Join us for a behind-the-scenes feast
of dance in the magnificent
opera houses of Europe

day 1 - zurich

BEYOND THE CURTAIN

Our tour officially begins with a welcome evening cocktail reception at the Widder Hotel’s iconic cocktail lounge where Amanda will present an introduction and brief description of the events and productions seen on the tour.

day 2 - zurich

BEYOND THE CURTAIN

We look forward to welcoming everyone to breakfast in the open air Pavilion of the Widder Hotel where Amanda will provide an introduction and history of the Zurich Ballet Company. After breakfast there is a chance to leisurely wander the cobble stone streets of Zurich before our private transfer at noon, to the first of many exclusive backstage tours.

During our visit to the Opera House our private backstage tour guide will unveil a world ‘Beyond the Curtain’, venturing through departments normally restricted to the public. We will then be invited to observe the pre-performance warm up class. A chance to see the company preparing for the performance in both body and mind, whilst making last minute adjustments to both technique and appearance.

A light refreshment followed by a visit to the stage and set shortly before the commencement of the performance. There will be an introduction explaining the performance we are about to see and a brief history of the ballet company. We will experience the side stage ‘pre performance buzz’ and the backstage machinations that culminate in a perfect performance.

We will then be seated for our performance of ‘Swan Lake’. Our premium seating will ensure outstanding viewing.

Schwanensee by Heinz Speorli. Read more >>

Heinz Spoerli catapulted this company to the world’s attention when he took over in 1996. The Zurich Ballet are in great demand and are invited to perform all over the world. Heinz recently won the prestigious ‘German Dance Prize’ and ‘Dance Critics Award’ for his artistic direction and choreography.
“A beautiful introduction to our tour, Swan Lake is the quintessence of classical ballet. This is a very appealing production visually and the company’s artistry and superb technique will not fail to impress."

A post performance reception to which both dancers and Artistic Director have been invited will take place immediately after the performance. You have been invited to share a unique and exclusive interaction that will enable a further insight into the world of a ballet dancer, a chance to mingle with members of the Zurich Ballet.

Portrait Ballet

Zurcher Ballett - Zurich Ballet

Under its director and chief choreographer Heinz Spoerli the Zurich Ballet has grown since 1996 into one of the most respected and most prestigious ballet companies in Europe and travelled, with constant encouragement from the public and press, many countries in the world.

Heinz Spoerli is one of the most important choreographers of our time and has influenced much of his native Switzerland and the world of dance deeply.Since 1996 he has been director and chief choreographer of the Zurich Ballet, which has become under his leadership ,one of the most admired troops in Europe. For his accomplishments Heinz Spoerli been honored with numerous awards, including 1982, the Hans-Reinhart-Ring, 1991, the Art Award of the city of Basel, 1995, Jacob Burckhardt Prize and in 2007 the Zurich Art Prize. 2009 he was awarded the German Dance Award and the German Critics' Prize excellent.

Especially in his earlier works, he shows by an often surprising and experimental side. One might infer: The older Heinz Spoerli, the looser and more radically, he will dance in its solutions. Da ist also noch einiges zu erwarten. So there is still something to be expected.

Company

The Zurich Ballet under Heinz Spoerli has become a company with a worldwide reputation. Ten new members start with the close-knit ensemble in the new season. The company comprises 38 dancers of exceptional talents from 24 nations. The whole world is dancing on the Zurich stage.

Ballet (dancers) – Australians in the Zurcher Ballett

Sarah-Jane Brodbeck (soloist) is of Swiss-Australian origin. She trained at the ballet school for the Zurich Opera House and at the Dance Academy Zurich.. In the "Prix de Lausanne" in 2003 she was awarded the "Prix du Meilleur Suisse’. She was also a finalist in the competition "for the Eurovision Young Dancers" in Amsterdam.Since the start of the 2006/07 season, she is a member of the Zurich Ballet and was the Mountain King's daughter in "Peer Gynt", Titania in "Midsummer Night's Dream" and experience in leading roles in "Concerto Barocco"

Brooke Widdison (soloist) is Australian.. She studied at the Australian Ballet School. After an initial engagement at the Leipzig Ballet, she danced from 2003 to 2008 at the Royal Ballet of Flanders. Since last season, she is a member of the Zurich Ballet.

Polina Semionova – Principal Artist-Odile/Odette

Polina Semionova comes from Moscow.. She studied in her hometown at the Bolshoi Ballet and was winner of numerous international competitions. \She won the gold medal at the International Ballet Competition in Moscow in 2001 and the First Prize at the Vaganova Ballet Competition in St. Petersburg 2002. She was awarded the Daphne Award of community theater in Berlin and the German Critics' Prize 2005 "award. Immediately after graduating Polina Semionova was hired as the first solo dancer for the Ballet of the Berlin Staatsoper Unter den Linden (Berlin State Ballet), where she performs solo in the major roles of classical ballet. Moreover, it is a permanent guest soloist with the Ballet of the Vienna State Opera. Guest, she appeared on the festival "Basel tanzt", after Japan and Spain. From the magazine ballettanz "she was named 2007" Dancer of the Year. Moreover, it was 2008 winner of the prize from the Heinz Foundation Spoerli.

Reviews of Zurich Ballet

Lucerne Newspaper
It is a fragile beauty that shines, with images of breathtaking aesthetics. Das gesamte Ensemble zeigt eine Leistung auf höchstem Niveau, die das Publikum mit tosendem Applaus honorierte. The entire ensemble shows a performance at the highest level, was honored by the audience with thunderous applause.

