COMPAÑÍA NACIONAL DE DANZAde

Transcripción

de España
COMPAÑÍA NACIONAL DE DANZA de España
The Company
The National Dance Company was founded in 1979, under the name of The Ballet Nacional de España Clásico, its first
Director being Víctor Ullate. His successors in the post were María de Ávila and the extraordinary Russian ballerina
Maya Plisetskaya, until, in 1990, Nacho Duato was named Artistic Director of the company.
Nacho Duato’s appointment brought innovative change to the history of the company. Until 2010, he contributed forty
five works as a choreographer, praised by critics worldwide.
After one year under the direction of Hervé Palito, José Carlos Martínez was appointed as the new director of the
Compañía Nacional de Danza. The Principal Dancer from the Paris Opera Ballet took office on 1st September 2011.
The project José Carlos Martínez has for the Compañía Nacional de Danza is to encourage and make the art of dance
more well known, along with his repertory in the ample sense, ranging from classical and neoclassical ballet to modern
choreographic language, embracing both new Spanish and international creation, drawing in new audiences and boosting
its national and international projection within a setting of full artistic and creational freedom.
José Carlos Martínez
ARTISTIC DIRECTOR OF COMPAÑÍA NACIONAL DE DANZA de España
COMMANDEUR DE L'ORDRE DES ARTS ET DES LETTRES (France)
PREMIO NACIONAL DE DANZA 1999 (Spain)
José Carlos Martínez began his ballet studies in
Cartagena, under Pilar Molina, continuing in 1984 at the
Centre de Danse International Rosella Hightower in
Cannes. In 1987, he won the “Lausanne Prize” and joined
the Paris Opera Ballet School. In 1988, he was personally
selected by Rudolf Nureyev to join the Ballet Company of
the Paris Opera as a corps de ballet dancer. In 1992, he
was promoted to Principal Dancer and won the Gold
Medal in the International Competition of Varna. On 27th
May 1997, he was appointed “Etoile” of Paris Opera Ballet,
the highest category a dancer can rise to.
During his career José Carlos Martínez was awarded
numerous prizes such as the "Prix de l ‘AROP", the "Prix
Carpeaux", the "Premio Danza & Danza", the "Prix
Léonide Massine-Positano", the "Spanish National Dance
Prize", the "Gold Medal of the City of Cartagena", the
"Prize “Elegance et Talent France/Chine”, Scenic Arts
Prize for the best dancer (Valencia), “Benois de la Danse”
for his choreography “Les Enfants du Paradis”, Prize
“Dansa València”. He is Commandeur de l´Ordre des Arts
et des Lettres (France).
Jose Carlos Martinez´s repertoire as a dancer is
characterized by the famous choreographies of classical
and neo-classical ballet. Apart from that he has worked
with most of the important choreographers of the 20th
Century such as Maurice Bejart, Pina Bausch, Mats Ek,
William Forsythe, many of them creating on him.
As a guest he has performed with many of the world´s
most prestigious ballet companies.
Photo: Diego Hurtado de Mendoza/Fernando Marcos
As a choreographer José Carlos Martínez created “Mi
Favorita” (2002), “Delibes-Suite” (2003), “Scaramouche”
(2005) for students of the Paris Opera Ballet School,
“Paréntesis 1” (2005), “Soli-Ter” (2006), “El Olor de la
Ausencia” (2007), “Les Enfants du Paradis” (2008) for
Paris Opera Ballet, “Ouverture en Deux mouvements” and
“Scarlatti pas de deux” (2009), “Marco Polo, the Last
Mission” (2010) for Shanghai Ballet, “Sonatas” (2012),
“Raymonda Divertimento” and “Giselle pas de deux”
(2013) for Compañía Nacional de Danza de España.
José Carlos Martínez has been the new Artistic Director
of Spain's “Compañía Nacional de Danza” since
September 2011.
