Archive detail

Back to overview

Sat. March 1, 2014, 7:30 p.m. - 10:45 p.m. Vienna

Peter Wright / Marius Petipa

Dornröschen

Marius Petipa and P. I. Tchaikovsky transformed the fairy tale by into a ballet which became the apotheosis of a style and a school of ballet developed at the Mariinsky Theatre over the course of half a century. The version of Sleeping Beauty danced by the Wiener Staatsballett has superimposed on it the English interpretation of Sir Peter Wright, which reflects the sublime impression which the Royal Ballet formed of Tsarist Russia.

 
Cast
Synopsis
Gallery
Trailer
  • Philip Prowse  |  Stage and costume design

Liudmila Konovalova | Prinzessin Aurora

Liudmila Konovalova was born in Moscow (Russia). She graduated from Moscow Bolshoi Ballet Academy and joined the Russian State Ballet in 2002. In 2004 she was appointed First Soloist and danced the title roles in „Giselle“, „Don Quixote“, „Schwanensee“, “Dornröschen”, „Der Nussknacker“, „Dance of the hours” and „Paquita”. In 2007 she joined the Staatsballett Berlin and was appointed Soloist in 2009.

In Berlin she performed the title roles in Vladimir Malakhov’s „Dornröschen“, Patrice Bart’s „Schwanensee“ and „Der Nussknacker“, „Scheherezade“ (Fokin) as well as Pierre Lacotte’s „La Vivandière“ and Clark Tippet’s “Violin Concerto“ (Max Bruch Nr. 1) as well as other leading roles in Patrice Bart’s „Giselle“ and „Das flammende Herz“, Vladimir Malakhov’s „Cinderella“ and „La Peri“, „Paquita“ (Petipa), „Flower Festival in Genzano“ (Bournonville) and Frederick Ashton’s „Sylvia“. In 2010 she joined the Wiener Staatsballett as a Soloist. In 2011 she was appointed First Soloist.

In Vienna she performed Odette/Odile in Rudolf Nurejews "Swan Lake", the title role and Bauernpaar in Elena Tschernischovas „Giselle“, Kitri, Königin der Dryaden und Erste Brautjungfer in Rudolf Nurejews „Don Quixote“, Prinzessin Aurora in Peter Wrights „Dornröschen“, Clara in Rudolf Nurejews „Der Nussknacker“, Olga in John Crankos „Onegin“, Titania in Jorma Elos „Ein Sommernachtstraum“, Rudolf Nurejews "Raymonda" (Valse fantastique), Hamsatti in Rudolf Nurejews "Bayadère" (2. Act), Hauptpartien in George Balanchines "Allegro Brillante" and „Thema und Variationen“, Serge Lifars „Suite en blanc“, Jerome Robbins’ „In the Night“, Twyla Tharps „Variationen über ein Thema von Haydn“, Nils Christes „Before Nightfall“, William Forsythes „The Vertiginous Thrill of Exactitude“, Rudi van Dantzigs "Vier letzte Lieder", Jorma Elos „Glow – Stop“, David Dawsons „A Million Kisses to my Skin“, Jirí Bubeníceks „Le Souffle de l’esprit“ parts of Marius Petipas "Die Bajadere" (3. Act) and Victor Gsovskys „Grand Pas Classique“.

She has appeared as guest dancer in many European Countries and overseas. During the Season 2013/14 she joined the Ballet de l`Opera National de Bordeau, the Slovenské národné divadlo, the Teatro dell´Opera di Roma and the Toyko ballet as a guest soloist. She was awarded a diploma for her participation in the Red Cross Gala in Italy and for the Nurejew Festival in Russia. For the ORF DVD production of "The Nutcracker" she danced the mail role of Clara.

Awards and honours: 3rd Place: competition “Young Russian Ballet” in Krasnodar (2004), Special Price from the Serge Lifar Ballet Competition in Kiev (2006), 2nd Place: International Ballet Competition KIBC in Seoul and 1st Place: ÖTR-Contest in Vienna as well as in the Ballet Competition „Premio Roma“ in 2007.

