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Scènes de ballet / Five Brahms Waltzes in the Manner of Isadora Duncan / Frühlingsstimmen / Das Lied von der Erde

Saturday, 28. April 2012
07:30 pm – 10:00 pm
Nationaltheater

Duration est. 2 hours 30 minutes · Scènes de ballet, Isadora, Frühlingsstimmen (est. 07:30 pm - 08:15 pm ) · Interval (est. 08:15 pm - 08:45 pm ) · Lied von der Erde (est. 08:45 pm - 09:45 pm )

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Cast

Musikalische Leitung: Ryusuke Numajiri

Die Frau: Roberta Fernandes.
Der Mann: Cyril Pierre
Der Ewige: Lukáš Slavický
Von der Jugend: Ilana Werner
Von der Schönheit: Mia Rudić
Mezzosopran: Anna Larsson
Tenor: Herbert Lippert

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The critics were in agreement about the high caliber and artistic significance of the choreographers for this first premiere evening of the "Very British!?" season. "On the one hand, the pompous, Edwardian elegance of Ashton who peppers his airy choreography with irony and dry humor, on the other, the proletarian, earthy and sometimes depressing and full of drama-ridden furiousness of MacMillan - Two key figures in choreography of the 20th century Great Britain. They embody distinct opposites who attract and continue the legacy of Ninette Valois at the strictly classical, Russian oriented Royal Ballet and Marie Rambert, an early catalyst of modern currents." (Die Welt)

Naturally, the emotional and intellectual resonance to the evening’s mixed bill was diverse. While some perceived the brilliant play on form of Scènes de Ballet as lacking in emotional content, others complained that Song of the Earth's, focusing on the vast depth of the human soul, to drown in an abundance of such. Not it any way does this belittle the entertainment value of this evening full of musical and choreographic highlights. Interspersed between these two major works of English repertory, are two Ashton miniatures: His waltzing reminiscence of Anna Pavlova and her modern counterpart, Isadora Duncan is performed barefoot with an eclectic range of emotions: raging passion, power, blissfulness and glimpses of revolution peeking through. Voices of Spring pas de deux, another miniature from the mastermind of Frederick Ashton, stays true to the spirit of the music: overflowing with joy and a celebratory gala mood. – that´s all.

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Biographies

Katherina Markowskaja

Maxim Chashchegorov

Stephanie Hancox

Maria Babanina

Ilana Werner

Javier Amo

Cyril Pierre

Lukáš Slavický

Mia Rudić

Guest Artist

Katherina Markowskaja was born in Kiev, Ukraine where she completed her training at the National Ballet Academy of Arts. As a student, she was cast in performances of the National Ballet of Kiev. At the age of sixteen, she accepted a scholarship of the Heinz-Bosl-Foundation, offered to her by Konstanze Vernon. Ms. Markowskaja graduated from the Ballet-Academy Munich and subsequently joined the Saxon State Opera Ballet Dresden under artistic director Vladimir Derevianko. She was promoted to the rank of First Soloist two years later. In 1999, she received the Mary Wigman Award. From 2010, she worked as a freelance ballerina and trained with the Bavarian State Ballet, being engaged as a First Soloist until the 2015/2016 season. For the 2016/2017 season she returned as a guest artist to Munich.

Debuts with the Bayerisches Staatsballett
Aurora in Sleeping Beauty (M. Petipa/I. Liška)
Marie in The Nutcracker (J. Neumeier)
Bianca in The Taming of the Shrew (J. Cranko)
Voices of Spring (F. Ashton)
1st Pas de deux in Goldberg-Variations (J. Robbins)
3rd Pas de deux in Goldberg-Variations (J. Robbins)
Lise in La Fille mal gardée (F. Ashton)
5th Solo-Girl in Choreartium (L. Massine)
Pandora in Helden (T. Kohler), creation
Unitxt (R. Siegal), creation
Juliet in Romeo and Juliet (J. Cranko)
Concert for Violin and Orchestra (A. Barton), creation
The Chosen One in Le Sacre du printemps (M. Wigman)
Pas de trois in Paquita (M. Petipa/A. Ratmansky)
Prudence Duvernoy in The Lady of the Camellias (J. Neumeier)
Gulnara in Le Corsaire (M. Petipa/I. Liška)
Soloist 4th movement in Symphony in C (G. Balanchine)
Princess Natalia in Illusionen - wie Schwanensee (J. Neumeier)

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