Gala Lara, Anna Yanchuk, Annachiara Corti und Karine de Matos
© SLT / Tobias Witzgall

Anna Yanchuk, Gala Lara, Annachiara Corti, Mikino Karube und Karine de Matos
© SLT / Tobias Witzgall

Karine de Matos und Mikino Karube
© SLT / Tobias Witzgall

Anna Yanchuk, Mikino Karube, Gala Lara, Annachiara Corti und Karine de Matos
© SLT / Tobias Witzgall

Annachiara Corti
© SLT / Tobias Witzgall

Gala Lara und Valbona Bushkola
© SLT / Tobias Witzgall

Samuel Pellegrin, Valbona Bushkola und Lucas Leonardo
© SLT / Tobias Witzgall

Valbona Bushkola
© SLT / Tobias Witzgall

Ensemble
© SLT / Tobias Witzgall

Samuel Pellegrin, Lucas Leonardo und Ben van Beelen
© SLT / Tobias Witzgall

Matteo Rondinelli, Dafne Barbosa und Lucas Leonardo
© SLT / Tobias Witzgall

Dafne Barbosa und Ensemble
© SLT / Tobias Witzgall

Ben van Beelen, Dafne Barbosa und Matteo Rondinelli
© SLT / Tobias Witzgall

Ben van Beelen, Oliver Hoddinott, Dafne Barbosa und Matteo Rondinelli
© SLT / Tobias Witzgall

Valbona Bushkola und Dafne Barbosa
© SLT / Tobias Witzgall

Ensemble
© SLT / Tobias Witzgall

Kt. Flavio Salamanka
© SLT / Tobias Witzgall

Kt. Flavio Salamanka und Ensemble
© SLT / Tobias Witzgall

Kt. Flavio Salamanka und Valbona Bushkola
© SLT / Tobias Witzgall

Lucas Leonardo, Samuel Pellegrin, Kt. Flavio Salamanka und Valbona Bushkola
© SLT / Tobias Witzgall

Kt. Flavio Salamanka
© SLT / Tobias Witzgall

Kt. Flavio Salamanka und Ensemble
© SLT / Tobias Witzgall

Kt. Flavio Salamanka
© SLT / Tobias Witzgall

Valbona Bushkola und Ensemble
© SLT / Tobias Witzgall

Dafne Barbosa und Kt. Flavio Salamanka
© SLT / Tobias Witzgall

Ensemble
© SLT / Tobias Witzgall

Dafne Barbosa und Kt. Falvio Salamanka
© SLT / Tobias Witzgall

Dornröschen

Pjotr Iljitsch Tschaikowsky

Märchen-Ballett von Reginaldo Oliveira nach Charles Perrault

Premiere: 9. März 2024 / Landestheater

Synopsis

“The Sleeping Beauty” is seen by many as the greatest masterpiece of the composer Pyotr Ilyich Tchaikovsky. Reginaldo Oliveira, head of the ballet division, is interested not only in the arrestingly beautiful music of the ballet and its enchanting fairy-tale motifs, but also in the archaic questions of good and evil, rejection and revenge that its narrative explores.

Aurora’s parents had to wait for a long time until they finally had their first child, conceived with the help of fairies. This is why they are doing everything they can to keep their daughter from harm. And they succeed – almost. It is only one single fairy that they forget to invite to the christening, yet disaster seems inevitable. The angry fairy curses Aurora: She will die at 15. This curse cannot be revoked, but another fairy mitigates the death sentence to a 100 years’ sleep. And thus Aurora becomes the Sleeping Beauty, who must be redeemed by a courageous Prince after having slept for 100 years.

The ballet was inspired by “The Beauty Sleeping in the Forest”, a literary fairy tale written by the French author Charles Perrault, which includes some humorous elements, for instance when the Prince remarks that the Sleeping Beauty’s outfit from 100 years ago reminds him of the clothes his grandmother used to wear. Or when the Sleeping Beauty sees the Prince for the first time: “You certainly took your time!” she greets him. Pyotr Ilyich Tchaikovsky (1840–1893) considered “The Sleeping Beauty” his best ballet.

At its 1890 world premiere at the Mariinsky Theatre in St. Petersburg, an incredibly large cast of 155 performers shared the stage, including 59 solo dancers. The work was performed 50 times in St. Petersburg over the next two years and is still a classic in ballet repertories.

After the double billing of “Iolanta / The Nutcracker”, ballet director Oliveira once again stages one of Tchaikovsky’s great ballets. He is supported by stage designer Matthias Kronfuss and costume designer Judith Adam. Carlo Benedetto Cimento, who joins the Salzburg State Theatre as First Kapellmeister from the Mainfranken Theater Würzburg, acts as the ballet’s musical director.

Duration: 2 hours, 20 minutes / incl. 1 intermission

Reviews

„Manche Ballettfans dürften allerdings die Apotheose, den alles abschließenden Gand pas de deux des Prinzenpaares vermissen. Doch was solls: mit dieser schwungvollen Aufführung, die Traum und Wirklichkeit, Poesie und Phantasie in sich vereint, schreibt Salzburg Ballett-Geschichte.”

Die Deutsche Bühne

„In packender Dichte hält uns Reginaldo Oliveira hier einen Spiegel vor und regt zum Nachdenken an. Ist nicht Dornröschen in uns allen und muss nur wachgeküsst werden? Sollten wir uns nicht unsere Träume erfüllen? Und vor allem, wir sollten nicht auf das Schöne im Leben vergessen!”

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