The making of “DUATO | KYLIAN | NAHARIN”

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Fear, vulnerability, passion – the dark extremes of human emotions dominate the three works of the ballet program “Duato | Kylian | Naharin”. While “Castrati” by Nacho Duato revolves around the fear of an aspiring singer before castration, Jiří Kylián’s “Petite Mort” deals with the aggressive as well as the vulnerable sides of sexuality. “Secus” is an abstract work by Ohad Naharin, based on power, extremes and raw meat.

Grand Opening of the Staatsballett Berlin season

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E R Ö F F N U N G S F E S T

Oper und Ballett hautnah erleben! Feiert mit uns die Spielzeiteröffnung 2015/2016! Die Deutsche Oper Berlin und das Staatsballett Berlin starten gemeinsam am 30. August 2015 mit einem großen ‪#‎Eröffnungsfest‬ in die neue ‪#‎Spielzeit‬. Ab 13:30 Uhr werden Euch vielfältige Einblicke in das abwechslungsreiche Bühnengeschehen vor und hinter den Kulissen geboten.

Weitere Infos: http://bit.ly/1ECwwdz

// The Deutsche Oper Berlin and the Staatsballett Berlin cordially invite you to join them in celebrating the start of the 2015/2016 season on Sunday 30.08.2015, 1.30 pm.

Read more: http://bit.ly/1E3Iz9k

Foto: Leo Seidel

Staatsballett Berlin: Don Juan – Ballet by Giorgio Madia

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Don Juan is one of the most dazzling figures in European cultural history. His origins are unclear, but since the early baroque period the legend surrounding his seductive powers and the inevitable punishment this brings him forms the centre of dramas as well as comedies. He provided improvisation-based folk theatres and puppet theatres with material for frivolity; the most famous adaptation for the courtly opera stage is that by Mozart/Da Ponte – it highlights the tragic elements contained within the comic, and envisions his boundless desire as the brilliant characteristic of an intellectual.

The choreographer Giorgio Madia views Don Juan as a figure of the theatre. Part of his myth is the delicate influence of the supposed coincidence which heightens pleasure as well as the never-ending movement which provides the only means for understanding the transience of the present moment. It is the seducer’s masterful use of illusion and fantasy which his female “victims” as well as the audience succumb to. Don Juan has a great gift when it comes to the game and magic of eroticism. He represents that which seems illusory but which is the measure of all things when the whole world becomes a stage.

Giorgio Madia stages this legend as a piece of irresistibly seductive, intimate baroque theatre in modern form. He has drawn inspiration from Christoph Willibald Gluck’s ballet pantomime DON JUAN, the first piece in which the medium of dance was given the sole responsibility for conveying emotions when it premièred in 1761. Complemented by additional compositions by Gluck’s contemporaries, the Zeitgeist of this baroque piece about surrendering to illusion, about desire and transience, could hardly have been given a more fitting expression.

KOMISCHE OPER BERLIN
Monday, 30.06.2014
19.30 h

Further Events:
21 | 24 | 26 | 30 June 2014
02 | 06 July 2014
02 | 09 | 29 December 2014
01 January 2015

Choreography and Production: Giorgio Madia
Stage design: Cordelia Matthes
Costumes: Bruno Schwengl
Light: Diego Leetz
Dramaturgy: Annegret Gertz
Choreographic assistance: Adriana Mortelliti
Musical preparation and solo-violin: Lidia Baich
Music (recorded) and with live violin: Musik vom Tonträger und live
Dancing: Solisten und Corps de ballet des Staatsballetts Berlin
Don Juan: Leonard Jakovina
Zanni: Vladislav Marinov
Diavolo: Michael Banzhaf
Elisa: Iana Salenko
Donna Anna: Elena Pris
Donna Isabella: Ilenia Montagnoli
Donna Elvira: Nadja Saidakova
Carino: Marian Walter
Don Ottavio: Dominic Hodal
Komtur: Oliver Wulff

1:30 h | no intermission

[Source]

Romeo und Julia – Ballet in three acts

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Almost no other material has been so often adapted to the dance stage as that of William Shakespeare’s ROMEO AND JULIET. One of the most often-performed dance adaptations is the one by John Cranko. His version, created in 1962 for the Stuttgart Ballet, has gone down in ballet history. And with good reason: with his dancers, John Cranko constantly sought to portray real emotions, something he was famous for. He did not fear emotions and did everything he could to directly include these in his choreographies.

