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Sydney Opera House presents a Sadler’s Wells production

with David Hallberg

27 – 31 AUGUSTDrama Theatre

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Louise Herron AM Chief Executive Officer Sydney Opera House

Welcome to the Australian premiere of Pure Dance by one of the most distinctive ballerinas of our time, Royal Ballet principal Natalia Osipova. This breathtaking program showcases not only her artistic versatility and exquisite technique, but also her expertise as a curator.

Pure Dance features six pieces – including four newly commissioned works – and reunites Osipova with David Hallberg, an American Ballet Theatre principal and resident guest artist with The Australian Ballet.

I would like to acknowledge Sadler’s Wells in London, and the Opera House’s commitment to continuing our long-standing collaboration to present works by the world’s most celebrated choreographers.

Thanks also to our visionary philanthropic group The Greats and our Major Partner Etihad Airways for their invaluable support in making this season possible, including bringing artists from around the world to Sydney, among them on this occasion the marvellous Natalia Osipova.

I hope you enjoy the performance.

Olivia Ansell Head of Contemporary Performance Sydney Opera House

What makes a great dancer? Artistry. And Natalia Osipova has it in spades.

Contemporary Performance at Sydney Opera House champions modern storytellers and the mavericks who reinvent classic art forms. Following on from Contemporary Performance’s season of LEV Dance Company’s Love Cycle earlier this year, Pure Dance starring Natalia Osipova and David Hallberg with guest artists Jonathan Goddard and Jason Kittelberger straddles the perfect balance of classical and contemporary choreography featuring work by some of the world’s most exciting dance makers.

From Roy Assaf’s Six Years Later and Flutter by Spanish choreographer Iván Pérez through to Valse Triste by former Bolshoi Artistic Director and American Ballet Theatre choreographer Alexei Ratmansky, this mixed bill of works also features a new solo by emerging Japanese choreographer and former Hamburg Ballet soloist Yuka Oishi. This month, in keeping with the theme of showcasing women in dance, Sydney Opera House are also proud to partner with Dance Australia and the Australian Ballet to offer a choreographic residency for Australian choreographer Amelia Drummond, formerly of Badisches Staatstheater Karlsruhe.

This new initiative was formed to nurture professional opportunities for female choreographers wishing to create work with classically trained dancers.

Osipova and Hallberg – whose collective credits include starring roles with The Bolshoi Ballet, The Royal Ballet and the American Ballet Theatre – is a truly magical pairing that we hope you enjoy.

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I am so pleased to have been asked to develop this programme, Pure Dance, produced by Sadler’s Wells following our first collaboration in 2016.

I want to offer the audience works that will demonstrate the power of dance to move, emote and inspire. These pieces are all created by choreographers that I greatly admire, including established icons like Tudor, contemporary artists such as Ratmansky, and emerging choreographers, whose work shows so much promise and makes the future of dance very exciting.

I feel deeply honoured that David Hallberg has graciously agreed to join me on stage for this programme. He is one of the greatest artists of his generation, and will be able to flawlessly convey the essence and precious qualities of the work he performs.

Dance is an amazing language, whether classical or contemporary or any other style. I really enjoy dancing and working with amazing choreographers and partners who deeply inspire me.

The works in this programme reflect my personal taste, hopes and dreams for the future of the art form I hold so dear.

Natalia Osipova Artistic Director and Dancer

A note from Natalia

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The Leaves are Fading

Choreographer: Antony Tudor World Premiere: 1975, American Ballet Theatre Dancers: Natalia Osipova and David Hallberg Composer: Antonín Dvořák, from string quartet Cypresses and other chamber music for strings

This performance of the main pas de deux from the ballet The Leaves are Fading, choreographed by Antony Tudor, is presented by arrangement with The Antony Tudor Ballet Trust. It salutes the artistry, vision and enduring relevance of Tudor’s work. This delicately nuanced pas de deux explores the reminiscence of love and the bittersweet beauty of the passing of life. As summer drifts into autumn we are reminded of the many seasons of our own lives, and how the melancholic beauty of falling blossoms and fading leaves can be seen as a greater metaphor of the infinite nature of life itself.

