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Slovene National Theatre Maribor

Edward Clug, Igor Stravinski

Les noches / Le sacre du printemps

Les noces & Le sacre du printemps
Choreographer: Edward Clug

Schedule

11.07.2022 at 21:00 Festival Ljubljana, Ljubljana
Premiere: 8 April 2022, Grand Hall

The Rite of Spring (Le sacre du printemps) is a cult musical work of the 20th century, representing not only a turning point in the musical poetics of Stravinsky as a composer but also a turning point in music history. Moreover, through this work, we follow the evolution of dance in the 20th century, from the first 1913 rendition by Vaclav Nijinsky in Paris to the present day. Therefore, it is no surprise that Edward Clug’s staging draws its inspiration from Nijinsky’s original dance creation, which was considered (too) hermetic and "disturbingly” provocative at the time. Clug’s choreography of the Rite of Spring can thus be viewed as a tribute to Nijinsky and his infamous debacle after the Paris premiere, which became a dynamic foundation for further development of modern dance in the 20th century.

Clug's interpretation of The Rite of Spring remains, in essence, faithful to the musical structure and the original libretto, which derives from a pre-Christian legend set in pagan times in Russia. Legend has it that the ritual of sacrificing entails dancing of a virgin until her death. The life of a virgin is thus a tribute to a spring deity to increase the earth's fertility. In iconographic terms, the play relates to ethnographic symbols of ancient Russian legend: women with long braided hair and red cheeks and men with beards – two sexual symbols of man and woman, isolated in modern times and the space in which the "consecration” of spring will take place.

At about the same time that The Rite of Spring (1913) saw the light of day, Stravinsky was preparing sketches for another ballet dedicated to ballet impresario Sergei Diaghilev and his group Ballets Russes. The composition, however, which Stravinsky called Les noces (The Wedding) with the descriptive subtitle "choreographed scenes with music and singing”, required many years of genesis until its premiere on 13 June 1923. After the initial sketches and extract of the music score, completed in October 1917 and first choreographed by Bronislava Nijinska, Stravinsky devoted himself to preparing the libretto, based on several folk wedding texts, which he found in the collection of folk songs by Peter Kireyevsky from 1911. The majority of the songs used by Stravinsky are from the southern and western parts of Russia, which reflect the authenticity of traditional local practices. Namely, in the time of holidays and other vernacular festivities, local singers did not sing lyrics to specific melodies but composed short excerpts of lyrics and melodies arbitrarily and randomly. Thus, even in The Wedding, excerpts from wedding songs, exclamations, and jokes are randomly connected, making the libretto closely linked to vernacular speech, in which the deep and archaic layers of Russian folklore are revealed.

After a long process of refining the orchestration, Stravinsky finally decided on four singing soloists, a mixed choir, two percussion groups (either with indeterminate or determinable pitch), and four pianos, which are usually replaced by the orchestra in modern performances. The very structure of the ballet, which is – in terms of music – based on a distinct rhythm and emphasized "percussion mechanics," is outlined in two parts and demarcated into four scenes – Braids, At the Groom’s Homestead, Bride’s Farewell and Wedding Celebration. As the title suggests, it is a wedding ritual that was arranged in advance by the families of the bride and groom. The strict boundaries of the rural community are illustrated in Stravinsky’s music by rhythmic repetition and ascetic rigidity, which are juxtaposed to the young couple’s uncertain feelings in the run-up to the wedding. Through the dance narrative, various episodes of the ritual are presented, during which the bride and groom feel like victims before the communion of their families – which is also an interesting resemblance to the central sacrificial motif of the Rite of Spring. However, with the increased intensity of music and dance, the passion between the two begins to kindle, and the barrier between the man and the woman disappears. Finally, when all fears are banished, the newlyweds move on to start a new life.

Cast

Conductor: Simon Krečič

THE WEDDING

Solo voices
Andreja Zakonjšek Krt, soprano
Dada Kladenik, contralto
Tim Ribič, tenor
Janko Volčanšek, bass

Dancers
Bride Monja Obrul, Catarina de Meneses
Bridegroom Tamas Darai, Jan Trninič
Bride's mother Evgenija Koškina, Tijuana Križman Hudernik 
Bridegroom's father Sergiu Moga, Gaj Žmavc
The false bride Sytze Jan Luske, Lucio Mautone

Tijuana Križman Hudernik, Beatrice Bartolomei, Asami Nakashima, Ema Perić, Mirjana Šrot, Olesja Hartmann Marin, Mina Radaković, Tea Bajc, Hristina Stojčeva, Satomi Netsu

Andrea Schifano, Yuya Omaki, Davide Buffone, Matteo Magalotti, Tomaž Abram Viktor Golub, Lucio Mautone, Christopher Thompson, Tim Dolinšek, Maro Vranaričič*
*Konservatorij za glasbo in balet Maribor

Slovene National Theatre Maribor Symphony Orchestra
Maribor Opera Chorus
Maribor Ballet Ensemble

Artistic team
Assistant Choreographer Gaj Žmavc, Costume Designer Leo Kulaš, Set Designer Marko Japelj, Lighting Designer Tomaž Premzl, Chorus-mistress Zsuzsa Budavari Novak

THE RITE OF SPRING

The chosen one  Evgenija Koškina, Asami Nakashima

Tijuana Križman Hudernik, Catarina de Meneses, Asami Nakashima, Mirjana Šrot, Olesja Hartmann Marin, Monja Obrul, Ema Perić, Beatrice Bartolomei, Mina Radaković, Tea Bajc

Sytze Jan Luske, Yuya Omaki, Jan Trninič, Davide Buffone, Matteo Magalotti, Tomaž Abram Viktor Golub, Tamas Darai, Andrea Schifano, Lucio Mautone, Christopher Thompson

Slovene National Theatre Maribor Symphony Orchestra
Maribor Ballet Ensemble

Artistic team
Assistant Choreographer Gaj Žmavc, Costume Designer Leo Kulaš, Set Designer Marko Japelj, Lighting Designer Tomaž Premzl, Sound Designers Gregor Mendaš, Gorazd Vever

Photo gallery

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Svatba <em>Photo: Tiberiu Marta</em>

Svatba Photo: Tiberiu Marta

Posvetitev pomladi <em>Photo: Tiberiu Marta</em>

Posvetitev pomladi Photo: Tiberiu Marta

Posvetitev pomladi <em>Photo: Tiberiu Marta</em>

Posvetitev pomladi Photo: Tiberiu Marta

Posvetitev pomladi <em>Photo: Tiberiu Marta</em>

Posvetitev pomladi Photo: Tiberiu Marta

Posvetitev pomladi <em>Photo: Tiberiu Marta</em>

Posvetitev pomladi Photo: Tiberiu Marta

Posvetitev pomladi <em>Photo: Tiberiu Marta</em>

Posvetitev pomladi Photo: Tiberiu Marta

Posvetitev pomladi <em>Photo: Tiberiu Marta</em>

Posvetitev pomladi Photo: Tiberiu Marta

Posvetitev pomladi <em>Photo: Tiberiu Marta</em>

Posvetitev pomladi Photo: Tiberiu Marta

Posvetitev pomladi <em>Photo: Tiberiu Marta</em>

Posvetitev pomladi Photo: Tiberiu Marta


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