With David Hallberg 27 - 31 AUGUST - Drama Theatre - Sydney Opera House
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Sydney Opera House presents
a Sadler’s Wells production
with David Hallberg
27 – 31 AUGUST
Drama Theatre 1
Welcome
Louise Herron AM Olivia Ansell
Chief Executive Officer Head of Contemporary Performance
Sydney Opera House Sydney Opera House
Welcome to the Australian premiere of Pure Dance What makes a great dancer? Artistry. And Natalia
by one of the most distinctive ballerinas of our Osipova has it in spades.
time, Royal Ballet principal Natalia Osipova. This
Contemporary Performance at Sydney Opera House
breathtaking program showcases not only her
champions modern storytellers and the mavericks
artistic versatility and exquisite technique, but
who reinvent classic art forms. Following on from
also her expertise as a curator.
Contemporary Performance’s season of LEV Dance
Pure Dance features six pieces – including four Company’s Love Cycle earlier this year, Pure Dance
newly commissioned works – and reunites starring Natalia Osipova and David Hallberg
Osipova with David Hallberg, an American Ballet with guest artists Jonathan Goddard and Jason
Theatre principal and resident guest artist with Kittelberger straddles the perfect balance of classical
The Australian Ballet. and contemporary choreography featuring work by
some of the world’s most exciting dance makers.
I would like to acknowledge Sadler’s Wells in
London, and the Opera House’s commitment to From Roy Assaf’s Six Years Later and Flutter by
continuing our long-standing collaboration to Spanish choreographer Iván Pérez through to
present works by the world’s most celebrated Valse Triste by former Bolshoi Artistic Director and
choreographers. American Ballet Theatre choreographer Alexei
Ratmansky, this mixed bill of works also features
Thanks also to our visionary philanthropic group
a new solo by emerging Japanese choreographer
The Greats and our Major Partner Etihad Airways
and former Hamburg Ballet soloist Yuka Oishi. This
for their invaluable support in making this season
month, in keeping with the theme of showcasing
possible, including bringing artists from around the
Cover photo credit: Johan Persson
women in dance, Sydney Opera House are also
world to Sydney, among them on this occasion the
proud to partner with Dance Australia and the
marvellous Natalia Osipova.
Australian Ballet to offer a choreographic residency
I hope you enjoy the performance. 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.
2 3
A note from Natalia
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
Photo credit: Rick Guest. Stylist credit: Olivia Pomp
4 5
Program of Works
The Leaves are Fading Flutter In Absentia Six Years Later
Choreographer: Antony Tudor Choreographer: Iván Pérez Choreographer: Kim Brandstrup Choreographer: Roy Assaf
World Premiere: 1975, American Ballet Theatre World Premiere: 2018, Sadler’s Wells World Premiere: 2018, Sadler’s Wells World Premiere: 2011, Suzanne Dellal Centre, Israel
Dancers: Natalia Osipova and David Hallberg Dancers: Natalia Osipova and Jonathan Goddard Dancers: David Hallberg Dancers: Natalia Osipova and Jason Kittelberger
Composer: Antonín Dvořák, from string quartet Composer: Nico Muhly, Mothertongue (I. Archive II. Composer: Johann Sebastian Bach, Composer: Deefly, Moonlight Sonata by Ludwig van
Cypresses and other chamber music for strings Shower IV. Monster) By arrangement with Chester Music Chaconne in D-minor, part 1 Beethoven, Reflections of my life by Marmalade
Limited acting on behalf of itself and St Rose Music Music Editing: Reut Yehudai
This performance of the main pas de deux from Flutter is a vibrant dance with a simple metaphor: The ‘absence’ of the title has two very different What event preceded this encounter?
the ballet The Leaves are Fading, choreographed a jump into the abyss, stepping into the unknown. resonances. Firstly, it is a treasured moment in
The knowing that a certain past eventually caused
by Antony Tudor, is presented by arrangement with When Natalia invited me to create this piece for the creative process when a dancer has learnt
the new encounter, will transport you between the
The Antony Tudor Ballet Trust. It salutes the artistry, her and Jonathan, I felt the urge to question our a new piece. Withdrawing into himself, he is
obvious present and the presumed past.
vision and enduring relevance of Tudor’s work. relationship to the unknown and our desire to temporarily ‘absent,’ his stillness registering his
This delicately nuanced pas de deux explores the discover new territories. I was immediately inspired intense concentration, totally absorbed in the music, We don’t know if they met, or loved, or if they
reminiscence of love and the bittersweet beauty of by the exhilarating music of the composer Nico charting the movements of the choreography. hoped for more encounters. We can understand
the passing of life. As summer drifts into autumn we Muhly, Mothertongue. Here, a soundscape of what happened during the six years preceding this
A yet more mysterious sense of ‘absence’ emerged
are reminded of the many seasons of our own lives, female voices is formed by digits extracted from moment only by what they have decided to share
when we were working in the studio. Even when
and how the melancholic beauty of falling blossoms addresses where Nico had lived. A kind of archive with us now.
