UMS Concert Program, October 26, 1988: Royal Ballet Of Flanders --

Season: 110th
Concert: Seventh
Power Center For The Performing Arts Ann Arbor, Michigan

THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN
Royal Ballet of Flanders
ROBERT DENVERS
Artistic Director
Wednesday Evening, October 26, 1988, at 8:00
Power Center for the Performing Arts
Ann Arbor, Michigan
Principal Dancers
Maria Teresa del Real
Pablo Savoye
Soloists
Dawn Fay Ena Nauanjo
ViNCIANE GHYSSENS
Edwin Mota
Lenka Jarosikova Christian Poggioli
Demi-Soloists
MiCHELE GOYENS
Paul Lewis
Hilde Van de Vloet Serge Van de Voorde
Corps de Ballet
Maric-Laure Agrapart Corinne Blondcl Bernice Coppietcrs Mieke Delanghe Patricia Dugast Larisa Fanlo Isabellc Germonpre Kathleen Huybrcchts
Nathalie Labro Franziska Pfister Lara Radda Etsuko Sumii Sharon Van Berckclacr Antonio Calvctti Patrice Delay
Raffaclc Di Antonio Gideon Louw Branko Moeys David Rcgcffc Chris Roelandt Pascal Sani Robert Sjoukc Lars Van Cauwcnbcrgh
Marcel Van Der Bkuc;c;en, President of the Board
Jan Vanderschoot, General Director
Nora Van Dessel, Public Relations
Touring Staff
Patricia Van Puyvcldc, Company Stage Manager
Christianc Latrc, Coach Claire Vcrcccken, Wardrobe Mistress
Johan Bielen, Patrick Engcls, Dirk Gecns, Hugo Vandcrhovcn, Technicians
The Royal Ballet of Flanders is represented by Columbia Artists Management, Inc., New York. Seventh Concert of the 110th Season Eighteenth Annual Choice Series
PROGRAM
VARIATIONS (First performance February 1979 by the Ballet of the Paris Opera)
Choreography: Violettc Vcrdy
Music: Johannes Brahms, "Variations on a Theme by Paganini" Lighting: Beni Momresor Rtpetiteur: Christiane Latrc
A classic abstract ballet for four couples.
Vinciane Ghyssens Lenka Jarosikova Michele Goycns Etsuko Suniii Robert Sjouke Chris Roelandt Lars Van Cauwcnbergh Christian Poggioli
Even without a story line, this ballet presents the viewer with a wide range of emotional nuances, the pure joy of the dance, and the delight of ensemble dancing -it radiates youthful happiness. The choreography displays a witty and quicksilver technique paired with a subtle musi-cality, qualities for which Violette Vcrdy herself was widely praised during her own dance career.
TCHAIKOVSKY PAS DE DEUX
Choreography: George Balanchine Music: Peter Ilyich Tchaikovsky
Maria Teresa del Real
Pablo Savoye
Created by Balanchine for the New York City Ballet, this is a brilliant, bravura pas de deux, belonging to the grand tradition of Don Quichotte, Le Corsaire, and the black Swan. It is a superb showcase for the power, style, and virtuosity that make a great classic dancer.
SYMPHONY IN D
(First performance October 1976 by the Netherlands Dance Theater)
Choreography: Jiri Kylian Costumes: Tom Schcnk
Music: Joseph Haydn Lighting: Joop Cahoort
Staged by: Arlcttc Van Boven
Franziska Pfister Kathleen Huybrechts Vinciane Ghyssens Nathalie Labro
Mieke Delanghe Maric-Laure Agrapart Isabelle Germonprc Larisa Fanlo
Raffaelc Di Antonio Paul Lewis Gideon Louw Serge Van dc Voorde
Patrice Delay Chris Roelandt Robert Sjouke Lars Van Cauwenbergh
There is no other ballet by Jiri Kylian that is so consistently different at every viewing than his hilarious Syntplwtiy in D. Originally composed in two parts, he later added a third and at the same time changed elements of the existing ballet. The public and the press were overjoyed, for they had asked for an extended version ever since the first performance. Subsequently, the choreographer even added a fourth part.
