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Mon. March 13, 2017, 7:30 p.m. - 9:45 p.m. Vienna

John Neumeier

Le Pavillon d'Armide | Le Sacre

Conductor: Michael Boder

 
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Mihail Sosnovschi | Der Mann (Vaslaw Nijinsky)

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)

Michael Boder | Conductor

MICHAEL BODER was the General Music Director at the Gran Teatro del Liceu in Barcelona from 2008 to 2012. Since September 2012, he is the chief conductor and Artistic Consultant at the Royal Danish Theatre and the Royal Danish Orchestra. After his education at the Music Academy in Hamburg and in Florence, he took over the musical directorship as Chief Conductor of the Opera in Basel. Already at that time, he was a guest conductor in Hamburg, Munich, Berlin and at the Royal Opera House Covent Garden. He is now a regular guest at the State Opera in Berlin, Dresden, Hamburg and Vienna; moreover he conducted, among others, at the Opera House in Frankfurt, San Francisco, at the Bavarian State Opera, Deutsche Oper Berlin, the New National Theatre in Tokyo and Zurich Opera. A series of successful premieres demonstrate his commitment to contemporary music, among others Cerhas Der Riese vom Steinfeld, Pendereckis Ubu Rex Trojahns Was Ihr wollt, Aribert Reimanns Das Schloss and Medea as well as Henzes Phädra. At the Wiener Staatsoper, he gave his debut in 1995 with Wozzeck  and continued to conduct Ariadne auf Naxos, Elektra, Frau ohne Schatten, Gianni Schicchi, Jakobsleiter, Lulu, Meistersinger, Oedipe, Der Riese vom Steinfeld and Medea.

Rebecca Horner | Tänzerin 1

Born in Vienna (Austria), employed since 2007.

Ioanna Avraam | Pas de deux

Ioanna Avraam was born in Nikosia (Cyprus). She was educated at the Nadina Loizidou Ballet School in Limassol as well as at the Heinz-Bosl-Stiftung/Ballet Academy in Munich. She gave her first performances with Diastasis Ballet in Cyprus and with Bayerisches Staatsballett in Germany. In 2008 she joined the Ballett der Wiener Staatsoper und Volksoper. In 2010 she was appointed Demi-soloist of the Wiener Staatsballett, 2014 she was announced soloist. Her repertory comprises Pas de deux in Pierre Lacottes "La Sylphide", Bauernpaar in Elena Tschernischovas „Giselle“, Kitris Freundin in Rudolf Nurejews „Don Quixote“, Gefährtin des Prinzen, Kleiner Schwan, Edelfräulein und Neapolitanischer Tanz in Rudolf Nurejews „Schwanensee“, Fee des Ehrgefühls and Pas de quatre in Peter Wrights "Dornröschen", Luisa, Pastorale, Spanischer Tanz und Schneeflocke in Rudolf Nurejews "Der Nussknacker", Manu-Tanz in Rudolf Nurejews "La Bayadère", Solo-Schneeflocke and Chinesischer Tanz in Gyula Harangozós „Der Nussknacker“, Lescauts Geliebte in Kenneth MacMillans "Manon", Prinzessin Louise in Kenneth MacMillans „Mayerling“, Helena in Jorma Elos "Ein Sommernachtstraum", Vivette in Roland Petits "L'Arlesienne", main roles in August Bournonvilles "Blumenfest in Genzano", Marius Petipas "Paquita", Pierre Lacottes Pas de six from „La Vivandière“, August Bournonvilles Pas de deux from "La Sylphide" and Pas de six from „Napoli“, Serge Lifars "Suite en blanc", Rudi van Dantzigs "Vier letzte Lieder", Wachtang Tschabukianis Pas de six from „Laurencia“, Nils Christes "Before Nightfall", David Dawsons "A Million Kisses to my Skin", William Forsythes „The Vertiginous Thrill of Exactitude“, Stephan Thoss' "Blaubarts Geheimnis" und „Skew-Whiff“ from Paul Lightfoot and Sol León and parts from Marius Petipas "Die Bajadere" (3. Act) and Variation in Rudolf Nurejews "Raymonda" (3. Act). She created main roles in Patrick de Banas "Windspiele", in Natalia Horecnas "Contra Clockwise Witness" (Engel) and in Antony McDonalds and Ashley Pages "Ein Reigen", where she also danced the role of Mathilda Schönberg. As a guest she danced in many European countries and overseas.
 