‘New Zurich’ ( Newspaper)
In two and half hours, so to speak Spoerli brings the essence of "Swan Lake" on stage. In the abstract sets by Erich Wonder, under the light directed by Martin Gebhardt go the colonnades of the palace and the expanse of the lake into one another. That is both aesthetic and atmospheric .However, the evening is supported by Tchaikovsky's music, which reflects the emotions of the characters psychologically accurate. The orchestra was conducted by Vladimir Fedoseyev at the premiere during the second act of gestural music. (...) The strengths of the Zurich company are great to bear. This shows Spoerli championship. The dancers excel in ornamental ensembles and exquisite solo numbers. It is the tradition, the roles of the white and the black swan with a single dancer corresponds to occupyThe way they celebrated their double role, raises the Moscow ballerina Natalia Ledovskaya stylistically from the rest of the ensemble from. She dances the role of Odette removed as behind glass, surrounds them with inaccessibility and a delicate hint of hysteria. As Odile she radiates calculated from seduction and increases its presence to the propeller on the top shot Fouette. Stanislav Jermakov as Prince is far more than a strong pillar for the ballerina. The nobility of his role in shaping makes him credible as a pivotal point in history. The conclusion can Spoerli what is legitimate in this particular work, vividly in the balance.

Edinburgh Festival review
Chocolate and watches may be their trademark, but it turns out the Swiss are pretty hot at dance too. Playing in Scotland for the first time in its history, Zurich Ballet is an undiscovered gem well worth checking out. A decade ago, the company was a big fish in a little pond - appreciated by the home crowd in Switzerland, but virtually unheard of elsewhere. Artistic director Heinz Spoerli changed all that when he took over Zurich Ballet in 1996. The quality of his choreography and the dancers’ high technical standard made dance fans throughout Europe and Asia sit up and take notice.

Paris review by Patricia Boccadoro
Every movement is in perfect disharmony with Stravinsky, and disturbs, particularly Yen Han as L'Elu, terror stricken and caked in grime, with rivulets of blood and sweat streaming down her face. She is stupendous, as indeed are all the troupe. Powerful stuff. Patricia Boccadoro writes on dance in Europe. She contributes to The Guardian, The Observer and Dancing Times and was dance consultant to the BBC Omnibus documentary on Rudolf Nureyev. Ms. Boccadoro is the dance editor for Culturekiosque.com.

SwanLake

Ballet in four acts by Heinz Spoerli
by Lev Ivanov and Marius Petipa
Music by Peter I. Tchaikovsky (1840-1893)
Conductor Vladimir Fedoseyev
Choreography Heinz Spoerli
Set designer Erich Wonder
Costumes Florence Gerkan
Lighting Design Martin Gebhardt

day 3 - Zurich to Munich

BEYOND THE CURTAIN

This morning we rendezvous for breakfast where Amanda will be available to answer your questions and present you with today’s activities.
Spend the morning exploring Zurich before your midday private car transfer to Zurich Central Train Station where you will travel first class through the scenic Swiss Alps and Bavarian countryside.

Upon arrival in Munich you will be transferred to the Hotel Vier Jahreszeiten Kempinski. The Kempinski is well positioned within walking distance to the theatre and major attractions.
After checking in, please join us for aperitifs and canapés at the Jahreszeiten Bar, where you will be briefed on the details of your Munich stay.

The remainder of the evening is at leisure.

day 4 - Munich

BEYOND THE CURTAIN

A full day’s activities necessitate an early start. After an early breakfast at the ‘Vue Maximilian’ restaurant and a brief introduction of the forthcoming event, you will be transferred to the Bavarian State Opera House. Throughout the day you will be entertained by Der Bayerische Staatsballet as the ‘Munich Ballet Festival' is in full swing.

Probentag - At 9.30 am you will arrive at the theatre for Open Rehearsals. We will have an all-access pass which will allow us to wander from studio to studio, observing a variety of performance pieces being rehearsed and perfected that will be presented over the course ‘Ballet Festival’. This is a fabulous opportunity to see at close quarters, the entire company honing their skills whilst having a chance to view the many different productions. Read more >>

The rehearsals for all the ballets in our repertoire will be performed during the 2010 Ballet Festival. It is a behind the scenes look at a day in the life of a ballet company, an opportunity to see the company dancers and famous principal artists in action and to ask questions.
“The spectators are able to walk around and watch at close range and experience many productions being perfected, commented on by the ballet director or one of the representatives. This is a lasting experience that will stay with you for years to come”. (Ballet Master)

Our day will conclude at 4pm with the remainder of the evening at your leisure.

Portrait Ballet

Der Bayerische Staatsballet

Theatrical dance has a long tradition in Munich, but it was only the artistic and financial independence from the opera company, which Konstanze Vernon, with the support of the Bavarian State Government, finally achieved in 1988, that made it possible for the former Ballett of the Bavarian State Opera to develop into one of the outstanding companies in the international dance scene. The Bayerische Staatsballett (since its successful appearence in New York in 1993 also known as Bavarian National Ballet) dances into its tenth year with the 1998/99 season, under the direction of Ivan Liska, the successor of Konstanze Vernon.

In September 1998 the current director Ivan Liška took up office as ballet director of the Bayerische Staatsballett. For twenty years he was one of the leading soloists in John Neumeier's Hamburg Ballet, created and danced principal roles in nearly all ballets. He now intends to pass on his knowledge and wide experience as one of the outstanding dancers of his time to the members of his company. The repertoire of the Bayerische Staatsballett is perhaps the most divers and artistically important to be found besides the Paris Opéra Ballet. It lists more than fifty ballets.

An incredibly strong reputation as one of Europe’s finest ballet companies. In 2006 the company was voted ‘Best Company of the Year’ by UK magazine Dance Europe.In 2007/2008 they were again awarded ‘Best Company of the Year’ by the prestigious journal Ballet Dancing at the annual international critic’s survey. We will be visiting the Bayerische Staatsballet during the Ballet Festival Week to celebrate the company’s anniversary. In short - the Bayerisches Staatsballett remains an exciting cosmopolitan company, with members from more than thirty nations, directed with artistic and economic foresight in an intelligent infrastructure. Thus, as opposed to many other companies, the Staatsballett can boast of seventy performances in one city with an average sales quota of ninety percent, which shows the public’s unflagging interest in the company’s development.

Australians (and Australian trained) dancers in the company

Lisa-Marre Cullum, born in New Zealand, trained in New Zealand, Sydney and Monte Carlo. She started her professional carreer with the English National Ballet. From 1990 to 1998 Lisa-Maree Cullum was a leading ballerina with the Ballet of the Deutsche Oper Berlin Since season 1998/99 she dances with the Bayerische Staatsballett, since 1999/2000 as a principal. In 1988 she was gold-medalist at the Adéline Genée-Competition in London and the Prix de Lausanne, in 1995 winner of the Leonide Massine-Award in Positano/Italy.