Dagmar Kronberger | Die Fee Carabosse

Dagmar Kronberger was born in Vienna. She was educated at the Ballet School of Österreichische Bundestheater as well as in Monte Carlo. Since 1992 she is a member of Wiener Staatsopernballett where she was appointed Demi-soloist in 1997.

Her repertory comprises the title role in Boris Eifmans „Anna Karenina“, Myrtha, Zulma and Bathilde in Elena Tschernischovas „Giselle“, Zigeunerin in Rudolf Nurejews „Don Quixote“, Grand Pas in Vladimir Malakhovs „Die Bajadere“, Königin, Großer Schwan and Spanische Tänzerin in Rudolf Nurejews „Schwanensee“, Fee Carabosse, Fliederfee and Fee des Ehrgefühls in Peter Wrights „Dornröschen“, Fee des Nordens in Renato Zanellas „Der Nußknacker“, Mutter, Russischer Tanz and Arabischer Tanz in Rudolf Nurejews "Der Nussknacker", Frau Stahlbaum and Orientalischer Tanz in Gyula Harangozós „Der Nussknacker“, Spanischer Tanz in Rudolf Nurejews „Raymonda“, La Brambilla in Maurice Béjarts „Le Concours“, Gräfin Capulet in John Crankos „Romeo und Julia“, Madame Larina in John Crankos „Onegin“, Lescauts Geliebte and Madame in Kenneth MacMillans „Manon“, Audrey in John Neumeiers „Wie es Euch gefällt“, Yvette in Renato Zanellas „Aschenbrödel“, Hippolyta in Jorma Elos "Ein Sommernachtstraum", Blaubarts Mutter in Stephan Thoss' "Blaubarts Geheimnis", Zwillingstochter in Jo Strømgrens „Nussknacker“, the title role in Josef Hassreiters „Die Puppenfee“, solo roles in Ben van Cauwenberghs „Tanzhommage an Queen“, George Balanchines „Die vier Temperamente“ and „Apollo“, Jerome Robbins’ „The Concert“, Kenneth MacMillans „Das Lied von der Erde“, Hans van Manens „Adagio Hammerklavier“, „Große Fuge“, „Bits and Pieces“ and „Black Cake“, Jiří Kyliáns „Petite Mort“, Myriam Naisys „Mokka“, Renato Zanellas „Empty Place“, „Movements“, „Elements“, „Alles Walzer“ and „Bolero“, Jorma Elos „Glow – Stop“ as well as in András Lukács’ „Connection“ and Gräfin Sybille in Rudolf Nurejews "Raymonda" (3. Act)..

She created, amongst others, roles in Antony McDonalds and Ashley Pages "Ein Reigen" (Bertha Zuckerkandel), in Renato Zanellas „Aschenbrödel“, Tschaikowskis Mutter in Ivan Cavallaris „Tschaikowski Impressionen“, Maria Theresia in Patrick de Banas „Marie Antoinette“, roles in Renato Zanellas „Mythos“, „Sensi“ and „Duke’s Nuts“, Patrick C. Delcroix’ „Silence sans reproche“ and Marguerite Donlons „Hänsel & Gretl“ and Eno Pecis "Herzblume".

She has appeared as guest in European countries and overseas.

Prizes and honours: Since 2008 she is holder of the Fanny-Elßler-Ring.

