The idea of trying to reconstruct and rechoreograph  NATHALIE  came through many happy talks, dinners, late conversations and meetings with my more than 30 year friend Nina Ananiashvili. I have known her since the late 80ies, when I was the Director for the Royal Danish Ballet, and she has visited my wife and me a numerous amount of times in Denmark and our relationship soon turned into a friendship. During these countless wonderful moments together, the idea came up to present this, August Bournonville’s last ballet from 1876, for the audience in Tbilisi, where Nina for just a few years ago had been named Director of the State Ballet of Georgia. A thought became an idea, and the idea then became a project, and we decided to proceed and make the project become reality.
 
Now 143 years have passed since the premiere of   NATHALIE at the Royal Theater in Copenhagen. And here we are in Georgia again. 10 years after the premiere of NATHALIE here in Tbilisi in 2009 (staging conductor David Mukeria), the restaging is a fact. The foreseeing of Nina and her associates were expected. I have had the pleasure of following the company since Nina took the helm and many things have happened, miracles have happened for the company. They are a wonderful selection of great and promising dancers. Eager to learn and listen and to be challenged, and eager to venture into new land of choreography.
 
The interest for August Bournonville, his works, his choreography and daily classes is increasing all over the world and I am happy that the State Ballet of Georgia shall present the NEW premiere of August Bournonville’s last ballet NATHALIE  now in 2019.

Prologue
The Prologue and Epilogue of the First Act take place in the Foyer of the Bolshoi Theatre in 1874
 
The Danish choreographer August Bournonville is meeting the great choreographer Marius Petipa at the Bolshoi Theatre. Petipa mentions a true story he was recently told about a young officer in exile in South Siberia, who managed to escape with an old nobleman and his daughter.
 
Bournonville wants to hear the whole story and Petipa explains…
 
Act One
 
Act One takes place in South Siberia in 1873
 
The old nobleman and writer in exile, Smirnov returns from the hunt. His cruel fate is weighing on his mind, but his countenance softens at the sight of his daughter, Nathalie, who, together with young officer Kipiani, is skating boldly over the frozen lake. Kipiani is also in exile: he had the misfortune to kill an officer in duel.
 
Smirnov’s thoughts are filled with the ideas of transferring the French revolution from 1789 to Russia today – the old infatuation that was the very cause of their misfortune and exile. Nathalie seeks to console and calm him. With a pleading look, she brings him his harp. Its tones have a soothing effect, while the chords and melodies are soon transferred into a merry dance, which, by his daughter’s graceful rendition, carries his thoughts back to happier days.
 
Kipiani enters. He respectfully greets Smirnov and presents him with some books, which he gratefully accepts. The young couple’s fondness for one another has not gone unnoticed by the father, but the prospect seems dark and hopeless. At this moment, accompanied by several of his men, Petrov, the Leader of Cossaks, enters with brutality, which bears witness to his half drunken state. He is measuring Smirnov from head to toe with a distrustful look, demands that he gives him the required amount of furs. He now becomes aware of Nathalie and Kipiani’s presence, and bows to the young lady in a courtly fashion, at the same time remembering that he has important business with the officer. Assuming the air of solemnity, he presents Kipiani with an imperial script repealing his exile and summoning him back to the army in Uzbekistan, on the border of Turkmenistan. Delighted, the brave young warrior embraces Petrov, and decides to prepare a celebration and summons the entire neighborhood to the farewell feast.
 
Smirnov and Nathalie congratulate him. Nathalie hands her medallion to him, in remembrance of her. Only now Kipiani realizes that he is to be separated from the one he has sworn to love eternally. A bold
idea begins to dawn in the young man’s mind – he overcomes all objections by the father and daughter, and urges them both to make ready to flee at the same time as his departure. Nathalie tries to dissuade
him from the proposed venture, but his decision is made.
 
