George Balanchine is the father of numerous visionary, neoclassical choreographies, which he created for the New York City Ballet. Balanchine, who had founded the NYCB in the mid-20^th century, was at the helm of this innovative company until his death in 1983. Till today his works are brought to stages all over the world. Characteristic for Jewels – a full-length ballet from 1967 – is the fact, that is has no story but puts all the focus on the pure dance alone. Rumour has it that Balanchine drew his inspiration from a jeweller’s display on New York’s Fifth Avenue. So each part of the trilogy is named after a jewel, and each comes in a different style, atmosphere, color and shape - true ballet jewels. On top each piece has its own music. Emeralds opens with lyrical music of Gabriel Fauré, characterized by light lifts, playful arms and noble arrangements. Therewith, Balanchine draws a dreamy world of classical ballet. In contrary to that, Rubies represents a contemporary panorama underscored by Igor Stravinsky’s jazzy Capriccio for Piano and Orchestra. The sharpness of the music runs parallel to the dynamic choreography – characterized by speed and precision, high legs and quick turns. Rubies is a winky and flirty play full of strength, in which Balanchine’s knowledge of the Broadway business and show business as such shine through, as does the atmosphere of the wild New York he was living in. The third piece, Diamonds, with music of Peter I. Tchaikovsky’s Third Symphony, is dedicated to the great ballet classics of the Russian tsarist era, which Balanchine knew from his childhood days. Opulence and pomp frame the ballet dancers during a masterpiece marked by solo parts, formations and structures on a high level of technique. Beautiful shapes, elegance, gracefulness and glamour complete the evening.

Igor Zelensky, who used to be frequent guest with the New York City Ballet when he was still an active dancer, has kept a strong connection to Balanchine’s aesthetics. With Jewels he now brings a piece to the stage of the Bayerisches Staatsballett that to this day has maintained the sparkle it had at its world premiere some 50 years ago.

Streaming

insideout

Choreographic installation by Sasha Waltz with music by Rebecca Saunders
World premiere

A production of Schaubühne am Lehniner Platz presented by Sasha Waltz & Guests in co-production with Graz 2003 - European Capital of Culture and steirischerherbst. Supported by the Kulturstiftung des Bundes. The musikFabrik is sponsored by the Minister President of the State of North Rhine-Westphalia.

Choreography: Mikel Aristegui, Jiri Bartovanec, Maria Marta Colusi, Clementine Deluy, Lisa Densem, Juan Kruz Diaz de Garaio Esnaola, Luc Dunberry, Charlotte Engelkes, Nicola Mascia, Michal Mualem, Manuel Alfonso Perez Torres, Sasa Queliz, Paolo dos Santos, Claudia de Serpa Soares, Xuan Shi, Takako Suzuki, Laurie Young, Matan Zamir, Sigal Zouk-Harder

Music; musikFabrik | Ensemble für Neue Musik: Carl Rosman (clarinet), Marco Blaauw (trumpet), Adrian Pereyra (guitar), Adam Ørvad (accordion), Ulrich Löffler (piano), Thomas Oesterdiekhoff (percussion), Susanne Zapf (violin), Juditha Haberlin (violin), Dirk Wietheger (violoncello), Michael Tiepold (double bass).

Director/Choreography/Concept: Sasha Waltz
Composition: Rebecca Saunders
Stage: Thomas Schenk, Sasha Waltz
Costume Design: Ensemble
Video: Philip Bußmann
Lighting Design: Martin Hauk
Dramaturgy/Concept: Jochen Sandig
Dramaturgical assistance: Carolin Emcke
Concept: Karl Stocker
Assistant Directors: Bärbel Hielscher, Karsten Liske
Stage Design Assistance: Kai Grüne
Costume Assistance: Monika Reichert, Janina Bücking, Beate Borrmann, Manuela Mildt
Video Assistance: Hannah Groninger
Movement Teachers: Ori Flomin, Ananda Leone, Kirstie Simson, Ted Stoffer
Stage Management: Gertraud Weyand
Production Management: Manfred Stoffl
Project Management: Alexander Kraus (Graz 2003)

Duration: ca. 90 minutes

Premiered on 9 October 2004

Rossini’s charming take on the Cinderella story features a brilliant cast, led by bel canto stars Joyce DiDonato in the title role and Juan Diego Flórez as her Prince Charming. 

Alessandro Corbelli delivers a comic tour de force as Don Magnifico, Cinderella’s stepfather. Pietro Spagnoli is Dandini, the Prince’s valet, who, disguised as his master, puts the prospective brides to the text, and Luca Pisaroni is the philosopher Alidoro, who takes the place of the fairy godmother. 

Met Principal Conductor Fabio Luisi leads Cesare Lievi’s whimsical production.

While a roaring ball stirs up spirits inside, a boy and a girl meet on the sidelines – and fall in love at first sight. But because they belong to warring families, Romeo and Juliet's love may be immortal, but it is above all forbidden.
The chamber opera by the German-Baltic composer Boris Blacher, written in 1943, condenses Shakespeare’s famous tragedy to its essence: the fate of Romeo and Juliet. Scenic miniatures conjure a foggy world hostile to love. Characters occasionally materialise like ghostly apparitions, while a Brechtian chansonnier comments with humour and with harshness on the failure of the greatest love story of all.

Kas teadsid?

Tegemist on seni suurima Eesti naiskunstnike loomingut tutvustava väljapanekuga, mis toob päevavalgele palju vähetuntud materjali ja asetab selle dialoogi Soome naiskunstnike teostega. 

Exhibition at Kumu Art Museum (Tallinn, Estonia 06.12.2019 - 26.04.2020), in collaboration with Ateneum Art Museum (Helsinki, Finland).