»Rachmaninow« by Leipzig Ballet


Piano Concerto No. 3 in d minor, Op. 30
Piano Concerto No. 2 in c minor, Op. 18

This evening is dedicated to Rachmaninoff, one of the most important Russian composers. His music, although never expressly written for the ballet, continues to inspire choreographers the world over. His third piano concerto, written in 1909, embodies strength and intensity, and expresses not only carefree joie de vivre and an ever-forward-moving energy, but also restrained melancholy. As if in search of a lost time, both tempo and the sensation of time play an important role in Rachmaninoff’s music. It’s with this sense of play that Rachmaninoff, the last of the Russian late-Romantics, proves himself a real fin-de-siècle composer, hovering between Russian tradition and European modernism.

Mario Schröder discovered Rachmaninoff at an early age, and experiences his music as both pictorial and physical, making it seem predestined for dance. For Schröder, Rachmaninoff’s music connects images of departure and return, convergence and withdrawal, and intersecting paths. The idea of time is expressed in a number of different ways – as something deeply and personally sensed, something every individual brings to the table a little differently. On the tenth anniversary of his death, Uwe Scholz’ version of the Piano Concerto No. 3 once again takes the stage in Leipzig. Mario Schröder, who once performed this choreography as a soloist, sees in Scholz’ interpretation a »wonderful transformation of the piece into pictures that truly do justice to the composition.« Six years after its last revival, Schröder pairs with it a new creation of his own, and with it, gives us the chance to see two artistic languages set to the music of one composer.


Saturday, March 26, 2016.

Saturday, June 11, 2016.

Tickets and more information here.


Chamber Ballet at the Philharmonie


Holm Birkholz, who has been a member of the Berliner Philharmoniker for many years, is not only a dedicated violinist but also a composer. He finds his experiences as an orchestral musician just as inspiring as Japanese culture, whose spirituality decisively shapes his music. His dance suite “Blossom Dreams – Four Seasons”, which he will present together with the dancer Emi Hariyama at this portrait concert, leads visually and musically through the Japanese seasons.

Holm Birkholz – Solo Violin and Bells

Emi Hariyama – Dance and Choreographer

A Portrait of Holm Birkholz – Blossom Dreams

Holm Birkholz
Mandala (2n Version for solo violin and bell in d’, 2012) commissioned by the Berliner Philharmoniker Foundation

Holm Birkholz
Blütenträume – Vier Jahreszeiten (Blosom Dreams) Dance Suite for solo dance, solo violin and bells in f and d, commissioned by the Berliner Philharmoniker Foundation

“It’s always a wonderful feeling for me as a 1/128 particle of this great musical ensemble to be able to experience how our individual characters achieve a collective vibration when we make music on stage and become completely at one with the music.” Holm Birkholz has been a member of the Berliner Philharmoniker since 1982 – a time period that has given the violinist and composer more than three decades of inspiration: “Besides the great artistic impressions in the midst of this unique orchestra sound, I was strongly shaped by many years working jointly with the first concertmaster Toru Yasunaga, for whom I was able to write many pieces and through whom I was afforded intense access to Japanese (and Asian) civilisation, which made a lasting impression on me and my musical language.”

Toru Yasunaga, who left the Berlin Philharmonic in 2009, also introduced Holm Birkholz to the internationally renowned dancer Emi Hariyama, who can be experienced in this portrait concert as well with works commissioned by the Berlin Philharmonic Foundation. The evening will kick off with excerpts from Birkholz’s revised Mandala cycle for solo violin and bell in d, premiered when leave was taken from Toru Yasunaga in the Chamber Music Hall. There follows the dance suite Blütenträume [Blossom Dreams] for solo dance, solo violin and bells in f and d, leading listeners musically through the Japanese seasons, starting with springlike Cherry Blossom Dreams, to Lotus Flowers in the Heat of Summer and Chrysanthemums in the Fall Sun to Plum Blossoms in Snow.

Sun, 02 Nov 2014 8 p.m.
Serie Q: Prisma Kammermusik
10 to 26 €

Berliner Philharmonie
Herbert-von-Karajan-Strasse 1
10785 Berlin
Tel.: +49 30 254 88-0

La Péri – Ballet in two acts


Vladimir Malakhov has drawn inspiration from historic lithographs to create a new staging of the romantic ballet LA PÉRI for the Staatsballett Berlin. Like the sylphids, the wilis and all the other unattainable fairy and elfin beings that populated the 19th century ballet stage in great numbers and in many new interpretations, the péris are oriental heavenly creatures that embody Prince Achmed’s yearning for another form of existence. A beautiful péri appears to him with her retinue and promises him redemption: she promises that the barrier between Heaven and Earth can be overcome by the power of love. The ballet LA PÉRI was first performed in 1843 at the Paris Opéra. Friedrich Burgmüller composed the music, and Théophile Gautier’s libretto was translated into dance by the choreographer Jean Coralli. Vladimir Malakhov’s interpretation of the ballet is expressed in a refined and delicate dance style, which was characteristic of the romantic era and follows naturally from the music. The stage and costume designer, Jordi Roig, has lovingly created an opulent, historic setting in which the atmosphere of the exotic scene is brought to life and the ballet can work its unique magic. [Source]

The Open Square by Itzik Galili


Itzik Galili is one of the most active choreographers of his generation. Ever happy to try out new things, he is forever searching for new links to different art forms and intellectual worlds in his projects. One elementary characteristic of his work is the impartiality of style, eluding all definition. In one work he utilises a theatrical approach confronted with a pure abstract physicality and in the next a cool analysis chafes at a passionat study of energies with the dancers on pointe or even on roller skates if necessary for the realisation of the idea. Recently the power of Galilis choreographies have been determined by an intense physicality. In order to provoke the necessary disposition of the dancers, direct communication is the focus of the combined creative process, centred on given topics as well as every imaginable paraphrase or paradox that might appear on their mutual path. Following his choreography “The Sofa” which has already delighted the Berlin audience and the guest appearance of “Flatland” with Dansgroep Amsterdam in May 2010, Itzik Galili will now create a full length piece for the dancers of the Staatsballett Berlin. [Source / Source]


12 February 2014

17, 23 March 2014

10, 15 April 2014

19 May 2014

Time: 19.30h

Komische Oper Berlin

Behrenstraße 55-57

10117 Berlin