The feuding Veronese families of Montague and Capulet, the love scene before Romeo’s leave-taking, and Juliet’s eventual death – these are the powerful motifs associated with William Shakespeare’s drama. In interaction with Serge Prokofiev’s famous ballet composition, Cranko’s masterpiece contains the premonition of future suffering as well as the beauty of a love unfulfilled. The stage design and costumes are being newly designed for the Staatsballet Berlin by the Stuttgart-based stage designer Thomas Mika.

Choreography and directed by: John Cranko
Set and Costume design: Thomas Mika
Light: Steen Bjarke
Music: Serge Prokofieff
Assistance: Georgette Tsinguirides
Assistance: Birgit Deharde
Conductor: Wolfgang Heinz
Dancing: Solisten und Corps de ballet des Staatsballetts Berlin
Orchestra: Orchester der Deutschen Oper Berlin
Romeo: Marian Walter
Julia: Iana Salenko
Mercutio: Dinu Tamazlacaru

3:00 h | 2 intermissions

45 minutes before each performance (except premieres), there is an introduction in the opera house (in German).
It is prepared and moderated by students of the institute of dance studies (Institut für Tanzwissenschaft) of Freie Universität Berlin.

[Source]

24 Hours in a Berlin ballerina’s life (as seen on Instagram)

Patricia Zhou is a ballet dancer at the Staatsballett Berlin. She also runs a food blog, The Ballerina Chef. She does modelling for Adidas and others. She is hyperactive on numerous social media channels including Instagram and Twitter. Oh, and she sells her own homebaked cakes at a Thai market in West Berlin on Sundays!

This is a typical day for Patricia:



















Duato | Forsythe | Goecke

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This ballet-evening is composed of works of three of the most significant choreographers of our time. Nacho Duato’s creation ARCANGELO is a choreography which had its world premiere in 2000 and which is one of the master pieces of the Spanish choreographer. William Forsythe’s HERMAN SCHMERMAN is from 1992 and is nowadays in the contemporary repertory of many classical companies. Marco Goecke, whose choreographies are shown all over Germany, developed a world premiere for Staatsballett Berlin for the first time: AND THE SKY ON THAT CLOUDY OLD DAY
ARCANGELO

Choreography by: Nacho Duato
Music (recorded) by: Arcangelo Corelli , Alessandro Scarlatti
Sets and Costumes: Nacho Duato
Assistant to the choreographer: Thomas Klein

HERMAN SCHMERMAN

Choreography by: William Forsythe
Music (recorded) by: Thom Willems
Sets and costumes by: William Forsythe
Assistant to the choreographer: Stephanie Arndt
Assistant to the choreographer: Noah Gelber

AND THE SKY ON THAT CLOUDY OLD DAY

Choreography by: Marco Goecke
Music by: John Adams
Set and costumes by: Marco Goecke
Light by: Udo Haberland
Dramaturgy: Nadja Kadel

STAATSOPER IM SCHILLER THEATER
Friday, 11.04.2014
19.30 h
15 – 53 €

Further Events:
27 | 29 September 2013
11 October 2013
11 | 18 | 19 April 2014

Choreography by: Nacho Duato
Choreography by: William Forsythe
Choreography by: Marco Goecke
Solisten und Corps de ballet des Staatsballetts Berlin
Musik vom Tonträger

2:10 h | 2 intermissions
45 minutes before each performance (except premieres), there is an introduction in the opera house.
It is prepared and moderated by students of the institute of dance studies (Institut für Tanzwissenschaft) of Freie Universität Berlin.