INDEX
REPERTOIRE
SPANISH CHOREOGRAPHERS
Romeo and Juliet Goyo Montero (Full Length)
Nippon-Koku Marcos Morau, La Veronal (Full Length)
Extremely Close Alejandro Cerrudo
Babylón Arantxa Sagardoy/Alfredo Bravo
Demodé Iván Pérez
Unsound Juanjo Arqués y Heidi Vierthaler
TODAY’S CHOREOGRAPHERS
Casi-Casa Mats Ek
Sub Itzik Galili
Minus 16 Ohad Naharin
Falling Angels Jirí Kylián
Sleepless Jirí Kylián
Petite Mort Jirí Kylián
Symphony of Psalms Jirí Kylián
Walking Mad Johan Inger
In Transit Annabelle López Ochoa
Holberg Suite Tony Fabre
Le Spectre de la Rose Angelin Preljocaj
Ball and Chain Francisco Lorenzo
Descamino de Dos Mattia Russo y Diego Tortelli
For Now, in Liquid Days Mar Aguiló, Elisabet Biosca,
Antonio de Rosa, Emilia Gísladóttir, Agnès López Río,
Lucio Vidal y Mattia Russo.
ON POINT SHOES
In the Middle Somewhat Elevated William Forsythe
Herman Schmerman William Forsythe
Artifact II William Forsythe
Who Cares? George Balanchine
Allegro Brillante George Balanchine
Three Preludes Ben Stevenson
Sonatas José Carlos Martínez
Raymonda Divertimento José Carlos Martínez
Delibes Suite José Carlos Martínez
Giselle adaptation José Carlos Martínez
Scarlatti Pas de deux José Carlos Martínez
REPERTOIRE
FULL LENTH BALLET
Romeo and Juliet
CHOREOGRAPHY: GOYO MONTERO
MUSIC: SERGUÉI PROKÓFIEV
The Compañía Nacional de Danza presents Romeo and Juliet by Goyo Montero, the present director of the Ballet of
Nuremberg and winner of the National Dance Prize 2011.
With Romeo and Juliet, the choreographer aims to approach the universal work by William Shakespeare from a personal
perspective, with in-depth analysis of the psychological aspect of the characters and development of the figure of Mab,
Queen of Dreams, fate and death. This character appears as a theme from the famous monologue by Mercutio and, in
this version, becomes a doer, bard and narrator of the drama of the lovers condemned by the ancestral hatred of their
families. Montero is extremely original in this Romeo and Juliet in which, keeping to the plot, he emphasises the strength
of the emotions, combining the dynamics of the score by Prokofiev with the expressivity and passion of the dancers.
During the ballet, there are spectacular group scenes, nearly acrobatic, combined with poetic pas de deux that remind
us that love may become an addiction. Through elegance, melancholy and combativeness, Montero tells us this tragedy
of love in an extremely vivid, sensual way.
Photos: Jesús Vallinas
REPERTOIRE
FULL LENTH BALLET
Nippon-Koku
CHOREOGRAPHY: MARCOS MORAU, LA VERONAL
MUSIC: COLLAGE
As Kieslowski did in the eighties, La Veronal is creating a Decalogue where each piece’s background takes as a starting
point a country or city in the world, creating an analogy between dance and geography.
The pieces do not intend to become documentary films that describe the country directly, but makes use of the elements
that the name provides to carry out the development of an idea, an argument.
NIPPON-KOKU, original creation for Compañía Nacional de Danza, will complete that Decalogue, and is the first collaboration between CND and La Veronal. La Veronal is formed by artists from dance, film, photography and literature. The
artistic team purpose lies directly in constant search for new expressive media, for cultural references – cinema, literature,
music and photography, mostly – to betting on a strong narrative language with the intention of forming global art spaces.
Photo: Borja Suárez Lázaro
Photos: Jesús Robisco
Photo: Jesús Robisco
REPERTOIRE
Extremely Close
CHOREOGRAPHY: ALEJANDRO CERRUDO
MUSIC: PHILIP GLASS/ DUSTIN O´HALLORAN
It is a work with great visual richness, that envelopes one in the dynamics of its conceptual art. Extremely Close draws
us into an elegant world in movement, in continual change, using the constant piano beat of Phillip Glass and Dustin
O’Halloran as its main pillar. Cerrudo creates this work for eight dancers, that gradually slows down until dragging us
into a completely minimalist atmosphere.
