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COMPANIA NACIONALDE DANZAARTISTIC DIRECTOR NACHO DUATO

ALAS (WINGS)Lyric Theatre, Star City | January 11-13

THREE WORKSBY NACHO DUATOPOR VOS MUEROGNAWAWHITE DARKNESSLyric Theatre, Star City | January 6-8

ALAS

SF08 02 CND Prog TWO 19/12/07 5:08 PM Page 1

Sydney Festival transforms this beautiful city each summer with an engagingprogram of outstanding Australian and international artists and their work. The 2008 Festival is no different and throughout this month we will have theopportunity to enjoy the creative offerings of over one thousand people acrossover one hundred events.

What is different about 2008 is that Sydney Festival has increased the scope of its free program and importantly made the opening night of the Festival entirely free to the people of Sydney and its visitors. This is an idea that has at its heart the belief that this is a people’s festival and this new event, Festival First Night,uses the streets and parks in a way that brings people together in a collective spirit of celebration of their city and its culture.

Giving the Festival a defining starting point that encourages people of all ages to participate together as families and as friends is an idea which the StateGovernment found very appealing and I was pleased that we were able to helpmake it happen.

Festival First Night, a range of other free events and the vast program of music,theatre and dance across Sydney throughout January, offer us a feast ofentertainment. I am proud that the State Government is one of the Festival’sinaugural supporters and would also like to acknowledge the assistance andpartnership of the City of Sydney, Principal Sponsor the Nine Network and themany other sponsors.

I look forward to sharing another exciting and successful Sydney Festival with you.

MORRIS IEMMA, MPPremier

MESSAGE FROM

THELORD MAYOR

Welcome to the 2008 Sydney Festival – a celebration of all the arts, and of the vital energy they bring to our city.

The Festival has evolved with the city to become Australia’s largest andmost far-reaching annual cultural event, reflecting Sydney’s own vitality,diversity, and outward-looking spirit.

In his third year as Director, Fergus Linehan continues to find new waysto engage with the City and its people: through the traditional freeconcerts in The Domain; through the inauguration this year of FestivalFirst Night which takes over the City streets and plazas in a grandcommunal celebration; and through the creation of new performanceprecincts like the Festival Garden in Hyde Park, which is proudlysupported by the City of Sydney.

What could be more magical, more Sydney, than a warm summer nightunder the stars, enjoying one of these great events?

There is, as well, the feast of dance, music, theatre, the exhibitions andtalks presented across the City’s villages, from the Angel Place CityRecital Hall to Redfern’s CarriageWorks and out to Parramatta’sRiverside Theatres.

The City of Sydney is proud to be a founding partner for Sydney Festival,working with the NSW Government and our corporate sponsors topresent this feast for the mind, the heart and the senses.

CLOVER MOORE, MPLord Mayor of Sydney


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The first factor was the wide appeal of so-calledneo-classical ballet, a result of the immensepopularity of choreographer Maurice Béjart. He achieved both versatility and success in the stormy, but ultimately rewarding, waters ofsynthesis. Béjart believed that one couldcombine traditional ballet, post-GrahamAmerican dance, folkloric dance, and the studyof movement and space, for a result that couldbe considered modern or not – that it was only a matter of perspective. The second factor was the consecration of postmodernism and the belief that once a creator breaks free of the obligation to be modern, they are relieved,invigorated and inspired to create.

The end of this period marked a big stepforward in the evolution of dance. Any present-day choreographer may say, absolutely naturallyand without thinking (as Twyla Tharp did only a few years ago, when asked within whichchoreographic style she ought to be classified),‘I dance’.

Nacho Duato, with his extensive academictraining and his openness to other experimentalchoreographers (Kylián, Forsythe, van Manen

THE HISTORY OFCOMPANIA NACIONAL DE DANZACompañía Nacional de Danza was founded in 1979 under the name Ballet Nacional deEspaña Clásico. The Compañía has been led bya diverse range of choreographers, includingVíctor Ullate, María de Avila, Ray Barra andMaya Plisetskaya, and has had an unusualjourney towards its current incarnation underNacho Duato.

While the rich history of Spanish dance has had a significant influence on the world stage,Spain lacks a history in traditional ballet, a factwhich may have contributed to the prolongedstate of ambiguity experienced by the Compañíafor much of its early life. Furthermore, parallelshave been drawn between the modernisation of the Compañía and shifts and developmentsacross Spanish society as a whole.

These times of change have been reflected inthe Compañía’s various artistic directors. Eachoffered a fresh perspective and promising ideas,although without a ballet tradition on which to

lay solid foundations, the Compañía continuedto struggle to find its own identity.

