Balanchine | Liang | Proietto

In the work of Edwaard Liang, the clearly defined, almost crystalline geometry of Balanchine’s neoclassicism meets freely flowing “biological” forms like patterns of bird swarms. „Murmuration“ is the term used to describe the phenomenon of the separation and intermingling of the individual swarms or parts of swarms. „Blanc“ is the result of a commission for the Wiener Staatsballett, in which Daniel Proietto seeks to track down the “substrate” of Romantic ballet and its “white acts”.

Cast 20.02.2018

Symphonie in C

Conductor Fayçal Karoui
Choreography George Balanchine
Komponist Georges Bizet


Conductor Fayçal Karoui
Choreography Edwaard Liang
Komponist Ezio Bosso
Costume Design Edwaard Liang
Lighting Design Lisa J. Pinkham
Violine Volkhard Steude
Haupttänzer Roman Lazik
Tänzerin 1 Nikisha Fogo
Tänzer 1 Mihail Sosnovschi
Tänzerin 2 Ioanna Avraam
Tänzer 2 Jakob Feyferlik
Tänzerin 3 Alice Firenze
Tänzer 3 Dumitru Taran
Tänzerin 4 Ketevan Papava
Tänzer 4 Roman Lazik


Conductor Fayçal Karoui
Choreography Daniel Proietto
Komponist Mikael Karlsson Frédéric Chopin
Text Alan Lucien Øyen
Costume Design Stine Sjøgren
Set design Leiko Fuseya
Licht/Video Martin Flack
Piano Maria Radutu
Der Poet (Sprecher) Andrey Kaydanovskiy
Die Frau/Sylphide Ketevan Papava
Der Schatten des Poeten Eno Peci
Eine negative Sylphide Natascha Mair
Zwei negative Poeten Alexis Forabosco András Lukács
Drei führende Sylphiden/Schatten Ioanna Avraam Xi Qu Madison Young


 The dream of flying – whether it is expressed in the flying machines of Baroque theatre, or in the swans or the Firebird, or in the weightlessness of the Wilis or the sylphides, or in Alvin Ailey’s legendary “bird wings” – is part of the very foundation of dance.

Classical ballet in particular is always reaching upwards, seeking in the outstretched silhouette to touch the sky, and reducing contact with the earth by the use of the point shoe: and in the “ballon” – the ability to take up positions while jumping which are familiar from the earth, in order to suggest a particular “lightness” and “effortlessness” in the jump – the dancer hovers and appears to hold on to a state of weightlessness.

Still very much in the Romantic tradition, and irrespective of the historical significance of the work for the emergence of the modern period, the dancers in Fokine’s „Les Sylphides“ (first performed in 1908) wore wings on their backs – and „Blanc“, a work commissioned for the Wiener Staatsballett from Daniel Proietto, takes this milestone in the history of ballet as its starting point.

Edwaard Liang focuses on very specific flight movements in „Murmuration“ – the term designates the separation and intermingling of individual swarms of birds (particularly starlings) or parts of swarms.

Finally, Balanchine – the genius of the dance – followed the tempestuous flight of his thoughts: „Le Palais de Cristal“ (the original title of „Symphonie in C“) was created in 1947 for the Paris Opera Ballet in just two weeks, after Igor Stravinsky brought Balanchine’s attention to the score. When we look at Balanchine’s vast oeuvre consisting of over 445 works, we may well feel ourselves reminded of Martin Luther’s words: “[…] man is born to work as birds are born to fly”.