Alice Firenze | Tänzerin 2

Born in Genoa (Italy), Alice Firenze was educated at the Ballet School of the Scala in Milan. In 2005 she became a member of the Ballett der Wiener Staatsoper und Volkoper. In 2010 she was appointed Demi-soloist of the Wiener Staatsballett, 2013 she was promoted Soloist.

Her repertory comprises Judith in Stephan Thoss' "Blaubarts Geheimnis", Straßentänzerin in Rudolf Nurejews "Don Quixote", Solo-Sylphide in Pierre Lacottes "La Sylphide", Fee der Schönheit, Fee der Lebhaftigkeit und Pas de quatre in Peter Wrights "Dornröschen", Gefährtin des Prinzen und Ungarischer Tanz in Rudolf Nurejews "Schwanensee", Arabischer Tanz in Rudolf Nurejews "Der Nussknacker", Zigeunerin in John Crankos "Romeo und Julia", Lescauts Geliebte in Kenneth MacMillans "Manon", Helena in Jorma Elos "Ein Sommernachtstraum", Schatten der Marie Antoinette in Patrick de Banas „Marie Antoinette“, roles in Marius Petipas "Paquita", George Balanchines „Who Cares?“, Serge Lifars "Suite en blanc", Jerome Robbins’ „Glass Pieces“, Rudi van Dantzigs "Vier letzte Lieder", John Neumeiers "Bach Suite III" und "Vaslaw", Jiří Kyliáns „Sechs Tänze“ and „Bella Figura“, William Forsythes "The Second Detail", Nils Christes "Before Nightfall", David Dawsons "A Miillion Kisses to my Skin", Variation in Rudolf Nurejews "Raymonda" (Variation 3rd Act and Valse fantastique) as well as the (main) roles she created in András Lukács’ “Duo” in Patrick de Banas "Windspiele", Eno Pecis "Herzblume" in Natalia Horecnas "Contra Clockwise Witness" (Engel), and Antony McDonalds and Ashley Pages "Ein Reigen" (Mitzi). As a guest dancer she performed in many European countries and overseas.

Davide Dato | Danse siamoise

Davide Dato was born in Biella (Italy). He was educated by Ludmill Cakalli in Milan, as well as at the Ballet School of the Wiener Staatsoper. In 2008/2009 he was a member at theatre class of the Ballet School from the Wiener Staatsoper. Thereafter, in September 2009, he joined the Ballett der Wiener Staatsoper und Volksoper. In 2011 he was appointed Demi-soloist of the Wiener Staatsballett, 2013 he was promoted Soloist.

His repertory comprises Basil and Zigeuner in Rudolf Nurejews "Don Quixote", both title roles in "Max und Moritz" from Ferenc Barbay and Michael Kropf, Pas de deux in Pierre Lacottes "La Sylphide", Pas de six from August Bournonvilles "Napoli", Pas des six from Pierre Lacottes "La Vivandière", Gefährte des Prinzen and Neapolitanischer Tänzer in Rudolf Nurejews "Schwanensee", Blauer Vogel and Pas de quatre in Peter Wrights "Dornröschen", Geselle in "Coppélia" from Gyula Harangozó sen., Kellner in Roland Petits "Die Fledermaus", Freund and Variationstänzer in Maurice Béjarts "Le Concours", Mercutio in John Crankos "Romeo und Julia", Bettlerkönig in Kenneth MacMillans "Manon", Bratfisch in Kenneth MacMillans "Mayerling", Fritz, Spanischer Tanz and Chinesischer Tanz in Rudolf Nurejews "Der Nussknacker", Pas de trois und Roboter in Gyula Harangozós "Der Nussknacker", Blaubarts Alter Ego in Stephan Thoss' "Blaubarts Geheimnis", Puck in Jorma Elos "Ein Sommernachtstraum", main roles in George Balanchines „Rubies“ und „Who Cares?“, Harald Landers "Études", Serge Lifars „Suite en blanc“, Wachtang Tschabukianis Pas de six from „Laurencia“, Jerome Robbins’ „The Concert“, John Neumeiers "Bach Suite III" and "Vaslaw", Nils Christes "Before Nightfall", William Forsythes "The Vertiginous Thrill of Exactitude" and "The Second Detail", Davod Dawsons "A Million Kisses to my Skin", Jean-Christophe Maillots "Vers un Pays Sage", Thierry Malandain´s „Mozart à 2“, "Skew-Whiff" from Paul Lightfoot and Sol León as well as Variation (3. Act) in Rudolf Nurejews "Raymonda" and "Donizetti Pas de deux" from Manuel Legris. In Patrick de Banas "Windspiele" and Eno Pecis "Herzblume" he created roles.
As a guest he danced in many European countries and overseas. Prizes and honours: 3rd Prize: ÖTR Contest in Vienna (2007), 2nd Prize: Junior category of the International Ballet Competition "Premio Roma" (2008), "Orso d’Oro": International Competition of Young Talents in Turin (2008) 1st Prize and Gold medal: junior category of the International Competition in Istanbul (2008), Promotion Prize: Ballettclub Wiener Staatsoper & Volksoper (2010), "Premio Anita Bucchi" for the "Best Dancer 2010", "Best Italian Dancer abroad 2010" (Danza e Danza), "Premio Guido Lauri" as "upcoming artist" (2011), Maria Antonietta Berlusconi Award (2011).