This search for an identity was affected by thebroader polemical dance debate between theclassicists and the modernists, which lingeredup until the eighties. This debate confronted the traditionalist custodians of orthodox classicalballet, symbolised by the sacred five positions,with those wanting to break with custom. Thelatter, taking Isadora Duncan’s voluble lead,followed the paths discovered by Ruth SaintDenis, Ted Shawn and Doris Humphrey,culminating in the work of Martha Graham andher European counterpart, Mary Wigman. Inthese very fertile times, Merce Cunningham,Paul Taylor, Alwin Nikolaïs and so many otherpioneers subsequently flourished. Nevertheless,towards the end of the decade, the divide whichseparated the two sides became increasinglyobsolete, primarily due to two key factors.

and Mats Ek, among many others), has been able to reflect this feeling within the CompañíaNacional de Danza. The timely appointment ofthis renowned dancer and choreographer asArtistic Director of the Compañía in June 1990brought an innovative and much anticipatedchange in the direction of the Compañía.

Duato’s vision has transformed the CompañíaNacional de Danza into a company with adistinct personality of its own, and one whichembraces a contemporary style withoutneglecting its classical precepts. Duato hasachieved this over time by programming newchoreographic works into the Compañía’srepertoire, works that have been createdspecifically for the ensemble, together withtraditional works of proven quality, that arerecognised world-wide.

Nacho Duato has placed Compañía Nacional deDanza alongside the leaders in internationaldance who practice the art of synthesis,combining classical techniques with moderndance languages. Duato has made a substantialcontribution to Compañía Nacional de Danza as a choreographer; internationally his workshave received critical praise, many awards and particular recognition for his ability toincorporate traditional elements of Spanishdance into his choreography. The fusion ofthese characteristics, including Southerncharacter, Mediterranean nature andspontaneity, have become hallmarks thatdistinguish Compañía Nacional de Danza withinthe choreographic world.

Returning to the original notion of identity, it isinteresting to note how closely linked CompañíaNacional de Danza has become to Spain itself.Nacho Duato has given an important voice totopical issues and other challenges faced by thenation, through the expression of dance. Theinternational rise of the new Spain has made allits citizens proud, but none more so than themembers of Compañía Nacional de Danza, whohave so successfully contributed to the country’sachievements.

Delfín Colomé

“THESE DAYS, THE COMPANY IS A VERITABLE SYMBOL OF THE VIBRANCYWITH WHICH SPAIN SEEKS TOEXPERIENCE CULTURAL LIFE.”LA GAZETTA, ITALY

WHITE DARKNESS


ON NACHO DUATOIs Nacho Duato perhaps a sculptor rather than a choreographer, choosing to work in that mostmalleable and plastic of materials, the humanform? Critics consistently rave about his abilityto carve the body into new shapes, as if it weremade of clay or some other fluid substance.

With an impeccable pedigree, beginning as adancer with the Rambert company, then MauriceBéjart and Alvin Ailey, Duato made a natural andearly transition to the role of choreographer atNetherlands Dans Theatre while still performing.Supple, liquid movement is a signature of hisenergetic style. Initially influenced (how could he not be?) by that company’s artistic directorJirí Kylián, whose work is infused with a deepmusicality and humanity, Duato has created hisown distinctive vocabulary. Blessed with a talland patrician physique, which gives him acharismatic stage presence, he has a strongunderstanding of body mechanics, withoutreducing the body to a machine. For him, thespirit is the vital ingredient; without it,movements are merely empty gestures.

Like most members of the global dance family,Duato lived the life of a gypsy, travelling fromcommission to commission. But it was whileworking with Mats Ek’s Cullberg Ballet that hereceived the call from the Spanish Ministry ofCulture that lured him home. He created theCompañía Nacional de Danza in 1990 out of a pre-existing troupe that had lost direction. His timing could not have been more propitious,coinciding with a flourishing of talent across the arts in Spain as the country enjoyed newprosperity and the renewed energy of itsyouthful population while basking in theinternational limelight of Expo and the Olympics.But it wasn’t easy. Duato has been quoted assaying that the process of giving the company anew identity, based on classical and contemporarydance, was ‘like planting a cactus in Alaska’. As with any high-profile, high-stakes transition,this one was not without controversy, but Duatowas committed to dispensing with any of the so called ‘ole’ stereotypes that plague Spanishculture, promising that neither fans nor bullswould appear in any work bearing his name.

To do so, he brought together thirty dancerswho demonstrate uncompromising techniqueand discipline, without sacrificing personality. An enviable combination, nurtured in idealconditions.

In a country known for its passionateconvictions, there is nothing lukewarm aboutDuato’s work. This is total immersion dancing –utilising every muscle, and every part of thehuman frame: spine, hip sockets, knees – all ofthem engaged to produce something organic,sensual, charged with emotion and meaning. As a dancer, Duato asks nothing of others that he does not ask of himself: his work isdemanding and difficult, requiring performerswho feel capable of anything. The companyrises to the challenge with a unique combinationof pride and humility, as if it were an honour toexecute his steps.