REPERTOIRE
Babylon
CHOREOGRAPHY: ARANTXA SAGARDOY/ALFREDO BRAVO
MUSIC: DMITRI SHOSTAKOVICH, (SYMPHONY NO. 8, OP. 65)
Dynamics as the starting point for an underworld anchored in the metrics of moving sonority, boosted by latent,
multicellular, powerful humanity, moving us from the verticality of being in contrast with the horizontality of the soul. This
is the painful duality in which I move, dragged by the forces that rule us, from the infinite planes of emotional choreology,
from the manifold vectors of a mental colour in exodus towards a distant Zion.
Travel can only begin through movement.
REPERTOIRE
Demodé
CHOREOGRAPHY: IVÁN PÉREZ
MUSIC: LUIS MIGUEL COBO
Have you ever seen your reflection in a shop window, looked around you and wondered, “What is fashionable?” Is this
in fashion or démodé? It seems like it’s fashionable not to be emotional. It seems like it’s fashionable to dodge your own
demons and passions.
Is there really such a need to know what I’m doing and why? I could never create from scratch, one is inevitably filled
with memories, with past essences that teach me and inspire me alike. And I wonder, “Who isn’t?”
Fashions, ideologies, artistic styles and trends are short-lived, they come back and are transformed. What cannot be
denied is that the end result, the work of art, in itself and regardless of the items of which it is composed, is something
new in its own right.
Iván Pérez
Photosx: Jesús Vallinas
REPERTOIRE
Unsound
CHOREOGRAPHY: JUANJO ARQUES AND HEIDI VIERTHALER
MUSIC: AARON MARTIN AND VARIOUS
This new work depicts the imbalance of society as a consequence of today's uncertainty of life. To create this feature,
Arqués analyses different behaviours of people facing difficult situations in their lives and the efforts they put forth to
overcome these difficulties. Arqués shares his vision of everyday situations such as loneliness, confidence, danger or
the love of a future where everything seems unstable.
Juanjo Arqués
REPERTOIRE
Casi-Casa
CHOREOGRAPHY: MATS EK
MUSIC: FLESHQUARTET
"I watch a lot of film and theater. And look at a lot of art. But what's important to me most is reading the newspaper,
watching my children, watching animals move in the park, watching the traffic - things that are not meant to be seen.
Social staging, as such, is very rich".
Mats Ek
Hubbard Street Dance Chicago. Photos: Todd Rosenberg
REPERTOIRE
Sub
CHOREOGRAPHY: ITZIK GALILI
MUSIC: MICHAEL GORDON (WEATHER ONE)
Following the critically acclaimed and multi-award nominated A Linha Curva, Israeli choreographer Itzik Galili returns
with his high energy work, SUB, a battle-field of relentlessly sparring testosterone.
Photos: J. Medrano
REPERTOIRE
Minus 16
CHOREOGRAPHY: OHAD NAHARIN
MUSIC: VARIOUS ARTISTS
Featuring an eclectic score ranging from Dean Martin to mambo, techno to traditional Israeli music, Ohad Naharin’s
Minus 16 uses improvisation and Naharin’s acclaimed “Gaga” method, a unique movement language that breaks down
old habits, pushing the dancers to challenge themselves in new ways.
The work is unique for removing the barrier between performers and spectators. Minus 16 not only delights in its own
wackiness, but also celebrates the joy of dancing. The piece has elements of unpredictability and fun that makes each
performance of Minus 16 delightfully different.
Photos: J. Medrano
REPERTOIRE
Falling Angels
CHOREOGRAPHY: JIRÍ KYLIÁN
MUSIC: STEVE REICH (Drumming/Part 1)
For Jirí Kylián, the fascinating aspect of Reich’s composition lies in his rhythmical structure, especially in the stylistic
device called phasing. It creates a floating underground where the choreography is free to develop independently.
Whereas Kylián customarily considers music as the primary source for his choreographies - meaning that he sets his
work to an existing musical structure - with "Drumming" he felt challenged to give unabridged priority to the dance. The
result became an exciting and head-on flight of eight female dancers.
