World premiere of "Suite en blanc": June 19, 1943
Paris Opera Ballet, Zürich Opera House
Russian premiere: July 7, 2017The Stanislavsky and Nemirovich-Danchenko Moscow Academic Music TheatrePerforming rights: Musikverlag Hans Sikorski, Hamburg, by arrangement with Editions Mario Bois, Paris.
Choreographic rights:
The Serge Lifar Foundation
World premiere of "Petite Mort": August 23, 1991
Salzburg Festival, Nederlands Dance Theater
Russian premiere: July 11, 2010The Stanislavsky and Nemirovich-Danchenko Moscow Academic Music TheatreRevival: July 7, 2017Music of "Petite Mort":
Wolfgang Amadeus Mozart (1756 - 1791)
Adagio from Concerto for Piano and Orchestra in A major (KV 488)
Andante from Ñoncertî for Piano and Orchestra in C major (KV 467)
World premiere of "The Second Detail": February 20, 1991
National Ballet of Canada, Toronto
Russian premiere: November 28, 2012
Perm Opera and Ballet Theatre
Premiere at the Stanislavsky and Nemirovich-Danchenko Moscow Academic Music Theatre: July 7, 2017
Performances of Thom Willems's music are given
by permission of Boosey & Hawkes Music Publishers Limited
Overview
Suite en blanc by Serge Lifar was created in 1943 to the music of Édouard Lalo - an abstract ballet that became a symbol of neo-classical style in choreography. Suite en blanc requires both elegance and virtuosity of performance. With this ballet I wanted to present the whole Stanislavsky Ballet Company at its best. At the same time I wanted our soloists to work on specific things as this choreography demands exceptional musicality and technical skills.
The second ballet had been part of the Company’s repertoire already, but I wanted to revive it - Le petite mort to the music of Mozart by the outstanding Jiří Kylián. Talking about Jiří Kylián is both easy and hard as we clearly deal with true genius. The way he deeply understands Mozart’s music makes us wonder if the music becomes the choreography or it inhabits the dancers’ bodies. At the same time each dancer tells his own story. I consider this ballet to be incredibly emotional and profoundly musical. Jiří Kylián defines it best himself. He says his ballets speak of love and death and words cannot explain these sacraments, only dance. Hard to add anything more. I can only say that Jiří’s choreography evokes everything best in us as well as dramatic. This is really Kylián’s masterpiece as most of his creations are. And I am so happy that not only our Company will dance his ballet again, but also get a chance to further perfect the movement.
The third ballet of the evening is William Forsythe’s The Second Detail to the music of Thom Williams. I suppose both Forsythe and Kylián can be regarded as the classics today. I was lucky to be part of a few of Forsythe’s works. He is the architect of movement who newly defines the space you evolve in. Every time you dance Forsythe’s choreography you discover something new about yourself the same as with Kylian. You learn, and for me this is most essential.
It is important that not only the audience will be able to enjoy these performances, but also the dancers of the Stanislavsky Ballet Company will be enriched by the new experience.
Laurent Hilaire