Classical Ballet Evening of one-act ballets: Igor Stravinsky "Le Sacre du printemps" choreography by Sasha Waltz. "Prodigal Son" by George Balanchine World famous Mariinsky Ballet and Opera - Mariinsky II (New Theatre)
Schedule for Evening of one-act ballets: Igor Stravinsky "Le Sacre du printemps" choreography by Sasha Waltz. "Prodigal Son" by George Balanchine 2022
Composer: Sergei Prokofiev Composer: Igor Stravinsky Lighting Designer: Vladimir Lukasevich Musical Director: Maestro Valery Gergiev Choreography: George Balanchine Choreography: Vaslav Nijinsky Choreography: Sasha Waltz
Orchestra: Mariinsky Theatre Symphony Orchestra
"Le Sacre du printemps" choreography by Sasha Waltz.
German choreographer Sasha Waltz will be staging her original version of
Le Sacre du printemps to music by Igor Stravinsky for the Mariinsky Ballet
Company as part of a joint project between the Mariinsky Theatre and Paris’
Theatre des Champs Elysees
Music by Igor Stravinsky
Musical Director: Valery Gergiev
Choreographer: Sasha Waltz Production Designers:
Pia Maier Schriever, Sasha Waltz Costume Designer:
Bernd Skodzig Lighting Designer: Thilo
Reuther
Co-production by Sasha Waltz & Guests GmbH and the Mariinsky Theatre
Premiere of the ballet with choreography by Sasha Waltz: 13 May 2013,
Mariinsky Theatre, St Petersburg
"Prodigal Son" by
George Balanchine
Music by Sergei
Prokofiev Choreography by George Balanchine
(1929) Libretto by Boris Kochno (after the biblical
parable) Scenery and costumes: Georges Rouault Scenery
executed by Prince A. Schervashidze Costumes executed by Vera
Soudeikina Staging: Karin von Aroldingen and Paul
Boos Lighting: Vladimir Lukasevich
Premiere: May 21, 1929, Les Ballets Russes de Serge de Diaghilev, Thйвtre
Sarah-Bernhardt, Paris Premiere in the Mariinsky Theatre: December 14, 2001
Running time 40 minutes
The Prodigal Son was
the last work Balanchine made for Diaghilev’s Ballets russes
in 1929 with Serge Lifar in the role
of the Prodigal Son; it was revived in 1950 by
the New York City Ballet with Jerome Robbins in the title role. Its
music, by Prokofiev, was written for the ballet, and its costumes and decor
were created by Rouault, making it a perfect example
of the collaborative efforts among artists that produced some
of the best works of the Diaghilev era. New for
a Diaghilev ballet was the Biblical theme and the religious
spirit. In seeking eternal themes and turning to past artistic devices,
western artists were trying to avoid the complete itellectual and
artistic degeneration towards which their rootless experimentation was leading.
Prodigal Son anticipated the trend toward religion
of the 1930s and 40s. It was Diaghilev’s fate that he would always be
ahead of fashion, even when he believed he had turned his back on vogue.
The return of Prodigal Son to St Petersburg is
of great significance. For the first time, a ballet
of the most radical, late period of Diaghilev’s Les Saisons
russes has returned to the stage of the Mariinsky
Theatre. That period of Russian and world ballet has been come home, which
until recently was under artistic (avant-garde aesthetics of the late
Diaghilev era) and ideological (use of religious motifs) censorship. With
the return of Prodigal Son, the Mariinsky Theatre and
its generation of young dancers have begun to restore
an objective picture of the development of ballet
in the 20th
century.
© Photo by John Ross
Schedule for Evening of one-act ballets: Igor Stravinsky "Le Sacre du printemps" choreography by Sasha Waltz. "Prodigal Son" by George Balanchine 2022
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