Restages

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, scenario and costume: Marco Goecke
Music: The Firebird (Berceuse and Final), by Igor Stravinsky (1882-1971)
Lightning: Udo Haberland | Version for SPDC: Wagner Freire
Restaging: Giovanni Di Palma
Dramaturgy: Nadja Kadel
Premiere:2010 | Theater aan het Vrijthof , Maastricht/Netherlands
Debuit SPDC: 2017

Marco Goeke created this pas de deux to the music of Stravinsky’s ballet The Firebird, with premiered in 1910 – in the 100th anniversary of the masterpiece, during the Holland Dance Festival (2010). Goeke takes what at that time was wholly in keeping with the character of the original Russian fairytale – Ivan Tsarevich’s fight against the magician Koschei to the captive Tsarevna and her playmates – and remodels it into an encounter between two shy creatures. For the music he chooses: the lullaby that the mythical firebird uses to put the magician and his companions to sleep, adding the triumphant finale. His duet can also be interpreted as a meeting between the firebird and the prince, two creatures of different natures: a bird that dances and a human who flies, says Nadja Kadel – Drammaturgy.

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 and costume: Marco Goecke
Music: Pierre Louis Garcia-Leccia (Ohimé – tema Aka), Antony & The Johnsons (Another Word – tema Shake That Debil)
Lighting: Udo Haberland
Restaging: Giovanni Di Palma
Costume execution: Madalena Machado (Arte & Cia)
Dramaturgy: Nadja Kadel
Execution of scenic objects: Fábio Brando (FCR Artistic Productions)
Premiere: 2009 | Scapino Ballet Rotterdam, Rotterdam/Netherlands
Debut SPDC: 2011

Inspired by the music of Antony & The Johnsons and by the astronomical phenomenon of the supernovas – stars that explode with brightness as they die – Marco Goecke created this work in 2009 to Scapino Ballet Rotterdam. Supernova is choreography full of contrasts, in which death and life, dark and light, are linked by the energy of each body. The dancers mysteriously appear and disappear on stage and their movement is characterized by very quick, precise and controlled sequences that make the bodies vibrate. To Goecke, each movement can happen only once. “You can always make it quicker, so, it will hardly exist in the end”. São Paulo Dance Company is the first ballet company in Brazil to dance a work from Goecke.

Choreography: Nacho Duato
Music: Hassan Hakmoun, Adam Rudolph, Juan Alberto Arteche, Javier Paxariño, Rabih Abou-Khalil, Velez, Kusur and Sarkissian
Lighting: Nicolás Fischtel
Costume: Luis Devota and Modesto Lomba
Restaging: Hilde Koch and Tony Fabre (1964-2013)
Organization and original production: Carlos Iturrioz Mediart Producciones SL (Spain)
Duration/cast: 23 minutes with 14 dancers
Premiere: 2005 | Harris Theater for Music and Dance, Chicago/United States
Debut SPDC: 2009 | Teatro Sérgio Cardoso, São Paulo/SP – Brazil

Nacho Duato was inspired by the nature of Valencia, surrounded by sea and sun, and by Mediterranean aromas, colors and flavors, to create Gnawa. The Gnawas are a mystical Islamic fellowship. Duato is interested in gravity and the use of the solo as key elements in constituting his dance. This interest is renewed in a ritualistic tone involving a musical trance that leads to (and is driven by) the movement of the bodies.

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: 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: 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: 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, scenario and lighting: William Forsythe
Music: Duetti per due violini, vol.1 ,by Luciano Berio (1925-2003) (by agreement with Universal Edition AG, Vienna, www.universaledition.com)
Costume: Stephen Galloway
Restaging: Allisson Brown and Noah Gelber
Premiere: 1998 | Frankfurt Opera House, Frankfurt/Germany
Debut SPDC: 2014

Workwithinwork, by William Forsythe, refers to the choreographer’s method in considering a new work as an excerpt from a long process of work. Forsythe, in his choreography, creates a continuous flow of movements from variations of classic technique, without breakage or distended articulations, with reference to the past and at the same time, updating it. The music, a work for two violins by Luciano Berio performed in small snippets, creates impulses to the unfolding of duets in trios, quartets and ensembles. The work is constantly evolving within itself, creating new settings for the scene. This is the second choreography by Forsythe restaged by SPDC.

Choreography, scenario and lightning conception: Jirí Kylián
Music: Concerto for Piano in La Mayor KV 488 (Adagio) and Concierto for Piano in Sol Mayor KV 467 (Andante), by Wolfgang Amadeus Mozart (1756-1791)
Lightning realization:  Joop Caboort
Costume: Joke Visser
Restaging: Patrick Delcroix
Choreagraphy Assitant: Patrick Delcroix
Technical supervision of light and stage: Kees Tjebbes
Premiere: 1991 | Kleines Festspielhaus, Salzburg / Austria
SPDC: 2013

Petite Mort is about two Mozart concerts for piano, the work for six men and six women has as main theme the pleasure and duration of time in which we are reminded that life is relatively short and that death is never far from us. In this play, dancers interact with foils while death lurks life. “Death always accompanies our life; it is sometimes small, sometimes large. But, it is the faithful companion since we were born, until the end”, says Kylián.