Mihail Sosnovschi | Der Blaue Vogel

Mihail Sosnovschi was born in Chișinău (Moldova). After his education at Ballet Academy of Moldova and at the Conservatory of the City of Vienna he performed at Jeune Ballet France in 2000. In 2001 he joined the Ballet of the Wiener Staatsoper, where he was appointed Demi-soloist in 2003. In 2010 he became Soloist of the Wiener Staatsballet.
His repertory comprises Colas and Alain in Frederick Ashtons „La Fille mal gardée“, Prinz Alexej, Adjutant des Prinzen and Italien in Renato Zanellas „Der Nußknacker“, Romeo, Mercutio and Benvolio in John Crankos „Romeo und Julia“, Wronski in Boris Eifmans „Anna Karenina“, Max in „Max und Moritz“ from Ferenc Barbay and Michael Kropf, Hilarion and Bauernpaar in Elena Tschernischovas „Giselle“, Zigeuner in Rudolf Nurejews „Don Quixote“, Ungarischer Wachtmeister and Bräutigam in „Coppélia“ from Gyula Harangozó sen., Pas de deux in Pierre Lacottes "La Sylphide", Mahdawaja in Vladimir Malakhovs „Die Bajadere“, Gefährte des Prinzen, Ungarischer and Neapolitanischer Tänzer in Rudolf Nurejews „Schwanensee“, Blauer Vogel, Prinz and Pas de quatre in Peter Wrights „Dornröschen“, Spiderman in Gyula Harangozós „Der Nussknacker“, Ulrich in Roland Petits „Die Fledermaus“, Angel Ben in Maurice Béjarts „Le Concours“, Lenski in Crankos „Onegin“, Lescaut in Kenneth MacMillans „Manon“, Bratfisch in Kenneth MacMillans „Mayerling“, Oliver and Le Beau in John Neumeiers „Wie es Euch gefällt“, García in Davide Bombanas „Ballett: Carmen“, Harlekin in Renato Zanellas „Wolfgang Amadé“, Josef in Renato Zanellas „Aschenbrödel“, Minotaurus in Renato Zanellas „Spartacus“, Winter in Vladimir Malakhovs „Verdi-Ballett: Ein Maskenball“, Desertierter Kadett in Jo Strømgrens „Nussknacker“, Poet in Josef Hassreiters „Die Puppenfee“, the title role in Michail Fokins „Le Spectre de la rose“, Junger Dichter in „Platzkonzert“ from Gyula Harangozó sen., main roles in Ben van Cauwenberghs „Tanzhommage an Queen“, Stephan Thoss' "Blaubarts Geheimnis", Ivan Cavallaris „Tschaikowski Impressionen“, George Balanchines „Rubies“ and "Stravinsky Violin Concerto", Harald landers "Études", Rudi van Dantzigs "Vier letzte Lieder", Twyla Tharps „Variationen über ein Thema von Haydn“, John Neumeiers „Bach Suite III“, Jiří Kyliáns „Petite Mort“, Nils Christes „Before Nightfall“, William Forsythes „The Vertiginous Thrill of Exactitude“ and "The Second Detail", Myriam Naisys „Ederlezi“, Renato Zanellas „Bolero“, „Beethoven Opus 73“ and „Sensi“, Jorma Elos „Glow – Stop“, „Skew-Whiff“ from Paul Lightfoot and Sol León, Jiří Bubeníček "Le Souffle de l´esprit", Helen Picketts "Eventide", Thierry Malandains „Mozart à 2“, András Lukács’ „Whirling“ and „In Your Eyes My Face Remains“ as well as the Pas de deux „Le Corsaire“, Agrippina Waganowas Pas de deux "Diana und Aktäon" and Pas d’esclaves from „Le Corsaire“. He created roles in Renato Zanellas „Duke’s Nuts“ and in Boris Nebylas "Nachmittag eines Fauns". He created also the Hahn in Renato Zanellas „Renard“ and Puck in Jorma Elos „Ein Sommernachtstraum“, in Boris Nebylas "Nachmittag eines Fauns", in Eno Pecis "Herzblume" and in Vesna Orlics "Out of Tango", in Natalia Horecnas "Contra Clockwise Witness" (Gin Man/Prinzip) and in Antony McDonalds and Ashley Pages "Ein Reigen" (Egon Schiele).
He has appeared as guest dancer in many European countries and overseas.
Prizes and honors: 1st Prize: ÖTR Contest in Vienna 2001, Grand Prix: Concours International de Danse de Luxembourg (2001)