In 1998, Lisa-Maree Cullum was acclaimed "dancer of the year" by a leading Munich newspaper. She was nominated for the “Prix Benois” in Moskau 2002 and she was acclaimed “Dancer of the Year 2002” for her outstanding interpretation of the titel role in Sleeping Beauty with the Ballet of the Opera of Rome. She has appeared as a guest dancer on stages worldwide, like Kirov Ballet/St Petersburg and Royal Danish Ballet/Kopenhagen. In 2008, she was awarded the honorary title "Kammertänzerin" by the Bavarian Ministry of Culture.

Stephanie Hancox was born in Australia and started her training at the Tanya Pearson Classical Coaching Academy in Sydney. In January 2001, Stephanie came to Munich to complete her training at Ballett-Akademie/Heinz-Bosl-Foundation. Among others she danced the Corsaire-Pas de deux, in Paquita, in Light Fandango (Robert North) as well as a solo in In the Future (Hans van Manen).
In September 2003 she became member of the Bavarian State Ballet. In season 200472005 she danced in Forsythe’s Limb´s Theorem and Hans van Manen’s Black Cake. She was promoted to soloist in the season 2008/2009.

Mia Cooper was born in Queensland/Australia, where she started dancing at the local Ballet School. Then she was trained at the Heinz-Bosl-Stiftung in Munich, where she received her diploma in 2008. She joined the Bavarian State Ballet as a trainee in the season 2008/09 and joined the Corps de ballet one year later.

Chè Daniel McMahon, the Australian born with Irish origin, completed his dance education at the Australian Ballet School 2001 and received directly a contract as a member of the Australian Ballet. Here he was seen in classical ballets such as Swanlake or La fille mal gardée and in choreographies of Frederic Ashton and George Balanchine. With his change to the Ballets de Monte-Carlo in 2005 he also got the opportunity to dance in contemporary pieces including Sinfonietta by Jiri Kylian, The Second Detail by William Forsythe and Altro Canto by Jean-Christophe Maillot.
He joined the Corps de ballet of the Bavarian State Ballet in the season 2007/2008.

Ballet Festival week

Twenty Years Bavarian State Ballet

Dear Audience,
Dear Friends of the Bavarian State Ballet
In 1988 the Bavarian State Government decided to grant ballet an equal status with opera and drama in Munich and to found the Bavarian State Ballet.
The foundation took effect in the 1989/90 season and it meant artistic independence, reorientation of cultural aims and the beginning of a success story. At present the Bavarian State Ballet is an international company of high renown, with the richest multifaceted repertoire in Europe.
In this jubilee year we feel particularly obliged to this renown and therefore will present to you some of the greatest present-day choreographers in Munich during the 200972010 season: Guest performances by choreographers ( performing during the Festival) including the Tanztheater Wuppertal , Kylian , Duato , Forsythe and Ek can be seen in rehearsal at ‘Probentag” ( rehearsal day)
Ivan Liska

‘Ballet Festival Guest’ Company - Pina Bausch

Sadly the companies founder Pina Bausch passed away this June.Pina Bausch was awarded the Kyoto Prize-top prize in field of culture and arts-in 2007 and the first woman to receive it.Her reputation is global.She directed the company which is known for its avant guarde even revolutionary approach to dance ,for 35 years. ‘The Wuppertal Tanztheatre is best described by the words ‘dance theatre ’as their performances often cross the boundaries of the theatre arts.The company’s works can be confronting but always thought provoking. Pivotal to the success of Australia’s own Meryl Tankard were her years performing with the Wuppertal Tanztheater .

Awards
Among the honours awarded to Bausch are the UK's Laurence Olivier Award and Japan's Kyoto Prize, while in 2008 the city of Frankfurt-am-Main awarded her its prestigious Goethe Prize.

day 5 - Munich

BEYOND THE CURTAIN

A day to explore the sites and accustom yourself with the city or discover the wonderful shopping opportunities along Maximilian Strasse.

At 7pm we will meet in the hotel lobby to be transferred to the opera house for tonight’s performance of ‘Masurca Fogo’

Masurca Fogo - by Pina Bausch. Read more >>

Meaning ‘Fiery Mazurka’ this is a passionate and sensual production with moments of irony. This is in stark contrast to what we have seen so far. A modern dance at its most contemporary, love it or hate it, it won’t be forgotten.
Sadly the company’s founder Pina Bausch passed away this June. Pina Bausch was awarded the Kyoto Prize-top prize in field of culture and arts-in 2007. Her company renown for their avant-garde, even revolutionary approach to dance. The company’s works can be confronting but always thought provoking. Pivotal to the success of Australia’s own Meryl Tankard were her years performing with the Wuppertal Tanztheater .

Portrait Ballet

Masurca Fogo

Australians (and Australian trained) dancers in the company

Lisa-Marre Cullum, born in New Zealand, trained in New Zealand, Sydney and Monte Carlo. She started her professional carreer with the English National Ballet. From 1990 to 1998 Lisa-Maree Cullum was a leading ballerina with the Ballet of the Deutsche Oper Berlin Since season 1998/99 she dances with the Bayerische Staatsballett, since 1999/2000 as a principal. In 1988 she was gold-medalist at the Adéline Genée-Competition in London and the Prix de Lausanne, in 1995 winner of the Leonide Massine-Award in Positano/Italy.

In 1998, Lisa-Maree Cullum was acclaimed "dancer of the year" by a leading Munich newspaper. She was nominated for the “Prix Benois” in Moskau 2002 and she was acclaimed “Dancer of the Year 2002” for her outstanding interpretation of the titel role in Sleeping Beauty with the Ballet of the Opera of Rome. She has appeared as a guest dancer on stages worldwide, like Kirov Ballet/St Petersburg and Royal Danish Ballet/Kopenhagen. In 2008, she was awarded the honorary title "Kammertänzerin" by the Bavarian Ministry of Culture.