the violin filled the empty rehearsal room with
and fading leaves can be seen as a greater metaphor of reminiscent memories, carrying the emotional
sound, it somehow made the space seem vast and A quiet meeting, embarrassed, hushed. Perhaps
of the infinite nature of life itself. resonance of his personal journey. Natalia’s desire
desolate. The music intensified a sense of solitude they remember each other, maybe they are trying to
to create a new work in which she may discover
– The Antony Tudor Ballet Trust surrounding David: he seemed alone, wrapped in an prove that these six years were not in vain.
something new about herself, through the encounter
uncanny sense of something or somebody no longer
of a new movement language, has been a great As their gestures are passing in front of our eyes,
being there, having left, departed, gone…
inspiration for this piece and for my life. each flicker of movement will either confirm what
– Kim Brandstrup, September 2018 we thought or shatter our assumptions.
– Iván Pérez, September 2018
– Amir Kliger
6 Photo credit: Johan Persson 7
Ave Maria Valse Triste
Choreographer: Yuka Oishi Choreographer: Alexei Ratmansky
World Premiere: 2018, Sadler’s Wells World Premiere: 2018, Sadler’s Wells
Dancers: Natalia Osipova Dancers: Natalia Osipova and David Hallberg
Composer: Franz Schubert, Ave Maria, Composer: Jean Sibelius, Valse Triste
Ellens Gesang III, D. 839 Barbara Bonney &
Geoffrey Parsons
Despite the music, this is not a religious piece. I have known Natalia from her early days at the
Ave Maria is about a woman with a strength of Bolshoi when I was artistic director, and since then
love and sensibility. at American Ballet Theatre, where I also worked
with David Hallberg. They are both very special
When I started to pick a theme, intuition told me
artists, dear to my heart, and I am delighted that the
to work with Natalia‘s feminine side. I had an image
three of us have been reunited to work on this piece.
of her dancing to a powerful yet beautiful song in a
simple white dress to reflect this. Valse Triste is a short work. This “sad waltz” is by
the Finnish composer Jean Sibelius. It’s music that
I believe that dance is a language which we are only
I have always wanted to dance to myself, and so
able to feel. Working with Natalia, I thought I might
has a very personal meaning to me. And now it is
be able to find a new way of phrasing a sentence or
significant in a new way because it forms part of
even finding a new language together.
Natalia’s own project, with a name that I like very
– Yuka Oishi, September 2018 much. It says it all: Pure Dance.
Photo: Alistair Muir
– Alexei Ratmansky, September 2018
8 Photo credit: Johan Persson 9
Dancers
Natalia Osipova David Hallberg
Artistic Director and Dancer Dancer
Russian dancer Natalia Osipova is a principal of Born in South Dakota, David Hallberg trained at
The Royal Ballet. Born in Moscow, she began the Arizona Ballet School and the Paris Opera Ballet
dancing at the age of five, and at age eight joined School before joining American Ballet Theatre in
the Mikhail Lavrosky Ballet School. From 1995 to 2001. He became a principal dancer in 2005.
2004 she trained at the Moscow State Academy of
Hallberg made history in 2011 when he became the
Choreography. After graduating, she entered the
first American to join the Bolshoi Ballet under the
corps of the Bolshoi Ballet, where she was promoted
title Premier Dancer. He danced the Prince in The
to principal in 2010. Her repertory at the Bolshoi
Sleeping Beauty for the opening of the renovated
included Kitri (Don Quixote), Giselle, Nikiya and
Bolshoi Theatre, and later appeared in a live cinema
Gamzatti (La Bayadère), La Sylphide, Esmerelda,
broadcast of the performance streamed globally.
Princess Aurora (The Sleeping Beauty) and Swanilda
(Coppélia). In 2011, she left the Bolshoi to join the With American Ballet Theatre, his repertoire
Mikhailovsky Ballet as a principal. includes leading roles in all the major classical
ballets. He dances a range of works by George
Osipova has appeared as a guest artist with
Balanchine, Jerome Robbins, Kurt Jooss, Antony
companies around the world. In March 2012
Tudor, Mark Morris, Twyla Tharp, Lar Lubovitch,
she became a principal of American Ballet
Jiří Kylián, Frederick Ashton and William Forsythe,
Theatre, where she created the title role in Alexei
along with roles he created in seven of Alexei
Ratmansky’s The Firebird.