Photos: J. Medrano
REPERTOIRE
Sleepless
MUSIC: CONCEPT, JIRÍ KYLIÁN; ORIGINAL MUSIC: DIRK HAUBRICH (BASED ON WOLFGANG AMADEUS
MOZART’S ADAGIO IN C MINEUR KV 617).
It could be an interesting exercise, to trace and to document all the sleepless nights and hours, which we, creators,
interpreters, assistants and all involved, have to endure in the course of making a new product, or a so called “Work of
Art”. These hours and nights will probably be countless...
Jirí Kylián
Photos: Fernando Marcos
REPERTOIRE
Petite Mort
MUSIC: WOLFGANG AMADEUS MOZART (PIANO CONCERTO IN A MAJOR -KV 488-, ADAGIO, PIANO
CONCERTO IN C MAJOR -KV 467-, ANDANTE)
Jirí Kylián created this ballet especially for the Salzburg Festival on the second centenary of Mozart’s death. For his
work he chose the slow parts of two of Mozart’s most beautiful and popular piano concertos. ‘This deliberate choice
should not be seen as a provocation or thoughtlessness, rather as my way to acknowledging the fact that I am living and
working as part of a world where nothing is sacred, where brutality and arbitrariness are common places. It should convey
the idea of two antique torsos, heads and limbs cut off - evidence of intended mutilation - without being able to destroy
their beauty reflecting the spiritual power of their creator’.
The choreography includes six men, six women, and six foils. The foils have the function of being actual dance partners,
and at times seem more unruly and obstinate than a partner of flesh and blood. They visualize a symbolism which is more
present than a story line. Aggression, sexuality, energy, silence, cultivated senselessness, and vulnerability, they all play
a significant part. "Petite mort", literally meaning ‘small death’, serves as a paraphrase for orgasm in French and Arabic.
REPERTOIRE
Symphony of Psalms
MUSIC: IGOR STRAVINSKY (SYMPHONIE DE PSAUMES; Á LA GLOIRE DE DIEU)
Praise Ye the Lord
Praise Him with the sound of trumpets
Praise Him with the psaltery and harp
Praise Him with the timbrel
And the dance
But, Why?
REPERTOIRE
Walking Mad
CHOREOGRAPHY: JOHAN INGER
MUSIC: MAURICE RAVEL “BOLERO”/ ARVO PÄRT “FÜR ALINA”
Johan Inger created Walking Mad for the Nederlands Dans Theater I in 2001, when some young choreographers had
been asked to create dance for an orchestra evening. Inger was captivated by an old black and white tv-recording of the
Boléro with the conductor Zubin Mehta and the Los Angels Philharmonic.
"A theatrical image; in the beginning the conductor is very controlled, well combed and correct in his entire conductor
image, but parallel to the musical crescendo he becomes increasingly dramatic and excited, as though entering into
madness, in an uncontrolled state. Erotic charge was naturally there but I wanted to get away from, or beyond, the more
open/clichéd erotic lead that often accompanies this piece of music”.
Johan Inger
REPERTOIRE
In Transit
CHOREOGRAPHY: ANNABELLE LÓPEZ OCHOA
MUSIC: SCANNER/ OLAFUR ARNALDS/ MAX RICHTER, BBC PHILARMONIC ORCHESTRA & RUMON GAMBA/
THE DURUTTI
In her new work the choreographer Annabelle Lopez Ochoa explores the mental state of mind found in people while in
an undefined public place of transit.
She displays multiple characters facing their abilities and inabilities to communicate with honesty, while interacting with
strangers.
Confronted with constrained and sometimes unexpected encounters the dancers get caught into an unavoidable
whirlwind of discomfort, impatience, loneliness, fear, whimsicality, audacity and desire.