Maria Yakovleva | Tamara Karsawina

Maria Yakovleva was born in Saint Petersburg (Russia). She graduated from Vaganova Academy in 2004. In 2004/2005 she was a member of the Mariinsky Theatre where she was entrusted with solo roles of the classical repertory. In 2005 she was engaged as Soloist by the Ballett der Wiener Staatsoper und Volksoper – in 2010 she was appointed First Soloist of the Wiener Staatsballett. 
She performed the title role in Pierre Lacottes "La Sylphide", Bauernpaar and Zulma in Elena Tschernischovas „Giselle“, Kitri in Rudolf Nurejews „Don Quixote“, Odette/Odile and Gefährtin des Prinzen in Rudolf Nurejews „Schwanensee“, Prinzessin Aurora, Verzauberte Prinzessin and Fee der Lebensfreude in Peter Wrights "Dornröschen", Lise in Frederick Ashtons „La Fille mal gardée“, Swanilda in „Coppélia“ from Gyula Harangozó sen., Clara in Rudolf Nurejews "Der Nussknacker", Prinzessin Maria in Gyula Harangozós „Der Nussknacker“, Bella in Roland Petits „Die Fledermaus“, Ada in Maurice Béjarts „Le Concours“, Julia in John Crankos „Romeo und Julia“, the title role in Kenneth MacMillans „Manon“, Baronesse Mary Vetsera in Kenneth MacMillans „Mayerling“, Hamsatti and Solo-Schatten in Vladimir Malakhovs „Die Bajadere“, Olga in John Crankos „Onegin“, Hermia in Jorma Elos „Ein Sommernachtstraum“, Verlobte des Jungen Dichters in „Platzkonzert“ from Gyula Harangozó sen., "Études" von Harald Lander, Vivette in Roland Petits "L´Arlésienne", roles in Ben van Cauwenberghs „Tanzhommage an Queen“, George Balanchines „Rubies“, Serge Lifars "Suite en blanc", Jerome Robbins’ „In the Night“ und „Glass Pieces“, Rudi van Dantzigs „Vier letzte Lieder“, John Neumeiers "Bach Suite III", Twyla Tharps „Variationen über ein Thema from Haydn“, Nils Christes "Before Nightfall", William Forsythe´s „The Second Detail“, Myriam Naisys „Ederlezi“, Jorma Elos „Glow – Stop“ and David Dawsons "A Million Kisses to my Skin", parts of Marius Patipas "Die Bajadere" (3. Act) as well as Pas de six from Rudolf Nurejews „Raymonda“, Pas de deux „Le Corsaire“ and Variation in Marius Petipas Grand Pas from „Paquita“ and Wassili Wainonens "Moszkowski-Walzer". She created the role of the empress Elisabeth in Patrick de Banas „Ludwig II – The Swan King“.
She has appeared as guest dancer in many European Countries an overseas.
Awards and honours: Nomination for the Prix Benois de la Danse for her performance in George Balanchines “Rubies” in 2011.