The name of the ballet is taken from the music of the first two parts -the Symphony in D by Joseph Haydn, also known as "The Clock." The music of the third part is taken from the Haydn symphony known as "The Hunt," which is mirrored in the highly amusing hunting scene on the stage. The last part again uses music from yet another Haydn symphony.
Symphony in D is an extremely good-natured parody of the ballet business, in which numerous conventions and quirks of the dance world are treated in a highly entertaining manner. And, with all the humor, we must not forget that Symphony in D is, in every way, a choreographic masterpiece, demanding the greatest technical proficiency of its dancers.
INTERMISSION
DON QUIXOTE, ACT III (First performance October 1987 at the Royal Flemish Opera, Antwerp)
Choreography: Rudolf Nurcyev, after Marius Petipa
Music: Ludwig Minkus, new version by John Lanchbery
Libretto: Based on the novel El ingenioso hidalgo don Quijote de la Mancha
by Miguel de Cervantes Saavedra
Costumes: Anna Anni Lighting Design: Roger Bernard
Decor and Conception: Roger Bernard, after drawings by Alain Vaes
Rehearsal Coach: Richard Nowotny
Cast
Kitri..................................................................Dawn Fay
Basilio..........................................................Christian Poggioli
Doi Quixote........................................................Branko Moeys
Sancho Panza...................................................Raffaelc Di Antonio
Gamache...............................................................Paul Lewis
Lorenzo.............................................................Gideon Louw
Espada..............................................................Edwin Mota
Two Friends...................................Vinciane Ghyssens and Michcle Goyens
Eredame solo....................................................Hilde Van de Vloet
Fandango solo.....................................Lcnka Jarosikova or Chris Roelandt
Waiter...............................................................Patrice Delay
Fandango ensemble: Nathalie Labro, Franziska Pfistcr, Micke Delanghe, Kathleen Huybrechts,
Sharon Van Berckelaer, Corinne Blondel, Serge Van de Voorde, Pascal Sani, Robert
Sjouke, Antonio Calvctti, David Rcgcffe, Patrice Delay Dames d'honneur: Lara Radda, Patricia Dugast, Larisa Fanlo, Isabelle Gcrmonpre, Bcrnice
Coppietcrs, Etsuki Sumii, Maric-Laure Agrapart
Scene I -The Inn
Kitri and Basilio have found refuge in a tavern and celebrate with friends. But Lorenzo, Gamache, Don Quixote, and Sancho Panza track them down. Lorenzo is determined to marry his daughter to Gamache.
The two lovers are close to despair when Basilio invents a ruse, pretending to commit suicide. Kitri begs Don Quixote for assistance, and he obliges Lorenzo to reunite his daughter with the dying Basilio.
As soon as the innkeeper has given his consent, Basilio springs to his feet. Gamache is so outraged at this charade that he challenges Don Quixote to a duel, which, however, he loses.
Scene II -The Marriage
Kitri and Basilio arc married, and they perform the famous Pas de Deux, known to dance audiences throughout the world. During the festivities, Don Quixote and Sancho Panza take their leave and go in search of new adventures.
About the Artists
The Royal Ballet of Flanders, Belgium's preeminent ballet company, now returns for its fourth tour of the United States and its second visit to Ann Arbor, where the University Musical Society presented the company for two performances in 1981.
Founded in 1969 as the National Ballet of Flanders by former director Jeanne Brabants, the National Ballet of Flanders gave 153 performances during its debut season and, within a short period of time, came to international attention at the Athens Summer Festival. Continued foreign tours, coupled with active appearances throughout Belgium, brought increasing ac?claim and distinction until 1976, when the company was given royal status by King Badoin and Queen Fabiola of Belgium and renamed the Royal Ballet of Flanders. Since then, the company has made many tours throughout Europe, North and South America, and Mexico. In 1982, they became the first Belgian artistic emissaries to perform in mainland China and returned to perform there again in 1987.