Kiyoka Hashimoto | Die verzauberte Prinzessin

Born in Hyogo (Japan), Kiyoka Hashimoto was educated at the Izumi Ballet in Japan and at the Cannes Jeune Ballet. In 2004 she became a member of the Dresden Semperoper Ballett. In 2008 she joined the Ballett der Wiener Staatsoper und Volksoper, where she was appointed to Demi-soloist in 2010. In 2012 she became Soloist of the Wiener Staatsballett.
Her repertory comprises Odette/Odile, Gefährtin des Prinzen and Kleiner Schwan in Rudolf Nurejews „Schwanensee“, Kitri/Dulcinea in Rudolf Nurejews "Don Quixote", Clara and Pastorale in Rudolf Nurejews "Der Nussknacker", Effie and Pas de deux in Pierre Lacottes "La Sylphide", Kitris Freundin, Amor and Erste Brautjungfer in Rudolf Nurejews „Don Quixote“, Manu-Tanz and Solo-Schatten in Vladimir Malakhovs „Die Bajadere“, Verzauberte Prinzessin, Fee der Lebhaftigkeit and Pas de quatre in Peter Wrights "Dornröschen", Kronprinzessin Stephanie in Kenneth MacMillan´s „Mayerling“, Solo-Schneeflocke and Chinesischer Tanz in Gyula Harangozós „Der Nussknacker“ as well as roles in Harald Landers "Études", Rudi van Dantzigs "Vier letzte Lieder", Stephan Thoss' "Blaubarts Geheimnis", George Balanchines „Who Cares?“, Serge Lifars "Suite en blanc", Wachtang Tschabukianis Pas de six from „Laurencia“, Jerome Robbins’ „Glass Pieces“ and "Other Dances", John Neumeiers „Bach Suite III“ and "Vaslaw", Nils Christes "Before Nightfall", William Forsythes „The Vertiginous Thrill of Exactitude“, Jean-Christophe Maillots "Vers un Pays Sage", Agrippina Waganowas Pas de deux "Diana und Aktäeon", Manuel Legris’ „Donizetti Pas de deux“, "Skew-Whiff" from Paul Lightfoot and Sol León, Helen Picketts "Eventide", David Dawsons "A Million Kisses to my Skin", Jiří Bubeníčeks „Le Souffle de l’esprit“, Thierry Malandains „Mozart à 2“.
She has appeared as guest dancer in many European Ccountries and overseas.

Prologue: The baptism

To celebrate the baptism of Princess Aurora, King Florestan and his Queen have invited all the fairies to be her godmothers. Unfortunately Carabosse was the only fairy they forgot to invite. Deeply offended, she arrives nevertheless, and prophesies that Aurora will prick herself with a spindle and die. Luckily the Lilac Fairy has not yet expressed her wish for Aurora, and so she now promises that Aurora will not die, but merely fall into a deep sleep, from which she will be awoken after a hundred years by the kiss of a prince.

 

Act 1: The spell

Aurora is celebrating her birthday. Four princes have come to ask for her hand in marriage. During the celebrations, a stranger gives the princess a bouquet of flowers in which a spindle has been concealed. Fascinated, Aurora dances with the bouquet, but pricks her finger on the spindle and falls to the floor lifeless. The stranger throws off her cloak to reveal that she is none other than Carabosse, triumphant that her curse has been fulfilled. However, as she disappears, the Lilac Fairy appears to keep her promise: she casts a mysterious magic spell that causes everyone to fall into a deep sleep and a dense forest to grow up around the whole castle, hiding it from view.

 

Act 2: The vision

A hundred years later, a young prince rides past whilst out hunting in the forest. Remaining behind alone, he dreams of finding his ideal of love. When the Lilac Fairy appears and shows him a vision of Princess Aurora, he begs her to lead him to her. She leads him through the fog of the forest into the gardens of the castle, where he awakens the sleeping beauty with a kiss. The spell is broken.

 

Act 3: The wedding

The characters from the fairy tale arrive for the festivities being held for the wedding of Aurora and the Prince. They congratulate the couple and dance for the assembled guests. The Prince and Aurora express their love for one another in a pas de deux. The general merrymaking culminates in a grand finale in which everyone participates.

Dornröschen

Trailer