The farewell party is prepared. Kipiani does the honors with exquisite politeness and welcomes Petrov in the most gallant manner. Toasts are proposed with jubilation and hurrahs. Together with Kipiani, Nathalie, who is now enthusiastically greeted by the whole assembly, performs the very popular mazurka.
 
Petrov, who has frequently been dipping into the bottles, rises with difficulty to compliment the graceful young dancing couple and, staggering, cracks his whip and orders the Caucasians to perform the national dances, which reminds Kipiani of his homeland. For a little while Nathalie and Kipiani continue to take part in the festivities, but finally, they manage to slip away, un20 noticed by the crowd. All visitors depart, and Kipiani, disguised as a coachman, steals into the room, regards the sleeping Petrov, and, convinced that they will not be discovered, signals to Nathalie and Smirnov, who, wrapped in furs, follow him.
 
Epilogue
 
Bournonville is thrilled to hear this story, and he explains now about his relationship to the Grand Duchess Dagmar (Marie Feodorovna) and also about the invitation he has received, from the Grand Duchess, for the evening’s great ball. Petipa explains that he has done a divertisse ment for the ball, and they decide to go together to the palace the next evening.
 
Act Two
Ducal Palace, 1874
 
The Grand Duchess is alone. She is, while she looks in the mirrors, thinking about her wonderful life and also remembering her life in Denmark. The Court Marshal enters. He presents her with the program for the ball as well as the divertissement, where the corps de ballet, who, in the guise of river deities and undines, are to perform character dances, which should denote the rivers of Europe.
 
Followed by his staff, the Grand Duke Alexander enters. He returns the salute given and sits down at the writing table, where the Court Marshal places before him a number of papers requiring his signature. A servant announces an imperial courier, who brings the news of a great battle in Turkmenistan, but the victory is still undecided. Alexander is shattered, and heannounces the cancellation of the ball.
 
A new dispatch from the army arrives. The courier is Kipiani, and he brings news of a glorious victory and lays the captured banners and standards at the feet of the Grand Duke. Since the report also contains praise of the bravery Kipiani has manifested, the Duke enthusiastically embraces the young officer and bestows upon him a ring, signifying that a wish, he might have,shall be granted him. The ball shall now be held in honor of the victory.
 
Petipa arrives to prepare the evening’s Grand Ball, and Kipiani imparts his plan to him and asks if he may have the program for the ball in order to add an interesting number to the national dances already designated. Petipa agrees, and also the Court Marshal reluctantly accepts his wishes, and promises to lend his assistance.
 
The party is organized in the Great Hall of the Imperial Palace. Festive music announces the approach of The Grand Duke and Duchess, and they enter, leading the grand polonaise. Now ballet director Petipa is entering and bows for the Grand Duke and Duchess. He also introduces August Bournonville to the couple, and the Grand Duchess is more than thrilled over seeing Bournonville again.
 
The God of the Rivers and the undines present the divertissement of the European rivers:
 
 
 
 
The Provencal fisher people introduce the first river, the Rhone. The three Andalusian dancers present the Guadalquivir River; the Thames is characterized by the jockeys; the procession and character dancing of the merry vineyard people presents the Rhine.
 
Under the impression that this last dance marks the end of the divertissement, Dagmar expresses her satisfaction and thanks the Court Marshal and Petipa for the lovely arrangement, but Petipa and the Court Marshal indicate that another surprise is yet to come. Two musicians enter, dressed in peasant garb. Petipa leads before the throne a young girl. It is Nathalie, who, swinging her sky-blue scarf, finishes her dance surrounded by a group of undines, and everyone enthusiastically recognizes the River Neva.
 
 
Nathalie falls to her knees before Dagmar and implores her to obtain mercy for her father. Her plea is granted, but when the Grand Duke recognizes the man he has banished, his irreconcilable anger is aroused, and he orders the guards to seize him. At this moment, Kipiani steps forth and hands the ring to the Grand Duke. Smirnov is free.
 
The celebration continues while the happy union of Kipiani and Nathalie is sealed.