– The Antony Tudor Ballet Trust

Flutter is a vibrant dance with a simple metaphor: a jump into the abyss, stepping into the unknown. When Natalia invited me to create this piece for her and Jonathan, I felt the urge to question our relationship to the unknown and our desire to discover new territories. I was immediately inspired by the exhilarating music of the composer Nico Muhly, Mothertongue. Here, a soundscape of female voices is formed by digits extracted from addresses where Nico had lived. A kind of archive of reminiscent memories, carrying the emotional resonance of his personal journey. Natalia’s desire to create a new work in which she may discover something new about herself, through the encounter of a new movement language, has been a great inspiration for this piece and for my life.

– Iván Pérez, September 2018

The ‘absence’ of the title has two very different resonances. Firstly, it is a treasured moment in the creative process when a dancer has learnt a new piece. Withdrawing into himself, he is temporarily ‘absent,’ his stillness registering his intense concentration, totally absorbed in the music, charting the movements of the choreography.

A yet more mysterious sense of ‘absence’ emerged when we were working in the studio. Even when the violin filled the empty rehearsal room with sound, it somehow made the space seem vast and desolate. The music intensified a sense of solitude surrounding David: he seemed alone, wrapped in an uncanny sense of something or somebody no longer being there, having left, departed, gone…

– Kim Brandstrup, September 2018

What event preceded this encounter?

The knowing that a certain past eventually caused the new encounter, will transport you between the obvious present and the presumed past.

We don’t know if they met, or loved, or if they hoped for more encounters. We can understand what happened during the six years preceding this moment only by what they have decided to share with us now.

A quiet meeting, embarrassed, hushed. Perhaps they remember each other, maybe they are trying to prove that these six years were not in vain.

As their gestures are passing in front of our eyes, each flicker of movement will either confirm what we thought or shatter our assumptions.

– Amir Kliger

In Absentia

Choreographer: Kim Brandstrup World Premiere: 2018, Sadler’s Wells Dancers: David Hallberg Composer: Johann Sebastian Bach, Chaconne in D-minor, part 1

Six Years Later

Choreographer: Roy Assaf World Premiere: 2011, Suzanne Dellal Centre, Israel Dancers: Natalia Osipova and Jason Kittelberger Composer: Deefly, Moonlight Sonata by Ludwig van Beethoven, Reflections of my life by Marmalade Music Editing: Reut Yehudai

Flutter

Choreographer: Iván Pérez World Premiere: 2018, Sadler’s Wells Dancers: Natalia Osipova and Jonathan Goddard Composer: Nico Muhly, Mothertongue (I. Archive II. Shower IV. Monster) By arrangement with Chester Music Limited acting on behalf of itself and St Rose Music

Program of Works

Photo credit: Johan Persson

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Valse Triste

Choreographer: Alexei Ratmansky World Premiere: 2018, Sadler’s Wells Dancers: Natalia Osipova and David Hallberg Composer: Jean Sibelius, Valse Triste

Ave Maria

Choreographer: Yuka Oishi World Premiere: 2018, Sadler’s Wells Dancers: Natalia Osipova Composer: Franz Schubert, Ave Maria, Ellens Gesang III, D. 839 Barbara Bonney & Geoffrey Parsons

Despite the music, this is not a religious piece. Ave Maria is about a woman with a strength of love and sensibility.

When I started to pick a theme, intuition told me to work with Natalia‘s feminine side. I had an image of her dancing to a powerful yet beautiful song in a simple white dress to reflect this.

I believe that dance is a language which we are only able to feel. Working with Natalia, I thought I might be able to find a new way of phrasing a sentence or even finding a new language together.

