Power Center For The Performing Arts Ann Arbor, Michigan
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN
of The Great Theatre of Warsaw
ROBERT SATANOWSKI, General Director MARIA KRZYSZKOWSKA, Artistic Director
Wednesday Evening, October 28, 1987, at 8:00
Power Center for the Performing Arts
Ann Arbor, Michigan
Principals and Soloists
Kama Akucewicz Anna Bialecka
Beata Nowinska Anita Pietuewicz
Elwira Piorun Renata Smukala
Bogdan Cholewa Zdzislaw Cwioro Robert Glumbek
Lukasz Gruziel Jerzy Kosjanik Mariusz Malecki Arkadiusz Stepien boguslaw tuznik
Guest Artists: Olga Likhovskaya and Waldemar Wolk-Karaczewski
Ewa Aksamitowska Ewa Borek Malgorzata Borys Zdzislawa Borzecka Malgorzata Ccndro Malgorzata Cholcwa Elzbicta Cyran Malgorzata Ejchlcr Malgorzata Falkowska Marck Fiertek Iwona Froclich Danuta Gaszynska Wojcicch Glowacki Radziwil Gogol Elzbicta Gowarzcwska Elzbicta Gruziel Jolanta Grygolowicz Bcata Grzcsinska Malgorzata Harmaciriska
Miroslaw Kalcmba Violetta Klimczewska Jaroslaw Klos Barbara Klusek Daria Kochariczyk Jolanta Kowalczyk Bcata Krajewska Ewa Krasnodebska Joanna Kucharck Beata Kulik Roman Kucharczyk Katarzyna Kwasnicwska Julitta Lubiriska Marck Makowiecki Iwona Malinowska Ilona Molka Katarzyna Pazio Ewa Puchalska Malgorzata Rykier
Robert Sarnccki Roman Slomski Krzysztof Slori Urszula Smakulska Krzysztof Stoiriski Barbara Sulkowska Renata Szulc Robert Szymariski Wojcicch Warszawski Edyta Wasilewska Iwona Wasilewska Halina Wisnicwska Artur Wojtasik Ewa Wqjcik Izabella Zagorska Jan Zdanowicz Barbara Zclazny Miroslaw Zydowicz
Pawel Chynowski, Assistant Director; Zbignicw Juchnowski, Assistant Ballet Master
Teachers and Repetiteurs: Evgenij Kosmcnko, Teresa Memches, Krystyna Poplawska, Kalina Schubert, Flora Tchernenko
Danuta Rzazewska, Rehearsal Pianist Witold Kiwacz and Bozena Zielinska, Administrative Assistants
Eleventh Concert of the 109th Season Seventeenth Annual Choice Series
Romantic Ballet in Two Acts
Music: Adolphe Charles Adam (1803-1856) Libretto: Theophilc Gautier and Jules-Henri Vernoy de Saint-Georges
Choreography: Jean Coralli and Jules Perrot (1841)
Production staged by: Anatolij Gridin and Irina Mikailitchenko
(After the Leningrad Kirov Ballet Production of Konstantin Sergeyev)
Designer: Andrzej Majewski Tour Lighting Designer: Tom Hcnncs
Tape Recording: The Orchestra of The Great Theatre of Warsaw
Robert Satanowski, Music Director; Maciej Gawin-Nielsiolowski, Conductor
Premiere: February 15, 1976, Warsaw
Giselle, a peasant girl ............................................... Anna Bialecka
Albrecht, Duke of Silesia .......................................... Bogdan Cholewa
Berthe, Giselle's mother ......................................... Ewa Krasnodebska
Hilarion, a game-keeper........................................... Robert Glumbck
The Prince of Courland.......................................Zbigniew Juchnowski
Bathilde, the Prince's daughter, the Duke's fiancee............... Malgorzata Falkowska
Wilfrid, the Duke's Squire ........................................ Boguslaw Tuznik
Myrtha, Queen of the Wilis................................... Elzbieta Kwiatkowska
Pas de deux, Act I ............................. Kama Akuccwicz, Arkadiusz Stcpieri
Two Wilis ................................. Malgorzata Falkowska, Anita Pictrcwicz
Giselle's friends, Vine-gatherers, Huntsmen and Wilis .................. The Company
The action of Giselle takes place in and around a small village in rural France.
