Brigitta Luisa Merki: „… adónde vas, Siguiriya?“ | Ensemble | © Gert Weigelt
b.23
Opernhaus Düsseldorf
Sunday, 12. April 2015
15:00 - 18:00 hours

Duration b.23: approx. 3 hours, two intervals
17,10 - 81,50 € Abo. 19
Further Dates And Events
Opernhaus Düsseldorf
June 2015
Su  |  21.06.  | 18:30  Abo. 7 Online Tickets: 17,10 - 81,50 €
Th  |  25.06.  | 19:30  Abo. 12 Online Tickets: 17,10 - 81,50 €

Duration b.23: approx. 3 hours, two intervals
Symphonie g-Moll (Uraufführung)
Martin Schläpfer
“Symphony g-Moll” is Martin Schläpfer’s title for his second world premiere for the Ballett am Rhein this season, noting his renewed search for a dialogue with a familiar work from the symphonic repertoire: here the Symphony in G minor No. 40 KV 550 by Wolfgang Amadeus Mozart. The composition gathers momentum like an “aria agitate” filled with painful excitement, its falling, sighing figures radiating an atmosphere of relentless progression which, as the first movement continues, is distilled into what the musicologist Alfred Einstein describes as “descents into the abyss of the soul, from which only Mozart himself could find a way back to the path of reason”. However, rococo elegance and expressive and passionate feeling are also notable features of this composition, one of Mozart’s trio of last symphonies written in 1788.

In this ballet Martin Schläpfer draws us into a multi-layered dance event. The atmosphere seems to be festive. The location could be a large ballroom from the Rococo period. This point in the 18th century is alluded to not only by Mozart’s music and the costume dolls in splendid robes which designer Florian Etti has placed in a row like exhibits in a waxworks museum, but also the mood of divertissement underlying Martin Schläpfer’s choreography. Balanced classical lines are initially dominant, along with tall ballerina bodies, virtuosity, powerful jumps and athleticism, gently floating on pointe but also using the shoes as weapons. However, these strict formal constructions are soon broken by the arrival of another world, when six dancers romp cavort across the stage with uncontrolled pleasure, like children. Their entrance turns the stage presence of the other group into a play within a play when, armed with stools, they try to find a seat to join us in looking into this other world – a world so very different that in the end we wonder whether the whole thing was perhaps just a dream which brought a time long gone back to life before our eyes.
 
***
SYMPHONIE G-MOLL (World Premiere)
Martin Schläpfer

MUSIC Sinfonie g-Moll KV 550 by Wolfgang Amadeus Mozart
 

Choreographie Martin Schläpfer
Musikalische Leitung Marc Piollet
Bühne und Kostüme Florian Etti
Licht Thomas Diek
 
Tänzerinnen Sachika Abe, Doris Becker, Sabrina Delafield, Feline van Dijken, Nathalie Guth, Alexandra Inculet, Christine Jaroszewski, Yuko Kato, So-Yeon Kim, Helen Clare Kinney, Anne Marchand, Aryanne Raymundo, Claudine Schoch, Virginia Segarra Vidal, Elisabeta Stanculescu, Julie Thirault, Irene Vaqueiro
Tänzer Rashaen Arts, Andriy Boyetskyy, Jackson Carroll, Odsuren Dagva, Filipe Frederico, Philip Handschin, Richard Jones, Chidozie Nzerem, Alban Pinet, Boris Randzio
Orchester Düsseldorfer Symphoniker
 
... adónde vas, Siguiriya? – Capricho Flamenco (Uraufführung)
Brigitta Luisa Merki
“Among black butterflies / A dark-haired girl walks / Next to a white serpent / of mist. / Earth of light / sky of earth ... / Where are you going Siguiriya?” – Federico García Lorca asks the girl in his poem “El Paso de la Siguiriya”, whose name is that of the archaically profound and expressive Cante Jondo song which lies at the heart of flamenco: “Cante Jondo is always sung at night, it has no morning, no evening, no mountains, no plains. It has only the night, a wide, deep starry night”, Lorca writes. “In Siguiriya, the consummate poem of tears, the melody weeps like the verses weep.” Until now the Siguiriya has only beensung, but now it is also danced and with its explosive power, full of anger and grief, dwelling intolerant and inconsolable on the edges of human existence, it remains a considerable challenge for any dancer.

