GISELLE. Joaquín De Luz
- Choreography: Joaquín De Luz (after the original by Jules Perrot and Jean Coralli)
- Music: Adolphe-Charles Adam
- Orchestra: Orquesta Titular del Teatro de la Zarzuela. ORCAM.
- Musical Direction: Oliver Díaz
- Booklet: Borja Ortiz de Gondra y Joaquín De Luz (based on the original by Jules Henry Vernoy and Theóphile Gautier)
- Dramaturgy: Borja Ortiz de Gondra
- Set Design: Ana Garay
- Costume Design: Rosa García Andújar
- Lighting Design and Video Creation:: Pedro CHamizo
- Duration: 2 hours
- World premiere: Compañía Nacional de Danza at Teatro de la Zarzuela, Madrid (Spain), December 9th 2020
In 1841, the Ópera de París held the premier of the ballet Giselle, in which the poet Théophile Gautier is inspired by the German legends of Heinrich Heine, creating romantic myths that would come to mark the history of dance: innocent peasant girls in love, grape harvest fiestas, handsome seductive princes, apparitions of the ghostly spirits of the woods …
The previous year, Gautier had visited Spain. Subsequently, his book, Le voyage en Espagne, spurred the romantic fashion among European travellers to experience the country, its society sets and traditions and its folkloric dances.
In 1863, the Spanish poet Gustavo Adolfo Bécquer retired to the Veruela Monastery, in the Moncayo mountains and, there, surrounded by woodland and nature, he wrote his rhymes of forlorn love and legends of sad fates.
For this new version offered by the Compañía Nacional de Danza our wish was to envisage a Giselle viewed through the lens of Spanish romanticism: inspired by Bécquer’s poetry, we will dance the story of this maiden in love with the handsome foreign traveller whom she will love even beyond death.
Without dropping any of the elements that have placed this piece among the summits of classical ballet, our Giselle also includes Spanish traditions and the bolera school of dance. And in the woods, inhabited by the Willis—those spirits of maidens who died befote marriage—the wind’s voices whisper Bécquer’s verses.
The end of Giselle sees the forces of love and the forces of dance beat both death and darkness. That is the hope that guides us throughout the performance.
Joaquín De Luz
Borja Ortiz de Gondra
In a village near Moncayo lives an extraordinarily beautiful peasant maiden called Giselle, who, above all else, loves to dance. One autumn day, she is spotted dancing, from afar, by a group of foreign travellers. Albrecht, a man among that group, is immediately besotted. He conspires with his friend Wilfred to disguise himself as a villager and mingle among the villagers in an attempt to court her. Smitten by her suitor, Giselle begins to ignore her beloved Hilarión, who becomes suspicious of this newcomer’s true identity.
Giselle and Albrecht dance together and, as their mutual attraction grows, the whole village joins in. But Giselle’s mother suddenly rebukes her: her daughter’s health is delicate and the exertions of dance could turn her into a Wili—the night-time spirits of those maidens who died virgins and haunt the woods after midnight.
The rest of the travelling party arrives at the village and, while the villagers ply them with drink, Giselle makes friends with Bathilde, Albrecht’s fiancée, without either of them knowing they are in love with the same man.
The grape harvest festival starts and Giselle is voted queen of the fete. With her mother’s permission, she dances for all gathered. Hilarión, furious at the coquettishness he sees between Giselle and Albrecht, discovers the newcomer’s real identity and ends up revealing it.
Bathilde demands Albrecht come clean and he declares that Giselle is nothing more than a playful distraction to him. He embraces Bathilde and they continue their journey without looking back; thus, he denies himself the love that has swollen in his breast.
In the face of Albrecht’s betrayal, Giselle spins into madness and dances herself to death.
In the woods, next to Giselle’s grave, a party of mourners, broken with grief, pay their final farewell to the young maiden before leaving the site.
Night falls and, Hilarión enters, breaking the silence, to leave a humble bunch of wild flowers on the grave. He is startled by the sudden appearance of Myrtha, the queen of the Wilis. She orders her Wilis to carry out a cruel act of vengeance: to force him to dance until he falls dead of exhaustion.
Shortly, Albrecht comes through the woods. Despairing at his failure to realise in time who he truly loved, he has come to visit Giselle’s grave. Moved by this gesture, Giselle makes herself visible and tries to save Albrecht from the Wilis vengeful spell. She dances with him throughout that long tortuous night, breathing life into him and helping him survive until dawn.
With sunrise, the Wilis are forced to scurry back to their shadows. Giselle must also withdraw, but in the knowledge that her love has created an eternal link with Albrecht; she saved him but at the price that he will never be able to forget her. And, year after year, until he is an old man, Albrecht will return to Giselle’s resting place, hearing over and again in his head, the beautiful words of the maiden who loved him beyond the grave.
“En las largas noches
del helado invierno,
cuando las maderas
crujir hace el viento
y azota los vidrios
el fuerte aguacero,
de la pobre niña
a veces me acuerdo.
Allí cae la lluvia
con un son eterno:
allí la combate
el soplo del cierzo.
Del húmedo muro
tendida en el hueco,
¡acaso de frío
se hielan sus huesos!”
Extracto Rima LXXIII, Gustavo Adolfo Bécquer
“Allí donde el murmullo de la vida,
temblando a morir va,
como la ola que a la playa viene,
silenciosa a expirar;
allí donde el sepulcro que se cierra
abre una eternidad,
todo cuanto los dos hemos callado
allí lo hemos de hablar.
