Afternoon of a Faun / Jerome Robbins
Without Words / Hans van Manen
Nacht umstellt (Uraufführung) / Martin Schläpfer
Further Dates And Events
Duration: abt. 2 ½ hours, one interval
Hans van Manen“A man of seventy-eight transforming twenty-one minutes of the most melancholy late romantic music into a cameo of desire which could not be more breathtaking” wrote
Wiebke Hüster in the Frankfurter Allgemeine about the world première of “Without words”, - a choreography which Hans van Manen created for Het Nationale Ballet of Amsterdam in October 2010, and which he has entrusted for its first follow-up production by a German company to Ballett am Rhein.
A woman meets three different men. She encounters them full of tenderness, full of erotic feelings, full of unaccountable longing – and retains her cool selfcontrol throughout. The outcome of the matter remains uncertain. Over it all is a veil of boundless melancholy, “Without Words” – and yet in his so eloquent movement language devised for four strong dancer personalities Hans van Manen unfolds before us various conditions between desire and composure, secret wishes and clear awareness, emancipation and dependence.
“Without words” applies also to the music which became the basis for Hans van Manen’s intense cameo. Following a suggestion by the Dutch conductor Reinbert de Leeuw he uses only the piano part of Hugo Wolf’s four “Mignon songs” and thus omits the singing voice and with it Goethe’s famous texts out of “Wilhelm Meisters Lehrjahre”. It is “nerve music” driven into the utmost refinement, of shaky, almost expressionist eloquence, disturbance of fundaments and principles – not only those of tonality hitherto.
Hans van Manen
MUSIC Four “Mignon songs” by Hugo Wolf, piano part only, idea by Reinbert de Leeuw
Choreographie Hans van Manen
Bühne und Kostüme Keso Dekker
Licht Bert Dalhuysen
Einstudierung Mea Venema
Klavier Stephen Harrison
Tänzerin Feline van Dijken
Tänzer Andriy Boyetskyy, Marquet K. Lee, Sonny Locsin
Nacht umstellt (Uraufführung)
Martin SchläpferIt is often opposites which make each other fruitful, worlds standing against each other, out of which something new comes to be. For his ballet “Nacht umstellt”, now performed for the first time, Martin Schläpfer fashioned a sort of score of his own out of combination and confrontation of the two composers Franz Schubert and Salvatore Sciarrino.
Martin Schläpfer describes Salvatore Sciarrino’s composing as music “standing still, where neither the individual instruments nor the sound per se are fully validated, yet it is music of an intensity not found elsewhere”. Like an explorer Sciarrino listens into the tones as if examining them under a magnifying-glass, makes the tiniest interval tensions audible, as (thus Sciarrino) “in a sense everything must pass through its genesis if it is to penetrate to our perception”. The composer, born in Palermo in 1947, belongs to the most consistent original thinkers in contemporary music. However estranged they may seem, his works do not contest their roots in tradition; they “tend to dessication and structures to vainglory, the content strives to become reality, at least ostensibly, while hearing is reduced to zero and we have a changed perception of sound and silence” (thus Salvatore Sciarrino).
Franz Schubert’s works occupy Martin Schläpfer constantly in his ballets: “Rendering”, “Du bist die Ruh” in his “Obelisco” and his “Trout Quintet” are derived from compositions of the Viennese romantic master, and the fascination is unabated. “Schubert’s German Dances have topped my list for some time,” declares Schläpfer, and the B minor Symphony, the ‘Unfinished’. – “music which a choreographer should really keep his hands off, and yet I have been thinking of making a ballet on it for many years. There is something so akin to dance in its lavish outpouring of life energy and beauty and sadness without any loss of contact to its energy-giving source or its spiritual health. It gushes like a whirlpool or it sweeps across the land like a tornado – and then suddenly it can be still and mild like a beautiful shining star. Schubert’s Unfinished is ‘beset by night’, Schubert himself was a human being beset by night”.
MUSIC 16 German Dances D783 by Franz Schubert, “Il suono e il tacere” by Salvatore
Sciarrino, Symphony No.7 in B minor D759 (“the Unfinished“) by Franz Schubert, “Shadow of Sound” by Salvatore Sciarrino, “Die Nacht“ D983c, part-song by Franz Schubert
Choreographie Martin Schläpfer
Musikalische Leitung Wen-Pin Chien
Bühne Florian Etti
Kostüme Catherine Voeffray
Licht Thomas Diek
Tänzerinnen Ann-Kathrin Adam, Marlúcia do Amaral, Camille Andriot, Doris Becker, Wun Sze Chan, Mariana Dias, Feline van Dijken, Carolina Francisco Sorg, Christine Jaroszewski, Yuko Kato, So-Yeon Kim, Anne Marchand, Nicole Morel, Louisa Rachedi, Claudine Schoch, Virginia Segarra Vidal, Daniela Svoboda, Anna Tsybina, Irene Vaqueiro
Tänzer Christian Bloßfeld, Andriy Boyetskyy, Paul Calderone, Jackson Carroll, Martin Chaix, Florent Cheymol, Philip Handschin, Antoine Jully, Marquet K. Lee, Sonny Locsin, Marcos Menha, Bruno Narnhammer, Bogdan Nicula, Chidozie Nzerem, Sascha Pieper, Boris Randzio, Alexandre Simões, Remus Sucheana, Pontus Sundset
Orchester Düsseldorfer Symphoniker