Count Albrecht, in love with Giselle, a village girl, goes to see her disguised as a simple man. Giselle does not suspect the young man, whom she loves, to be a count. Her other admirer, the forester Hilarion, warns her that Albrecht is not what he says he is, but Giselle does not heed his advice. When everyone departs, Hilarion enters Albrecht's home and steals his sword emblazoned with the count's armorial bearings.
The sound of the horn announces the approach of hunters, including Albrecht's fiancee Bathilde, and her father. The hunters stop at the village for a repast and rest. Bathilde, enchanted with Giselle's beauty and serene charm, gives her a necklace.
While the villagers are celebrating the harvest festival, Hilarion arrives and, accusing Albrccht of deceit, produces the count's sword. Giselle refuses to believe that she has been cheated. Hilarion blows the horn, and Bathilde appears before her embarrassed fiance. The truth is a great shock to Giselle, who falls unconscious and dies.
It is midnight. Hilarion has come to Giselle's grave. He is dismayed at seeing the wilis, which arise every night from the graves and make anyone who happens to be at the cemetery dance until he drops from exhaustion.
Myrtha, the queen of the wilis, summons Giselle from her grave in order to receive her among her ethereal companions. Albrecht is approaching Giselle's grave. Giselle, moved by his remorse and mourning, appears before her lover. Their faces shine with happiness. Surrounded by the vengeful wilis, Hilarion rushes in. When, in his mad whirling, he drops unconscious, the wilis push his body down into the lake. Albrccht, too, finds himself for a moment under the spell of the wilis when Myrtha orders him to start his murderous dance. Giselle entreats Myrtha to forgive Albrecht, but the wilis know no compassion.
It is almost dawn now, and the spell cast by the wilis does not work any more. They arc vanishing into the morning mist. Giselle and Albrecht have to part again, and Giselle bids him farewell, but her memory will live on in Albrecht in a love stronger than death.
Giselle, first choreographed by two outstanding French balletmasters to the music of Adolphe Adam, was premiered at the Paris Opera on June 28, 1841, and has come to represent the essence of romantic style in ballet. Based on an old Slavic legend, it is the story of young brides who died tragically before their wedding days could take place, but who, as spirits, return by night to dance temptingly before their young men.
In Poland, the first performance of Giselle took place in 1848 at the Great Theatre of Warsaw, prepared by Roman Turczynowicz. This version was in the Warsaw Ballet for twenty years. Enrico Cecchctti revived Giselle at the Great Theatre in 1903 according to the version created by Leningrad's famed Kirov Ballet, which was itself based on the choreography of Marius Petipa. In 1960, Konstantin Scrgeyev and Natalia Dudinska produced and starred in Giselle in the Great Theatre. Sergeyev is considered one of the most important creators in the lyric ballet tradition. Trained in Leningrad, his performances in Giselle, Sleeping Beauty, Swan Lake, Romeo and Juliet, and many other ballets won him worldwide acclaim. Though retired as a performer, Sergeyev has continued his association with the Kirov Ballet as choreographer and balletmaster and holds many prestigious state awards and titles for his contributions to dance. It is Sergeyev's Kirov version of Giselle that is performed this evening, based on the choreography of Russian balletmasters Anatolij Gridin (Act I) and Irina Mikailitchenko (Act II), who drew their inspiration from the great Russian ballet tradition as embodied in the classic works of Marius Petipa.
Many famous ballerinas have danced the role of Giselle in Warsaw. Among them are Carlotta Grisi, Nadczhda Bogdanova, Anna Pavlova, Carla Fracci, Nadezdha Pavlova, and Maria Krzysz-kowska, who is currently the artistic director of the Warsaw Ballet.