– Yuka Oishi, September 2018

I have known Natalia from her early days at the Bolshoi when I was artistic director, and since then at American Ballet Theatre, where I also worked with David Hallberg. They are both very special artists, dear to my heart, and I am delighted that the three of us have been reunited to work on this piece.

Valse Triste is a short work. This “sad waltz” is by the Finnish composer Jean Sibelius. It’s music that I have always wanted to dance to myself, and so has a very personal meaning to me. And now it is significant in a new way because it forms part of Natalia’s own project, with a name that I like very much. It says it all: Pure Dance.

– Alexei Ratmansky, September 2018

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Dancers

Natalia Osipova Artistic Director and Dancer

Russian dancer Natalia Osipova is a principal of The Royal Ballet. Born in Moscow, she began dancing at the age of five, and at age eight joined the Mikhail Lavrosky Ballet School. From 1995 to 2004 she trained at the Moscow State Academy of Choreography. After graduating, she entered the corps of the Bolshoi Ballet, where she was promoted to principal in 2010. Her repertory at the Bolshoi included Kitri (Don Quixote), Giselle, Nikiya and Gamzatti (La Bayadère), La Sylphide, Esmerelda, Princess Aurora (The Sleeping Beauty) and Swanilda (Coppélia). In 2011, she left the Bolshoi to join the Mikhailovsky Ballet as a principal.

Osipova has appeared as a guest artist with companies around the world. In March 2012 she became a principal of American Ballet Theatre, where she created the title role in Alexei Ratmansky’s The Firebird.

She joined The Royal Ballet as a principal in autumn 2013, after appearing as a guest artist the previous season as Odette (Swan Lake) with Carlos Acosta.

Her roles with the company include Giselle, Kitri (Don Quixote), Sugar Plum Fairy (The Nutcracker), Princess Aurora (The Sleeping Beauty), Lise (La Fille mal gardée), Titania (The Dream), Marguerite (Marguerite and Armand), Juliet, Tatiana (Onegin), Manon, Mary Vetsera (Mayerling), Natalia Petrovna (A Month in the Country), Anastasia and roles in Rhapsody, Serenade, and DGV: Danse à grande vitesse.

Her role creations include Amélie Gautreau (Christopher Wheeldon’s Strapless), Wayne McGregor’s Tetractys and Woolf Works, and Alastair Marriott’s Connectome.

Her awards include Golden Masks for her performances in In the Upper Room (2008) and La Sylphide (2009), Critics’ Circle National Dance Awards (Best Female Dancer, 2007, 2010 and 2014) and a Benois de la Danse Award (Best Female Dancer, 2008).

Osipova has curated two programmes of works for Sadler’s Wells: Natalia Osipova in 2016 and Pure Dance in 2018. Her most recent work includes The Mother by the choreographer Arthur Pita, which premiered in Edinburgh (2018), was shown in Moscow (2019) and at the Southbank Centre London (2019). A documentary film about Osipova called Force of Nature Natalia, made by the BAFTA director Gerry Fox, was in cinemas around the UK in June 2019.

David Hallberg Dancer

Born in South Dakota, David Hallberg trained at the Arizona Ballet School and the Paris Opera Ballet School before joining American Ballet Theatre in 2001. He became a principal dancer in 2005.

Hallberg made history in 2011 when he became the first American to join the Bolshoi Ballet under the title Premier Dancer. He danced the Prince in The Sleeping Beauty for the opening of the renovated Bolshoi Theatre, and later appeared in a live cinema broadcast of the performance streamed globally.

With American Ballet Theatre, his repertoire includes leading roles in all the major classical ballets. He dances a range of works by George Balanchine, Jerome Robbins, Kurt Jooss, Antony Tudor, Mark Morris, Twyla Tharp, Lar Lubovitch, Jiří Kylián, Frederick Ashton and William Forsythe, along with roles he created in seven of Alexei Ratmansky’s world premieres.

Hallberg danced at the Kennedy Center Honors, a nationally telecast performance celebrating the career of Natalia Makarova, attended by President and Mrs Obama.

