JEREZ DE LA FRONTERA PROGRAM
Compañía Nacional de Danza
May 23th, 2015 (20:30 hs.)
CLASSICS OF TODAY (… from Petipa to Forsythe)
Allegro Brillante. George Balanchine/ Piotr Ilich Chaikovski (Concierto de piano nº 3, op. 75)
Delibes Suite. José Carlos Martínez/ Leo Delibes
Raymonda Variations. José Carlos Martínez/ Alexander Gluzanov
In the Middle, Somewhat Elevated. William Forsythe / Thom Willems
With the special collaboration of the guest artist Clara Blanco, soloist from San Francisco Ballet.
Choreography: George Balanchine (© The George Balanchine Trust)
Music: Piotr Ilich Chaikovski, (Concierto de piano no 3, op. 75)
Costumes: Nanette Glushak y Miguel Crespi
Staging: Nanette Glushak
Adaptation of Light Design: Nicolás Fischtel
Costumes made by: Miguel Crespi
Duration: 17 minutes
Worldpremiere by New York City Ballet on March 1st, 1956 at the City Center of Music and Drama, New York.
Premiered by Compañía Nacional de Danza May 24th, 2014 at Teatro Real de Madrid.
George Balanchine was born in St. Petersburg, Russia (1904-1983) and is regarded as the foremost contemporary choreographer in the world of ballet. He came to the United States in late 1933, at the age of 29, accepting the invitation of the young American arts patron Lincoln Kirstein (1907-96), whose great passions included the dream of creating a ballet company in America. At Balanchine's behest, Kirstein was also prepared to support the formation of an American academy of ballet that would eventually rival the long-established schools of Europe.
Balanchine's more than 400 dance works include Serenade (1934), Concerto Barocco (1941), Le Palais de Cristal, later renamed Symphony in C (1947), Orpheus (1948), The Nutcracker (1954), Agon (1957), Symphony in Three Movements (1972), Stravinsky Violin Concerto (1972), Vienna Waltzes (1977), Ballo della Regina (1978), and Mozartiana (1981). His final ballet, a new version of Stravinsky's Variations for Orchestra, was created in 1982.
He also choreographed for films, operas, revues, and musicals. Among his best-known dances for the stage is Slaughter on Tenth Avenue, originally created for Broadway's On Your Toes (1936). The musical was later made into a movie.
A major artistic figure of the twentieth century, Balanchine revolutionized the look of classical ballet. Taking classicism as his base, he heightened, quickened, expanded, streamlined, and even inverted the fundamentals of the 400-year-old language of academic dance. This had an inestimable influence on the growth of dance in America. Although at first his style seemed particularly suited to the energy and speed of American dancers, especially those he trained, his ballets are now performed by all the major classical ballet companies throughout the world.
Choreography: José Carlos Martínez
Music: Leo Delibes
Extracts from "La Source" (scene and "Pas d'Action" from the 2nd Act, Suite No. 3) and from "Coppelia" (the Work and the "Galop final" of the 2nd Act)
Costumes: Agnès Letestu
Light Design: José Carlos Martínez
Costumes made by: Carmen Granell and CND Wardrobe
Duration: 13 minutes
Worldpremiere by Incidence choregraphique on 16th March 2003 at L'Orangerie de Roissy, France.
Premiered by Compañía Nacional de Danza on 18th October 2013 at Teatro Guerra, Lorca.
Regarding the music by the French composer, Leo Delibes (several extracts from "La Source" and "Coppelia"), José Martínez has choreographed a Pas de deux in the classical tradition - adagio, dancer's variation, ballerina's variation, coda, in which he enjoys himself by quoting the choreographic arsenal of more complex pieces, while he does provide aprecise, subtle lightness that mixes with the vitality that characterises him.
Choreography: José Carlos Martinez (to the original by Marius Petipa and the version by Rudolf Nureyev)
Music: Alexander Glazunov.
Costumes: Jordi Roig and Carmen Granell
Duration: 28 minutes
Worldpremiere by Ballet Imperial in January 19th 1898 at Marinsky Theatre, St. Petersburgo.