About the Artists
Founded by the royal court of Poland at the end of the eighteenth century, the Warsaw Ballet ranks as one of the oldest and most distinguished classical ballet ensembles in the world. The current season marks the first visit to North America by this company, which celebrated its 200th anniver?sary in 1985. The ensemble's home is the Great Theatre of Warsaw, one of the largest and best-equipped theatre facilities in Europe. Rebuilt after the devastation of World War II (only the Corazzi facade survived), the Great Theatre performs the dual task of combining Poland's historic cultural traditions with the best of international and national music, theatre, and dance.
Dedicated to preserving the original choreography of the traditional classical ballet, the Warsaw Ballet explores contemporary choreography as well, performing works by Balanchine, Ashton, Bejart, Tetley, and others. Touring extensively each season throughout Europe, the company has performed in Germany, Czechoslovakia, Italy, Romania, Belgium, Denmark, Monte Carlo, the Soviet Union, and at the Edinburgh Festival in Scotland.
Robert Satanowski was appointed general director of the Warsaw Opera and Ballet in 1981. He has held many honored positions, including conductor of the Komischc Oper in East Berlin, chief artistic director of the Orchestra and Opera Chemnith, general and artistic director of the State Philharmonic in Poznan, and director of the State Opera in Wraclaw. In addition to his work in Poland, Mr. Satanowski has toured extensively as a guest conductor with the symphony orchestras and operas of Dresden, Berlin, Budapest, Moscow, Geneva, Paris, Oslo, Vienna, Brussels, and many others. He has made a number of recordings with the Poznan Symphony Orchestra, the National Philharmonic in Warsaw, and the Poznan Chamber Orchestra, which he founded in 1962.
Maria Krzyszkowska is the artistic director of the Warsaw Ballet, a position she has held since 1970. In 1965 she was the prima ballerina of the Warsaw Ballet, and her performing career took her across Poland as well as abroad with performances at the Bolshoi Theatre, the Monte Carlo Opera, and other major European houses. Among her leading roles were Odette-Odile in Swan Lake, Kitri in Don Quixote, the title role in Giselle, and the soloist in the great classic Polish ballet Pan Twardowski. Ms. Krzyszkowska has sat on the juries of international ballet competitions in Varna, Moscow, Tokyo, Osaka, Helsinki, and the United States, and presides over thejury of the Polish Competition of Dance and Choreography in Gdansk. Born in Warsaw, she has been awarded the highest decorations and distinguished prizes of her native country.
Anna Bialecka (Giselle) was bom in Warsaw and studied at the Warsaw Ballet School. She joined the Ballet in 1974, was promoted to the rank of soloist in 1978, and became a principal dancer in 1987. Her repertoire features the title role in Giselle, the Lilac Fairy in The Sleeping Beauty, Mrs. Twardowski and the Queen of the Orient in Pan Twardowski, the Bride in Harnasie, the title role in Stanislas and Anne Oswiecim, a leading role in Love and Pain and World and Dream, Senorita in La Ventata, Pas de trois in Swan Lake, and roles in Sheherazade, Masquerade, Adagio Hammerklavier, Bits and Pieces, Don Giovanni Variations, After Eden, Miss Julie, Phaedra, and others.
Bogdan Cholewa (Albrecht) was born in Brenna, Poland, and studied at the Bytom State Ballet School. He joined the Warsaw Ballet in 1980 and in 1982 won Second Prize at the Polish National Ballet Competition in Gdansk. He became a soloist in the Warsaw Ballet in 1982, spent the 1983-84 season with the Lyon Ballet in France, and then returned to the Warsaw Ballet. Since 1986 he has been a principal dancer, performing leading roles which include Colas and Alain in La Fille mal Gardee, Albrecht and Pas dc deux in Giselle, Pas de trois in Swan Lake, Blue Bird in The Sleeping Beauty, the title role in Romeo and Juliet Pas de deux, the Devil in Pan Twardowski, the Devil in The Soldier's Tale, and many others.
