Tänze Bilder Sinfonien - Premiere - Schedule, Program & Tickets

Tänze Bilder Sinfonien - Premiere

Symphony in Three Movements
Musical Direction Robert Reimer
Music Igor Strawinski
Choreography George Balanchine
Lighting Design Mark Stanley
Staging Ben Huys
Pictures at an Exhibition
Music Modest Mussorgski
Choreography Alexei Ratmansky
Costume Design Adeline André
Lighting Design Mark Stanley
Projection Design Wendall K. Harrington nach Wassily Kandinsky

Piano Alina Bercu
Sinfonie Nr. 15 (Uraufführung)
Musical Direction Robert Reimer
Music Dmitri Schostakowitsch
Choreography Martin Schläpfer
Scenery and Costume Design Keso Dekker
Lighting Design Robert Eisenstein

Balanchine – Ratmansky – Schläpfer: three masters of contemporary ballet come together with works set to music by Russian and Soviet composers. They are linked by their roots: in the case of the choreographers, through danse d’école, which forms the basis for an art of ballet for the present time; and in the case of the composers, Stravinsky, Mussorgsky and Shostakovich, through the musical culture of their home country, from which their paths were to lead them in such different directions.

In his 1874 work »Pictures at an Exhibition«, Modest Mussorgsky, the most radical representative of the group known as »The Five«, expressed an overflowing fullness of life and visionary sound images. The urbane and cosmopolitan Igor Stravinsky, who had a highly developed capacity for constantly changing the musical face he presented to the world, reacted to the horrors of the Second World War with his »Symphony in Three Movements«, created between 1942 and 1945. The great social and political questions of the 20th century are reflected in the works of Dmitri Shostakovich, which are balanced on a knife edge between conformity and protest in a system that had no respect for artistic freedom and simply used art as a means of propaganda. His 15th Symphony, which was first performed in Moscow in 1972, appears to be a cheerful scherzo at the outset, but the apparently light-hearted humour soon tips over into the grotesque, with joyful fanfares changing into threatening scenarios and virtuosic figures into a breathless frenzy. Like beacons, quotations from other musical works, ripped out of their context, flare up in a musical climate which moves inexorably, with sounds of grief and mourning, towards a deeply disturbing epilogue.

Subject to change.

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