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DANS LES PAS DE NOUREEV
BALLET DU CAPITOLE DE TOULOUSE
direzione Kader Belarbi
"Until to when my ballets are danced, I will remain alive" R.Nureyev
**Exclusive for Italy - Spoleto58 Festival dei 2Mondi **.
courtesy of the Rudolf Nureyev Foundation
BALLET DU CAPITOLE
director Kader Belarbi
maîtres de ballet Emmanuelle Broncin - Minh Pham
general coordination** Frédérique Vivan**
pianist Raul Rodriguez Bey
dramaturgy Carole Teulet
secretariat Nathalie Franquet
production director **Silvia Pairotti-Brun **
technical director Paul Heitzmann
machinist Olivier Larcher
lighting direction Jessica Balleri,** Théophile Astorga**
tooling Audrey Juillié
costumes **Gwladys Aragon **.
makeup Tania Kuczowicz
THÉÂTRE DU CAPITOLE
artistic director Frédéric Chamberbert
administrative director Janine Macca
DANSEURS DU BALLET DU CAPITOLE
Premiers Solistes
Maria Gutierrez, Davit Galstyan, Avetik Karapetian
Solistes
Juliana Bastos, Beatrice Carbone, Julie Charlet
Artjom Maksakov, Valerio Mangianti, Takafumi Watanabe
Demi-Solistes
Caroline Betancourt, Julie Loria, Juliette Thélin
Alexander Akulov, Maxim Clefos, Demian Vargas
Corps de Ballet
Melissa Abel, Virginie Baïet Dartigalongue, Taisha Barton-Rowledge
**Emilia Cadorin, Sofia Caminiti, Vanessa Dirven, **
**Estelle Fournier, Lauren Kennedy, Solène Monnereau, **
**Kayo Nakazato, Tiphaine Prévost, Eukene Sagues Abad, **
**Matthew Astley, Evgueni Dokoukine, **
**Minoru Kaneko, Shizen Kazama, Jérémy Leydier, **
Nicolas Rombaut, Maksat Sydykov
E.T.C. light adjustment. Italy www.etcconnect.com
ROMÉO ET JULIETTE
PAS DE DEUX FROM ACT I
music **Sergueï Prokofiev**
choreography **Rudolf Nureyev **
costumes Ezio Frigerio and **Mauro Pagano **.
lights **Vinicio Cheli **adapted from Patrick Méeüs
This famous Step to two of the balcony scene is placed at the end of Act I. The party from ball to house of the Capulets has just ended and Juliet and Romeo have fallen hopelessly in love with each other. Romeo is hiding in the Capulets' garden while Juliet, looking out onto the balcony, notices him: in a passage to two imbued with lyricism and romantic fervor, the two declare their love for each other.
LA BELLE AU BOIS DORMANT
PAS DE DEUX FROM ACT III
music **Piotr Ilyitch Tchaïkovski **
choreography Rudolf Nureyev from Marius Petipa
costumes **Franca Squarciapino **
lights **Vinicio Cheli **adapted from Patrick Méeüs
This step to two of Act III is also known as Step to two of the wedding. Finally awakening from a sleep of one hundred years, Princess Aurora marries Prince Désiré and together they dance their love.
LE LAC DES CYGNES
BLACK SWAN PAS DE TROIS - ACT III
music Piotr Ilyitch Tchaïkovski
choreography **Rudolf Nureyev **from Marius Petipa and Lev Ivanov
costumes **Franca Squarciapino **
lights **Vinicio Cheli **adapted from Patrick Méeüs
In Act III, Rudolf Nureyev transforms the Black Swan's famous Step to two into a Step to three by bringing together Odile, Prince Siegfried and Rothbart, thus making a brilliant variation.
During the to palace ball, Prince Siegfried must choose his bride, but he rejects all the maidens presented to him, until to when he sees a mysterious creature who resembles to Odette, the swan woman to to whom he has sworn eternal love. However, the woman who to him looks like his beloved is none other than Odile, Rothbart's daughter, whom the latter, through a spell, has transformed into Odette's double.
LA BAYADERE
LE ROYAUME DES OMBRES - ACT III
music **Ludwig Minkus **
arrangements **John Lanchbery **.
choreography and direction **Rudolf Nureyev **from Marius Petipa
costumes **Franca Squarciapino **
lights Vinicio Cheli, adapted from Patrick Méeüs
Solor, despairing over the death of bayadera Nikiya, takes refuge in the dreams that opium brings him. In doing so, he is transported to the Kingdom of Shadows where the ghosts of the dead dancers appear to him, among whom is Nikiya, who still loves him and has forgiven him. The dream imposes itself on reality and reunites the two lovers whom life has separated.
