Ballet in one act
T the music of Sinfonia da requiem by Benjamin Britten
Choreography: Jiří Kylián
Set and Costume Design: John F. Macfarlane
Lighting Design: Kees Tjebbes
Premiere: November 2, 2017
Ballet in one act
to music by Igor Stravinsky
Choreography by Jerome Robbins © The Robbins Rights Trust
Costume Designer: Ruth Sobotka
Sets by Jean Rosenthal
Music Director: Igor Dronov
Lighting Designer: Jennifer Tipton
Ballet Masters: Jean-Pierre Frohlich, Glenn Keenan
Sets and Lighting Technical Coordination: Perry Silvey
Costume Production Designer:Holly Hynes
Рremiere: March 19, 2017.
Running time: 14 minutes.
Stravinsky composed his Concerto in D for String Orchestra in 1946, as a commission for the 20th anniversary of the Basler Orchestra; it was his first work for string orchestra since Apollon Musagète. The vivid, haunting composition features a shift between D major and minor throughout the work and a rich quality for the writing of the strings. Jerome Robbins used Stravinksy’s concerto for one of his early works, The Cage, which imagines a community of female creatures. In describing the ballet, Robbins said, “I did not have to confine myself to human beings moving in a way that we know is human. In the way their fingers worked, in the crouch of a body or the thrust of an arm, I could let myself see what I wanted to imagine.”
Ballet in one act to music by Georges Bizet and Rodion Shchedrin
Libretto Alberto Alonso based on the story Carmen by Prospero Merime
Choreographer Alberto Alonso
Designer: Boris Messerer
Music Director: Pavel Sorokin
Assistant to Choreographer: Sonia Calero Alonso
Lighting designer: Alexander Rubtsov
For the first time entered the repertory of the Bolshoi Theatre on April 20, 1967.
Revived on November 18, 2005.
Running time: 50 minutes.
Carmen Suite is a one-act ballet written in 1967 by Russian composer Rodion Shchedrin, based on a libretto and choreographed by Alberto Alonso. The music, taken from the opera Carmen by Georges Bizet and arranged for strings and percussion, is not a 19th century pastiche but rather "a creative meeting of the minds," as Shchedrin put it, with Bizet's melodies reclothed in a variety of fresh instrumental colors (including the frequent use of percussion), set to new rhythms and often phrased with a great deal of sly wit. Initially banned by the Soviet hierarchy as "disrespectful" to the opera for precisely these qualities, the ballet has since become Shchedrin's best-known work and has remained popular in the West as what reviewer James Sanderson of allmusic.com calls "an iconoclastic but highly entertaining retelling of Bizet's opera."