Restages

Choreography: Edward Clug
Rehearsal Director: Chloé Albaret
Music: Milko Lazar
Costumes: Leo Kulas
Lighting: Tom Visser
Lighting Assistant: Daan de Boer
Set Designer: Marko Japelj
Cast: 6 dancers
Running time: 25 mins and 32 secs
World premiere: 2019, NDT1, Netherlands
SPDC premiere: 2026 | Barueri, São Paulo/SP – Brazil

Aperture explores human intimacy, revealing on stage the dynamics of desire between bodies — its formation, transformation and possible disappearance. Through a precise and sensitive choreographic language, the piece lays bare the nuances of attraction and vulnerability, guiding the audience through an experience that is at once intimate and universal. Conceived from the spectator’s perspective, the choreography draws an analogy between the iris — which expands and contracts — and a camera’s aperture, transforming the stage into a space that reveals and withdraws itself under observation.

The space proposed in the work is not literal, but mental: a field of encounters in which the performers continually negotiate distance and proximity, attraction and withdrawal. In this context, different dynamics of desire and power emerge, revealing individual strategies and distinct ways of relating to one another. Rather than a fixed narrative, Aperture unfolds through situations that arise and dissolve, structured by a sophisticated system of action and reaction, in which each gesture triggers new responses beneath a seemingly light and fluid surface.

Originally created in 2019, the piece is being restaged and will be revived by the São Paulo Dance Company in 2026. For Clug, restaging the work is not an act of repetition, but one of renewal: “the piece passes through different bodies, different cultural sensibilities and, inevitably, reveals something I didn’t know was there”, reaffirming its aesthetic power and relevance within the contemporary repertoire.

Restaging: Lars Van Cauwenbergh, based on the work of August Bournonville (1805-1879)
Musics: Napoli: 3 akt.: no2; Damer (2, 3, 4); Herresolo (1, 2, 3); Damesolo (1, 2, 3, 4); Coda; by Edvard Helsted (1816-1900), Holger Simon Paulli (1810-1891) – versão executada pela Aalborg Symphony Orchestra
Costume: Fábio Namatame
Duration: 14 minutes and 28 seconds
Cast: 7 dancers
Preview: 2024 | Teatro Municipal de Itapevi, Itapevi/SP

Choreography and scenography: Marco Goecke
Restaging: Giovanni di Palma
Music: Le Chant du Rossignol, by Igor Stravinsky (1882-1971)
Lighting: Udo Haberland
Costume: Michaela Springer
Duration: 22 minutes
Cast: 10 dancers
Premiere: 2023 | Theatro São Pedro, São Paulo/SP

Choreography: Lars Van Cauwenbergh, from the original from 1841 by Jules Perrot (1810-1892) and Jean Coralli (1779-1854)
Music: Adolphe Adam (1803-1856)
Lightning: Wagner Freire
Costume: Marilda Fontes
Scenario: Vera Hamburger
Scenario Assistant:  Fernando Passetti
Scenario execution: Jorge e Denis Produções Cenográficas
Image treatment: MR Estúdio Digital
Iconography: Screen: photo from Cássio Vasconcellos/Bridgeman Images | Sides: composition with engravings by Jean Baptiste Debret provided by Biblioteca Brasiliana Guita e José Mindlin; by Charles Othon Frederic Jean-Baptiste de Clarac and by Friedrich Philipp von Martius (from Thomas Ender and Benjamin Mary) – Collection Martha e Erico Stickel – provided by Acervo Instituto Moreira Salles
Visagism: Augusto Sargo
Interpretation Teacher: Vivien Buckup
Duration/cast: 45 minutes with 18 dancers
Premiere: 1841 | National Opera of Paris, Paris – France
Debut SPDC: 2021 | Teatro Sérgio Cardoso, São Paulo/SP – Brazil

This important romantic ballet presents the romance between the villager Giselle and Albrecht, a nobleman disguised as a peasant. After being betrayed by him, the young woman, who has a fragile heart, dies. In the second act, the prince, overcome with remorse, visits Giselle’s grave, but is attacked by the Willis. They are spirits of dead girls before marriage devoted to making the men who appear there dance to their own end. Giselle – now also a willi – seeks at all costs to protect her beloved. The farewell tone dominates the scene: Giselle is ready to forgive Albrecht and let him go in peace.

