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Sat. Nov. 24, 2018, 7:30 p.m. - 10:30 p.m. Vienna

Manuel Legris nach Louis Mérante u.a.


Conductor: Kevin Rhodes

  • Kevin Rhodes  |  Conductor
  • Manuel Legris  |  Choreography
  • Léo Delibes  |  Composer
  • Luisa Spinatelli  |  Bühnenbild und Kostüme
  • Monia Torchia  |  Assistenz Bühnenbild und Kostüme
  • Manuel Legris  |  Choreographie

Kiyoka Hashimoto | Sylvia

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.

Masayu Kimoto | Aminta

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).

Robert Gabdullin | Orion

Robert Gabdullin was born in Sverdlovsk/Yekaterinburg (Russia). He was educated, amongst others, at the National Theatre Institute of Yekaterinburg. In 2000 he joined the National Theatre for Opera and Ballet in his home town where he was appointed First Soloist in 2004. In 2006 the Academic Theatre for Opera and Ballet in Perm engaged him as First Soloist. In 2010 he joined, as Soloist, the National Polish Ballet in Warsaw where he was appointed First Soloist in 2012. Furthermore he performed with the National Russian Ballet and the Russian State Ballet. 
He gave his Viennese debut as a guest at the "Nurejew Gala 2012" with the Adagio from "Raymonda". 2012 he joined the Wiener Staatsballett and 2013 he was promoted First Solist.
His repertory comprises main roles in „La Sylphide“, „Giselle“, „Don Quixote“, „Die Bajadere“, „Schwanensee“, „Le Corsaire“, „Dornröschen“, „Der Nussknacker“, „Romeo und Julia“ and „Cinderella“ as well as ballets from Michail Fokin, George Balanchine, Jerome Robbins and Maurice Béjart. The Wiener Staatsballett engaged him as Soloist in 2012. Robert Gabdullin made his Austrian debut in the Adagio from “Raymonda” at “Nurejew Gala 2012”. His Viennese repertory comprises Basil in Rudolf Nurejews "Don Quixote", Drosselmeyer/Der Prinz in Rudolf Nurejews "Der Nussknacker", Romeo in John Crankos "Romeo und Julia", Des Grieux in Kenneth MacMillans "Manon", main roles in George Balanchines "Allegro Brillante", "Stravinsky Violin Concerto", Serge Lifars "Suite en blanc", Harald Lander´s „Études“, John Neumeiers "Vaslaw", David Dawsons "A Million Kisses to my skin", Nils Christes "Before Nightfall", Helen Picketts "Eventide" and Pas de deux in "Giselle" (2. Act), parts from Marius Petipas "Die Bajadere" (3. Act), Pas de deux from Marius Petipas "Sleeping Beauty" (3. Act), Rudolf Nurejews "Raymonda" (Valse fantastique). In Antony McDonalds and Ashley Pages "Ein Reigen" he created the role of Der Tod/Arthur Schnitzler.
He appeared as a guest soloist in many European countries and overseas. Prices and honours: “Triumph” Prize (Moscow 2007), 3rd Place: “Arabesque” contest (Perm 2008).