Extracto Poemas del Alma, Rima XXXVII, Gustavo Adolfo Bécquer
¡Yo, que a tus ojos en mi agonía
los ojos vuelvo noche y día;
yo, que incansable corro y demente
tras una sombra, tras la hija ardiente
de una visión!
Extracto Poemas del Alma, Rima XV, Gustavo Adolfo Bécquer
Dime, ¿es que el viento en sus giros
se queja, o que tus suspiros
me hablan de amor al pasar?
Dime, ¿es que ciego deliro,
o que un beso en un suspiro
me envía tu corazón?”
Extractos Poemas del Alma, Rima XXVIII, Gustavo Adolfo Bécquer
“Si al resonar confuso a tus espaldas vago rumor,
crees que por tu nombre te ha llamado lejana voz,
sabe que entre las sombras que te cercan te llamo yo.
Si se turba medroso en la alta noche tu corazón,
al sentir en tus labios un aliento abrasador,
sabe que, aunque invisible, al lado tuyo respiro yo.”
Extracto Poemas del Alma, Gustavo Adolfo Bécquer
AFTERLOVE. Mar Aguiló
- Choreography: Mar Aguiló
- Music: Aire
- Costume Design: Mar Aguiló
- Cast: Shlomi Shlomo Miara e Iker Rodríguez
- World premiere: Compañía Nacional de Danza at the European Music Day, Spain, June 20th 2020.
Where are we when we wake up? The experience of the night: a metaphoric moment that limits a space for the subversion of the established rules. Frustrated searches are the beginning and the end of a cycle of dynamics: desire, the attempt to communicate, alienation, ecstasy, disappointment… the contemporary bodies debate between the necessity and the joy of microconnexions created in the distance, interceding by different devices that alter the conciousness of the other.
She was born in Palma de Mallorca, where she started her classical and contemporary dance studies. In 2005, she joined the "Ecole atelier Rudra Bejart", a school run by the choreographer Maruice Béjart Lausanne and where she completed her training. In 2007, she joined CND2, under the artistic direction of Tony Fabre (a part of the Compañía Nacional de Danza directed by Nacho Duato). In September 2010, she joined the Compañía Nacional de Danza.
She started out with the CND performing main roles—such as Cor Perdut and Arcángelo by Nacho Duato or Artifact by William Forsythe—and has worked with renowned choreographers including Ek, Ohad Naharin, Alexander Ekman, Mar-cos Morau, Johan Inger and Iván Pérez, both in creations and in repertoire.
In 2018, she graduated from the Conservatorio Superior de Danza María de Ávila, her final graduation work being the creation of a contemporary dance piece: Océano Mujer. In recent years, she has begun to further develop this choreographic facet for the CND in pieces such as: For Now in Liquid Days, Jóvenes creadores CND, with its absolute premier in Bilbao’s Guggenheim Museum; Francinez, a solo within Home, Hotel Room, a piece created for the Thyssen-Bornemisza National Museum and Afterlove, for the European Music Day.
She has also collaborated as movement director, choreographer and dancer with artists from different disciplines, such as James Mountford, Cortana, Mana or the Korsia dance company.
As well as her continued role within the CND, she is also creative director of ELAMOR, both producing own-creations and collaborating with numerous inter-disciplinary projects, including: Prólogo-Botánico, Equilibrio.Prado—an audiovisual project for the Prado Museum and with CND dancers—or E gira tutto intorno alla stanza, a collaboration with the artist Bernat Daviu for Madrid’s CaixaForum.
It’s the main project fo Dani Sánchez, musician, producer and Dj from Barcelona. In November 2018 he published his debut album with Irish record label Glacial Industries (UK). He is the co-founder of artistic group Spanish Mafia. Among other collaborations with ELAMOR, he has composed the music for the piece Equilibrio. Prado, 2020.
A SUITE OF DANCES. Jerôme Robbins
- Choreography: Jerôme Robbins
- Performed by permission of the Robbins Rights Trust
- Music: Johann Sebastian Bach- 6 Suites for Solo Cello: Prelude and Gigue from Suite 1 in G major, BMV 1007 Sarabande from Suite V in C minor, BMV 1011 Prelude from VI in D major, BMV 1012
- Costume Design: Santo Loquasto
- Lighiting Design: Jennifer Tipton
- Duration: 14 minutes
- World premiere: New York City Ballet , at the New York State Theater, Lincoln Center, New York (USA), May 10th 1994.
- Premiered by CND Compañía Nacional de Danza at Conde Duque Theater - Veranos de la Villa, Madrid (Spain), July 29th 2020.
Towards the end of his life, Jerome Robbins was especially inspired by his love for Bach’s music, and he choreographed three of his late works to Bach. The premiere took place in March 1994 at the Baryshnikov’s White Oak Dance Project.
A Suite of Dances is set to the Six Suites for Solo Cello, composed when Bach served as Kappellmeister in Cöthen and which cover a broad range of emotional territory. In the early 1990s, when Mikhail Baryshnikov expressed interest in working with Robbins again, the choreographer called to say he had “an idea for a little dance.” This charming, naturalistic ballet was the result. In it, the solo dancer and cellist act as partners, playing off each other with easy-going camaraderie.