1954), Western Symphony (1954), Divertimento No. 15 (1956), Square Dance (1957), Agon (1957), Episodes (1959, in collaboration with Martha Graham), Monumentum pro Gesualdo (1960), Raymonda Variations (1961), A Midsummer Night’s Dream (1962), Movements for Piano and Orchestra (1963), Don Quixote (1965), Jewels (1967), La Source (1968), Who Cares? (1970), Symphony in Three Movements (1972), Stravinsky Violin Concerto (1972), Coppelia (1974, with Alexandra Danilova), Le Tombeau de Couperin (1975), Chaconne (1976), Union Jack (1976), Vienna Waltzes (1977), Ballo della Regina (1978), Kammermusik No. 2 (1978), Ballade (1980), Robert Schumann’s Davidsbündlertänze (1980), Mozartiana (1981) and Elegie (1982). He created his last work, Variations for Orchestra (1982), on the occasion of the second Stravinsky-Festival in New York honoring the 100th birthday of the composer. George Balanchine died in New York on April 30, 1983.
(Status: September 2018)