“Flamencos en route present flamenco at its best”, wrote the Neue Zürcher Zeitung. This celebrated dance company consists of distinguished Spanish and international dance and music makers and marks its 30th anniversary in 2014 with a comprehensive programme in many locations across Europe. Since 1984 the choreographer and founder of the company Brigitta Luisa Merki – who was initially able to secure her former teacher the legendary dancer and choreographer Susana as artistic director – has retained the concept of combining flamenco with the most diverse artistic movements and intellectual influences. This constantly leads her to new shores, as is the case here with her first collaboration with the Ballett am Rhein. Dancers and musicians from Flamencos en route will encounter dancers from Martin Schläpfer's company in “… adónde vas, Siguiriya?” and investigate new artistic dialogues and intense poetic acoustic images.

“His images of the Siguiriya could not capture the essence of flamenco and the magical atmosphere of this complex art form any better”, writes Brigitta Luisa Merki about Lorca’s poem which serves as the starting point for her own new dance poem – a capricho overcoming the boundaries between two very different artistic ensembles as “the liveliness of an idea, of a mood, as a form of expression for unbounded fantasy, for the dark just as much as the light. Playing with the forms and colours of flamenco which continually assimilate what is alien and new without letting itself be assimilated.”
 
***
… ADÓNDE VAS, SIGUIRIYA?
CAPRICHO FLAMENCO
(World premiere)
Brigitta Luisa Merki

MUSIC „Por Siguiriya y por Bulería“ from Musikensemble Flamencos en route

***
A co-operation between Flamencos en route and the Ballett am Rhein Düsseldorf Duisburg
 

Choreographie und Bühne Brigitta Luisa Merki
Kostüme Carmen Perez Mateos
Licht Thomas Diek
Ton Markus Luginbühl
 
Tanzcompagnie Flamencos en route Carmen Angulo, Carmen Iglesias, Raquel Lamadrid, Eloy Aguilar, Alvise Carbone, Ricardo Moro
Musikensemble Flamencos en route Emilia Amper, Rocio Soto, Fredrik Gille, Juan Gomez, Pascual de Lorca
Tänzerinnen Marlúcia do Amaral, Camille Andriot, Mariana Dias
Tänzer Paul Calderone, Marcos Menha, Alexandre Simões
 
Rättika (Deutsche Erstaufführung)
Mats Ek
“With Mats Ek not only the narrative ballets but also the more abstract pieces are always little stories, which present life before our eyes as it really is – choreographic images with their Nordic starkness and archaic power located between dream and reality which continue to occupy us long after the evening in the theatre is over”, wrote Swedish dance and theatre critic Margareta Sörenson about Mats Ek who, along with John Neumeier and Jiří Kylián, is regarded as one of the leading choreographers of his generation. This is particularly true of his choreography “Rättika”, with which he once again entrusts the Ballett am Rhein with his work following “Aluminium” in 2010.

In “ättika” – in English “radish” – originally created for the Royal Swedish Ballet, Mats Ek analyses with his own fatalistic humour and individual extravagance what belongs on stage in ballet and what does not: not only giant surreal radishes hover in the sky over the stage. He also rejects the hierarchy of classical ballet with a prima ballerina in the foreground and a decorative corps de ballet. The dancers move in ensembles in apparently everyday ways, they seem fragile, although their movements could hardly be more connected to the earth. Individuals escape from the group – a man in a suit of newspaper, a woman in a cow print dress – and pick up on the recurring theme which runs through all of Mats Ek’s ballets: his multi-facetted, masterfully compact narration of relationships between people who attempt to control life as much as they can.

Anne-Sophie Mutter’s recording of Johannes Brahms’ Violin Concerto in D major inspired Mats Ek to set the music in 2008. In Düsseldorf this great romantic concerto will be performed by the young violinist Marc Bouchkov. Born in 1991 in Montpellier and a student of Boris Garlitsky in Paris and Hamburg, he has recently caused a stir as a prize-winner in prestigious competitions such as the Queen Elisabeth Competition in Brussels and the Montreal International Musical Competition.
 
***
RÄTTIKA
(German premiere)
Mats Ek

MUSIC Concerto for Violin and Orchestra in D major op. 77 by Johannes Brahms
 

Choreographie Mats Ek
Musikalische Leitung Marc Piollet
Bühne und Kostüme Mylla Ek
Licht Erik Berglund
Choreographische Einstudierung Ana Laguna, Eva Säfström
 
Solo-Violine Marc Bouchkov
Tänzerinnen Ann-Kathrin Adam, Camille Andriot, Doris Becker, Wun Sze Chan, Mariana Dias, Sonia Dvorak, Yuko Kato, Louisa Rachedi
Tänzer Paul Calderone, Martin Chaix, Michael Foster, Marquet K. Lee, Sonny Locsin, Marcos Menha, Bruno Narnhammer, Alban Pinet, Alexandre Simões
Orchester Düsseldorfer Symphoniker
 

 

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