Ratmansky’s world premieres.
She joined The Royal Ballet as a principal in autumn
Hallberg danced at the Kennedy Center Honors,
2013, after appearing as a guest artist the previous
a nationally telecast performance celebrating the
season as Odette (Swan Lake) with Carlos Acosta.
career of Natalia Makarova, attended by President
Her roles with the company include Giselle, Kitri and Mrs Obama.
(Don Quixote), Sugar Plum Fairy (The Nutcracker),
Hallberg has been a guest artist with Mariinsky
Princess Aurora (The Sleeping Beauty), Lise (La
Ballet, Paris Opera Ballet, La Scala, The Royal
Fille mal gardée), Titania (The Dream), Marguerite
Ballet, Teatro Colon, Kiev Ballet, Royal Swedish
(Marguerite and Armand), Juliet, Tatiana (Onegin),
Ballet, Opera di Roma, Georgian State Ballet and
Manon, Mary Vetsera (Mayerling), Natalia Petrovna
The Australian Ballet. His memoir, A Body of Work,
(A Month in the Country), Anastasia and roles in
chronicles his triumphant return to the stage after
Rhapsody, Serenade, and DGV: Danse à grande
a near career-ending injury.
vitesse.
His recognitions include the Benois de la Danse
Her role creations include Amélie Gautreau
Prize, the Princess Grace Fellowship, the Rising
(Christopher Wheeldon’s Strapless), Wayne
Star Award from the Georgian State Ballet, the Bell
McGregor’s Tetractys and Woolf Works, and
Family Foundation Emerging Artist Award from
Alastair Marriott’s Connectome.
Americans for the Arts, and the Chris Hellman
Her awards include Golden Masks for her Dance Award and its Statue Award.
performances in In the Upper Room (2008) and
The David Hallberg Scholarship was created to
La Sylphide (2009), Critics’ Circle National Dance
mentor a young aspiring male student for a career
Awards (Best Female Dancer, 2007, 2010 and 2014)
in dance at the JKO School of American Ballet
and a Benois de la Danse Award (Best Female
Theatre. He has also created the ABT Incubator,
Dancer, 2008).
facilitating a platform for emerging choreographers.
Osipova has curated two programmes of works for
In 2017, The Australian Ballet named Hallberg
Sadler’s Wells: Natalia Osipova in 2016 and Pure
resident guest artist, the first dancer to hold that
Dance in 2018. Her most recent work includes
title. Hallberg serves as a board member with New
The Mother by the choreographer Arthur Pita,
York City Center and PERFORMA in New York City.
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.
10 11
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.
Photo credit: Johan Persson
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.
12 13
Choreographers
Roy Assaf Yuka Oishi
Six Years Later Ave Maria
Roy Assaf was born in Israel in 1982. He has been Yuka Oishi is a dancer and a choreographer with
dancing and creating as long as he can remember. projects globally. She started to dance at the age of
He began formal training at the age of sixteen, when three and joined the Hamburg Ballet in 2002. She
he joined a dance group led by Regba Gilboa at the became the company’s first Japanese female soloist
community centre in Kiryat Gat. Two years later, in 2010. She choreographed RENKU together with
Assaf was drafted into the Israel Defence Forces. Orkan Dann for the Hamburg Ballet in 2012, receiving
the Rolf Mares Prize. Since August 2015 she has
In 2003 he met the internationally recognised
worked as a freelance artist, choreographing for the
choreographer Emanuel Gat, with whom he
Takarazuka Revue Theater, The World Ballet Festival,
collaborated closely as both performer and
Etoiles Gala and Tokyu Silvester Concert. She has
choreographic assistant from 2004-2009. Since 2010,
created a full-length piece for Origen Festival Cultural
he has been developing his own works independently
in Riom, Switzerland every year since 2014. Her
and has received commissions from renowned
recent works include Ku for Béjart Ballet Lausanne;
companies including Benjamin Millepied’s L.A Dance
Sacré, a solo danced by Sergei Polunin to Stravinsky’s
Project, the Royal Swedish Ballet, the Batsheva Dance
The Rite of Spring at the Origen Festival Cultural; and
Company, the Gothenburg Opera Dance Company,
Leaf, a solo for Gil Roman performed at The World
The Juilliard School, and TanzMainz. His work has
Ballet Festival Gala in Japan.
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.
Iván Pérez
Kim Brandstrup Flutter
In Absentia Born in Spain in 1983, Iván Pérez began his career as
Kim Brandstrup studied in Denmark and at London a dancer with the Nederlands Dans Theater (NDT).