Stephanie Hancox was born in Australia and started her training at the Tanya Pearson Classical Coaching Academy in Sydney. In January 2001, Stephanie came to Munich to complete her training at Ballett-Akademie/Heinz-Bosl-Foundation. Among others she danced the Corsaire-Pas de deux, in Paquita, in Light Fandango (Robert North) as well as a solo in In the Future (Hans van Manen).
In September 2003 she became member of the Bavarian State Ballet. In season 200472005 she danced in Forsythe’s Limb´s Theorem and Hans van Manen’s Black Cake. She was promoted to soloist in the season 2008/2009.

Mia Cooper was born in Queensland/Australia, where she started dancing at the local Ballet School. Then she was trained at the Heinz-Bosl-Stiftung in Munich, where she received her diploma in 2008. She joined the Bavarian State Ballet as a trainee in the season 2008/09 and joined the Corps de ballet one year later.

Chè Daniel McMahon, the Australian born with Irish origin, completed his dance education at the Australian Ballet School 2001 and received directly a contract as a member of the Australian Ballet. Here he was seen in classical ballets such as Swanlake or La fille mal gardée and in choreographies of Frederic Ashton and George Balanchine. With his change to the Ballets de Monte-Carlo in 2005 he also got the opportunity to dance in contemporary pieces including Sinfonietta by Jiri Kylian, The Second Detail by William Forsythe and Altro Canto by Jean-Christophe Maillot.
He joined the Corps de ballet of the Bavarian State Ballet in the season 2007/2008.

Reviews

guardian.co.uk, Monday 6 July 2009
'She made you feel thrilled to be human': Fiona Shaw on Pina Bausch. Pina Bausch's first London performance had Fiona Shaw enthralled. She shares her memories of seeing the late German choreographer both on and off stage.

Deborah Jowitt in The Village Voice ( N.Y)
"Bausch builds our expectations with brilliant theatricality."

Renae Williams Niles
director of dance presentations for the Music Center ( Los Angeles), said that upon learning of Bausch's death, "The first question I asked is: 'What will we do?' There are certain people that I've given immortality to, and I would have to say that Pina Bausch is definitely one of them.

Daily Telegraph
"Pina Bausch, the German dancer and choreographer ... was the most influential figure in European contemporary dance for the past 30 years, creating a much-imitated fusion of radical theatre, surreal art, sexual drama and danced body language, known as Tanztheater."

The NEW YORKER
"Play It Again"

Joan Acocella January 14, 2002
"Pina Bausch and William Forsythe return to BAM". ‘But, in fact, Bausch was new, in content if not in form. She had an emotional territory all her own, one that was defined not by pain, exactly, but by some subdepartment of it, some vague and clammy feeling—discomfort, embarrassment—and magnified by the extreme physical immediacy of the work. Animals often appeared on Bausch's stage, not to speak of the four elements. At least two pieces that I saw took place on a dirt floor; another transpired in ankle-deep water. You don't just look at this stuff; you feel it.’

Mazurca Fogo - by Pina Bausch

Meaning ‘Fiery Mazurka’ this is a passionate and sensual production with moments of irony.This is in stark contrast to what we have seen so far .This is modern dance at its most contemporary .Love it or hate it ,it won’t be forgotten.
"Masurca Fogo" ("Fiery Mazurka"), were featured in the 2002 Pedro Almodovar film "Talk to Her," one of Bausch's several forays into film. Bausch is interested in the body language and characteristics of other peoples and other countries. Masurca Fogo ("Mazurka of Fire")is a 1997 tribute to Lisbon..She becomes interested in a city, and the city offers to host her company while they learn about the place.
Masurca Fogo is said to be a relatively jolly piece, driven by the vivacious music of Cape Verde and Brazil - though it contains yet another of her death-traps for dancers, a waterslide and a stage full of broken rocks, among which they have to climb in high heels.
Isn't this more than a bit dangerous? "Oh," Bausch pursed her lips, "sometimes things look dangerous, but they are not dangerous at all." Besides, she said, her dancers liked to be challenged. "They don't come for fun to Wuppertal."

day 6 - Munich to Prague

BEYOND THE CURTAIN

Following an early breakfast you we will be transferred to the Bavarian State Opera House for an exclusive backstage Tour exploring all aspects of this historic Opera House with our guide.

Early in the afternoon we depart the Kempinski for our flight to the Golden City of Prague.

Upon arrival to Prague Airport we are transferred to the Four Seasons Hotel located on the banks of the Vltava River, with a commanding view of the historic Prague Castle which can be seen from all suites in the hotel.

Join us for dinner at the ‘Allegro Terrace’. You will be provided with the next 4 days activities whilst enjoying views of the Vltava River, Mala Strana and Prague Castle. With casual attire and al fresco dining we aim to have an atmospheric and relaxed evening.

day 7 - Prague

BEYOND THE CURTAIN

Following breakfast in the Allegro Terrace, we will be transferred to the National Theatre of Prague to experience the ballet company at their morning class .This will be followed by a light refreshment in the courtyard.
After a leisurely lunch we embark on our private Backstage Tour of the magnificent Prague National Theatre. We will be invited to visit the stage and set, shortly before the performance with an introduction to the ballet to be performed and brief company history.

We will then be seated in our premium seats for the performance of ‘Causa Carmen’.

Causa Carmen by Mats Ek. Read more >>

This company is very Jiri Kylian-esque. There is an honest and earthiness to this company’s performances. Mats Ek, one of Europe’s most influential and creative choreographers, has produced a somewhat more astringent and confronting ‘Carmen’ than the Petipa version. For example Carmen herself is quiet a vulgar character, dancing with a cigar hanging from her lips! This is a sensual, robust and brutal production that has not restricted itself to any happy outcomes.

Portrait Ballet

Causa Carmen

National Theatre of Prague Ballet

This company is very Jiri Kylian-esque ( Jiri Kylian was in fact Czech).There is an honesty , an earthiness this company’s performances.This company does not rely on flashy stage sets or circus-trick choreography.It is dance intertwined with emotion at its most pure.