Robert Glumbek (Hilarion) was born in Sobotka, Poland, and studied at the Bytom State Ballet School. Joining the Warsaw Ballet in 1984, he was promoted to the rank of soloist in 1986. His repertoire includes leading roles in Love and Pain and World and Dream, Insatibility, Sivan Lake, Harnasie, Pan Twardowski, Graduation Ball, Giselle, as well as roles in Suite en blanc, Serenade, Adagio Hammerklavier, Ostinatio detcnninare, Bits and Pieces, and After Eden,
Elzbieta Kwiatkowska (Queen of the Wilis) was born in Warsaw and studied at the Gdansk State Ballet School. She joined the Warsaw Ballet in 1983 and was promoted to the rank of soloist in 1986. Her repertoire includes Myrtha in Giselle, the Lilac Fairy in The Sleeping Beauty, La Sylphidc in Graduation Ball, Soledat in The Afternoon Siesta, Cigarette in Suite en blanc, and roles in Rara avis, Love and Pain and World and Dream, Adagio Hammerklavier, Bits and Pieces, Don Giovanni Variations, Insatibility, and Swan Lake.
PAGART, State Concert Agency of Poland
Wlodzimicrz Sandecki, General Director of PAGART
Barbara Sliwinska, Director of Opera and Ballet Department
Anna Dolgolewska, Tour Company Manager
Marian Stasiak and Jacek Gnoiski, Technical Assistants
Andrzej Nowolski, Carpenter
In the belief that increased understanding brings increased pleasure, the University Musical Society is pleased to offer these Pre-concert Presentations to our concertgoers through December -all will be held in the Rackham Building on East Washington Street.
Wednesday, Nov. 11 at 7:00, preceding Vienna String Trio
Speaker: Norman Fischer Topic: Chamber Music: A Listener's Feast
Associate Professor of Music, Obcrlin College; former cellist of Concord String Quartet
Friday, Nov. 20 at 7:00, preceding Elena Obraztsova, mezzo-soprano
Speaker: Leslie Guinn Topic: Between Studio and Stage: Exploring the Singer's World Professor of Voice, Director of the Division of Vocal Arts, U-M
Thursday, Dec. 10 at 7:00, preceding The Swingle Singers Speaker: Donald Bryant Topic: Humor in Music Choral Union Conductor, Musical Society; Director of Music, First Presbyterian Church
These presentations arc open to the public at S3 per person, with tickets available at the door; complimentary admission to Encore and Cheers! members and students with valid I.D. cards. (For information about joining Cheers! or Encore, call 764-8489.)
Western Opera Theater, "Don Pasquale" .................. Thurs. Oct. 29
Oslo Philharmonic OrchestraMariss Jansons ..............Sun. Nov. 8
Berlioz: "Roman Carnival" Overture; Tchaikovsky:
Fantasy-Overture, "Romeo and Juliet"; Geirr Tviett: "Folk Tunes of
Hardanger"; Sibelius: Symphony No. 2 Vienna Strinc; Trio ........................................ Wed. Nov. 11
Haydn: Trio, Op. 53; Dohnanyi: Serenade, Op. 10; Beethoven: Trio,
Op. 9, No. 1 Elena Obraztsova, Mezzo-soprano ............................ Fri. Nov. 20
Songs of Tchaikovsky and Rachmaninoff Vienna Choir Boys ........................................ Sun. Nov. 22
Johann Schenk: Comic Operetta, "Dorfbarbicr" (Cure for Quacks);
and music of Buxtehudc, Verdi, Schubert, Kodaly, and Johann
Handel's "Messiah'VDoNALo Bryant, Conductor ........... Fri.-Sun. Dec. 4-6
The Swingle Singers ...................................... Thurs. Dec. 10
Pittsburgh Ballet, Tchaikovsky's "Nutcracker" ........ Fri.-Sun. Dec. 11-13
Horacio Gutierrez, Pianist................................... Wed. Jan. 13
Kodo (Japanese "taiko" drummers) ............................... Fri. Jan. 15
Empire Brass Quintet ....................................... Mon. Jan. 25
Empire Brass & Douglas Major, Organist .................... Tues. Jan. 26
New York City Opera National Company ................ Thurs. Feb. 4
Rossini's "The Barber of Seville"
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109-1270 Telephone: (313) 764-2538