Choreography: Ana Botafogo, from the original from 1909 by Mikhail Fokine (1880-1942)
Music: Frédéric Chopin (1810-1849)
Lightning: André Boll
Costume: Tânia Agra
Scenario: Fábio Namatame
Choreography Assistant: Duda Braz e Teresa Augusta
Visagism: Augusto Sargo
Interpretation Teacher: Vivien Buckup
Duration/cast: 30 minutes with 20 dancers
Premiere: 1909 | Théâtre du Châtelet, Paris – France
Debut SPDC: 2021 | Teatro Sérgio Cardoso, São Paulo/SP – Brazil

This classic evokes the romantic era of ballet to portray a dreamy poet’s enchantment for the dance of the sylphs, magical beings that inhabit the forests. Under the moonlight, they materialize the poetic act in their movements and design the stage with arabesques, resulting in a work of great contemplative beauty.

Choreography and lightning: Henrique Rodovalho
Music: Album Elis & Tom – Corcovado (Antonio Carlos Jobim / Gene Lees); Photography, Modinha (Antonio Carlos Jobim); Por Toda Minha Vida, Soneto de Separação, O que Tinha de Ser, Brigas Nunca Mais (Antonio Carlos Jobim / Vinicius de Moraes); Só Tinha de Ser com Você, Inútil Paisagem (Antonio Carlos Jobim / Aloisio de Oliveira); Retrato em Preto e Branco (Antonio Carlos Jobim / Chico Buarque de Holanda)
Costume: Cássio Brasil
Scenario: Letycia Rossi
Choreography Assistant: Vivian Navega
Duration/cast: 34 minutes with 12 dancers
Premiere: 2005 | TeatroAlfa, São Paulo/SP – Brazil
Debut SPDC: 2020 | Teatro Sérgio Cardoso, São Paulo/SP – Brazil

Só Tinha de Ser com Você (It only Have to be with You, in portuguese) is a sensitive and singular choreographic reinterpretation of the album Elis & Tom (1974), a classic of Brazilian music. This great success by choreographer Henrique Rodovalho was originally created in 2005 for his company, Quasar Cia de Dança, and now it has a special version designed for the dancers of São Paulo Companhia de Dança. “This first reassembly of a show by Quasar Cia de Dança“ just had to be ”with SPDC. It is a beautiful meeting in the Quasar / Rodovalho style of dancing with all the technical improvement of São Paulo Dance Company”, comments Rodovalho.

Choreography: Duda Braz, from Carnival de Venise (1859) by Marius Petipa (1818-1910)
Music: Cesare Pugni (1802-1870)
Lighting: Nicolas Marchi
Costume: Marilda Fontes

Originally created based on themes from Niccolò Paganini’s Carnavale di Venezia (Op. 10), this work is part of the classic repertoire of large companies. The Carnaval in Venice Grand Pas de Deux brings a vibrant and virtuous classic duo to the scene, reminiscent of 17th century European masquerade balls.

Choreography: Lars Van Cauwenbergh from the original by Michel Fokine (1880-1942)
Music: Camile Saint_Saens, The Swan, abstracted from the Animal’s Carnival (1866)
Lightning: Wagner Freire
Costume: Marilda Fontes

The ballet created in 1907 by Fokine for Anna Pavlova is an emotional solo that dialogues with the harp and cello sounds, inspired by Alfred Tennyson’s poem (1809-1892) and the swan’s movements in their last moments of life. This solo is performed by great dance stars and now gain new accents and dynamics in the body of a dancer from the São Paulo Dance Company.

Choreography: Mario Galizzi, from the original by Marius Petipa (1818-1910) and Lev Ivanov (1834-1901)
Music: Piotr Ilitch Tchaikovsky (1840-1893) with score reviewed by Riccardo Drigo (1846-1930)
Lightning: Wagner Freire
Scenario: Marco Lima
Costume: Fábio Namatame| 1st and 3th scenes, all | 2nd scenes, men Tânia Agra | 2nd and 4th scenes, tutus e wizard | 3th scene, Odille
Props: Robson Rui (crossbow) I Américo Corrêa (axes, Trompets e scepter)
Choreography Assistant: Sabrina Streiff
Scenography Assistant: César Bento
Visagism: Augusto Sargo
Dramaturgy: Vivien Buckup

The Swan Lake is a ballet with music especially composed by Tchaikovsky that premiered in 1877 at the Bolshoi Theater, but only in 1895, with new choreography by Marius Petipa and Lev Ivanov, for the Mariinsky Theater in St. Petersburg, the work became a huge success. The Swan Lake by Sao Paulo Dance Company is tailor made for the artists of the house. Galizzi’s choreography dialogues with tradition and renews itself in the relationships of the characters, in the detail of the pantomimes, in the drawings of the scenes, in tune with the emblematic music of Tchaikovsky and puts all the artists on the scene. He was elected the second Best Show by the Guia Folha de S. Paulo (public vote and also by the jury vote) and also received the APCA Award – Technical Award from Vivien Buckup, The Swan Lake dramaturgy teacher.