Premiered by Compañía Nacional de Danza in October 18th 2013 at Teatro Guerra de Lorca.
The ballet Raymonda (one of the last great works by Marius Petipa) takes place in three acts in a conventional Middle Ages. This “Gran Pas Classique” is an extract from the Act III: Raymonda and Jean de Brienne, are now married in the presence of the King of Hungary.
Just as the music takes on the exotic tones of Magyar themes, the classic steps are also adorned with Hungarian taste. While the legs dance in pure classic style the bust and arms adopts the gestures of a “character dance”
*Dedicated to Maya Plisétskaya
José Carlos Martinez
In The Middle, Somewhat Elevated
Choreography: William Forsythe
Music: Thom Willems
Sets, Costumes and Light Design: William Forsythe
Staging: Agnès Noltenius
Costumes made by: Klaus Schreck
Duration: 28 minutes
Worldpremiere by Ballet de l’Opéra de Paris at Théâtre National de l’Opéra de París, May 29, 1987.
Premiered by Compañía Nacional de Danza at Teatro de la Zarzuela Madrid, December 11, 1992.
The strength of a work is based on its simplicity. In The Middle, lacking in any external effects, is concentrated on thetraditional formula, theme and variations. The main theme, danced by the ballerina, increases progressively in relationto the number of dancers, until the result of the group becomes much more complex variations and pas de deux. The pretended disdain of the dancers contrasts with the strict and severe technical demands. The title of the ballet refers to two golden cherries, which hang above from the centre of the stage, and which lead to a minimal reflexion within the huge interior of l’Opéra de Paris, the space in which this ballet was created.
Raised in New York and initially trained in Florida with Nolan Dingman and Christa Long, Forsythe danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed Resident Choreographer in 1976. Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies in Munich, The Hague, London, Basel, Berlin, Frankfurt am Main, Paris, New York, and San Francisco. In 1984, he began a 20-year tenure as director of the Ballet Frankfurt, where he created works such as Artifact (1984), Impressing the Czar (1988), Limb’s Theorem (1990), The Loss of Small Detail (1991, in collaboration with composer Thom Willems and designer Issey Miyake), A L I E / N A(C)TION (1992), Eidos:Telos (1995), Endless House (1999), Kammer/Kammer (2000), and Decreation (2003).
After the closure of the Ballet Frankfurt in 2004, Forsythe established a new, more independent ensemble. The Forsythe Company, founded with the support of the states of Saxony and Hesse, the cities of Dresden and Frankfurt am Main, and private sponsors, is based in Dresden and Frankfurt am Main and maintains an extensive international touring schedule. Works produced by the new ensemble include Three Atmospheric Studies (2005), You made me a monster (2005), Human Writes (2005), Heterotopia (2006), The Defenders (2007), Yes we can’t (2008), and I Don’t Believe in Outer Space (2008). Forsythe’s most recent works are developed and performed exclusively by The Forsythe Company, while his earlier pieces are prominently featured in the repertoire of virtually every major ballet company in the world, including The Kirov Ballet, The New York City Ballet, The San Francisco Ballet, The National Ballet of Canada, England’s Royal Ballet, and The Paris Opera Ballet.
Awards received by Forsythe and his ensembles include the New York Dance and Performance “Bessie” Award (1988, 1998, 2004, 2007) and London’s Laurence Olivier Award (1992, 1999, 2009). Forsythe has been conveyed the title of Commandeur des Arts et Lettres (1999) by the government of France and has received the German Distinguished Service Cross (1997), the Wexner Prize (2002) and the Golden Lion (2010).
Forsythe has been commissioned to produce architectural and performance installations by architect-artist Daniel Libeskind, ARTANGEL (London), Creative Time (New York), and the City of Paris. His installation and film works have been presented in numerous museums and exhibitions, including the Whitney Biennial (New York), the Venice Biennale, the Louvre Museum, and 21_21 Design Sight in Tokyo. His performance, film, and installation works have been featured at the Pinakothek der Moderne in Munich, the Wexner Center for the Arts, Columbus, the Venice Biennale and the Hayward Gallery, London.