Current face of Prague’s National Theatre Ballet

Over the past seven years of its development, the Ballet of the National Theatre in Prague has been “rocket charged”, which has made it possible for the ensemble to “soar” into the starry firmament of paramount European stages. This course has been set by its current Artistic Director, Petr Zuska, who has managed to concentrate around himself a supreme team of creative personalities, a dynamic and reliable management and a unique ensemble of extremely singular artists.

The personality of Petr Zuska itself comprises extensive and, above all, manifold experience from areas of perhaps all movement-dance genres: from pantomime through dance-theatre projects and classical ballet to neoclassical and modern dance forms. After graduating from the Academy of Performing Arts in Prague, he danced in Ladislav Fialka’s ensemble at the Na zábradlí theatre and in Pavel Šmok’s Prague Chamber Ballet before joining the ballet of the National Theatre in Prague. During his time at the National, he took up several-year engagements abroad (at, for example, Ballett Theater München, Ballett Theater Augsburg, as well as Montreal’s Les Grand Ballets Canadiens). Petr Zuska collaborated with perhaps the most renowned choreographers of the day and became a truly outstanding dance personality with a special type of charisma and a fascinating sense of detail in his performances. These superlative interpretational skills earned Petr Zuska several prestigious prizes, including two Thalia Awards.

Another chapter in Zuska’s stellar artistic career is his highly esteemed and widely acknowledged choreographic work. Bearing witness to his being one of today’s leading choreographic personalities is not only his having received several prestigious awards (Prix Dom Perignon, for instance) but also, and primarily, the fact that his ballets have been presented on prime stages in Europe - from Copenhagen to Barcelona, Düsseldorf and Dresden to St. Petersburg - as well as in other continents, in Australia (Perth), Canada (Montreal)… Zuska’s choreographies are noted for their extremely well-thought-out and, accordingly, intelligible content, sense of humour and perfect alignment of the tonal and emotional tension in precisely rhythmicised “doses”.

Petr Zuska’s personality represents in the post of Artistic Director of Ballet an entirely new motional quality and vitality of dancer’s artistic statement. He consistently requires the development of these values on the basis of two principles: the traditional methods of technical growth in the training schedule in tandem with the introduction and inclusion of new movement trends, combining in an attractive manner musicality, emotion, grace, energy and the link with “progress” of physical evolvement. The experience gained in his own illustrious artistic career has become a convincing support that has naturally set out the priorities of managing the National Theatre Ballet Company. It has allowed for its permanent evaluation during the formation of an original profile of the ensemble and also become the essential impulse for creating a perfectly balanced repertoire with an international reach.

At the present time, the National Theatre Ballet is one of the most artistically interesting ensembles in the Czech Republic and has sixty-five dancers, mainly from the Czech Republic, but also from Russia, Slovakia, Australia, Great Britain, Germany, Japan and Italy. The ensemble is a uniquely balanced body whose members possess a technically and dramatically efficient register of capabilities. This capacity is evident both with the leading soloists and the young and promising rank-and-file members of the Ballet, where it manifests itself as a valuable potential. The variegated repertoire of Prague’s National Theatre Ballet not only addresses traditional and elite audiences, it also brings to the theatre new spectators who find in ballet art not only an attractive spectacle of physical and motional proportions and qualities, but also appealing staging techniques. The repertoire’s conception and “structure” duly respect the traditional profile of a National Theatre ensemble and extend the range of titles with new artistic trends and their more dynamic concentration (and alternation). It thus presents, introduces and balances all types of titles – feature-length performances, mixed bills, epical, abstract, traditional, inventive titles and “remakes”. At the same time, the National Theatre Ballet under Zuska’s guidance is “paying off the debt” incurred in the restrictive recent socialist past and stages productions audiences did not have the chance to see before. Let us name at least a few of the most popular titles of the National Theatre repertoire: Swan Lake, The Nutcracker, The Sleeping Beauty, Giselle, Romeo and Juliet, Onegin, The Taming of the Shrew, La Sylphide / Napoli, as well as numerous Balanchine opuses. In the category of contemporary choreographies, the repertoire has by degrees presented works from the creators most famous today – above all, Cranko, Kylián, Ek, Duato, Vamos, Galili, Uvgi, etc. The original domestic creation is linked with renowned personalities and distinct titles, which have enjoyed extraordinary favour on the part of the audiences and the professional public alike. For example, Petr Zuska’s Les Bras de Mer, Maria’s Dream, Ways 03, Ibbur or A Prague Mystery, Requiem, BREL – VYSOTSKY – KRYL / Solo for Three, A Little Extreme or A Little Touch Of The Last Extréme, Libor Vaculík’s Lucrezia Borgia and Faust and Jan Kodet’s Goldilocks.

In the near future we are preparing to present, for instance, Cinderella (J.-Ch. Maillot), Othelo (Y. Vamos), Fancy Free (J. Robbins) and In the Middle Somewhat Elevated (W. Forsythe). The Ballet of the National Theatre in Prague is also clearly becoming an important centre for meetings of outstanding guest artists. These encounters have been organised either within annual international gala performances or individual guest appearances of renowned interpreters in individual ballet titles. The ensemble also temporarily hosts distinguished pedagogues and ballet masters, who significantly contribute to its further qualitative growth.

Under Zuska’s guidance, the special platform of the choreographic workshop concentrates impulses supporting new creation of those Ballet members who themselves have choreographic ambitions. The today well-established and popular project Choreographic Miniatures is not only an evident stimulus and encouragement, perhaps for pursuing the path Zuska himself has taken, but also a variegated exacerbation of “independent” dance production in a wider context.

Remarkable too is the success the artists and art of Prague’s National Theatre Ballet have attained on numerous tours worldwide: in the Netherlands, Belgium, Italy, Switzerland, France, Finland, Slovakia, Slovenia, Hungaria, Austria, Poland, Russia, Malta, Lebanon, Egypt, Taiwan, Spain, Germany, Canada, the USA, Portugal, Israel and Greece. The National Theatre Ballet is in terms of its conception and artistic management a standard European company, yet one possessing a special artistic spirit arising from Prague’s enchanting multicultural milieu.