REPERTOIRE
Holberg Suite
CHOREOGRAPHY: TONY FABRE
MUSIC: EDVARD GRIEG (“HOLBERG SUITE”)
Holberg Suite is a choreography by Tony Fabre inspired by the music of the Norwegian composer Edvard Grieg (18431907). Grieg’s music provides Fabre with the ideal accompaniment to an abstract work in which the images roll by without
a scripted link, granting the choreographer full freedom to create. The absence of sets make the music and choreography
the sole protagonists of this journey. This work invites the spectators to clear their minds: to release them to enjoy this
creation. Edvard Grieg composed this score to celebrate the bicentennial of the birth of the Norwegian playwright Ludvig
Holberg, also known as the Molière of the North. Grieg is the most famous Norwegian composer in history and the first
Scandinavian composer to be universally recognised.
Photo: Jesús Vallinas
Photo: Josep Aznar
Photo: Josep Aznar
REPERTOIRE
Le Spectre de la Rose
CHOREOGRAPHY: ANGELIN PRELJOCAJ
MUSIC: CARL MARIA VON WEBER
On April 19, 1911, in the Theatre Palais Garnier of MonteCarlo, Nijinsky left his public utterly astounded at the World
Premiere of Le Spectre de la rose. Since this performance,
there have been numerous other interpretations and there
is not one ballet lover who doesn’t have his or her absolute
all-time favourite version.
"...In my opinion, Le Spectre de la rose is a type of gate, a
door into another time period, a fourth dimension enabling
me to communicate with this highly important moment in
the history of dance”.
Angelin Preljocaj
Ball and Chain
CHOREOGRAPHY: FRANCISCO LORENZO
MUSIC: GIUSEPPE VERDI (VA PENSIERO DE NABUCCO)
Descamino de Dos
CHOREOGRAPHY: MATTIA RUSSO AND
DIEGO TORTELLI
MUSIC: CLIFF MARTÍNEZ AND ALEXANDER
DESPLAT
Photos: Josep Aznar
REPERTOIRE
For Now, in Liquid Days
IDEA, CHOREOGRAPHY AND INTERPRETATION: MAR AGUILÓ, ELISABET BIOSCA, ANTONIO DE ROSA,
EMILIA GÍSLADÓTTIR, AGNÈS LÓPEZ RÍO, LUCIO IDAL Y MATTIA RUSSO.
MUSIC: COLLAGE (FREDERIC CHOPIN / EXPLOSIONS II THE SKY AND DAVID WINGO / POIE BERLIN / GUS
GUS / QUARTETTO CETRA, KRAMMER GIACOBETTI, DOMENICO MODUGNO).
The loss of traditional concepts of time and space caused by the implantation of new technologies, globalization, market
liberalization… draw up a series of transformations in actual society. Individualism, the loss of a feeling of social
belonging, the appearance of “the other” as an odd element, consumption as the mattress of salvation, love’s buoyancy
that emerges without responsibility towards the other…
“We are swimming in the waters of a liquid society, always changing, defined by the unpredictability, uncertainty,
ambiguity, diversity… which implicates serious difficulties when it comes to designing and forecasting our own lifes”.
All of these themes are proposed by the Polish sociologist Zygmunt Bauman, in his liquid modernity, trying to offer a
new paradigm of social and individual mutations produced in the last decades.
About this complex thematic, nine members of the Compañía Nacional de Danza, directed by José Carlos Martínez, will
try to offer their own interpretation by means of two of their essential working elements: emotion and movement.
Using the avant-garde space designed by the American Frank Gehry, they will realize their own search making use of
Bilbao Guggenheim Museum’s Atrium to conclude their search at the Museum’s Auditorium.
“In a world, where the only certainty is the certainty of uncertainty, where we are destined to try, over and over again,
always in an incomplete way, to understand ourselves and to understand others, destined to communicate, and thereby,
to live with and for another”.
Zygmunt Bauman’s speech, The Príncipe de Asturias Award for Communication and Humanities together with Alain
Touraine.
Photos: Guillermo Casas
ON POINT SHOES
REPERTOIRE
In The Middle Somewhat Elevated
CHOREOGRAPHY: WILLIAM FORSYTHE
MUSIC: THOM WILLEMS
The strength of a work is based on its simplicity. In The Middle, lacking in any external effects, is concentrated on the
traditional formula, theme and variations. The main theme, danced by the ballerina, increases progressively in relation
to the number of dancers, until the result of the group becomes much more complex variations and pas de deux. The
pretended disdain of the dancers contrasts with the strict and severe technical demands. The title of the ballet refers to
two golden cherries, which hang above from the centre of the stage, and which lead to a minimal reflexion within the
huge interior of l’Opéra de Paris, the space in which this ballet was created.
