Rudolf Nureyev’s Don Quixote

Don Quixote was created by the master choreographer Marius Petipa, together with the composer Ludwig Minkus, for the Imperial Bolshoi Ballet in Moscow in 1869. Marking the 400th anniversary of Cervantes’s death, Don Quixote is here seen in the revised version by Rudolf Nureyev which the French choreographer Manuel Legris – once a noted Basil

himself in his days as an “étoile” in Nureyev’s Paris troupe – devised for the Wiener Staatsballett. “A Don Quixote to love … Legris and company can count the evening a total success” (Die Presse). As for the two principals, Maria Yakovleva and Denys Cherevychko as Kitri and Basil, no praise was high enough: “both are technically brilliant” (Wiener Zeitung).

Ballet Hispánico – CARMEN.maquia and Club Havana

Ballet Hispánico, a “strong ambassador of not just Latino culture but of dance itself” (Broadway World), brings its bold and eclectic brand of contemporary dance to the screen with two audience favorites: CARMEN.maquia, an electrifying modern take on Bizet’s passionate opera choreographed by Spaniard Gustavo Ramírez Sansano, and Cuban-born Pedro Ruiz’s Club Havana, a virtuosic re-imagining of a sizzling nightclub filled with the exhilarating rhythms and colors of Havana’s golden era. Celebrating over 45 years of bringing individuals and communities together to celebrate and explore Latino cultures, Ballet Hispánico is the new expression of American contemporary dance.

Romeo & Juliet

From grand spectacle to poignant close-ups, experience Helgi Tomasson’s bravura interpretation of Shakespeare’s Romeo & Juliet like you’ve never seen it before. With passionate choreography, spine-tingling swordsmanship, and a celebrated score by Sergei Prokofiev, San Francisco Ballet’s passionate retelling of the Bard’s greatest tragedy has packed houses around the world. Romeo & Juliet is one of the Company’s most popular and widely toured ballets and has been seen by more than 200,000 people since it premiered in 1994. Choreographed by Helgi Tomasson, with sets and costumes by Jens-Jacob Worsaae, this visually stunning production and the brilliant dancers of SF Ballet bring this powerful and touching tragedy – and Renaissance-era Verona – vividly to life. “Tomasson lifts Shakespeare’s complex and familiar language off the gilded pages and translates it into lucid classical choreography that is visceral, fresh, and ultimately sublime” (Huffington Post).

George Balanchine’s The Nutcracker

Experience the wonder of New York City Ballet’s iconic holiday classic on the big screen. In George Balanchine’s The Nutcracker, Tchaikovsky’s beloved melodies transport the young and young at heart to a magical world where mischievous mice besiege a battalion of toy soldiers, and an onstage blizzard leads to an enchanted Land of Sweets. Balanchine’s stunning choreography shines amidst awe-inspiring set pieces, ornate costumes, and grand one-of-a-kind visual effects, like the one-ton Christmas tree that grows to an astonishing 40 feet. NYCB’s beloved production has been performed in New York City every year since ist premiere on February 2, 1954, and is seen live by more than 100,000 people annually.

Tatiana – A ballet by John Neumeier

In choreographic episodes, combining dream, memory, premonition and reality John Neumeier’s ballet Tatiana brings to life the story of Tatiana, a young girl brought up in the Russian countryside and her first great love. When considering Pushkin’s Eugene Onegin as a plot for a ballet, it was obvious that Neumeier would not be content with a simple story line. He was more interested in the complex strands of Tatiana’s destiny, the influence of her early life, her experience and evolution into womanhood. As I read Pushkin’s verse novel, I realised that I was fascinated by the role of Tatiana Larina. She became more profound and more interesting with every paragraph, every page that I read. And so I had the idea to explore her role and her perspective in more detail through my ballet”, says Neumeier. “Nearly nobody else besides John Neumeier can tell story with the bodies of his dancers. Tatiana is three hours of danced poetry.” Hamburger Morgenpost

