Paul Connelly, educated at the New England Conservatory of Music in Boston, is one of the world´s most famous ballet conductors. He was capellmeister at the American Ballet Theatre, conductor of the New York City Ballet, of „Nureyev and Friends“, „Baryshnikov and Co.“, the National Ballet of Canada, The Royal Ballet London, The Birmingham Royal Ballet, Het Nationale Ballet Amsterdam, La Scala in Milan, the Paris Opera and the Staatsballett Berlin, to only name a few of his numerous engagements.
He is also a very sought-after conductor of operas and in addition First Guest Conductor of the Orchestre Colonne in Paris. Paul Connelly made his debut at the Wiener Staatsoper in 1991 as conductor of a ballet gala, his debut as opera conductor in the house on the ring followed in 1992 with Il barbiere di Siviglia. Other ballets he conducted at the Wiener Staatsoper were Nussknacker, Romeo und Julia and Dornröschen.
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 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).
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.
ACT I In a village in wine-growing country, Count Albrecht comes on the scene disguised as a country lad, having first hidden his cloak and sword, evidence of his noble heritage, in a hut. He has come to pay court to the country girl Giselle; the two declare their love for each other. The gamekeeper Hilarion, who considers he has a claim on Giselle, watches the scene jealously. Giselle invites winegrowers passing by to join in a dance, and Albrecht too is drawn into the merriment. Giselle’s mother tries to restrain her daughter and by way of a warning tells her of the fate of the wilis, girls who die before their wedding and are condemned to dance every night. Giselle shrugs off these ominous warnings. While out hunting, the Count of Courland and his daughter Bathilde, Albrecht’s fiancé, stop to rest at Giselle’s home. The house is not unfamiliar to the count: an amorous adventure once brought him here, and Giselle’s birth was the outcome of the relationship. The count and Giselle’s mother are the only two people who know of Giselle’s noble background. The count’s legitimate daughter is entranced by Giselle’s charm, and he allows her to give Giselle her chain. While the count and Bathilde rest inside the house, the winegrowers celebrate an abundant harvest. Giselle is crowned the queen of the grape harvest. Together with Albrecht, who has kept out of sight of the hunting party, she joins in a dance with another local couple. Hilarion has found Albrecht’s sword and determines to expose his rival publicly. His plan is successful. Bewildered, Bathilde asks her fiancé what brings him here in this disguise; just a whim, Albrecht answers. Giselle then realizes that she has been deceived, that Albrecht’s love was feigned and nothing more than a game. Giselle goes out of her mind, she starts to rave and finally sinks lifeless to the ground. Albrecht is badly shaken. ACT II Hilarion seeks out Giselle’s grave in the woods. The midnight hour arrives. Suddenly will o’ the wisps flare around him. Terrified, Hilarion flees. Myrtha, the queen of the wilis, appears. With her magic twig she summons the wilis from their graves. Finally, Giselle obeys this magical call. She is received into the circle of the wilis. Albrecht too has made his way to Giselle’s grave to mourn her. Time and again Giselle appears to him; however, he is unable to hold her. In the meantime, the wilis have pursued Hilarion, and they compel him to dance until he drops lifeless to the ground. Their next victim is to be Albrecht. Giselle begs Myrtha for mercy, but in vain. The queen of the wilis commands Giselle to dance to lure Albrecht away from the protection of the cross. The ruse works. Albrecht cannot resist Giselle’s dance, and he follows her. His strength is beginning to wane. Then the sound of the morning bells is heard, and the rising sun dispels the magical power of the wilis. Giselle disappears, and Albrecht sinks to the ground, heartbroken.