Follow Alice down the rabbit hole in Christopher Wheeldon’s exuberant ballet, inspired by Lewis Carroll’s much-loved book.
At a garden party on a sunny afternoon, Alice is surprised to see her parents’ friend Lewis Carroll transform into a white rabbit. When she follows him down a rabbit hole events become curiouser and curiouser…
As Alice journeys through Wonderland, she encounters countless strange creatures. She’s swept off her feet by the charming Knave of Hearts, who’s on the run for stealing the tarts. Confusion piles upon confusion. Then Alice wakes with a start. Was it all a daydream?
Christopher Wheeldon’s Alice’s Adventures in Wonderland burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot’s score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley’s wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real.
Alice encounters a cast of extraordinary and instantly recognizable characters, from the highly strung Queen of Hearts – who performs a hilarious send-up of The Sleeping Beauty’s famous Rose Adage – to a playing card corps de ballet, a sinuous caterpillar and a tap-dancing Mad Hatter. But the ballet does not avoid the darker undercurrents of Lewis Carroll’s story: a nightmarish kitchen, an eerily disembodied Cheshire Cat and the unhinged tea party are all here in vivid detail. The delicious result shows The Royal Ballet at its best, bringing together world-class dance with enchanting family entertainmen
When Rodolfo, a penniless poet, meets Mimì, a seamstress, they fall instantly in love. But their happiness is threatened when Rodolfo learns that Mimì is gravely ill.
Rodolfo is painfully aware that he cannot afford the medicine and care Mimì needs, and so separates from her. As her sickness takes hold Mimì returns to Rodolfo’s garret. They are joyfully reunited – but, despite the care of Rodolfo and his friends, Mimì dies.
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.
Now celebrating its 50th year, George Balanchine’s sparkling ballet still shines with all the brilliance of the gemstones that inspired it.
Jewels uses three gem stones as starting points to explore an array of musical and dance styles, each intimately connected to Balanchine’s own life and career.
George Balanchine’s glittering ballet Jewels was inspired by the beauty of the gem stones he saw in the New York store of jewellers Van Cleef & Arpels. He went on to make history with this, the first abstract three-act ballet, first performed in 1967 by New York City Ballet. Jewels was performed in full by The Royal Ballet for the first time in 2007, using costume designs from the original NYCB production and new set designs by Jean-Marc Puissant.
Each of the three movements draws on a different stone for its inspiration and a different composer for its sound. The French Romantic music of Fauré provides the impetus for the lyricism of ‘Emeralds’. The fire of ‘Rubies’ comes from Stravinsky and the jazz-age energy of New York. Grandeur and elegance complete the ballet in ‘Diamonds’, with the splendour of Imperial Russia and Tchaikovsky’s opulent Third Symphony. Each section salutes a different era in classical ballet’s history as well as a distinct period in Balanchine’s own life. Through it all, Balanchine displays his genius for combining music with visionary choreography.
THE ROYAL BALLET
23 NOVEMBER 2016—12 JANUARY 2017
The Royal Ballet celebrates Peter Wright’s 90th birthday with his much-loved production of this beautiful classical ballet, danced to Tchaikovsky’s magnificent score.
The young Clara creeps downstairs on Christmas Eve to play with her favourite present – a Nutcracker. But the mysterious magician Drosselmeyer is waiting to sweep her off on a magical adventure.
After defeating the Mouse King, the Nutcracker and Clara travel through the Land of Snow to the Kingdom of Sweets, where the Sugar Plum Fairy treats them to an amazing display of dances. Back home, Clara thinks she must have been dreaming – but doesn’t she recognize Drosselmeyer’s nephew?
Pyotr Il’yich Tchaikovsky’s Nutcracker score was commissioned by the director of the Russian Imperial Theatres, following the resounding success of The Sleeping Beauty in 1890. Marius Petipa created the scenario, which is based on a fairytale by E.T.A. Hoffmann, and Lev Ivanov provided the choreography. The Nutcracker was first performed in 1892 at the Mariinsky Theatre in St Petersburg. It initially had a poor reception, but its combination of enchanting choreography and unforgettable music has since made it one of the most loved of all ballets.
In Peter Wright’s classic production for The Royal Ballet, the stage sparkles with theatrical magic – a Christmas tree grows before our eyes, toy soldiers come to life to fight the villainous Mouse King and Clara and the Nutcracker are whisked off to the Kingdom of Sweets on a golden sleigh. Tchaikovsky’s score contains some of ballet’s best-known melodies, from the flurrying Waltz of the Snowflakes to the dream-like Dance of the Sugar Plum Fairy – all brilliantly set in Wright’s choreography. Julia Trevelyan Oman’s designs draw upon 19th-century images of Christmas, making this magical production perfect for the festive season.
22, 23, 24 ΟΚΤΩΒΡΙΟΥ 2016/
Μέγαρο Μουσικής Αθηνών
Σωματείο Ελλήνων Χορογράφων
Μια σημαντική διοργάνωση που έγινε θεσμός: η Πλατφόρμα Σύγχρονου Ελληνικού Χορού διοργανώνεται τακτικά και έχει στόχο την προβολή και προώθηση της σύγχρονης ελληνικής χορευτικής δημιουργίας.
Αποτελώντας πεδίο συνάντησης ανάμεσα στο κοινό και τους έλληνες χορογράφους, συμβάλλει ουσιαστικά στη διαμόρφωση του σύγχρονου προσώπου του χορού στη χώρα μας.
Τα έργα που θα παρουσιαστούν στη φετινή Πλατφόρμα Σύγχρονου Ελληνικού Χορού θα επιλέξει Διεθνής Επιτροπή, αποτελούμενη από πέντε διακεκριμένες προσωπικότητες – διευθυντές ευρωπαϊκών φεστιβάλ.
The Royal Opera
13 September—11 October 2016
Henrik Nánási conducts a cast including Javier Camarena, Daniela Mack and Vito Priante in this revival of The Royal Opera’s sparkling production of Rossini’s The Barber of Seville.
Count Almaviva arrives in Seville to search for the mysterious woman he met in Madrid. When he learns that she is Rosina, due to be married to her tyrannical guardian Bartolo, he enlists the help of the cunning barber Figaro to win her hand.
Almaviva and Rosina fall in love, and Rosina turns her mind to duping Bartolo. The combined conniving of all three is too much for Bartolo, who has to admit defeat when he discovers Almaviva and Rosina have married right under his nose.
The 23-year-old Gioachino Rossini completed his masterpiece Il barbiere di Siviglia with incredible speed – legend has it in just 13 days – which Rossini attributed to ‘facility and lots of instinct’. He adapted Pierre-Augustin Beaumarchais’ play Le Barbier de Séville, part of a dramatic trilogy that also inspired Mozart’s Le nozze di Figaro. Within a few decades of its 1816 premiere, Il barbiere di Siviglia had been seen around the world, reaching opera houses in New York, Buenos Aires, Trinidad and Ecuador. The opera is characterized by youthful energy and bold wit: these qualities are brought to the fore in Moshe Leiser and Patrice Caurier’s colourful and inventive production, a popular favourite at the Royal Opera House since its premiere in 2005.
Il barbiere di Siviglia has all the right ingredients for comic chaos: an imprisoned young woman, her lecherous guardian and a young noble suitor. Skilfully plotting behind the scenes is Figaro – an irrepressible and inventive character in whom many have seen a resemblance to the young Rossini himself. The score fizzes with musical brilliance, from Figaro’s famous entrance aria ‘Largo al factotum’ to the frenzy of the Act I finale, when the five principal voices all pile on top of each other.