Masayu Kimoto | Tänzer 2

Masayu Kimoto was born in Hyogo (Japan). He was educated at Nakata Ballet Theatre in Himeji and at Ecole Supérieure de Danse de Cannes Rosella Hightower, as well as at Conservatoire National Supérieur de Musique et de Danse de Paris. In 2006 he joined the Semper Oper Ballett Dresden, in 2008 he became a member of the Ballett der Wiener Staatsoper und Volksoper. In 2011 he was appointed Demi-soloist of the Wiener Staatsballett. 2013 he was promoted Soloist.
His repertory comprises James in Pierre Lacottes "La Sylphide", Basil in Rudolf Nurejews „Don Quixote“, Bauernpaar in Elena Tschernischovas „Giselle“, Gefährte des Prinzen and Polnischer Tanz in Rudolf Nurejews „Schwanensee“, Pastorale in Rudolf Nurejews "Der Nussknacker", Prinz in Peter Wrights "Dornröschen", Spiderman and Chinesischer Tanz in Gyula Harangozós „Der Nussknacker“, Csárdás-Solist in Roland Petits „Die Fledermaus“, Freund and Variationstänzer in Maurice Béjarts „Le Concours“, Ungarischer Offizier in Kenneth MacMillans „Mayerling“, roles in George Balanchines „Thema und Variationen“, Serge Lifars "Suite en blanc", Harald Landers „Études“, Jerome Robbins’ „In the Night“ and „Glass Pieces“, Rudi van Dantzigs "Vier letzte Lieder", Twyla Tharps „Variationen über ein Thema von Haydn“, John Neumeiers „Bach Suite III“ and "Vaslaw", Nils Christes "Before Nightfall", William Forsythes „The Vertiginous Thrill of Exactitude“, „The Second Detail“, „Skew-Whiff“ from Paul Lightfoot and Sol León, Patrick de Banas "Windspiele", David Dawsons "A Million Kisses to my Skin", Jiří Bubeníčeks „Le Souffle de l’ esprit“, Thierry Malandains „Mozart à 2“, András Lukács’ „Duo“, Marco Goeckes „Mopey“ and José Martinez’ „Delibes Suite“.
He has appeared as guest dancer in many European countries and overseas.
Awards and honours: Promotion Prize: Ballettclub Wiener Staatsoper & Volksoper (2011).

Roman Lazik | Serge Diaghilev

Roman Lazik was born in Bratislava (Slovakia). After his education at the Dance Conservatory in his home town he joined the Slovakian National Theatre as Soloist. Hereinafter he was engaged by the PACT Ballet, Israel Ballet and once again by the Slovakian National Theatre. In 2000 he joined the Bayerisches Staatsballett where he was appointed Soloist in 2001, and First Soloist in 2003. In 2007 Roman Lazik was engaged by the Ballet of Wiener Staatsoper und Volksoper. In 2010 he was appointed First Soloist of the Wiener Staatsballett. 
His repertory in former engagements comprised main roles in classical productions as well as in creations of choreographs like George Balanchine, Jerome Robbins, John Cranko, Kenneth MacMillan, Hans van Manen, Lucinda Childs, John Neumeier, Mats Ek, Jiří Kylián, Graeme Murphy and William Forsythe.
His Viennese repertory comprises James in Pierre Lacottes "La Sylphide", Herzog Albrecht in Elena Tschernischovas „Giselle“, Solor in Vladimir Malakhovs „Die Bajadere“, Prinz Siegfried in Rudolf Nurejews „Schwanensee“, Drosselmeyer/Der Prinz in Rudolf Nurejews "Der Nussknacker", Prinz Nussknacker in Gyula Harangozós „Der Nussknacker“, Johann in Roland Petits „Die Fledermaus“, Romeo in John Crankos „Romeo und Julia“, the title role in John Crankos „Onegin“, Des Grieux in Kenneth MacMillans "Manon", Kronprinz Rudolph in Kenneth MacMillan´s „Mayerling“, Oberon in Jorma Elos "Ein Sommernachtstraum", Espada in Rudolf Nurejews „Don Quixote“, "Études" von Harald Lander, Junger Dichter in „Platzkonzert“ from Gyula Harangozó sen. as well as main roles in George Balanchines "Stravinsky Violin Concerto", Serge Lifars "Suite en blanc", Jerome Robbins’ „In the Night“ and „Glass Pieces“, Rudi van Dantzigs „Vier letzte Lieder“, Twyla Tharps „Variationen über ein Thema from Haydn“, John Neumeiers "Bach Suite III", Jiří Kyliáns „Petite Mort“ and „Bella Figura“, Nils Christes "Before Nightfall", Myriam Naisys „Ederlezi“, Jean-Christophe Maillots "Vers un Pays Sage", Jorma Elos „Glow – Stop“, Helen Picketts "Eventide", Jiří Bubeníčeks „Le Souffle de l’esprit“ and András Lukács’ „In Your Eyes My Face Remains“ as well as ein Duo from Roland Petits „Proust ou les Intermittences du cœur“ and Pas de deux (2nd Act) from Rudolf Nurejews "Cindarella". In Jorma Elos „Ein Sommernachtstraum“ he created the role of Lysander, in Patrick de Banas „Marie Antoinette“ the role of Ludwig XVI and András Lukács' "The White Pas de deux", in Natalia Horecnas "Contra Clockwise Witness" the role of Ein Engel, in Antony McDonalds and Ashley Pages "Ein Reigen" die role of Arnold Schönberg.
He has appeared as guest dancer in many European countries and overseas.
Awards and honours: Bronze medal: Ballet Competition in New York (1996), 1st Prize: Ballet Competition in Brno (1996), 1st Prize: ÖTR contest in Vienna (1997), Philip Morris Ballet Flower Award (1995 and 1996), Prize of the Prime Minister of Slovakia (1996), Prize of the Literarily Fund of Slovakia (1999).

