„Während meiner vielen Besuche beim Bayerischen Staatsballett konnte ich mich nie dem mächtigen Eindruck des Nationaltheaters entziehen, einem Gebäude, das eng mit München verbunden ist. Es ist das unruhige Herz dieser Stadt.“ – Jiří Kylián, 2008
Art does not exist in a vacuum. It needs audiences and lovers, who with open hearts, to take what they see and hear into their hearts and to experience together the abundance of life in this world.
As a dance prelude for our upcoming performances of «Das Triadische Ballett» in Munich's Prinzregententheater, the Bavarian Junior Ballet Munich will present Hans van Manen’s «Concertante» set to the music of Frank Martin. At their core, Hans van Manen’s ballets are about the complexities of human relationships. His unique and immediately recognisable choreographic language highlights the subtleties that all too often go unnoticed in daily life. His ballets typically show dancers in postures of an almost electrically charged physicality, which celebrate the strengths of their individuality. Originally created for the young ensemble of the Netherlands Dance Theatre II in 1994, «Concertante» has lost none of its original charm. The timeless beauty of its group sections, trios and duets and the shimmering iconic unitards designed by van Manen’s longtime collaborator Keso Dekker continue to thrill audiences to this day.
A rare and special occasion saw the entire audience of Munich's Nationaltheater dancing a sequence of choreography from Caroline Finn's «When she knew» ahead of the ballet's premiere at the Autumn Matinee series. We were aware that our audience loved dance but little did we know they could all move so well themselves! This moment undoubtedly counts amongst one of the best in our long and cherished tradition of our Sunday Matinees performances.
We are overjoyed at the great popularity and success of our performances of «The Triadic Ballet» in the Prinzregententheatre at the beginning of June. Due to a great demand and three sold-out performances, at short notice we decided to organise an additional performance. Thanks to the great support of everyone involved from the Prinzregententheatre, the Bavarian State Opera and the Central Ticket Office, we were able to realise the performance within three days and managed to sell 80% of the tickets. What a success for the young dancers! These four performances in three days allowed them to experience the demands of an ongoing performance rhythm and where they deepened their technique in «Concertante», they were able to develop artistically in «Triadic Ballet». We are deeply grateful to everyone involved who supported us in bringing this season to such a successful conclusion!
Created for the State Ballet School of Berlin in 2015, «All Long Dem Day» finds a perfect partner in crime with Nina Simone’s 1956 rendition of «Sinnerman». Originally a traditional African American spiritual song inspired by the book of Exodus, the lyrics describe a sinner attempting to hide from divine justice on Judgement Day. Simone often chose the song to close her early appearances in New York City’s Greenwich Village: “I want to shake people up so bad that when they leave a nightclub where I’ve performed, I want them to be in pieces.” Pairing Simone’s cries for forgiveness from transgression with Goecke’s explosive movement fragments, the relentlessness of «All Long Dem Day» reminds us that change is not only important but necessary to repair the social, moral and political ties that wither with the passage of time.
Behind every stage performance lay hours of tireless and dedicated hours of work by dancers and repetiteurs in the ballet studio. Ahead of our upcoming Spring Matinees, dance photographer Marie-Laure Briane has captured snapshots in time of the Ballett-Akademie and Bayerisches Junior Ballett München long and exciting journey to the stage.
Marco Goecke created «All Long Dem Day» 2015 for the Berlin State Ballet School. He was only commissioned for a two-person piece, but then decided to work with a whole group of students. Marco Goecke explains the fact that his choreographic language has been included in the repertoire of classical ballet schools over the past thirty years with the intention of opening up these these institutions to experience other styles and themes : “The good dancers of today have to be able to dance everything. The profession of dancer would not make sense if you did what you already knew you could do each day.”