The National Theatre

The National Theatre is the Czech Republic’s representative stage. It is one of the symbols of Czech national identity and a part of the European cultural arena. It is a bearer of national cultural heritage and at the same time an arena for free artistic creativity. The theatre is a living artistic organisation which understands tradition as imposing a task and duty to find constantly new interpretation and an endeavour to achieve the highest artistic quality.

The National Theatre today

Today’s National Theatre comprises three artistic ensembles – opera, drama and ballet – which alternate in performances in the historic building of the National Theatre, the Estates Theatre and the Kolowrat Theatre. All three artistic ensembles choose their repertoire not only from the wealth of classical references, but in addition to Czech authors also focus on modern international creative work.

Petr Zuska

Artistic Director of the National Theatre Ballet, choreographer, dancer

In 1994 Petr Zuska graduated from the Music Faculty of the Academy of Performing Arts in Prague, where he studied choreography and stage direction. He launched his professional career with the Charles University Dance Company and subsequently became a member of the Pantomime of Prague’s Na Zábradlí theatre. A crucial phase in his artistic development was his engagement in the Prague Chamber Ballet (a member from 1989 to 1992, a guest artist from 1994). Here he encountered the choreographies of Pavel Šmok, Jiří Kylián, Robert North, Gerhard Bohner and others. Between 1992 and 1998 he was a soloist of the National Theatre Ballet in Prague, rendering a host of roles, including the Double in Little Mr. Friedemann (1993), Norman Bates in the ballet Psycho (for which he won the Czech Literary Fund Prize and the 1993 Thalia Prize), Tchaikovsky in the ballet of the same name, the role of the dancer Jerry in Some Like It ... (1994), solo parts in Kylián's Field Mass and Return to a Strange Land, Don José in the ballet Carmen (1997 Thalia Prize), Yesenin in Isadora Duncan – The Story of a Famous Dancer, Tybalt in Prokofiev’s ballet Romeo and Juliet. Since 1990 he has created a number of choreographic projects for theatres, dance groups, Czech Television, the Prague Conservatory, the Prague Chamber Ballet, Laterna magica and Prague’s National Theatre. His 90s works include, for example: Out of the Depths, Adagietto (1994 Czech Literary Fund Prize); Little Gallows (1994 Czech Literary Fund Prize); Seul (inspired by Jacques Brel’s chansons, 1995); the girls’ duet In the Mist to Leoš Janáček’s music (1996, prize for the Best Choreography); the full-length ballet Komboloi (1997) to music by Zbyněk Matějů; and Sonata (1999), again to music by Janáček. In 1998 Petr Zuska took up an engagement at the Munich Ballet, directed by Philip Taylor. Here he danced solo roles in choreographies by Philip Taylor, Jiří Kylián and Rui Horta. In 1999 he joined the ballet ensemble of Theater Augsburg, where he worked with the young German choreographer Jochen Heckmann, and besides dancing devoted to choreography as well. He was awarded the prestigious Prix Dom Perignon in the young choreographers’ category for his Triple Self to Shostakovich’s Piano Trio in E Minor. This choreography was later included in the repertoire of the Hamburg Ballet. In 2000 he became a regular soloist in Les Grands Ballets Canadiens in Montreal. Here he rendered the role of Don José in Carmen by the progressive Dutch choreographer Dida Veldman. He also danced in works of world-renowned choreographers such as Jiří Kylián, Nacho Duato and Ohad Naharin. He participated, as both dancer and choreographer, in a host of gala performances in Canada and Germany. In this period, he created the ballet Ways (2001) to music by Arvo Pärt, staged at the Semperoper in Dresden. In 2002 he choreographed Le Bras de Mer to Yann Tiersen’s music, premiered at Laterna magica in Prague. The choreography Maria’s Dream was first performed by the Prague Chamber Ballet. For the ballet ensemble of the Latvian National Opera in Riga he created the ballet Clear Invisible. Since July 2002 Petr Zuska has been Artistic Director of the National Theatre Ballet in Prague. Besides his choreographic work, he has also danced in a host of solo roles of the current dance repertoire. For this ensemble, he created the choreography Among the Mountains, staged within the ballet mixed bill entitled Songs of the Earth. It is a selection of several Czech and Moravian folk songs arranged and interpreted by the popular band Čechomor. He also created the choreography Ways 03, to music by Arvo Pärt. In 2005 Petr Zuska directed his own project bearing the title Ballet Mania in which he himself dances. Together with the composer Zbyněk Matějů, he created the full-length ballet Ibbur, or A Prague Mystery. At the present time, the National Theatre Ballet also has in its repertoire Petr Zuska’s earlier choreographies Les Bras de Mer, within the mixed bill Family Album, and Maria’s Dream, within the performance Ballet Mania. In this period Petr Zuska also created the ballet Bolero (2003) for the Prague Dance Conservatory, the choreography Last Photo…? (2004, inspired by Samuel Beckett’s play Krapp’s Last Tape) for the ballet ensemble in Augsburg, and the work D. M. J. 1953–1977 (2006 award for the Best Choreography), which was premiered in November 2004 at Brno’s National Theatre. In March 2005 he was invited by Diana Vishneva, prima ballerina of the Mariinsky Theatre, to dance with her within her gala benefit performance in the choreography Les Bras de Mer, which has remained in this theatre’s repertoire. At the present time, this ballet is also part of the repertoire of the Royal Danish Theatre in Copenhagen. In March 2006 the National Theatre in Prague gave the world premiere of Zuska’s ballet Requiem within the performance Mozart?Mozart! to mark the occasion of the 250th anniversary of W. A. Mozart’s birth. In February 2008 West Australian Ballet presented Petr Zuska's choreographies Maria’s Dream and Bolero within its new premiere in Perth. Petr Zuska was asked by Youri Vamos, the Artistic Director of the ballet in Düsseldorf, to co-create a non-traditional ballet performance premiered in May 2006 at Rhein Oper Mobil of the Düsseldorf Opera. The result was the choreography A Little Extreme, to hip hop and rap music. In 2007 it was performed within the 6th international Dance in Version festival at the Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre by National Theatre Ballet soloists. A Little Extreme had its Czech premiere within the mixed bill Extreme in June 2009 at the New Stage of the National Theatre in Prague. For this evening, Petr Zuska also created a brand-new choreography, A Little Touch Of The Last Extreme, which was presented in world premiere. Another original choreography Petr Zuska has created specially for the National Theatre Ballet company is the full-length performance entitled BREL – VYSOTSKY – KRYL / Solo for Three, whose world premiere took place on 19 May 2007 at Prague’s National Theatre. It met with a tremendous response on the part of audiences and critics alike and also received the “For Original Work” award (a diploma with a premium) at the Competition of Contemporary Dance Creation in 2008. In the 2008/09 season he also created the shorter choreographies Déja vu, Lyrical and Empty Title, which have been frequently presented at Czech and international Ballet Galas or within guest appearances of the National Theatre Ballet soloists abroad. In June 2009 the Estates Theatre premiered a unique project of the National Theatre Ballet together with the dulcimer band Hradišťan. Petr Zuska created a dance composition Oh Love to eight songs by Hradišťan’s artistic director, Jiří Pavlica.

