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GEO
Cast Info Plot

Tbilisi Ballet Festival
29   June -   Nederlands Dans Theater NDT 2 TOUR   20.00  

Programme:
Sad Case by Sol León & Paul Lightfoot
Short Cut by Hans van Manen
Midnight Raga by Marco Goecke
Subtle Dust by Sol León & Paul Lightfoot
 
 
Sad Case by Sol León & Paul Lightfoot

Music: Pérez Prado: Mambo no. 8; Muchachita; Always in my heart; Caballo Negro
Alberto Dominguez: Frenesi
Ray Barretto: El Watusi
Trio Los Panchos: Perfidia
Augustin Lara: Maria Bonita

Decor and costumes: Sol León & Paul Lightfoot
Light: Tom Bevoort
World premiere7 February 1998, Lucent Danstheater, The Hague

Duration  22 minutes
 
 
 Short Cut by Hans van Manen

Music: Jacob ter Veldhuis: Slow Movement String quartet No. 3 ‘There must be some way out of here’ (1994); Movement 4 “Trianon de porcelain“ from String quartet No. 1 ‘Versailles’ (1990) ©Donemus Publishing BV
Decor and costumes: Keso Dekker
Light:  Jan Hofstra
World premiere: January 27, 1999, Lucent Danstheater, Hague
Duration 16 minutes
 
 
 Midnight Raga by Marco Goecke
 
Music: Ravi Shankar: Raga Puriya-Dhanashri. Gat in Sawarital’
 Etta James: I’d rather go blind’
Light: Udo Haberland
Decor and costumes: Marco Goecke
Dramaturge: Nadja Kadel
Duration 10 minutes
World premiere 30 March, 2017, Zuiderstrandtheater, The Hague
 
 
Subtle Dust
Choreography by Sol León & Paul Lightfoot

Music: Johann Sebastian Bach:
Cantata #12, Weinen, Klagen, Sorgen, Zagen - BWV 12; Cantata #150, Nach Dir, Herr, Verlanget, Mich - Sinfonia - BWV 150; Toccata in C Minor - BWV 911; Prelude & Fugue in D Minor - BWV 851; arrangeur Alexander Raskatov ©Internationale Musikverlage H. Sikorski, Hamburg/ Albersen
Verhuur B.V., ’s-Gravenhage; Cantata #152, Tritt Auf Die Glaubensbahn - Concerto - BWV 152; Violin Concerto #2 In E. Adagio - BWV 1042-2; Bach Goldberg Variations Aria - BWV 988; arrangeur Victor Kissine
Sleep Whales by Nature Sounds

Light    Tom Bevoort
Video work Sol León, Paul Lightfoot, Rahi Rezvani
Costumes  Joke Visser, Hermien Hollander
Decor  Sol León & Paul Lightfoot

World premiere
March 8, 2018 Zuiderstrandtheat er The Hague
Duration  28 minutes

Sad Case
Sad Case was created in 1998 when Sol León was seven months pregnant with their daughter, and acts as one of the main pillars of León & Lightfoot’s oeuvre. Since then the ballet has been modified into an adapted version. Surprising and earthly movements on Mexican mambo music show a continual search for the tension between satirical and classic moments.
 
 
Short Cut
Jacob ter Veldhuis composes with his ears. I choreograph with my eyes.
 
“For this choreography, I was actually looking for a long adagio. When I heard this string quartet by Jacob ter Veldhuis in the car by chance, I was extremely surprised. I was struck by the tonality, the poetry in the music and the driving rhythm. Rhythm is in the end, as Balanchine once said, the foundation of dance. This ballet is somehow pulled to the ground. There are barely no lifts. Everything is directed towards the ground. The choreography sticks to it. In my experience
that corresponds exactly with what Jacob ter Veldhuis does in his music.”
– Hans van Manen
 
Midnight Raga
Goecke combines a deep midnight blue with his piece “Midnight Raga”, the title of which hearkens back to classical Indian music. The raga is a basic melodic structure which often emotionally suits a particular time of day. Usually, Goecke does not begin a piece with music. This time it is different: the Indian music by Ravi Shankar is the starting point. The choreographer liked both the Indian mysticism and the “freaky” quality of the music. He was also excited by the idea of using Indian music without resorting to elements of Indian dance at all. “I have been fascinated by India for a long time now, because life there is so concentrated and intense, but at the same time seemingly also so immaterial and many people simply die in the bitterest poverty. I also think the ritual cremations after death have a captivating and, at the same time, annihilating power.” Despite the Asian-Indian inspiration – also reflected in the heavy blue silks of the costumes –, one thing is unmistakable right from the start: Goecke’s very own, nervous language of movement, tailor-made for the two dancers Guido and Alex, and which they have internalized in every fiber of their bodies.
 Nadja Kadel.
 
Subtle Dust
We shall not cease from exploration. And the end of all our exploring will be to arrive where we started and know the place for the first time. – T.S.Elliot
 
“2001 was the last time we worked with the infinitesimal music of J.S.Bach. His influence for a period of our oeuvre was impactful, therefore it was a clear and conscious decision on our part to revisit him now in our journey. Nearly all of the pieces of Bach we have collected for this ballet are transcriptions or interpretations of his magnificent music. His source remaining intact, and yet altered, transformed. Transformation plays a crucial role in all our lives on many levels, be it physical, emotional or spiritual. Our work remains abstract, yet what purer way to compare our choreographic duality to the concept of both manual instinct and intellectual thought transmuting to produce a third element made of both in part. A Symbiosis. We wanted that this work should be firmly about quality with these young and talented artists. To hopefully enable them to grow and change by returning to the roots, swimming with the cycles, reconnecting with nature where we will all encounter the source which is patiently waiting.”


  • What's on
    • News
    • Opera Season 2019/2020
    • Ballet Season 2019/2020
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    • Repertoire Opera/Ballet
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