Choreography: Mario Galizzi, from the original by Marius Petipa (1818-1910) and Lev Ivanov (1834-1901)
Music: Piotr I. Tchaikovsky (1840-1893)
Lightning: Wagner Freire
Costume design: Tânia Agra
Wigs: Emi Perucas
Accessories design: Robson Rui
Choreography Assistant: Sabrina Streiff

The second act of the iconic ballet shows the meeting of Prince Siegfried and Princess Odete in the woods. From midnight to dawn, she is the princess of the night, a magical and delicate creature whom the prince wishes to love and protect. During the day, the queen of the swans: fragile, frightened and at the same time brave and protective of her group. This play marks the history of art and enchants all generations for its theme and the connection between dance and music. The wizard Rothbart is a nobleman and a bird. The prince who goes hunting with his friends has the elegance of the nobility.

Choreography: Guivalde de Almeida (1971-2020) from the original by Marius Petipa (1818-1910) in 1898
Music: Raymonda, by Alexander Glazunov (1865-1936), played by Nice Philharmonic Orchestra  with regency by Klaus Weise and Moscow Symphonic Orchestra , with regency by Alexander Anisimov
Lightning: Wagner Freire
Costume: Tânia Agra

Guivalde de Almeida’s play starts from the original 1898 version by Marius Petipa and takes part into the third act of the play. On the scene, we watched Raymonda’s wedding with João de Brienne. “My main objective was to maintain the essence of Petipa’s work, the style, linked to the identity of the Company’s dancers. It is a virtuous dance, punctuated by many variations and what singularizes its creation in the dance scene is the union between academic classical dance and character dance, which we see at the same time in the scene”, says the choreographer.

Choreography, scenario and production: Jirí Kylián
Music: Dirk Haubrich (new composition based on two themes by Gustav Mahler [1860- 1911])
Lightning: Kees Tjebbes
Costume: Joke Visser
Choreography assistant: Nina Botkay
Supervision of lightning and scenario : Loes Schakenbos
Premiere:2007 | Reggio Emilia Teatro Municipale, Reggio Emilia/Italy
Debut SPDC: 2017

14´20’’ is an excerpt from Jirí Kylián’s work 27’52’´– whose title refers to the length of the play. To the sound of electronic music by Dirk Haubrich, interspersed with a female voice in German and a male voice in French, we see a duo that brings to the scene issues of time, love, life and death, recurring themes in the play of this choreographer. This is the fourth work of Kylián composing it for the repertoire of the São Paulo Dance Company (Sechs Tanze, Indigo Rose and Petite Mort).

Choreography: Pablo Aharonian from the original by Pyotr Gusev (1904-1987)
Music: Riccardo Drigo (1846-1930) and Cesare Pugni (1802-1870)
Lighting: Nicolas Marchi
Costume: Fabio Namatame
Premiere: 1955 | Mariinsky Theater , St. Petersburg/Russia
Debut SPDC: 2016

The pas de deux reveals the moment when Vayou, the god of the Wind, dances with Niriti, the daughter of Amravati (goddess of the celestial spirits). This duo was created in 1955 by Pyotr Gusev (1904-1987) from the original work created by Marius Petipa (1818-1910) in 1889. Here we see the softness of the dancer in contrast to the vigorous movements of the dancer.

Choreography: Marcia Haydée
Music: La Nymphe de Diane, No 16 B, by Léo Delibes (1836-1891), Violin solo performed by Jean Baptiste Marie and Roger André
Lighting: Nicolas Marchi
Costume: Evandro Machado
Premiere: 1993
Debut SPDC: 2016

The duo translates the energy and love of the fairy by the human being marked by his delivery and delicacy. The pas de deux integrates Dr. Coppélius, The Wizard of Marcia Haydée, a retelling of Coppélia. The magic of this work leads us to perceive the lightness of the dancer who crosses the scene in the arms of the dancer.