Causa Carmen

The performance is made up of two differing one-act ballets. In the first half of the evening the creative duo Johan Greben (Netherlands) and Uri Ivgi (Israel) will introduce themselves with a new original choreography specially created for the corps de ballet of the National Theatre. The pair have created a host of high-quality and singular works for various ensembles worldwide. Their work has its roots in the tumultuous and dynamic development of contemporary Israeli dance theatre over the past decade. The second part of the evening will comprise the ballet Carmen from the workshop of the Swedish choreographer and stage director Mats Ek, one of the foremost representatives of contemporary dance theatre. To date, he has created some forty full-length and shorter ballets of both a narrative and abstract nature. He has shifted away from the classical literary version of Mérimée–Bizet and developed this emotional drama between a man and a woman in a new way. His Carmen is endowed with the features of a treacherous deceiver, as well as a strongly independent woman guided by innermost feelings.

Mats Ek,one of Europe’s most influential and creative choreographers, has produced a somewhat more astringent and confronting ‘Carmen’ that the Petipa version. For example Carmen herself is quiet a vulgar character ,dancing with a cigar hanging from her lips ! This is a sensual ,robust and brutal production that has not restricted itself to any happy outcomes.

Mats Ek has for thirty years been a highly esteemed choreographer throughout the world. He studied dance and theatre and directed theatre at the Marionette Theatre, the Stockholm City Theatre and the Royal Dramatic Theatre. In 1973 Mats Ek joined the Cullberg Ballet as a dancer. Three years later he began choreographing for the company with immediate success. Saint George and the Dragon, Soweto and The House of Bernarda belong to his earliest ballets. From 1981 until 1993 Mats Ek was the artistic director of the Cullberg Ballet, succeeding his mother Birgit Cullberg. Mats Ek's extensive production of ballets includes more than twenty works for the Cullberg Ballet, among them the sensational rewrites of the great classics like Giselle Swan Lake and Carmen .After leaving the Cullberg Ballet, Mats Ek became guest choreographer with major international dance companies. He created Sleeping Beauty for the Hamburg Ballet ,A Sort Of for the Nederlands Dans Theater and Apartment for the Paris Opera . Several of Mats Ek's ballets have been adapted for television, two of them received Emmy awards.

day 8 - Prague

BEYOND THE CURTAIN

Today is Labor Day, a National Holiday for the Czech Republic and a day free to explore.

You could visit Petrin Hill and the statue of Karel Hynek Macha, one of Czech Rebublic’s most famous poets.

We can also arrange a optional day tour of the Karlstejn Castle.

May 1st in the Czech Republic is more Love Day than Labor Day. The tradition of celebrating love on the first day of May goes far back into Czech history, to the beginning of 19th century.

day 9 - Prague

BEYOND THE CURTAIN

A Leisurely breakfast at the hotel, then transfers at 11.00 for our luncheon reception to which the ballet dancers of the National Theatre of Prague have been invited. A chance to mingle and chat with the performers of Causa Carmen.

Remainder of the day at leisure.

day 10 - Prague to Vienna

BEYOND THE CURTAIN

Transfer after breakfast to Prague airport for our flight to magical Vienna.

Upon arrival we are transferred to the historic Grand Hotel Wein. Once known to be the hub of Viennese society, this landmark hotel is just steps to the Vienna State Opera House.

Tonight we rendezvous on level 7 at Le Ciel for dinner and our final overview of events to take place in Vienna.

day 11 - Vienna

BEYOND THE CURTAIN

After a breakfast at the Grand Café spend the day at leisure wandering the ancient streets of the Wiener Ringstrasse or take a traditional Fiaker to the inner heart of Vienna.

We can also arrange an optional cruise on the Danube through the Wachcu Valley, leaving just after breakfast and returning early afternoon.

This evening you dine with the artists of the Wiener Staatsballet, another insight into the ballet dancer’s world.

day 12 - Vienna

BEYOND THE CURTAIN

This morning following breakfast, we are transferred to the opera house for a private backstage tour of the historic Weiner Staatstheatre.

After a light lunch you are invited to observe a pre-performance ballet class witnessing the craftsmanship of the dancers as they prepare for this evening’s performance. We will be taken onto stage shortly before the performance to view the set with an introduction to the ballet about to be performed.

You will then be seated for the performance of ‘Coppelia’.

Coppelia - by Gyula Harangozo. Read more >>

The evergreen and popular’ Coppelia’ has been given a roguish humorous make-over by Gyula Harangozo snr. Whilst the costumes have been updated and the sets modernised this Coppelia still retains its classic feel. A sentimental favourite, it is a lovely way to farewell our tour. Sumptuous neo-renaissance opera house housing the magnificent and world renowned Wiener Staatsoper Orchestra and Ballet. The auditorium is breathtaking and befitting of this talented company. This company has a Kirov feel to it as many of the dancers are Bolshoi trained. Gyula Harangozo, the company’ present Artistic Director enjoys an international reputation in several areas: as a highly regarded former dancer, whose career evolved primarily at the Budapest State Opera, the Bayerische Staatballet and the Vienna State Ballet; as a successful ballet manager; as the director of many years of the Hungarian National Ballet, and finally as a producer of ballet classics, and as a choreographer.