Joni Mitchell’s The Fiddle and The Drum

Joni Mitchell’s The Fiddle And The Drum explores Mitchell’s life-long concerns about environmental neglect and the warring nature of mankind within a ballet performed to a select soundtrack of her eternal songs. The unique combinations of three art forms – music, dance and art – comprise an engaging spectacle that Joni calls “…the best project of her career.” Legendary Canadian artist Joni Mitchell and internationally acclaimed choreographer Jean Grand-Maître of the Alberta Ballet Company are the co-creators of Joni Mitchell’s The Fiddle And The Drum. This narrative ballet was performed to a specially re–mastered soundtrack of Mitchell’s compelling music – her musical selections are from her earliest to latest recordings such as: For the Roses, Passion Play, Slouching Towards Bethlehem, The Beat of Black Wings, Sex Kills, The Three Great Stimulants and The Fiddle and The Drum.

Don Quixote

In this production from Teatro alla Scala, the ballet Don Quixote is shown in the legendary choreography of Rudolf Nureyev. Nureyev’s intention by fusing together the worlds of commedia dell’arte and classical ballet to create a visual feast for ist audience, has made Don Quixote one of the most-loved ballets world-wide. With ist sparkling energy and the bright colours of the staging by Raffaele Del Savio and Anna Anni, Rudolf Nureyev’s Don Quixote transports audiences with freshness, joy and choreographic splendour to a enchanting Spain, with gypsy dances, fandangos, matadors, windmills and the airy candour of the Garden of the Dryads.

J.S. Bach: Christmas Oratorio – Ballet by John Neumeier

“Rejoice, exult” – John Neumeier turns Bach’s Christmas Oratorio into an experience that confronts us all with the most basic questions of trust, hope, faith, doubt and self-sacrifice: “My choreography is not a religious undertaking. We perform to Bach’s music, for a few hours unifying individuals of many different cultural and religious backgrounds. For me, the basic human values expressed through the choreography are always the most important thing. Therefore, in my ballet, Mary is known simply as ‘the Mother’ and Joseph as ‘her Husband’.” “Once again it is impossible not to be impressed by the flawless technique of the ensemble … When at the end Lloyd Riggins tap-dances his way across the stage like Fred Astaire, the Christmas Oratorio is complete” (Süddeutsche Zeitung).

The Nutcracker

The Wiener Staatsballett is one of the great companies in the world. Yet never before had Rudolf Nureyev’s world-famous choreography of The Nutcracker been performed in Vienna. The present production remedies this omission by presenting Nureyev’s final, 1985 Paris version with two magnificent young soloists and the splendid Vienna corps de ballet. Nureyev’s version enjoys a particular standing in the history of this well-known ballet in that it was the first to incorporate the psychology of E. T. A Hoffman’s fairy tale on which Tchaikovsky’s ballet is based. The critic Clive Barnes set the tone by remarking: “No version of The Nutcracker that we have ever seen has been more potently dramatic; few have displayed so sharp an imprint of personal style. “Elegant, romantic, delightful” (Die Presse) · “Outstanding soloists” (Der Standard)

Swan Lake

It is the one ballet that everyone knows, has heard of or seen, and it is one of the loveliest and most frequently performed works in the ballet literature. No other ballet is capable of conjuring up such intensive images, dreams and yearnings simply at the mention of its name as Tchaikovsky’s Swan Lake. Rudolf Nureyev created a new version of it in 1964 for the Vienna State Opera; it helped the dancer and choreographer, then 26 years old, to achieve international fame and also projected the Vienna State Ballet onto the world stage, where it was to become one of the company’s greatest successes.To mark the 50th anniversary of this ballet, the Vienna StateOpera is now reviving it with new sets and costumes designedby Julia Spinatelli, whose concept is inspired by the fairytalephantasy world of King Ludwig II incorporating simple, paintedbackdrops and few accessories, to present a new Swan Lake.