Richard Szabó | Nijinsky als Schüler

was born in Hatvan (Hungary). He was educated at the National Hungarian Dance Academy of Budapest. In 2008 he joined the Ballett der Wiener Staatsoper und Volksoper. In 2010 he was appointed Demi-soloist of the Wiener Staatsballett.

His repertory comprises Max in „Max und Moritz“ from Ferenc Barbay and Michael Kropf, Mercutio in John Crankos "Romeo und Julia", Zigeuner in Rudolf Nurejews „Don Quixote“, Gefährte des Prinzen und Neapolitanischer Tänzer in Rudolf Nurejews „Schwanensee“, Blauer Vogel, Pas de quatre und Begleiter der Fee des Gesangs in Peter Wrights "Dornröschen", Fritz, Spanischer Tanz and Chinesischer Tanz in Rudolf Nurejews "Der Nussknacker", Roboter in Gyula Harangozós „Der Nussknacker“, Kellner in Roland Petits „Die Fledermaus“, Freund in Maurice Béjarts „Le Concours“, Puck in Jorma Elos "Ein Sommernachtstraum", Gin Man/Prinzip in Natalia Horecnas "Contra Clockwise Witness", Egon Schiele in Antony McDonalds and Ashley Pages "Ein Reigen", roles in George Balanchines "Allegro Brillante", Serge Lifars "Suite en blanc", Wachtang Tschabukianis Pas de six from "Laurencia", Jerome Robbins’ „Glass Pieces“, Jacques Garniers „Aunis“, Jiří Kyliáns „Sechs Tänze“ und „Bella Figura“, William Forsythes "The Second Detail", Nils Christes "Before Nightfall", Helen Picketts "Eventide", David Dawsons "A Million Kisses to my Skin", John Neumeiers "Vaslaw", Jiří Bubeníčeks „Le Souffle de l’esprit“, Ben van Cauwenberghs „Tanzhommage an Queen“, Jorma Elos "Glow – Stop", Stephan Thoss' "Blaubarts Geheimnis", Manuel Legris' "Donizetti Pas de deux" as well as the role Schlucker/Mondschein he created in Jorma Elos „Ein Sommernachtstraum“.

Awards and honours: 2nd Prize: Tanzolymp Berlin (2003) and Vaganova International Ballet Competition (2006), 3rd Prize: International Ballet Competition Beijing (2006), Special prize: ÖTR-Contest in Vienna (2007).

„Le Pavillon d’Armide“, first performed in St. Petersburg in 1907 with choreography by Mikhail Fokine, represented a high point in the history of ballet in the early 20th century, not least because of the dancers interpreting the work: Anna Pavlova, Vaslav Nijinsky and Pavel Gerdt. 100 years after the first performance of the ballet in Paris, John Neumeier presented his version of the work, which was at the same time intended as a homage to Vaslav Nijinsky, in Hamburg. Neumeier’s version of „Le Sacre du printemps“ was created in 1972 for the Frankfurt Ballet. Standing between the interpretations by Maurice Bejart (1959) and Pina Bausch (1975), this version also mirrors the spirit of these decades.