Herman Schmerman
MUSIC: THOM WILLEMS
In conversation about Herman Schmerman, William Forsythe has said, “I first heard that phrase [‘Herman Schmerman’]
used by Steve Martin in the film “Dead Men Don’t Wear Plaid.” I think it’s a lovely title that means nothing. The ballet
means nothing, too. It’s a piece about dancing that will be a lot of fun. It’s just (…) talented dancers dancing around, and
that’s good, isn’t it?”.
Photo: Emilio Tenorio
REPERTOIRE
ON POINT SHOES
Artifact II
MUSIC: J. S. BACH (PARTITA Nº 2 IN D MINOR “CHACONNE”)
In Artifact II, the director of the Frankfurt Ballet wants to break with the ballet’s traditional aesthetics, undoing it and
creating new visual proposals for the spectator. As long as the spectator is up for it, a work like Artifact can become an
adventure, because it does not propose anything closed, finished. The spectator must, and this is Forsythe’s intention,
imagine his/her own music score. Forsythe thinks that reality exists only in the mind of the human being; it is product of
his/her fantasy, in the same way that art, an art that has become artificial through its formalisation. What interests the
author is grabbing the extremes, looking for the limits of the possibilities of the body, the light, the speech until he reaches
its last frontiers. The dancers place themselves in the space as if they had to check how far their muscles and articulations
can reach. An extraordinary concept of spaciousness is pursued. Forsythe clearly states that he is not trying a redefinition
of the classical language, what he proposes is the development of a new vocabulary.
REPERTOIRE
ON POINT SHOES
Allegro Brillante
CHOREOGRAPHY: GEORGES BALANCHINE
MUSIC: CHAIKOVSKI, CONCIERTO DE PIANO No. 3, OP. 75
Allegro Brillante is characterized by what Maria Tallchief (the ballerina on whom the bravura leading role was created)
calls “an expansive Russian romanticism.” The music’s vigorous pace makes the steps appear even more difficult,
but the ballet relies on strong dancing, precise timing, and breadth of gesture. Balanchine said: “It contains everything
I know about the classical ballet in 13 minutes.” Tschaikovsky’s Third Piano Concerto was originally written as a
symphony. But as it was nearing completion, the composer, dissatisfied with it, converted the first movement into a
concert piece for piano.
Who Cares?
CHOREOGRAPHY: GEORGES BALANCHINE
MUSIC: GEORGE GERSHWIN
In 1937, George Gershwin asked Balanchine to come to
Hollywood to work with him on Samuel Goldwyn’s “Follies.”
Tragically, Gershwin was felled by a brain tumor before he
completed the ballet music for the film. Thirty-three years later,
Balanchine choreographed Who Cares? to 16 songs Gershwin
composed between 1924 and 1931.
Balanchine used the songs not to evoke any particular era but
as a way of portraying an exuberance that is both broadly
American and charged with the distinctive energy of Manhattan.
“The performances of “Who Cares?” and “Allegro Brillante”
are presented and coordinated by The George Balanchine
Trust and have been produced in accordance with the
Balanchine Style ® and Balanchine Technique ® Service
standards established and provided by the Trust”.
Choreography by George Balanchine
© The George Balanchine Trust
ON POINT SHOES
REPERTOIRE
Three Preludes
CHOREOGRAPHY: BEN STEVENSON O.B.E.
MUSIC: SERGEI RACHMANINOFF
The international award winning Three Preludes was
created by Ben Stevenson in 1969 and is performed to
selections of Sergei Rachmaninoff’s “Preludes.” This
popular work has been performed in the repertoires of
many companies around the world, including The American
Ballet Theater, The Paris Opera Ballet, and The Scala de
Milano Ballet.
