Stephan Thoss, Christopher Wheeldon, Jerome Robbins

Thoss | Wheeldon | Robbins


„Interdisciplinary” would be a good way of describing the thematic framework of this performance. With „The Four Seasons“ Jerome Robbins created a ballet to music by Giuseppe Verdi which makes a direct reference to opera. „Fool’s Paradise“ by Christopher Wheeldon, by contrast, is based on music by Joby Talbot which was originally composed for a film. Finally, „Blaubarts Geheimnis“ is based on music by Philip Glass which was intended both as a film score and for concert performance.

21 November
19:00 - 21:45
2 intermissions
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Cast | 21.11.2016

Blaubarts Geheimnis (Ausschnitt)

Conductor Alexander Ingram
Blaubart Eno Peci
Judith Alice Firenze
Blaubarts Mutter Rebecca Horner
Blaubarts Alter Ego Andrey Kaydanovskiy

Fool's Paradise

Conductor Alexander Ingram
Tänzerin 1 Ioanna Avraam
Tänzerin 2 Nina Tonoli
Tänzerin 3 Gala Jovanovic
Tänzerin 4 Ketevan Papava
Tänzer 1 Eno Peci
Tänzer 2 Davide Dato
Tänzer 3 Greig Matthews
Tänzer 4 Richard Szabó
Tänzer 5 Roman Lazik

The Four Seasons


Warmed by the depth of Judith’s feelings, the icy atmosphere of Bluebeard’s castle is brought out of darkness into light: but whether Judith and Bluebeard together will achieve the brightness and joy of a daylight free from subconscious torments remains an open question in the choreographic interpretation of the much-adapted subject matter of „Bluebeard“ by Stephan Thoss (born 1965) – very much in contrast to the well-known opera version by Bela Bartok (1881 to 1945), at the end of which Bluebeard’s three murdered wives, representing morning, midday and evening fading into darkness, disappear behind the last door, followed by Judith (whom Bluebeard has previously described as “the light and brightness of his life” and “the sun of his destiny”) representing the final “night”, which then irrevocably falls over Bluebeard’s castle and Bluebeard himself (“Now it is eternal night – always, forever.”).

Light also plays a central role in „Fool’s Paradise“ by Christopher Wheeldon (born 1973): “Bathed in warm light, the dancers move through solos, duets and trios, occasionally settling into still, sculptural tableaux. The work contains a moving pas de deux and builds to a spectacular arrangement for the whole ensemble, as gold petals shower down on the stage”, as the work is described by the Royal Opera House Covent Garden. As a concept, „Fool’s Paradise“ is to be found in the well-known „Paston Letters“ of 1462, and is also used by William Shakespeare in „Romeo and Juliet“ (Act 2, Scene 4). It is an illusory state of happiness based on a false hope, either due to a lack of insight into one’s real personal situation, or because that insight is deliberately denied.

The ballet „The Four Seasons“ by Jerome Robbins (1918 to 1998), supplemented by other works by Giuseppe Verdi (1813 to 1901), is ultimately based on Verdi’s original concept for his ballet music for the opera „The Sicilian Vespers“, i.e. the symbolic seasonal change from winter to spring to summer to autumn. The final part, autumn, is structured by Robbins as a choreographic high point: the choreographer celebrates autumn in ist original etymological significance as the overflowing season of ripeness and harvest, as the purpose and high point of life, its completion. The course of the seasons thus forms the closing point of a programme sequence that makes reference to the process of ripening to maturity as one of its thematic focal points.