Restages

Choreography: John Cranko (1927-1973)
Music: Henryk Wieniawski (1835-1880)
Costume: Arte & Cia.
Restaging: Richard Cragun
Premiere: 1972 | Stuttgart Ballet, Munich/Germany
Debut SPDC: 2011

Legend is a neoclassical pas de deux immortalised by Márcia Haydée and Richard Cragun, which tells in gentle steps the lyrical love between a man and a woman by the confidence and surrender of the movements and by the bodies’ fusion in a delicate balance. John Cranko’s choregraphy (1927-1973) was inspired in the legend Galina Ulanova’s tunic (1910-1998) received by Richard Cragun and offered to Márcia Haydée. Ulanova started her professional career in the Kirov Ballet in 1928 and she was prima ballerina in the Bolshoi Ballet from 1944 to 1962. Her plastic movements, her perfect technique, her versatility and expressive dance became emblematic. The tunic worn by Ulonova was again used by Márcia in the première of Legend on 29th June 1972. The music Legend,op. 17, used by Cranko in the choreography was composed by the Polish violinist Henryck Wieniawski (1835-1880), as a love confession to his future wife Isabel Hampton. The film The Turning Point 1977, directed by Herbert Ross, reveals part of this choreography. The Sao Paulo Companhia de Dança’s new assembly of Legend is signed by Richard Cragun, this being the first time that this piece is presented by a company in Brazil.

Choreography, conception, scenario and costume: Jirí Kylián
Music: Sechs Deustsche Tänze KV 571, de Wolfgang Amadeus Mozart (1756-1791)
Lighting: Joop Caboort
Restaging: Patrick Delcroix
Technical adaptation: Erick van Houten
Execution of scenario and costumes: Fábio Brando (FCR Artistic Productions)
Premiere: 1987 | Het Muziektheater Amsterdam, Amsterdam / Netherlands
Debut SPDC: 2010

Sechs Tänze, by Kylian, is a work that combines dance and humor. According to the words of Kylián: “Mozart’s music was the main element for the creation of the Sechs Tänze. I suppose he was a funny man as he knew how to use sense of humor. To be able to dance Sechs Tänze one should be fast and put on a mask. It´s like being yourself and not at the same time. Pretending you want something or not. It´s like being manipulated today, tomorrow and yesterday. SPDC was the first dance company in Brazil to dance a Kylián´s piece.

Choreographer: Marie Chouinard
Music: Prèlude à L´après-midi d´un Faune, by Claude Debussy (1862-1818)
Costume: Marie Chouinard and Vandal and Luc Courchesne
Lighting: Alain Lortie
Lighting consultant: François Marceau
Lighting adaptation to SPDC: Wagner Freire
Makeup: Jacques-Lee Pelletier
Art direction: Isabella Poirier
Rehearsal direction: Carol Prieur
Costume remodeled: Vandal
Rehearsal: Allan Falieri
Premiere: 1994 | Festival Danse Canada, Ottawa/Canada
Debut SPDC: 2010

When Stéphane Mallarmé wrote Prélude à l’après-midi d´un Faune in 1876, he wanted to write poetry for the theater. The poem inspired Claude Debussy to compose Prelude to the Afternoon of a Faun (Prélude à l´après-midi d´un Faune), in 1894. In Paris in 1912, Vaslav Nijinsky created his first choreography, based on the poem. The work was permeated with a ritualistic, sensual tone inspired by the movements of the Greek friezes. When Marie Chouinard created her Faun, she chose to study the photos of Nijinsky’s choreography taken by Adolphe Meyer and put together a piece that was based on horizontality, as in the original choreography. However, in the solo, the seven nymphs of the 1912 performance turn into dreams, revealed through the lighting design.

Choreography: George Balanchine (1904-1983)
Music: Piotr Ilitch Tchaikovsky (1840-1983)
Costume: Tânia Agra
Restaging: Ben Huys
Premiere: 1947| City Center of Music and Drama, Nwe Yourk/United States
Debut SPDC: 2010

Balanchine evokes a period in which classical dance flourished, with Theme and Variations. The Final Movement of Suite No. 3 consists of 12 variations. At the beginning, 12 dancers and a leading couple present the themes that are then recaptured throughout the choreography. The work demands a great deal of its interpreters because, like all of Balanchine’s works, the technical stamina, lightness, strength, skill and virtuosity in the imbalances are necessary. In the course of the work, the couple merges their involvement with the corps de ballet, and the work ends with a grand polonaise with 26 dancers.
The presentation of Theme and Variations, a Balanchine Ballet® is made through an agreement with The George Balanchine Trust and was produced in accordance with the standards of the Balanchine Style® and Balanchine Technique® established and provided by the Trust.

Choreography: George Balanchine (1904-1983)
Music: Piotr Ilyitch Tchaikovsky (1840-1893)
Costume: Barbara Karinska
Restaging: Ben Huys
Premiere: 1960| City Center of Music and Drama, Nwe York/United States
Debut SPDC: 2009

This George Balanchine choreography is an eight-minute work that combines classical with and neoclassical techniques, in a tribute to romantic ballet. The ballerina plays with a vertical axis as she dances, with a special command of balance and imbalance. For the male dancers, the challenge lies in the combination of difficult spins, the speed of the movements, and the great leaps.
The presentation of the Tchaikovsky Pas de Deux, a Balanchine Ballet® is made through an agreement with The George Balanchine Trust and was produced in accordance with the standards of the Balanchine Style® and Balanchine Technique® established and provided by the Trust.

Choreography: George Balanchine (1904-1983)
Music: Serenade for Strings in C, op. 48 (1880), by Piotr Ilyitch Tchaikovsky (1840-1893)
Original lighting: Roland Bates
Lighting adaptation to SPDC: Wagner Freire
Costume: Barbara Karinska and Arte & Cia
Restaging: Ben Huys
Estreia mundial:1935 | Adelphi Theater, New York/United States
Debut SPDC: 2008

Serenade was created by George Balanchine for the premiere of his School of American Ballet. The work started with exercises that sought to show his students the fundamental differences between the ballet classroom and dance presented on stage. The choreographer incorporated unusual formations into the piece, such as a group of seventeen or five dancers, and incidents, such as the tardiness of one of them, the gesture another makes to protect herself from the sun, and the fall of a third one, to renew the tradition of classical dance.
The presentation of Serenade, a Balanchine Ballet® is made through an agreement with The George Balanchine Trust and was produced in accordance with the standards of the Balanchine Style® and Balanchine Technique® established and provided by the Trust.

Choreographer: Bronislava Nijinska (1891-1972)
Music: Igor Stravinsky (1882-1971)
Costume and scenario: Natalia Gontcharova (1881-1962)
Costume execution: Fábio Brando (FCR Produções Artísticas)
Rehearsal invited: Suzana Mafra
Restaging: Maria Palmeirim
Premiere: 1932 | Théâtre de la Gaîté, Paris/France
Debut SPDC: 2008

Despite the seemingly trivial theme – a marriage of traditional Russian peasant presented in four movements – Les Noces is setting a new artistic innovation, for its peculiar geometry of motion and its scenic austerity, combined with the originality of the Stravinsky composition. Besides its cultural relevance, as the first ballet whose focus is through the female gaze, Les Noces incorporates dance movement to break the innovative use of modernism to the wedding rituals of ancient Russia to explore the possibilities of the dancers and bring new accents to the classical language. Nijinska draw lines with the bodies and abstract shapes in the spirit of constructivism.