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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. 

Don Quixote Suite

  • Foto: Jesús Vallinas. Bailarines: Cristina Casa y Anthony Pina
  • Foto de grupo de toreros: Jesús Vallinas. Bailarina: Aída Badía
  • Foto de grupo: Jesús Vallinas
  • Foto: Jesús Vallinas. Bailarinas: Haruhi Otani y Lucie Barthélémy
  • Foto: Jesús Vallinas. Bailarines: Cristina Casa y Anthony Pina

  • Foto de grupo de toreros: Jesús Vallinas. Bailarina: Aída Badía

  • Foto de grupo: Jesús Vallinas

  • Foto: Jesús Vallinas. Bailarinas: Haruhi Otani y Lucie Barthélémy

  • Choreography: José Carlos Martínez (inspired on the versions of Marius Petipa and Alexander Gorski).
  • Music:: Ludwig Minkus.
  • Costumes and readaptation of wardrobe: Carmen Granell.
  • Duration: 40 min.
  • World Premiere by the Spanish National Dance Company, on 14th February 2015, at the Víctor Villegas Auditorium in Murcia with the Region of Murcia Symphony Orchestra, conducted by Gonzalo Berná.

Together with Swan Lake, the Ballet Don Quixote, by Marius Petipa, was one of the most popular ballets in Russia, where it was premiered in 1869 to a musical score by Ludwig Minkus. This colourful work broke away from the eerie world of supernatural or fairylike creatures of the classical 19th century ballets and brought ordinary people to the stage.

The libretto is based on an episode of the second volume of Don Quixote by Miguel de Cervantes (chapter XXI, “Continuing with the wedding of Camacho and other fine events …”), and the action focuses on the troublesome love between Quiteria and Basilio rather than on the adventures of Don Quixote and Sancho Panza.

The ballet was passed on from one generation to the next uninterruptedly in Russia thanks to tradition and successive revisions, the most important of these being done by Alexander Gorski in 1900.

Many choreographers have created their own versions of this great classic, for instance those of Rudolf Nureyev for the Vienna State Opera and Mikhail Baryshnikov for the American Ballet Theatre.

In his Suite of Don Quixote (with extracts from the original acts one and four), José Carlos Martínez focuses further on the characters of Quiteria and Basilio, using the corps de ballet to add to the dynamic action of this timeless classic with a Spanish flavour.


Minus 16

Choreography: Ohad Naharin
Music: Collage (*)
Costumes: Ohad Naharin
Light design: Avi Yona Bueno (Bambi)
Staging: Shani Garfinkel and Shahar Biniamini
Duration: 32 minutes

World premiere by Batsheva Dance Company on 1999 at Lucent Dance Theater, The Hague (The Netherlands).
Premiere by Compañía Nacional de Danza on November 16th, 2013 at Teatro de la Zarzuela, Madrid (Spain).

Featuring an eclectic score ranging from Dean Martin to mambo, techno to traditional Israeli music, Ohad Naharin’s Minus 16 uses improvisation and Naharin’s acclaimed Gaga method, a unique movement language that breaks down old habits, pushing the dancers to challenge themselves in new ways.
 The work is unique for removing the barrier between performers and spectators. Minus 16 not only delights in its own wackiness, but also celebrates the joy of dancing. The piece has elements of unpredictability and fun that makes each performance of Minus 16 delightfully different.

* Music
It Must Be True performed by The John Buzon Trio. Written by Gus Arnheim, Harry Barris and Gordon Clifford. Used by permission with EMI Mills Music Inc.
Hava Nagila ©1963, ren. 1991 Surf Beat Music. All rights reserved. Written and arranged by Dick Dale under license from Surf Beat Music (ASCAP).
Echad Mi Yode’a Lyrics and Music Traditional. Arranged by The Tractor’s Revenge (Green, Belleli, Leibovitch). Published by The Tractor’s Revenge (Green, Belleli, Leibovitch).
Nisi Dominus, RV 608: IV. Cum Dederit (Andante) by Antonio Vivaldi performed by James Bowman, The Academy of Ancient Music and Christopher Hogwood.
Over The Rainbow by E.Y. ‘YIP’ Harburg and Harold Arlen. Used by permission of EMI Feist Catalog Inc. One Hundred Percent (100%) ASCAP.
Hooray For Hollywood (Richard Whiting and Johnny Mercer) ©1937 (Renewed) WB Music Corp. (ASCAP) All rights reserved. Used by permission. Written by John Mercer and Richard Whiting. Used by permission with Warner/Chappell Music.
Sway by Pablo Beltran Ruiz, Luis Demetrio, Traconis Molina, and Norman Gimbel; Words West LLC d/b/a Butterfield Music (BMI). All rights reserved.

Ohad Naharin

Ohad Naharin has been hailed as one of the world’s preeminent contemporary choreographers. As Artistic Director of Batsheva Dance Company since 1990, he has guided the company with an adventurous artistic vision and reinvigorated its repertory with his captivating choreography. Naharin is also the originator of an innovative movement language, Gaga, which has enriched his extraordinary movement invention, revolutionized the company’s training, and emerged as a growing force in the larger field of movement practices for both dancers and non-dancers.
Born in 1952 on Kibbutz Mizra, Ohad Naharin began his dance training with the Batsheva Dance Company in 1974. During his first year with the company, visiting choreographer Martha Graham singled out Naharin for his talent and invited him to join her own company in New York. While in New York, Naharin studied on a scholarship from America-Israel Cultural Foundation at the School of American Ballet, furthered his training at The Juilliard School, and polished his technique with master teachers Maggie Black and David Howard. He went on to perform internationally with Israel’s Bat-Dor Dance Company and Maurice Béjart’s Ballet du XXe Siècle in Brussels.



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