Estreno absoluto por la Compañía Nacional de Danza el 26 y 27 de octubre de 2018 en el Teatro Baluarte de Pamplona, España.
El Cascanueces o Cascanueces fue estrenado el 17 de diciembre de 1892, en el teatro Mariinsky de San Petersburgo bajo la coreografía de Marius Petipa y Lev Ivanov, el libreto fue escrito por Ivan Vsevolozhsky y el propio Petipa y la música es de Piotr I. Tchaikovsky. La primera historia que se conoce de Cascanueces está basada en el libro de cuentos de Ernst Theodor Amadeus Hoffmann, titulado "El Cascanueces y el Rey de los ratones" (1816). Sin embargo, el argumento que daría vida años más tarde al ballet de Tchaikovsky, deriva de una adaptación que Alejandro Dumas (padre) hiciera del texto de Hoffmann.
Con este estreno José Carlos Martínez quiere rendir un homenaje al gran genio de la danza, Marius Petipa, por su bicentenario (Petipa nació en marzo de 1818). El arte de Petipa se caracteriza por su rigor técnico, riqueza de medios y un sutil sentido de la elegancia.
Music: Brandenburg Concertos J.S Bach: No. 3 BWV 1048, I, II, III and No. 6 BWV 1051 II, Adagio
Wardrobe design: Seh Yun Kim with Wardrobe CND
Lighting design: Seh Yun Kim in collaboration with CND
Wardrobe realisation: Taller CND
The music itself is the main inspiration behind this ballet. Bach wanted the number three to feature significantly in this piece of music in different ways. Naturally, then, the number three features in the choreography also. It starts off with an introduction danced by three couples. Later, in Act 2, each couple dances one of three different comic duets. As the choreography aims at creating a ballet for young dancers later wishing to join the company, it begins with classical, almost academic ballet movements, shifting into neoclassical movements. The piece then incorporates increasingly complex movements as it progresses.
World premiere by Compañía Nacional de Danza on December 21th, 2016 at Teatro de la Zarzuela, Madrid (Spain).
In abandon to the flow of the body adrift, we slip free of all ties preventing us from being. A waltz arises; comes closer. In our midst emerges a bridge; a possibility. The journey’s end is unknown yet we know there is no way back or possible wavering. We will recognise ourselves further beyond; in that stretch where our bodies meet the ground and end their descent. In order to rise we must first descend; but how far…?
Hasta siempre...? made specifically for the Compañía Nacional de Danza, is a special adaptation of Sharon Fridman’s legendary work ¿Hasta Dónde…?
The original work is a duet based on the technique of contact and which has been staged more than 300 times after starting out in 2011, winning first prize and the Audience Award in the Burgos-New York Choreography Contest (Certamen Coreográfico Burgos-Nueva York). Since then, the dance has won numerous awards, such as the Alicia Alonse CIC’ 12 Latin American choreography award, the second prize and Audience Award in the Hannover Choreography Contest 2013, and the Audience Award in the Tanzplatform de Bern (Switzerland) 2016.
World premiere by Compañía Nacional de Danza February 1, 2018 at El Pavón Teatro Kamikaze, Madrid, Spain.
This short piece is inspired by the earthshaking poem by the British poet Siegried Sassoon, which describes so well the beauty of finding the path towards our own emotional absolution and liberation: "The anguish of the earth absolves our eyes Till beauty shines in all that we can see. War is our scourge; yet war has made us wise, And, fighting for our freedom, we are free..."
This version of the Romeo and Juliet pas de deux is an extract of the work composed by Sergei Prokofiev and choreographed by Leonid Lavrovsky and depicts the “balcony scene”. Romeo and Juliet is considered one of the best ballets of the 20th Century and was the first to be based on a Shakespeare work. The work was premiered in 1940 at the Kirov theatre in Saint Petersburg and in 1946 it triumphed at the Bolshoi Ballet in Moscow.
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