At the conclusion of the performance we will meet for farewell cocktails and bid au revoir to new friends as this is the final night of our tour.

Portrait Ballet

Coppelia

The Vienna State Opera

The origin of the Vienna Opera, the oldest theatrical institution with an unbroken record of performing in the German-speaking world, goes back to the beginning of the 18th century. A number of new operas were performed in Vienna during the 47-year-long reign of Emperor Leopold I, who was a composer as well a ruler. The architects Eduard van der Nüll (1812-1868) and August Sicard von Sicardsburg (1813-1868), awarded first prize by the reviewing committee, had chosen for their prize-winning project the motto: "Fais ce que dois, advient que pourra."

Neither architect, namely, survived to see opening of the new house on 25 May 1869. Following the destruction of the opera house on 12 March 1945 due to the effects of war, there was no doubt that the facade should be restored, whereas a faithful restoration of the interior gave rise to differences. The reopening of the opera house was celebrated on 5 November 1955.

Company

Wiener Staatsoper ballet company comprises two companies and has a 100-strong roster plus a glittering collection of guest artists. Most of the 100 strong ensemble are graduates of the company’s own school which has a soviet type training regime.

The director of the ensemble and artistic director of the Ballet of the Vienna State Opera is Hungarian-born Austrian Gyula Harangozó. He enjoys an international reputation in several areas: as a highly regarded former dancer, whose career evolved primarily at the Budapest State Opera, the Bavarian State Opera and the Vienna State Opera; as a successful ballet manager; as the director of many years of the Hungarian National Ballet, which also performs at two theatres; and finally as a producer of ballet classics, and as a choreographer. He is assisted by Simone

Wohinz as managing director; the ballet master and deputy ballet director for artistic concerns at the Volksoper Wien is Michael Kropf.

It is Gyula Harangozó’s declared intention is to build up a solid repertoire consisting primarily of major ballets d’action by recruiting a number of new dancers and using guest solo dancers to boost the ensemble. Ballet masterworks will also have their place in the repertoire, as will new pieces developed specially for the ensemble. With this new policy, the restructured ensemble is preserving a centuries-old tradition that Viennese ballet – as one of the oldest and most legendary institutions for this art form – can look back on.

Ballet (dancers) – Australians in the Ballet

Marie-Claire D'lyse Born in Brisbane. After training in her hometown she was further schooled in ballet at the Ballettschule der Wiener Staatsoper.In 1997 she joined the Queensland Ballet Company .In 2000 she joined the Ballett der Wiener Staatsoper .In 2009 she was promoted to half- soloist. D,lyse has danced many soloist roles including Myrtha in Giselle, Mizzi in Mayerling, Spanish dancer in Swanlake.

Coppelia

Act I - The curtain rises on the square of a small European town several hundred years ago. A lovely young girl, Coppelia, is seen sitting on a balcony reading a book as Swanilda enters. Swanilda looks up at the girl, tries to attract her attention, but receives no reply. Franz, Swanilda's lover, comes into the Square and blows a kiss to the beautiful Coppelia. She ignores him too, and continues unconcerned with her book. However, Swanilda has seen these attentions of her lover to another pretty girl, and Franz is a very busy young man assuring Swanilda that he is not faithless and his affections are hers alone. Still jealous, Swanilda refuses to believe him and runs away as a group of young people interrupts their quarrel.
The Burgomaster enters to announce that at a celebration the following day the Lord of the Manor will present dowries to all couples who wish to marry. Asked if she will marry Franz, the pouting Swanilda puts a sheaf of corn to her ear. Thus, according to old custom, the corn will tell her if her lover is faithful or not. Sadly, she says the ear is silent. The other couples, however, are delighted at the Burgomaster's good news and dance until night falls when they must leave for home. Dr. Coppelius comes out, locks his door, and is immediately swirled away by a boisterous band of revelers. In the excitement he drops the key to his shop. Swanilda and her friends appear, and, finding the key, they are filled with curiosity about the strange Doctor and enter his shop. Dr. Coppelius returns, sees his door open and darts in. Franz enters carrying a ladder which he uses to climb on to Coppelia's balcony.

Act II - The curtain rises on the dimly-lit interior of Dr. Coppelius' shop -- a room full of life-like, life-size dolls. Swanilda pokes her head into an alcove to discover Coppelia. Someone jars a Chinese doll who dances until its clockwork runs down. The amazed young intruders then wind up all the dolls who dance as the friends watch, enchanted. Suddenly, a furious Dr. Coppelius enters and culprits flee, except Swanilda. She runs into the alcove where Coppelia is kept. At the same time, Dr. Coppelius apprehends the faithless Franz entering by the window. Franz pleads his love for the beautiful Coppelia. Dr. Coppelius pretends to listen with interest while he entices Franz with several well-doctored drinks. When the unsuspecting Franz passes out, Dr. Coppelius brings what he thinks is his fabulous doll Coppelia from her alcove. However, it is Swanilda who, overhearing Franz's declaration of love for Coppelia, has changed places with the doll. The Doctor makes some magical gestures over Swanilda as she awkwardly rises to dance. The deluded Dr. Coppelius believes his puppet has come to life.
Swanilda dances on and on, creating havoc in the room and upsetting all the Doctor's work. Franz, who has just revived, dashes out of the room chased by Dr. Coppelius. Eluding the Doctor, Franz returns to watch the proceedings with glee until, finally, he and Swanilda run out leaving the shop in a shambles. Dr. Coppelius returns to discover the figure of Coppelia lying in her chair, divested of clothes, and realizes that he has been deceived.

Act III - The curtain rises on the final act which is again set in the village square. Franz and Swanilda, now reconciled, approach the Burgomaster to receive their dowries and be married. Dr. Coppelius storms in, accusing the lovers of destroying his life's work. Swanilda, realizing the justness of his claim, offers him her dowry, but the Burgomaster gives Dr. Coppelius a bag of gold and sends him off. The townspeople then participate in the fete which unites Swanilda and Franz in a happy marriage.

day 13 - Vienna

BEYOND THE CURTAIN

Breakfast at leisure and the end of your tour.