PROLOGUE Diana, the Goddess of the Hunt, sees a double image of herself in Sylvia – who is bound to the goddess through her love of hunting and by a vow of chastity. However, the goddess is in turmoil. Suddenly it is no longer Sylvia that she sees before her, but Endymion, the obsessive lover, she has caused to sleep for ever so that she can gaze on his youth and beauty without ever breaking her vow. Diana tries to regain control of herself, but Endymion stands before her, full of passion … the goddess surrenders! But soon the sound of horns mercilessly drags her back into reality. Thanks be to the gods, it is Sylvia that now stands before her! Diana seizes her bow. Let the hunt begin. ACT 1 Night-time in the sacred wood, a statue of Eros, the God of Love. The place is inhabited by the spirits of the forest, seeking each other and calling out as they cavort in the soft moonlight. When they suddenly sense the approach of a human being, they go into hiding and keep watch. The shepherd Aminta returns to the place where he caught a glimpse of a huntress of unforgettable beauty in the bright light of a full moon. He is coming to pray to Eros to grant him the favour of seeing her once again … Aminta is roused from his reverie by the sound of horns announcing the arrival of the huntresses, led by Sylvia. He conceals himself. Sylvia and her companions celebrate the joys of hunting. As disciples of Diana they have foresworn love, and they take a mischievous pleasure in mocking the statue of Eros. When Diana returns, she sees Aminta’s coat. She hastens to show this to Sylvia, who immediately orders her companions to take up their bows and seek out the intruder. Aminta is soon discovered and handed over to Diana, who angrily throws him at Sylvia’s feet. In his anxiety over his fate, Aminta finds the courage to declare his love to Sylvia. She turns her anger against Eros and shoots an arrow at him. Aminta tries to protect the god by placing himself between Sylvia and the statue. The arrow hits him and he falls to the ground. The statue of Eros comes to life: the god of love, fully aware of his power, shoots an arrow in Sylvia’s direction. Sylvia clasps her hand to her heart, which is now open to love! Diana impatiently gives the order to leave, and the huntresses obey. Sylvia follows them, reluctantly leaving Aminta behind. Before going to work, the peasants call upon Eros, their favourite god. At that moment Orion appears, surrounded by his creatures: he approaches Aminta as if he wants to make sure that his rival is really dead, and then disappears. Sylvia comes back to Aminta in distress, begging him to forgive her and pressing the arrow to her heart. Orion uses this moment to abduct Sylvia. When the peasants return, they find the lifeless form of Aminta. They weep over their friend and in despair they implore Eros to come to their aid. A sorcerer appears. The peasants urge him to take action. The sorcerer takes a laurel branch and gently touches Aminta with it, thus bringing him back to life. The shepherd is immediately concerned as to what has happened to Sylvia. The villagers tell him that she has been abducted by Orion and implore the sorcerer to rescue her. Aminta hastens to thank him and, in light of such powers, begs him to help him find Sylvia. Visibly moved, the sorcerer reveals his true identity: he is Eros himself. He warns Aminta of the dangers he is about to encounter, and shows him the path by which Orion has fled. ACT 2 A cave, the hiding place of Orion. Orion returns to his hideout carrying Sylvia, whose lifeless body he lays down on his bed. He gazes at her, expressing his joy that she is at last in his power. Sylvia regains her senses and is terrified to find herself in this unknown place, surrounded by strange creatures and faced with Orion. She realises that she is the powerless captive of the Black Hunter! Sylvia rejects his advances and tries to escape, but Orion blocks her path. The Black Hunter will not be beaten: by way of a seduction strategy, he calls upon his companions to provide entertainment for Sylvia. They all obey his command and begin to dance and drink … An idea comes to the mind of the captive Sylvia: she decides to do likewise and pretends to take part in the celebration, in order to get Orion drunk and then make her escape. Orion, who is extremely intoxicated, gradually lowers his guard. To achieve her aim, Sylvia uses all her charms and hands Orion one last cup, which he empties in a single draft. He collapses, sending everyone into a frenzy. Sylvia is filled with new hope. She takes her bow and prays to Eros, begging him to forgive her for scorning him and imploring him to come to her aid. The God of Love appears, riding Pegasus. He forgives Sylvia and tells her to follow him, promising to take her to Aminta. ACT 3 At the temple of Diana. The feast in honour of Bacchus is in full swing, bringing peasants and the minor deities of nature together in the same joyful exuberance. In despair over his failed rescue attempt, Aminta calls upon the peasants to witness his unhappiness. Hope returns before long, however, when Eros makes his entrance surrounded by the huntresses. To test Aminta he has decided to conceal Sylvia and to disguise his companions. While the nymphs dance, Aminta tries to identify his beloved. Eros finally gives in to the shepherd’s desire, and allows the lovely Sylvia to be revealed. The pair are finally united. However, the feast is suddenly interrupted by the arrival of Orion, who has firmly resolved to take Sylvia into his possession again. Terrified, Sylvia takes refuge in the temple of Diana. Aminta tries to confront Orion, who forces his way into the holy place. At this point Diana appears. Before he can enter the temple, the goddess draws her bow and shoots … the hunter falls to the ground. Diana now turns her wrath on her faithful companion Sylvia. Aminta throws himself at the goddess’s feet and declares that he is solely to blame for all the confusion. The huntress remains unmoved: this human must face punishment. Alerted to the danger, Eros intervenes. He turns to Diana, whose amorous torments he is aware of. The goddess is firmly resolved and shows no weakness. At this point Eros causes Endymion to appear. Deeply affected in her inmost being, Diana softens and consents to Sylvia being free to love her shepherd. Accepting her fate, Diana now takes the form in which we still admire her today. She is the Lady of the Moon, who each night sheds her light on the beautiful form of the sleeping Endymion.