DEZEMBERREGEN – Harriet Mills, Kt. Flavio Salamanka und Valbona Bushkola
© Anna-Maria Löffelberger

DEZEMBERREGEN – Harriet Mills und Ensemble
© Anna-Maria Löffelberger

DEZEMBERREGEN – Kt. Flavio Salamanka und Harriet Mills
© Anna-Maria Löffelberger

DEZEMBERREGEN – Kt. Flavio Salamanka und Ensemble
© Anna-Maria Löffelberger

DEZEMBERREGEN – Harriet Mills und Kt. Flavio Salamanka
© Anna-Maria Löffelberger

GRÜNERES GRAS – Klevis Neza
© Anna-Maria Löffelberger

GRÜNERES GRAS – Larissa Mota und Kt. Flavio Salamanka
© Anna-Maria Löffelberger

GRÜNERES GRAS – Valbona Bushkola und Larissa Mota
© Anna-Maria Löffelberger

GRÜNERES GRAS – Valbona Bushkola und Klevis Neza
© Anna-Maria Löffelberger

FRÉDÉRIC SUPERSTAR – Dafne Barbosa und Larissa Mota
© Anna-Maria Löffelberger

FRÉDÉRIC SUPERSTAR – Larissa Mota
© Anna-Maria Löffelberger

FRÉDÉRIC SUPERSTAR – Klevis Neza und Dafne Barbosa
© Anna-Maria Löffelberger

FRÉDÉRIC SUPERSTAR – Moeka Katsuki
© Anna-Maria Löffelberger

FRÉDÉRIC SUPERSTAR – Ensemble
© Anna-Maria Löffelberger

3 × Chopin

Kristína Paulin / Kristian Lever / Nadav Zelner

A night of ballet – dedicated to Frédéric Chopin

World premiere 26. May 2022 / Rehearsal centre Aigen

Synopsis

“Espaces imaginaires” is what Frédéric Chopin called the extended spaces of imagination into which he was repeatedly drawn and where his compositions took shape even before he ever wrote them down. “I am (…) not in myself at all at this moment, but, as usual, somewhere else, somewhere quite different and strange. It must be those espaces imaginaires,” he described this peculiar state in a letter to his family in 1845.

On this special night, which is dedicated to the legendary virtuoso pianist and composer, the “espaces imaginaires” will also offer scope for three choreographers to let their imaginative powers roam, associating freely about the music and the character of Frédéric Chopin. Three choreographic styles, three ways of narrating, three different approaches to the artist Chopin and his music are merged to create an extraordinary evening.

In his fifth season as head of the ballet division, Reginaldo Oliveira succeeds in bringing three very different artists of international renown – Kristína Paulin, Kristian Lever and Nadav Zelner – to Salzburg for this tripartite ballet night, enabling audiences to experience the full diversity and complexity of their individual choreographic languages.

Slovak choreographer Kristína Paulin is a dancer with the Hamburg Ballet, where she created her first pieces. She has also choreographed works for the Salon Kleiner Michel, the Schauspielhaus and the Junge Symphoniker Hamburg. For the 2019 ballet gala “Mozart Moves!” she created “The Eye of God, 3rd floor”.

Finnish-British dancer and choreographer Kristian Lever has for instance created choreographies for the German National Youth Ballet, the Ballett Vorpommern and the Royal Danish Ballet. He choreographed the opera “Oberon” for the Salzburg State Theatre in 2019.

Israeli choreographer Nadav Zelner first caused a stir with his choreographed mini-dramas and dynamic dance videos. He developed the full-length work “Bullshit” for Gauthier Dance Stuttgart in 2018 and created works for the dance companies of the Theater St. Gallen and the Stanislavsky Theatre in Moscow in 2020.

Duration: ca. 2 hours an 30 minutes, with two breaks

Half an hour before the performance there is the possibility of a play introduction on rehearsal stage 1.

Due to the pandemic, the parking garage of the deaconesses is not available to visitors of the rehearsal center Aigen this year!

Reviews

Drei junge Choreografen setzen sich am Salzburger Landestheater mit Frédéric Chopin auseinander - ein Abend tänzerischer Vielfalt. [...] Die Erzählkraft der Choreografie "Dezemberregen" erinnert an die großen Handlungsballette von John Neumeier. Eine erstaunlich reife Leistung der 30-jährigen Kristína Borbélyová Paulin. [...] Diesem groß besetzten Zentralpunkt des Abends wird ein tragikomisches Kammerspiel gegenübergestellt. [...] Nadav Zelner schließlich löst sich in "Frédéric Superstar" von der Notwendigkeit des Erzählens und legt eine originelle abstrakte Arbeit vor. [...] Wie ein Haufen Außerirdischer übersetzt das Ensemble den rasenden Tonfall der Musik in irrwitzige, hochvirtuose Bewegungsfiguren.

Salzburger Nachrichten

Eine wahre Explosion kreativer Einfälle, die schon beim futuristisch anmutenden, hautengen Ganzkörper-Suit anfangen (Maor Zabar). Hier ein Augenrollen, da ein sich streckendes Fingerchen und dort trippelt im Kollektiv eine wabernde Wolke aus menschlichen Körpern über die Bühne – Überraschungsmomente und sensationelle Detailarbeit, die dem Publikum den Atem stocken ließ. Und Chopin? Er war gefühlt in allen Wesensnuancen, in Person und Komposition, während des fulminanten Ballettabends dabei.

Reichenhaller Tagblatt