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TOLEDO PROGRAM

Compañía Nacional de Danza

In the Middle, Somewhat Elevated. William Forsythe

Teatro de Rojas

May 15 and 16, 2015 (20:00 hs.)

Program:

DON QUIXOTE SUITE. José Carlos Martínez/ Ludwig Minkus
-Intermission-
SUITE N0.2 OP. 17 , III: ROMANCE. Uwe Scholz/Sergei Rachmaninov
IN THE MIDDLE, SOMEWHAT ELEVATED. William Forsythe / Thom Willems
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Don Quixote. José Carlos Martínez

Choreography: José Carlos Martínez (inspired on the versions of Marius Petipa and Alexander Gorski).
Music: Ludwig Minkus
Set design: Ricardo Sánchez Cuerda
Costumes made by Pedro Moreno
Conductor: Kevin Rhodes

World premiere by Compañía Nacional de Danza on December 17th, 2015 at Teatro de la Zarzuela, Madrid (Spain).

Basilio loved Quiteria from his earliest years, and she responded to his passion with countless modest proofs of affection, so that the loves of the two children, Basilio and Quiteria, were the talk and the amusement of the town. As they grew up, the father of Quiteria made up his mind to refuse Basilio his wonted freedom of access to the house, and to relieve himself of constant doubts and suspicions, he arranged a match for his daughter with the rich Camacho, as he did not approve of marrying her to Basilio, who had not so large a share of the gifts of fortune as of nature; for if the truth be told ungrudgingly, he is the most agile youth we know, a mighty thrower of the bar, a first-rate wrestler, and a great ball-player; he runs like a deer, and leaps better than a goat, bowls over the nine-pins as if by magic, sings like a lark, plays the guitar so as to make it speak, and, above all, handles a sword as well as the best.

- For that excellence alone -said Don Quixote at this-, the youth deserves to marry, not merely the fair Quiteria, but Queen Guinevere herself, were she alive now, in spite of Launcelot and all who would try to prevent it.

- Say that to my wife! -said Sancho, who had until now listened in silence-, for she won't hear of anything but each one marrying his equal, holding with the proverb 'each ewe to her like'. What I would like is that this good Basilio, for I am beginning to take a fancy to him already, should marry this lady Quiteria; and a blessing and good luck, I meant to say the opposite, on people who would prevent those who love one another from marrying.

Miguel de Cervantes
Don Quijote de la Mancha, II -XIX

Suite No.2 Op. 17, III: Romance

Choreography: Uwe Scholz
Music: Sergei Rachmaninov
Costumes: Uwe Scholz
Light Design: Röger Michael Wolfgang
Costumes made by: Klaus Schreck
Duration: 9 minutes (aprox.)

World premiere by Zürich Ballet on 1987 at Zürich Opera House, Zürich (Switzerland)
Premiere by Compañía Nacional de Danza on May 8th, 2015 at Teatro Principal, Valencia (Spain).

What distinguishes Scholz choreographies in general is their unparalleled musically. Pace by pace the music resounding with his work seems to articulate itself almost perforce in harmony with his art. Whereas one normally hopes to perceive the choreography to reflect the music, to translate it faithfully into the visual setting, with Scholz artistically unequalled tour de force, to stage, on the contrary, reflects the music mirror-like in resounding symphonic imagery.
Scholz writes poetry with movement. He writes poetry in dance. His ballets, written in largely classical moves, are a silent address to stage: emphatically tracing everyman’s joys, everyman’s joys, everyman’s sorrows. It is that affects everyone anew in his work. You hear his ballets with your eyes. You see them with your ears.

-Klaus Geitel-

Uwe Scholz

Uwe Scholz was born on 31 December 1958 in the state of Hesse, Germany.
He received his first ballet training at the age of four, which was then continued two years later at the Landestheater Darmstadt. In 1973, under the tuition of John Cranko, he passed the entrance exam at the Ballet School of the Wuerttembergische Staatstheater Stuttgart, where he completed his training in 1979. Upon concluding his studies, he was given a contract, as a member of the Stuttgart Ballet, where he was entrusted by Marcia Haydée with a number of choreographic challenges. These were to have lasting effect and influence on his further development. In 1980, Uwe Scholz received a choreographer’s contract from Haydée and retired as a dancer from the stage. Two years later, he was appointed the first "Resident Choreographer" of the Stuttgart Ballet since John Cranko's death.
In addition to choreographing ballets, he was also able to gather experience as an assistant producer and opera choreographer (e.g. with Lovro von Matacic and with Hans Neuenfels, "Aida" in Frankfurt on Main), as an opera director (e.g. Testimonium Festival in Israel and "The Magic Flute" in Nuremberg), and as a drama assistant (with Heyme) and on work for television. At the age of only twenty-six, Uwe Scholz became the Ballet Director and Resident Choreographer of the Zurich Opera House, where he directed the Zurich Ballet for six years until 1991.
Since 1991, Uwe Scholz has been the Director and Resident Choreographer of the Leipzig Opera Ballet. Here he took on the artistic management of a ballet ensemble which was amongst the largest in Germany and has been known internationally since 1992 as the Leipzig Ballet. During his long career as a choreographer, he created a repertoire of more than seventy ballets. Without omitting such renowned composers as Mozart, Wagner and Stravinsky, his musical range extended from music of the renaissance period to collaborating with contemporary composers such as Udo Zimmermann or Pierre Boulez.
Uwe Scholz's talents as a choreographer are in demand world-wide. He has choreographed ballets for the Vienna State Opera, La Scala Milan, on several occasions for the Stuttgart Ballet, for "Les Ballets de Monte Carlo" as well as Jiri Kylan’s "Nederlands Dans Theater", for Jerusalem, Stockholm and Toronto.
Uwe Scholz's choreographic signature has made a name for itself on many international stages (including New York, Paris, Moscow, Rio de Janeiro, Madrid, Florence, Tokyo, Berlin and Munich).  For his services as a choreographer, Uwe Scholz was awarded the "Ommagio Alla Danza" award by the "Espressione Europa" organisation in Venice in 1987.  In 1996, the German President of the time, Roman Herzog, bestowed upon him the Order of the Federal Republic of Germany. In honour of his choreography of Mozart’s 1st Mass in D minor, which enjoyed its premiere in February 1998 with the Leipzig Ballet, he received the Theatre Award of the year, from the Bavarian National Government in the Dance category. He was also awarded the German Dance Award in Essen in 1999. Uwe Scholz's vision of the ideal interpretation of dance was not limited to a mere achievement of perfection in terms of dance. Instead he was interested in the dancer’s ability to convey an artistic idea through "body language". Uwe Scholz was a founding member of the Freie Akademie der Kuenste zu Leipzig. In 1993, he was appointed Professor for Choreography at the Felix Mendelssohn Bartholdy College for Music and Theatre in Leipzig. Since September 1997, he was also the Director of the Ballet School of the Leipzig Opera. Uwe Scholz died at the age of 45 years on the November 21st, 2004.

 

In the Middle, Somewhat Elevated. William Forsythe

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

William Forsythe

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.

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