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Balletigala

Fr 06/09/2019 19:00
Narva Kreenholmi Manufaktuuri ooperitelk
15.50 - 25.50

Thread

Idea and Choreography: Tiit Helimets

Music: Sven Grünberg

Designer: Dores André (Hispaania)

Repetiteurs: Eve Andre-Tuga, Daniel Kirspuu

In his short ballet, the choreographer draws parallels between the life of a human being and a thread.

Tiit Helimets: “I have always been interested in human psychology and the development of a person from birth to death. My ballet deals with all that and I hope that the spectators will find both parallels with their own lives and discover also something new.”

Keep a Light in the Window

Choreographer and Stage Director: Jevgeni Grib

Music: Artur Lemba, Lepo Sumera, Sasha Pushkin

Designers: Jevgeni Grib, Olga Grib

Lighting Designer: Ritšard Bukin

Repetiteurs: Marina Kesler, Eve Andre-Tuga

There are a lot of apartments in a house. All windows seem alike when looking at them from a distance, but at a closer look we can see that every one of them contains a room full of life. There is love, loneliness, happy and sad moments, hope and hopelessness – every light in the window burns differently. There are problems in life that seem unsolvable at first, but there is a solution to every situation. Sometimes you just need to turn on the light …

Jevgeni Grib: “I hope that every member of the audience will find something relatable when they come to see my ballet. That can be different for every person – whether it be a reminder of the time they fell in love or what it feels to be lonely.”

SWAN LAKE

Ballet by Pyotr Tchaikovsky

Libretto by Vladimir Begichev and Vasily Geltser

World premiere on March 4, 1877 at the Bolshoi Theatre in Moscow

Premiere at the Estonian National Opera on April 15, 2016

Choreographer and Stage Director of the new redaction: Thomas Edur

Thomas Edur’s version is based on Lev Ivanov’s and Marius Petipa’s choreography dating from 1895

Designer: Thomas Mika (Germany)

Lighting Designer: Steen Bjarke (Denmark)

As one of the quintessential ballets of all time, “Swan Lake” offers an unforgettable experience of romance, virtuoso dancing and Tchaikovsky’s magnificent music. Despite the poor reception of the premiere in 1877, it has become one of the most loved and frequently performed pieces. The technically demanding double role of Odette/Ottilie poses a challenge for any prima ballerina. Although “Swan Lake” has been restaged in many versions throughout the ballet’s history, most companies rely on the 1985 version by Lev Ivanov and Marius Petipa. Thomas Edur’s version combines beautiful dance classics with a loved story of romance, sorcery and the struggle between good and evil.

“SWAN LAKE” AS THE SYMBOL OF IDEALS

Interview with the stage director and choreographer Thomas Edur

What does “Swan Lake” mean to you?

Tchaikovsky’s music is immortal and this is the main reason why “Swan Lake” is still performed. Doubtlessly, the choreography by Petipa and Ivanov has immensely contributed to its survival, as their revival is usually the one that inspires most choreographers. While the music in earlier ballets consisted of compulsory dance acts, which were not always closely related, then Tchaikovsky’s music is dramaturgically meaningful and in service of the whole ballet. As with my last ballet, “La Bayadère”, I was inspired by the keywords “clearer” and “more compact”, while remaining faithful to the classic. I have great respect for the original and I am convinced that a classic must remain a classic. Ivanov’s Act II (Act I, Scene II in our production), the pas de deux of Odette and Prince Siegfried, and the pas de trois remained unchanged. Additionally, as far as I know, the music from “The Russian Dance”, which has an exquisite violin solo, has never been performed in previous versions of our theatre’s productions.

For me, this piece symbolises unachievable ideals: each person and generation has ideals that cannot be achieved. Similarly, Tchaikovsky’s life was full of longings and aspirations, which were never achieved.

Could you describe your version?

Both Odette’s and the Prince’s characters are more real and natural – genuine persons with genuine emotions with whom the public can easily identify with. The lead female role of “Swan Lake” is a real challenge since the ballerina has to represent two contrary characters – one is soft-hearted, dreamily shy and looking for the love of her life, while the other is dynamic and mysteriously seductive. I think that each woman has more or less of each side in them, or both equally. Prince Siegfried is looking for love and ideals, and finds them from somewhere he would never have guessed – in the forest, he meets a marvellous princess, who is fated to take the form of a swan by day. Saving Odette from the evil magician Rothbart is like saving ideals and dreams in the realistic everyday world. On his journey, Siegfried finds himself and true love which breaks Rothbart’s curse. “Swan Lake” is, in a sense, the story of Siegfried.

My version of the ballet has a happy ending – evil retreats before true love. Several versions have had a happy ending in which Odette is released from the curse and becomes human. One example is Vladimir Burmeister’s production from 1954, which starred the amazing Helmi Puur.

What did the other Thomas, Thomas Mika, have in mind for the set design?

The set design for Cranko’s “Onegin” in our theatre by Thomas had a very clean and refreshing effect. “Onegin” is a stylised classic and I was deeply impressed by it. I shared my vision with Thomas and we quickly discovered common grounds. I fully trust Thomas and have given him a lot of freedom for the design.

What have the Prince Siegfrieds of your dancing career been like?

I have participated in at least ten productions, which have been fundamentally similar, but different in detail. One of the most spectacular was Konstantin Sergeyev’s version from 1981 at the Estonian National Opera, which was performed for decades and which I really enjoyed. I played in that one in 1990, before leaving Estonia. Three other versions also stand out: Derek Deane’s version from 1997, in which I danced at the English National Ballet in 2005, Raisa Struchkova’s version from 1993 at the English National Ballet, and Patrice Bart’s version from 2001 at the Berlin State Opera (premiered in 1997).

 

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Event Date / Time Venue Price  
Balletigala Fr 06/09/2019 19:00 Narva Kreenholmi Manufaktuuri ooperitelk 15.50 - 25.50
Price information
Hinnad kuni 01.06
tavahind 25EUR/ 17EUR
õpilane/pensionär 23EUR/ 15EUR

Soovitatav vanus 7+
Sissepääs kell 17:00
Üritus kestab 2 tundi ja 30 minutit, ühe vaheajaga (30 minutit)
 
Venue
Joala 23 Narva Estonia
Promoter
ContempArt MTÜ
Ehitajate tee 13 Tallinn Harjumaa
narvaopera@gmail.com