Spring-Matinées

Spring-Matinées
30.3. & 6.4.2025 – 11 AM
Nationaltheater Munich

Program

15 Jahre Bayerisches Junior Ballett München

TICKETS

Reserve tickets!

Tickets for our Bosl-Matinées can be purchased directly from the Box Office of the Bavarian State Opera.

Box office of the Bavarian State Opera
+49 89 21 85 19 20 – tickets@staatsoper.de
Mo – Sa, 10.00 AM – 19.00 PM

Spring-Matinée 1 | 30.3.2024 | 11 AM Spring-Matinée 2 | 6.4.2024 | 11 AM

in Kooperation mit

Spotlight

Get to know our HeAutumn-Matinée choreographers

Essay

Der Konstanze-Vernon-Preis – Ein künstlerisches Vermächtnis

Fast zehn Jahre sind es her, seitdem die bayerische Landeshauptstadt mit Konstanze Vernon (2.01.1939 – 21.01.2013) eine der bedeutendsten Persönlichkeiten in ihrer Geschichte des Balletts verloren hat. Als Initiatorin der Heinz-Bosl-Stiftung, Erneuerin professioneller Tanzausbildung in München und als Gründungsdirektorin des Bayerischen Staatsballetts ging sie in die Annalen ein. Wen wundert es da, dass bei solch einer Erfolgsgeschichte gern in Superlativen von der ehemaligen Tänzerin, Pädagogin und Visionärin gesprochen wird.

Interview

Connected to dance heritage – two choreographers explain...

The Bavarian Junior Ballet Munich will be presenting two new works at this year's Autumn Matinés. Both creations were created by choreographers with close ties to the Heinz Bosl Foundation and the Bavarian Junior Ballet. Kammertanzer Norbert Graf is a deputy chairman of the Foundation, a former "Boseleaner" and has already created five works for the Juniors. Simon Adamson-De Luca, 19 years old, is currently a dancer with the Bavarian Junior Ballet Munich and is creating a new work with his colleagues. With both of these new commissions, the Heinz Bosl Foundation remains true to its repertoire policy for the junior company by engaging established choreographers and young artists to give the young artists as broad an experience as possible.

Essay

Raymonda - climax and swan song

"Mr Petipa's creativity, his highly artistic taste and mastery, spoke in Raymonda in their full beauty and power. The balletmaster carefully avoided any 'stunts' striking for effect - everything in Raymonda is artistic, intelligent, and beautiful." (Theatre Echo, in: Petersburg Gazette, 8 January 1898)"