Contemporary Dance School. He was the winner of He fully committed himself to choreography after his
the 2017 Critics Award for Rambert’s Transfigured debut work for the NDT2, Flesh (2011). Internationally,
Night, the 2010 Olivier Award for Best New Dance he has created works for BalletBoyz, Ballet Moscow,
Creation for Goldberg: The Rojo/Brandstrup Project Compañía Nacional de Danza, Dance Forum Taipei,
(The Royal Ballet) and the 1990 Olivier for Orfeo amongst others. As an associate choreographer of the
(London Contemporary Dance Theatre). Dutch production house Korzo, he created Kick the
Bucket, Hide And Seek, Exhausting Space and Waiting
Notable engagements include Life is A Dream for the Barbarians. In 2016, the feature film Young
(Rambert); Billy Budd (Teatro Real, Madrid); Eugene Men premiered on BBC Two/Arte, based on the stage
Onegin (Metropolitan Opera); Rystet Spejl (Royal work created for BalletBoyz at Sadler’s Wells,
Danish Ballet); Jeux (New York City Ballet, 2015); winner of the Rose D’Or and the Golden Prague
Transfigured Night (Rambert); Leda and the Swan awards. Since 2016, he has created works with his
film for the Deloitte Ignitte Festival (The Royal Ballet, own company INNE, including The Inhabitants
2014); and Metamorphosis – Titian, (his first site-specific work), ISLAND and Becoming.
co-choreographed with Wayne McGregor
(The Royal Ballet). Direction and choreography credits In May 2018 his creation The Male Dancer for
include Seven Deadly Sins (Greek National Opera), the Paris Opera Ballet premiered at Palais Garnier.
The Hour They Knew Nothing of Each Other Currently, he is the artistic director of Dance Theatre
(Malmo), Dybukk (Saarländisches Staatstheatre) Heidelberg at Theatre und Orchester Heidelberg,
and La Traviata (Théâtre des Champs-Elysées). where he created his latest work Impression.
14 15
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.
Photo credit: Johan Persson
16 17
Credits
A Sadler’s Wells London Production THE LEAVES ARE FADING
Co-produced with New York City Center Costume Design: Patricia Zipprodt
In association with The Round Company Costume Maker: Amanda Barrow
Costume Dyer: Sheila White
Relighter: Adam Carrée
Artistic Director and Dancer Natalia Osipova
Repetiteurs: John Gardner,
Dancers Jonathan Goddard, David Hallberg,
Amanda McKerrow
Jason Kittelberger
FLUTTER
For Sadler’s Wells
Choreographer‘s Assistant:
Chief Executive & Artistic Director
Christopher Tandy
Alistair Spalding CBE
Costume Design: Christina Cunningham
Executive Producer Suzanne Walker
Costume Supervisor: Peter Todd
Head of Producing & Touring Bia Oliveira
Costume Maker: Amanda Barrow
Senior Producer Ghislaine Granger
Lighting Design: Nigel Edwards
Tour Producer Aristea Charalampidou
Assistant Producer Lani Huens
Marketing Manager Daniel King IN ABSENTIA
Press Officer Charlotte Constable Costume Design: Christina Cunningham
Lighting Design: Jean Kalman
Technical Team
Production Manager & Relighter SIX YEARS LATER
Adam Carrée Choreographer’s Assistant: Madison Hoke
Company Stage Manager Emma Basilico Seamstress: Haya Geiman
Sound Engineer Mark Webber Lighting Design: Omer Sheizaf
Costume Supervisor for creation
Roxanne Armstrong
AVE MARIA
Rehearsal Director Jason Kittelberger
Costume Design: Stewart J. Charlesworth
Costume Maker: Kingsley Hall
With thanks to: Tobias Round, Tatiana Lighting Design: Adam Carrée
Tokareva, Dianna Mesion, Jane Hermann,
Kevin O’Hare, New York City Center, Steph
VALSE TRISTE
Webb, Emi del Bene, Georgia Kersh, Dutch
Costume Design: Moritz Junge
National Opera, Arlene Shuler, Stanford
Costume Makers: For Natalia Osipova,
Makishi and Sonja Kostich
Suzanne Parkinson from Parkinson Gill /
For David Hallberg, Amanda Barrow
Artist photographers: Rick Smith, Koen Costume Dyer: Nicola Killeen
Broos, Henrik Bjerregrav, Volker Beinhorn, Lighting Design: Adam Carrée
Fabrizio Ferri
Photo credit: Johan Persson
18 19Thank you
to our donors
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This performance is supported by ‡The Greats.
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Photo credit: Stephanie Berger
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