DON QUICHOTTE
III ACT
music **Ludwig Minkus **
arrangements **John Lanchbery **.
choreography **Rudolf Nureyev **
costumes **Joop Stokvis **
lights **Vinicio Cheli **adapted from Patrick Méeüs
The second scene of Act III, which concludes the ballet Don Quixote, is also known as the Wedding Scene. After a thwarted love affair, Basil and Kitri finally marry; in the midst of the wedding feast, full of Spanish dancing, Don Quixote and Sancho Panza set off on new adventures.
On January 6, 1993, died a sacred monster of dance, Rudolf Nureyev, whose talent exerted an indelible influence on generations of dancers and choreographers. Kader Belarbi, étoile during Nureyev's directorship atOpera in Paris, wanted to pay tribute to him, thus also giving Ballet du Capitole dancers the opportunity to confront his remarkable academic style composed from technical difficulty and quality of execution.
The Ballet du Capitole thus learns its ballets: a mesmerizing Kingdom of Shadows (Act III) from _La Bayadere _reconstructed from the version of the Kirov Ballet, two steps and to two and a step to three in pure academic style but at the same time of great lyricism(The Sleeping Beauty, Romeo and Juliet, Swan Lake) and finally the festive last act of Don Quixote that exudes the joy, vivacity, and happiness of the Spanish dances and of Basil, a role to which Nureyev was particularly attached. He loved to repeat,"My real life, is when I am on stage."
For more than two centuries the Ballet du Capitole has been engaged in dancing the _divertissements _in the operas presented at the Théâtre du Capitole. It was not until 1949 that the first evenings entirely dedicated to ballet would be included in the season under the leadership of Louis Orlandi, choreographer and director of the corps de ballet. from then other great directors followed until to Nanette Glushak who preceded, in August 2012, the arrival of Kader Belarbi, choreographer and étoile of the Ballet National de l'Opera de Paris. A new page opens for the Ballet du Capitole, characterized from a strong focus on classical and neoclassical repertoire, but also from a great openness to contemporary creation. Kader Belarbi's ambitious artistic project aims to increasingly diversify and expand the repertoire and audience as well as international touring.
Tradition and modernity are the key words of the Ballet du Capitol de Toulose.
A staff of 35 dancers, of 14 different nationalities, offering season after season the image of a living ballet, in step with the times and open to every experience .
Dancer and choreographer is distinguished by an inexhaustible curiosity and an insatiable appetite for ever new adventures in the world of dance.
He graduated from the School of Dance atOpera in Paris and in 1980 joined to the Ballet de l'Opéra de Paris. In 1989 he danced the role of the Bluebird in _The Sleeping Beauty _and Rudolf Nureyev appointed him étoile. Nineteen years later he officially greets Parisian audiences by dancing Carolyn Carlson's _Signes _.
Open to all styles, he dances numerous roles from the classical repertoire while remaining familiar with contemporary dance. Many of the most important choreographers have created for him, including Roland Petit, Rudolf Nureyev, John Neumeier, George Balanchine, Jerome Robbins, Maurice Béjart, Maguy Marin, Dominique Baguet, Saburo Teshigawara, William Forsythe, Mats Ek, and Pina Bausch.
As a choreographer he is the author of about thirty works: Giselle et Willy (1991), Salle des pas perdus (1997), _Les Saltimbanques _(1998), Hurlevent (2002) for the Ballet de l'Opéra de Paris, Les Épousés (2004), La Bête et la Belle (2005) for the Grands Ballets Canadiens, _Entrelacs _for the Ballet National de Chine, Le Mandarin merveilleux for the Ballet du Grand Théâtre de Genève (2007), _Formeries _for a clown, musicians and dancers de l'Opéra de Paris (2008), a _Pierrot lunaire _accompanied from a dancer and from a guitarist (2011). For the Ballet du Capitole, he created Liens de table and À nos Amours (2010), La Reine morte (2011), Étranges Voisins (2012), Entrelacs, Le Corsaire, La Bête et la Belle (2013) and Bach-Suite III (2014).
Among his numerous awards, we mention the Nijinski Prize in 1989. In 2006 he received the title of Chevalier des Arts et des Lettres from the French Ministry of Culture and in 2008 that of Chevalier de la Legion d'Honneur. In 2015 he is named Officier dans l'Ordre national du Mérite.