Hallberg has been a guest artist with Mariinsky Ballet, Paris Opera Ballet, La Scala, The Royal Ballet, Teatro Colon, Kiev Ballet, Royal Swedish Ballet, Opera di Roma, Georgian State Ballet and The Australian Ballet. His memoir, A Body of Work, chronicles his triumphant return to the stage after a near career-ending injury.

His recognitions include the Benois de la Danse Prize, the Princess Grace Fellowship, the Rising Star Award from the Georgian State Ballet, the Bell Family Foundation Emerging Artist Award from Americans for the Arts, and the Chris Hellman Dance Award and its Statue Award.

The David Hallberg Scholarship was created to mentor a young aspiring male student for a career in dance at the JKO School of American Ballet Theatre. He has also created the ABT Incubator, facilitating a platform for emerging choreographers.

In 2017, The Australian Ballet named Hallberg resident guest artist, the first dancer to hold that title. Hallberg serves as a board member with New York City Center and PERFORMA in New York City.

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Jonathan Goddard Dancer

Jonathan is a professional dance artist, movement director and choreographer who has worked for many major British dance companies, including Rambert. He is a founding member of New Movement Collective, and has been a tutor at the Architectural Association in London. Jonathan was nominated for a Times/South Bank Show Breakthrough Award in 2007, an Olivier Award for outstanding achievement in dance in 2008, and a Critics Circle National Dance Award for best male dancer in 2011 and 2012. He has won the Critics Circle Award for best male dancer twice, in 2008 and 2014, as well as outstanding male performance (modern) in 2014. His choreographer credits include Company Chameleon’s Pictures We Make (Linbury Studio Theatre), and as a movement director: Strange Interlude, Man and Superman, Beaux Stratagem, As You Like It, Sunset at the Villa Thalia (National Theatre); The Cherry Orchard (Roundabout Theatre Broadway); Two Gentlemen of Verona (Royal Shakespeare Company) and Charlie and the Chocolate Factory (Theatre Royal Drury Lane, West End, London.)

Jason Kittelberger Rehearsal Director and Dancer

Jason Kittelberger hails from Rochester, New York. He began training and performing at Performance Plus, Draper School of Dance, and School of the Arts, studying dance, acting, musical theatre, and production design. He continued his dance education at the North Carolina School of the Arts. Kittelberger has performed with Rochester City Ballet, Carolina Ballet, Hubbard Street II under Julie Nakagawa and Cedar Lake Contemporary Ballet under Benoit-Swan Pouffer, where he appeared in works by Ohad Naharin, Crystal Pite, Hofesh Shechter, Didy Veldman, Jo Stromgren, Jacopo Godani, Jill Johnson, Emanuel Gat and Sidi Larbi Cherkaoui.

Interest in commercial work has inspired Kittelberger to train actors such as Emily Blunt and Benedict Cumberbatch, as well as appear in films such as Adjustment Bureau, MA, A Float, and Looking Glass. Recently he worked as associate choreographer on Jagged Little Pill. Kittelberger has worked alongside Sidi Larbi Cherkaoui as assistant choreographer, rehearsal director, and a dancer in Cherkaoui’s productions Fractus V, Pluto, Shell Shock, Firebird with Stuttgart Ballet, Milonga, Puzzle, Icon, Harbor Me with LA Dance Project, Satyagraha, and Qutb.

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Choreographers

Roy Assaf Six Years Later

Roy Assaf was born in Israel in 1982. He has been dancing and creating as long as he can remember. He began formal training at the age of sixteen, when he joined a dance group led by Regba Gilboa at the community centre in Kiryat Gat. Two years later, Assaf was drafted into the Israel Defence Forces.