The gentle, loving pas de deux focuses on the characters
of two dancers who fall in love while working in a dance
studio. The three movements develop in both speed and
intensity as the emotion between the dancers evolves into
passion. Ben Stevenson’s Three Preludes was awarded
the Gold medal for choreography at the International Ballet
Competition in Varna, Bulgaria in 1972.
Photo: Josep Aznar
REPERTOIRE
ON POINT SHOES
Sonatas
CHOREOGRAPHY: JOSÉ CARLOS MARTÍNEZ
MUSIC: PADRE SOLER AND DOMENICO SCARLATTI (ORCHESTRATION ALFREDO ARACIL)
Martínez's inspiration when creating this piece comes from a deep previous study of Scarlatti's and Padre Soler’s musical
score. As in a sonata, the choreographic phrases transform, repeat themselves and evolve to the pace of the musical
structure.
It could be taken as an "exercise of style", like Balanchine did with some of his pieces in his time. Every dancer would
represent a musical instrument of the sonates "orchestral version", performing his own choreographic score, the result
of this being a cohesive and harmonious set.
REPERTOIRE
ON POINT SHOES
Raymonda Divertimento
CHOREOGRAPHY: JOSÉ CARLOS MARTÍNEZ (TO THE ORIGINAL BY MARIUS PETIPA AND THE VERSION BY
RUDOLF NUREYEV)
MUSIC: ALEXANDER GLAZUNOV
The ballet Raymonda (one of the last great works by Marius Petipa) takes place in three acts in a conventional Middle
Ages. This "Grand Pas Classique" is an extract from the Act III: Raymonda and Jean de Brienne, are now married in the
presence of the King of Hungary.
Just as the music takes on the exotic tones of Magyar themes, the classic steps are also adorned with Hungarian taste.
While the legs dance in pure classic style, the bust and arms adopt the gestures of a "character dance".
"Dedicated to Maya Plisetskaya"
José Carlos Martínez
Photos: Pedro Sánchez
REPERTOIRE
ON POINT SHOES
Delibes Suite
MUSIC: LEO DELIBES, EXTRACTS FROM “LA SOURCE”
(SCENE AND “PAS D’ACTION” FROM THE 2ND ACT,
SUITE NO.3) AND FROM “COPPELIA” (THE WORK AND
THE “GALOP FINAL” OF THE 2ND ACT)
Photo: Kionori Hasegawa
Regarding the music by the French composer, Leo Delibes
(several extracts from "La Source" and "Coppelia"), José
Martínez has choreographed a Pas de deux in the classical
tradition - adagio, dancer's variation, ballerina's variation,
coda, in which he enjoys himself by quoting the
choreographic arsenal of more complex pieces, while he
does provide a precise, subtle lightness that mixes with the
vitality that characterises him.
Giselle
CHOREOGRAPHY: JEAN CORALLI AND JUES
PERROT, ADAPTED BY JOSÉ CARLOS MARTÍNEZ
MUSIC: ADOLPHE ADAM
A masterwork of romantic ballet, Giselle was created in 1841,
at the Paris Opera, with choreography by Coralli and Perrot.
Although it disappeared from the repertory of the Opera in
1868, Giselle was conserved, however, and transmitted by the
French ballet masters working in Russia (Jules Perrot first and
then Marius Petipa). Giselle was danced again in Paris in 1910
by Diaghilev's Ballets Russes.
Photo: Pedro Sánchez
REPERTOIRE
ON POINT SHOES
Scarlatti Pas de deux
MUSIC: DOMENICO SCARLATTI
On the piano score of Sonata K 208 (adagio and cantabile) and
Sonata in C major K 159 by Domenico Scarlatti, José Carlos
Martínez choreographs a duo inspired by the divertimento titled
“Robert Macaire”, choreographed for the second act of “Les
Enfants du Paradis”, premiered at the Paris Opera House in
2008.
Photo: Kionori Hasegawa
COMPAÑÍA NACIONAL DE DANZA DE ESPAÑA
PASEO DE LA CHOPERA, 4
28045 MADRID
TLF: +34 91 05.05.106
Contacto: Daniel Pascual
[email protected]
http://cndanza.mcu.es/
Photo: Emilio Tenorio

COMPAÑÍA NACIONAL DE DANZAde

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