Choreography: Nacho Duato
Music: Jordi Savall – Music antigua española
Lightning: Nicolás Fischtel
Restaging: Thomas Klein and Tony Fabre (1964-2013)
Poem: Garcilaso de la Vega (1501-1536)
Voice: Miguel Bosé
Organization: Carlos Iturrioz Mediart Producciones SL (Spain)
Execution of scenario and costume: Fábio Brando (FCR Produções Artísticas)
Premiere: 1996 | Madrid Theater, Madrid/Spain
Debut SPDC: 2013

Por Vos Muero, by Nacho Duato, is a choreography that uses the classical and contemporary dance to suggest timelessness in human relations. Duato uses ghostly poetry by Garcilaso de la Vega and the Spanish guitar to capture the essence of the artistic spirit of Spain at that time, by translating the choreography as an expression of the people and a tribute to the essential role performed by the dance in that country. The merge of old Spanish music, from the 15th and 16th centuries, promotes diversity of dynamics explored by the choreographer and reveals a fluid and rhythmic dance that leads to other times, however, it is timeless.

Choreography: Tatiana Leskova from the original 1892 Marius Petipa (1818-1910) and Lev Ivanov (1834-1901)
Music: Piotr Ilitch Tchaikovsky (1840-1893)
Lighting: Wagner Freire
Costume: Marilda Fontes
Premiere: 1892 | Mariinsky Theater , St. Petersburg / Russia
Debut SPDC: 2012

The Nutcracker Grand Pas de Deux is the highlight of this ballet inspired by the story The Nutcracker and the Mouse King (1816), by E.T.A. Hoffmann. The Sugaring Fairy dances with the Nutcracker to honor the little girl Clara, who came to visit the Kingdom of Sweets. The ballet tells the story of Clara, who earns a Nutcracker doll as a Christmas gift from her Godfather. At the end of the party, she sleeps with the doll and dreams to be in enchanted worlds, she takes part on battles and adventures. After saving her prince in the fight against the Mouse King, he takes her to meet the Kingdom of Snows and then the Kingdom of Sweets.

Choreography, lighting, scenario and costume: William Forsythe
Music: Thom Willems
Restaging: Agnès Noltenius
Premiere: 1987 | Palais Garnier, Paris/France
Debut SPDC: 2012

Entrusted by Rudolf Nureyev in 1987 for the Ballet Ópera de Paris, In the Middle, Somewhat Elevated is a play by William Forsythe based on the perception of speed – fast and slow. The choreographer makes use of the language of classical dance to “write the stories of today.” In The Middle uses the traditional way of composing a theme and its variations, that is, Forsythe creates a sentence that develops, evolves and transforms in the body of each ballet dancer. A ballerina dances the opening theme and progressively drives an increasing number of other performers until the set is complete with nine people: six women and three men. The music by Thom Willems presents accelerations and slowness that dialogue with the choreography; both the dancers and the audience are taken by surprise by turbulences the play presents at different times. For the scenario, the choreographer had thought of several everyday golden objects, hung by invisible wires. From this initial idea, he opted for the synthesis, translated by two cherries, which won a symbolic meaning: two small mirrors that reflect the performance hall. The title of the work refers to these two cherries in the middle, somewhat elevated, at the scene. São Paulo Dance Compay is the first company in Latin America to have a work of Forsythe in its repertory.

Choreography: Duda Braz from original 1869 by Marius Petipa (1818-1910)
Music: Leon Minkus (1826-1917)
Lighting: Wagner Freire
Costume: Tânia Agra
Duration: 10 minutes
Premiere: 1896 | Imperial Bolshoi Theatre, Moscow / Russia
Debut SPDC:2012 │ Teatro Unesp, São Paulo/SP – Brazil

The Don Quixote Grand Pas de Deux is the moment of the wedding of Kitri and Basilio, the main characters of this work. Danced around the world, this duo is a big challenge for performers, not only for the technical quality, but also for the interpretation. Choreographed by Marius Petipa, the ballet Don Quixote is based on a chapter of the famous work of Miguel de Cervantes, which tells the adventures of the barber Basilio and his love for Kitri, the daughter of the innkeeper. The knight Quixote falls in love with Kitri, confusing her with Dulcinea, his love. After venturing into the world in imaginary battles against winds and mills, in the last act the protagonist celebrates, alongside his faithful squire, Sancho Panza, the marriage between the two lovers.

Choreography: Eric Gauthier
Narrator: William Moragas
Restaging: Renato Arismendi
Premiere: 2006 | Noverre Gesellschaft Stuttgart, Stuttgart/ Germany
Debut SPDC: 2012

Ballet 101, by Eric Gauthier, is an eight-minute solo that plays with classical dance. Based on the five positions of ballet, the choreographer tells other 96 possible variants by making reference to choreographers – William Forsythe, George Balanchine, Glen Tetley, Marius Petipa, John Cranko and Eric Gauthier – and to established ballets – such as Romeo and Juliet and Onegin. “It’s a vibrant ballet, which has a blast at the end”, says Renato Arismendi, reassembler of the work. This is the first version of the text translated into Portuguese.