In 2003 he met the internationally recognised choreographer Emanuel Gat, with whom he collaborated closely as both performer and choreographic assistant from 2004-2009. Since 2010, he has been developing his own works independently and has received commissions from renowned companies including Benjamin Millepied’s L.A Dance Project, the Royal Swedish Ballet, the Batsheva Dance Company, the Gothenburg Opera Dance Company, The Juilliard School, and TanzMainz. His work has been performed in such renowned venues and festivals as the Théâtre National de Chaillot, Jacob’s Pillow, ADF, Bolzano Danza, Pavillon Noir, and La Biennale De Lyon.

Yuka Oishi Ave Maria

Yuka Oishi is a dancer and a choreographer with projects globally. She started to dance at the age of three and joined the Hamburg Ballet in 2002. She became the company’s first Japanese female soloist in 2010. She choreographed RENKU together with Orkan Dann for the Hamburg Ballet in 2012, receiving the Rolf Mares Prize. Since August 2015 she has worked as a freelance artist, choreographing for the Takarazuka Revue Theater, The World Ballet Festival, Etoiles Gala and Tokyu Silvester Concert. She has created a full-length piece for Origen Festival Cultural in Riom, Switzerland every year since 2014. Her recent works include Ku for Béjart Ballet Lausanne; Sacré, a solo danced by Sergei Polunin to Stravinsky’s The Rite of Spring at the Origen Festival Cultural; and Leaf, a solo for Gil Roman performed at The World Ballet Festival Gala in Japan.

Iván Pérez Flutter

Born in Spain in 1983, Iván Pérez began his career as a dancer with the Nederlands Dans Theater (NDT). He fully committed himself to choreography after his debut work for the NDT2, Flesh (2011). Internationally, he has created works for BalletBoyz, Ballet Moscow, Compañía Nacional de Danza, Dance Forum Taipei, amongst others. As an associate choreographer of the Dutch production house Korzo, he created Kick the Bucket, Hide And Seek, Exhausting Space and Waiting for the Barbarians. In 2016, the feature film Young Men premiered on BBC Two/Arte, based on the stage work created for BalletBoyz at Sadler’s Wells, winner of the Rose D’Or and the Golden Prague awards. Since 2016, he has created works with his own company INNE, including The Inhabitants (his first site-specific work), ISLAND and Becoming.

In May 2018 his creation The Male Dancer for the Paris Opera Ballet premiered at Palais Garnier. Currently, he is the artistic director of Dance Theatre Heidelberg at Theatre und Orchester Heidelberg, where he created his latest work Impression.

Kim Brandstrup In Absentia

Kim Brandstrup studied in Denmark and at London Contemporary Dance School. He was the winner of the 2017 Critics Award for Rambert’s Transfigured Night, the 2010 Olivier Award for Best New Dance Creation for Goldberg: The Rojo/Brandstrup Project (The Royal Ballet) and the 1990 Olivier for Orfeo (London Contemporary Dance Theatre).

Notable engagements include Life is A Dream (Rambert); Billy Budd (Teatro Real, Madrid); Eugene Onegin (Metropolitan Opera); Rystet Spejl (Royal Danish Ballet); Jeux (New York City Ballet, 2015); Transfigured Night (Rambert); Leda and the Swan film for the Deloitte Ignitte Festival (The Royal Ballet, 2014); and Metamorphosis – Titian, co-choreographed with Wayne McGregor (The Royal Ballet). Direction and choreography credits include Seven Deadly Sins (Greek National Opera), The Hour They Knew Nothing of Each Other (Malmo), Dybukk (Saarländisches Staatstheatre) and La Traviata (Théâtre des Champs-Elysées).

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Alexei Ratmansky Valse Triste

Alexei Ratmansky was born in St. Petersburg and trained at the Bolshoi Ballet School, performing with the Ukranian National Ballet, the Royal Winnipeg Ballet and the Royal Danish Ballet . He was named artistic director of the Bolshoi Ballet in 2004. Under his direction, it was named best foreign company in 2005 and 2007 by The Critics’ Circle in London. In 2007, he won a Golden Mask Award for best choreographer for his production of Jeu de Cartes.