Choreography: Marcia Haydée
Music: Georges Bizet (1838-1875) performed by Santiago Philharmonic Orchestra
Lighting: Nicolas Marchi
Costume: Tânia Agra
Premiere: 2004 | Teatro Municipal de Santiago, Santiago/Chile
Debut SPDC: 2016

This pas de deux integrates the first act of the Carmen work by Marcia Haydée and reveals the moment when José abandons everything and everyone to surrender to Carmen. She is a sensual and strong figure who plays with the feelings of Joseph. Now he seduces and lets himself be carried by him, sometimes dodging, but attracts him.

Choreography: Uwe Scholz (1958-2004)
Music: Suite for Two Pianos Opus 17 by Sergei Rachmaninoff (1873-1943), performed by Martha Argerich and Nelson Freire
Lightning: André Boll
Restaging: Giovanni Di Palma
Premiere:1987 | Zurich Opera House , Zurich /Switzerland
Debut SPDC: 2016

In a Suite for Two Pianos, German choreographer Uwe Scholz (1958-2004) created movements inspired by the reflections of plastic artist Wassily Kandinsky (1866-1944) and Russian music Sergei Rachmaninoff (1873-1943). Four works by Kandinsky are projected to the bottom of the scene by broadening the relationship between the different arts. Uwe was a choreographer who mirrored in dance the structure, dynamics and intensions of music.

Choreography and scenography: SPDC from the original 1858 by Marius Petipa (1818-1910), based on Lord Byron’s Le Corsaire
Music: Adolphe Adam (1803-1856)
Costume: Tânia Agra
Premiere: 1858 | Bolshoi Kamenni Imperial Theater, St. Petersburg/Russia
Debut SPDC: 2015

Le Corsaire Grand Pas de Deux, choreographed by the SPDC from the original 1858 by Marius Petipa (1818-1910), is present in the second act of the work, and reveals the complicity between Medora and Ali. This work presents the technical virtuosity Of the interpreters combined with a lyrical dramaticity that shows the feelings of two people who share a worldview in search of freedom

Choreography and scenario design: Jirí Kylián
Music: Factory Preset, by Robert Ashley; Plainte des Memes by François Couperin; Three Dances for Two Prepared Pianos: Dance No. 1, by John Cage; J.S. Bach, Das wohltemperierte Klavier, Book 1: Fugue No. 8 in E-Flat Minor, by J.S. Bach
Original lighting: Michael Simon
Lighting Adaptation: Kees Tjebbes (Nederlands Dans Theater II, 2005)
Costume design: Joke Visser
Restaging: Amos Ben Tal
Choreagraphy Assitant: Amos Ben Tal
Camera: Hans Knill
Edition: Rob de Groot – Videoshot MultiMedia
Premiere: 1998 | Lucent Danstheater, The Hague / Netherlands
Debut SPDC: 2015

In Indigo Rose, the choreographer explores the vivacity of his interpreters to create a piece about the transition from youth and human relations. A quick movement, virtuous, articulate and at the same time lyrical, alludes to the pursuit of perfection, intangible according to Kylián. On the scene, a white silk curtain creates light and shadow, which adds to the projections of the dancers and changes the perception of the onlooker. Created to celebrate the 20th anniversary of the Netherlands Dance Theater II, this is the third piece of Jirí Kylián which will comtribute to the repertoire of SPDC.

Choreography: Mario Galizzi from the original from 1911 by Michel Fokine (1880-1942)
Music: Carl Maria von Weber (1786-1826)
Lightning: Wagner Freire
Scenario and costume: Fabio Namatame

A modern classic, in which we see a new relationship between man and woman, different from romantic classics when men dream of an ideal woman. In this work, a woman receives a rose during her first ball and back home, she falls asleep and dreams of the spirit of the rose which is also the perfume of young man who gifted her. Based on the poem by Théophile Gauthier (1811-1872), the ballet was originally created by Michel Fokine. The music Invitation to the Dance, written by Carl Maria von Weber (1786-1826) for piano, in 1819, and orchestrated by Hector Berlioz (1803-1869) in 1841, was renamed Invitation to Waltz.

Choreography: Mario Galizzi from the original from 1836 by August Bournonville (1805-1879)
Music: Herman Lovenskjold (1815-1870)
Lightning: José Luis Fiorruccio
Costume : Beth Filipecki (caracteres), Marilda Fontes (Sylphides)
Scenario: Marco Lima

La Sylphide, a fairy tale for all ages landmark of the romantic ballet in which the dual feminine appearance – sensual and ethereal – symbolize the duality of body and spirit. The piece is divided into two acts: the first scene we see the preparations for the wedding of James and Effie, similarities and differences of love; the second act presents an imaginary world of fantastical characters such as Sylphides – winged beings of the forest – and witches.