In collaboration with media specialists and educators, Forsythe has developed new approaches to dance documentation, research, and education. His 1994 computer application Improvisation Technologies: A Tool for the Analytical Dance Eye, developed with the Zentrum für Kunst und Medien technologie, is used as a teaching tool by professional companies, dance conservatories, universities, postgraduate architecture programs, and secondary schools worldwide. 2009 marks the launch of Synchronous Objects for One Flat Thing, reproduced, a digital online score developed with The Ohio State University that reveals the organizational principles of the choreography and demonstrates their possible application within other disciplines.
As an educator, Forsythe is regularly invited to lecture and give workshops at universities and cultural institutions. In 2002, Forsythe was chosen as one the founding Dance Mentor for The Rolex Mentor and Protégé Arts Initiative. Forsythe is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate from the Juilliard School in New York.
Born in Valladolid, Spain, Clara Blanco trained at Estudio de Beatriz Martin, Estudio de Danza de Maria Avila, and San Francisco Ballet School. She joined the Company in 2001, performed with Birmingham Royal Ballet for one year in 2006, and returned to SF Ballet in 2007.
Blanco has danced principal roles in Tomasson’s Nutcracker(Grand Pas de Deux Ballerina); Balanchine’s Symphony in Three Movements; Cranko’s Onegin (Olga); Page’s Guide to Strange Places; Possokhov’s Classical Symphony and Fusion; and Wheeldon’s Cinderella (Stepsister Clementine), Number Nine, and Rush. She has danced featured roles in Tomasson’s Giselle (Zulma) and Swan Lake (pas de trois); Tomasson/Possokhov’s Don Quixote (Cupid); Balanchine’s Coppélia, “Emeralds,” The Four Temperaments, Scotch Symphony, Symphony in C, and Symphony in Three Movements; Caniparoli’s Ibsen’s House (Mrs. Alving); Fokine’s Petrouchka (Ballerina); Lifar’s Suite en Blanc; Makarova’s Paquita; Nureyev’s Raymonda—Act III; Possokhov’s The Rite of Spring; Ratmansky’s Le Carnaval des Animaux; Welch’s Naked; and Wheeldon’s Carousel (A Dance).
Her repertory also includes Tomasson’s Romeo & Juliet, The Sleeping Beauty, 7 for Eight, Chi-Lin, “Haffner” Symphony, On a Theme of Paganini, Prism, and Trio; Balanchine’s Ballo Della Regina, “Rubies,” Serenade, Square Dance, Stars and Stripes, Stravinsky Violin Concerto, Theme and Variations, and Who Cares?; Bournonville’s The Flower Festival in Genzano pas de deux; Kudelka’s Dreams of Harmony; MacMillan’s Elite Syncopations; Neumeier’s The Little Mermaid; Robbins’ Glass Pieces, Opus 19/The Dreamer, and West Side Story Suite; Possokhov’s Diving into the Lilacs, Firebird, and Reflections; Ratmansky’s Le Carnaval des Animaux; Welch’s Tu Tu; and Wheeldon’s Ghosts, There Where She Loved, and Within the Golden Hour.
As a guest artist, Blanco danced Wheeldon’s After the Rain pas de deux at Gala de Danza in Cabo San Lucas, Mexico, in 2013; Sugar Plum Fairy in Nutcracker at Emerald Ballet Theatre in Bellevue, Washington, and at BRAVA ARTS in Riverside, California, in 2012; After the Rain pas de deux at Dancing Through Generations Gala at Brandon Ballet, Tampa, Florida, in 2012; Grand Pas Classique and After the Rain at “Ballet Stars From San Francisco,” Lively Arts Foundation Gala, Fresno, California, in 2012; pas de deux from Nutcracker and After the Rain at the Pas de Deux Gala in Valladolid, Spain, in 2012; and pas de deux from Paquitaand Wheeldon’s Continuum at the 6th International Competition for the Erik Bruhn Prize in Toronto, Canada, in 2002.
Blanco was named ambassador of Vallalodid’s Teatro Calderón in June 2012.
Paseo de la Chopera, 4