À Jour 2019 is getting devilishly good – three works that examine dance, death and ecstasy from different perspectives. Andrey Kaydanovskiy, who already caused a furore in Munich in 2017 at the first edition of the Young Choreographers with his piece, Discovery, and thrilled audiences with his fresh and modern narrative, has now developed an idea for this summer, which he’s been carrying around with him for some time now – the realisation of a criminal ballet, based on the mysterious murder stories surrounding the notorious Cecil Hotel in Los Angeles. The individual stories are told full of suspense, highly complex and parallel with one another; time is travelled, the lobby is transformed into a hotel room in seconds and we are lead through the protagonists’ lives and deaths. Hold your breath – but not for too long!
Edwaard Liang’s choreography promises to be totally different. The choreographer and artistic director of the BalletMet in Ohio first danced at the New York City Ballet and the Nederlands Dans Theatre, and now effectively employs the experiences he gathered as first soloist in his choreographic work. His style is largely neoclassical and characterised by a sensitive inwardness. For the Bayerisches Staatsballett he will choreograph a world premiere for the second movement of Franz Schubert’s string quartet, Der Tod und das Mädchen, and therewith follows the trail of a centuries-old theme. 
With Yuka Oishi it gets transcendental. For her version of Stravinsky’s, Le sacre du printemps, she choreographed a solo entitled, Sacré, which was performed as a world premiere homage in 2018 to the world-renowned Vaslav Nijinsky, and will now be seen as part of À Jour. She choreographed the work especially for star dancer Sergei Polunin, who will be dancing the role in Munich as well. With profound humanity, Yuka Oishi captures the musical radicality that is intensified even more by the content level of a dance-ecstatic opera – and therewith gifts us a little mollification of the madness!