Until this company was formed, the only ballet company in Antwerp was part of the Royal Flemish Opera. The first members of the new company were, in fact, the ballet corps of the Opera, complemented with members of the Municipal Ballet Institute (Antwerp's ballet school, also founded by Mme Brabants) and guest dancers from other countries.
Jeanne Brabants led the company until her retirement in 1984. This initial period saw the creation of more than 100 different ballets, chosen from among the best works of international choreographers such as Sir Frederick Ashton, George Balanchine, Maurice Bcjart, John Butler, John Cranko, Jiri Kylian, Ninette de Valois, Birgit Cullbcrg, Agnes de Mille, Robert Cohan, Flemming Flindt, and Hans von Mancn, as well as ballets by Mmc Brabants herself and Belgian Andre Leclair, among other young and talented Belgian choreographers.
In 1984, the famous Russian dancerchoreographer Valcry Panov became artistic director, giving the company an entirely new character in its choreographic repertoire. Accentuating the technical prowess of his principal dancers, Panov's style is characterized by dramatic fervor and theatricality, much in the style of the Kirov and Bolshoi ballets by which he was influenced.
Robert Denvers joined the Royal Ballet of Flanders in January 1987 as its new artistic director. A famous dance teacher with vast experience in the world's most famous and pres?tigious ballet companies, Denvers' working experience with great choreographers has brought a wider knowledge of repertoire, technique, and training than the Royal Ballet had previously experienced, resulting in more expansive plans for the company's future activities. Now inter?national in scope, the ensemble boasts dancers from as many as twelve different countries, in addition to its own Flemish core.
In addition to its international tours, the Royal Ballet of Flanders maintains full seasons throughout Belgium. A smaller troupe continues as the official ballet of the Royal Flemish Opera and the Royal Opera of Ghent, and plans are accelerating for the discovery and training of potential young ballet stars from the Flanders area of Belgium.
Robert Denvers, now in his second year as artistic director of the Royal Ballet of Flanders, is known throughout the dance world as one of its most capable and imaginative directors. Born in Antwerp in 1942, he was a member of Maurice Bejart's Ballet of the Twentieth Century from 1963 to 1973, leaving the company as a soloist to join the National Ballet of Canada. In 1974, he and Maria Barrios co-founded the Ballet Contemporanco de Camara in Caracas, Venezuela. Before returning to Brussels in 1977 as teacher and assistant director of the Ballet of the Twentieth Century, Denvers specialized in the dance technique of George Balanchine. He returned to New York after one year to continue his study of Bal?anchine's methods and to teach at the Melissa Haydcn Ballet School. In 1979, he established his own studio, the West Side School of Ballet, where many international stars, such as Nureycv, Baryshnikov, Makarova, and Kirkland, taught classes.
Robert Denvers has taught with companies such as the New York City Ballet, American Ballet Theatre, Dallas Ballet, the Royal Swedish Ballet, and the Netherlands Dance Theatre. He is also a regular visitor to the North Carolina School of the Arts and is a teaching associate at the Royal Danish Ballet and the Paris Opera Ballet. In his new position as director of the Flanders Ballet, he seeks to strike a balance between the works of established modern choreog?raphers and the classics, not forgetting his own specialty: the ballets of George Balanchine.
Tomorrow Night The Royal Ballet of Flanders will perform:
Allegro Brillante (BalanchincTchaikovsky) Go! Said Max (Lynnc Taylor-CorbcttRobert Muczynski)
Symphony in D (KylianHaydn) Don Quixote, Act III (NureyevMinkus)
Special Fundraising Gala, Saturday, October 29
"Our Night of Celebration" with Leonard Bernstein and the Vienna Philharmonic
UNIVERSITY MUSICAL SOCIETY Board of Directors
John W. Reed, President
David B. Kennedy, Vice President
Thomas E. Kaupcr, Secretary Norman G. Herbert, Treasurer
Robert G. Aldrich James J. Duderstadt Richard L. Kennedy
Patrick B. Long Judythc R. Maugh
John D. Paul Ann S. Schribcr Herbert E. Sloan
Kenneth C. Fischer, Executive Director
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109-1270 Telephone: (313) 764-2538