Ratmansky joined American Ballet Theatre as artist in residence in 2009. Since then he has choreographed a new Don Quixote and premiered Souvenir for the Het National Ballet, staged his version of Jeu de Carte for Pennsylvania Ballet, Romeo and Juliet for The National Ballet of Canada, Cinderella for The Australian Ballet (2013), Aida for The Metropolitan Opera (2010), Prince Igor (2014), Firebird for ABT (2012), Shostakovich Trilogy for ABT, Symphonic Dances for Miami City Ballet (2012) and The Golden Cockerel for The Royal Danish Ballet (2013). Reproductions of his works are part of ballet companies’ repertories around the world.

Antony Tudor The Leaves are Fading

Antony Tudor is a titan of 20th century ballet. His early study was with Marie Rambert in England, who encouraged his development as a choreographer. At the start of the Second World War, he was invited to become a founding choreographer for American Ballet Theatre, and he maintained a nearly 50-year association with the company: his ballets, including The Leaves Are Fading, are considered its artistic “conscience.” Today, The Antony Tudor Ballet Trust champions and protects his legacy, shepherding his ballets around the world.

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Credits

A Sadler’s Wells London Production Co-produced with New York City Center In association with The Round Company

Artistic Director and Dancer Natalia Osipova Dancers Jonathan Goddard, David Hallberg, Jason Kittelberger

For Sadler’s Wells Chief Executive & Artistic Director Alistair Spalding CBE Executive Producer Suzanne Walker Head of Producing & Touring Bia Oliveira Senior Producer Ghislaine Granger Tour Producer Aristea Charalampidou Assistant Producer Lani Huens Marketing Manager Daniel King Press Officer Charlotte Constable

Technical Team Production Manager & Relighter Adam Carrée Company Stage Manager Emma Basilico Sound Engineer Mark Webber Costume Supervisor for creation Roxanne Armstrong Rehearsal Director Jason Kittelberger

With thanks to: Tobias Round, Tatiana Tokareva, Dianna Mesion, Jane Hermann, Kevin O’Hare, New York City Center, Steph Webb, Emi del Bene, Georgia Kersh, Dutch National Opera, Arlene Shuler, Stanford Makishi and Sonja Kostich

Artist photographers: Rick Smith, Koen Broos, Henrik Bjerregrav, Volker Beinhorn, Fabrizio Ferri

THE LEAVES ARE FADING Costume Design: Patricia Zipprodt Costume Maker: Amanda Barrow Costume Dyer: Sheila White Relighter: Adam Carrée Repetiteurs: John Gardner, Amanda McKerrow

FLUTTER Choreographer‘s Assistant: Christopher Tandy Costume Design: Christina Cunningham Costume Supervisor: Peter Todd Costume Maker: Amanda Barrow Lighting Design: Nigel Edwards

IN ABSENTIA Costume Design: Christina Cunningham Lighting Design: Jean Kalman

SIX YEARS LATER Choreographer’s Assistant: Madison Hoke Seamstress: Haya Geiman Lighting Design: Omer Sheizaf

AVE MARIA Costume Design: Stewart J. Charlesworth Costume Maker: Kingsley Hall Lighting Design: Adam Carrée

VALSE TRISTE Costume Design: Moritz Junge Costume Makers: For Natalia Osipova, Suzanne Parkinson from Parkinson Gill / For David Hallberg, Amanda Barrow Costume Dyer: Nicola Killeen Lighting Design: Adam Carrée

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This performance is supported by ‡The Greats.

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Sydney Opera House Project TeamOlivia Ansell Head of Contemporary PerformanceEllen Kavanagh ProducerNick Beech Associate ProducerHannah Worrall Marketing ManagerEsther Crowley Marketing AssociateShelley Watters Communications ManagerOlivia Langford Programming CoordinatorAubs Tredget Production ManagerKaren Shapiro-Lee Account Manager

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