Human suffering and alienation is a recurringtheme. No matter the source of his ideas –whether it be media images of torture, whichprompted him to create Herrumbre (Rust) orconcern about injustice and repression(Rassemblement) or a favourite film (WimWenders Wings of Desire is the springboard for Alas ) – Duato brings a poetic existentiallyricism to each piece. Engaged in a dialoguewith his audiences, he seeks to reflect the worldthey live in by responding to events shapingtheir lives – including the threat of terrorismwhich Spaniards, and most recently Madrilenos,are only too familiar with – always explored froma perspective of compassion and a search forcommon ground. Relevance is a risky business– the danger of work becoming dated anobvious peril – but Duato’s sensibility is finelytuned to avoid the literal while capturing thezeitgeist. It’s a talent any artist would envy.

PROGRAM NOTE

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“EITHER WITH OR WITHOUT THEWINGS REFERRED TO IN THE

TITLE (ALAS), DUATO HASALREADY ACHIEVED

IMMORTALITY IN THE FIELD OFCONTEMPORARY DANCE

HISTORY.”POR LA DANZA, MADRID

ALAS


to repeat it, magnifying and deepening itsresonances, creating mass movements out ofindividuals, unity out of singularity.’ An intricatecoordination of arms and heads creates accentsand punctuation marks to phrasings of bodies;partnering is as detailed and delicate as a lace mantilla, solos blend into groups thatintermingle and flow like water.

Duato acknowledges Spanish culture andhistory in works that mix the sacred and theprofane, contrasting liturgical dances with sexy undertones (in Por Vos Muero, monks inflowing capes and short shorts enter swingingincense burners).

His aesthetic favours neutral and dark tones,costumes with a certain classicism and restraintand subtle lighting. There’s a sombre austerityto some pieces, as if they were seeking refugein cool shady spaces from the harsh glare ofthe sun. And then there is the music: liturgy and world folk song are sources of inspirationalong with Debussy, Satie and an eclectic mixthat includes Xenakis, Sculthorpe, Shankar and Glass.

Not surprisingly, dancers love to performDuato’s work, as David McAllister, artisticdirector of the Australian Ballet knows, havingseen the impact on the company when theyperformed Jardi Tancat and Por Vos Muero.‘Nacho’s works are not just a whole lot of steps, they are a whole lot of soul too.’ Eventhose not born in a Mediterranean climate talkabout how his Spanish sensibility communicatesa powerful sense of place. ‘And when you seethe works performed by his own company, that sense of national identity is even morepowerful,’ says McAllister, ‘because they are so handsome, powerful and strong and theyappear to own the work physically in such a complete way. It is as if Nacho has written a love letter to every dancer.’ They aren’t theonly ones to be seduced.

Caroline Baum

Kristofis is an admirer of Duato’s harmonioussense of human geometry, his elegantsymmetries and his ability to make patterns onthe stage that pay homage to courtly traditionsand the pageantry of grand occasions. ‘He does so without stiffness or formality, alwaysexploding the shapes he makes with moreenergy and dynamism. He likes to create asense of wind and air across the body. There’s a multiplier effect to the way he builds his solos and then gets an ensemble of dancers

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He manages to do it without trying to be hip,courting fashion or chasing street cred. Nevervulgar, brash or showy, there’s a nobility andrestraint to Duato’s work; he does not need toresort to shock tactics to express himselfeloquently.

Lee Kristofis, curator of dance at ANU,describes Duato’s work as ‘throbbing, like aheartbeat. It has a lush range of feeling. Hemakes the men as expressive as the womenand, of course, being Spanish, he is not afraid of machismo – the dancers are young bucks

full of desire, but not like Almodovar’s men –there’s no absurdism, no irony to Duato.’ His softly spoken and gentle manner and speechtranslate to the stage in gestures that ripplewith natural grace. Limbs float and melt, time is slowed, lyricism and tenderness mingle withclean lines. There’s a feeling of transcendencein watching these dancers, as if witnessing aritual or ceremony – a reminder, perhaps thatgrace, always present in these works, is a stateof mind, as well as a physical gift.

ALAS


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Since his appointment, the Company hasundergone significant innovations with theincorporation of new choreographic worksalongside the Company’s classical repertoire.

Born in Valencia, Spain in 1957, Nacho Duatostarted his professional ballet training with the Rambert School in London at the age ofeighteen. To further his studies he joinedMaurice Béjart’s Mudra School in Brussels, and completed his dance education at The Alvin Ailey American Dance Center in New York.

In 1980, at the age of 23, Nacho Duato signedhis first professional contract with the CullbergBallet in Stockholm, and a year later Jirí Kyliánbrought him to the Nederlands Dans Theater in Holland, where he was quickly incorporatedinto the company and its repertoire. In 1987, he received the VSCD Gouden Dansprijs(Golden Dance Award) for his achievements asa dancer. Nacho Duato’s natural talent had himsoon look beyond the limitations of a dancerand turn towards choreography. His first attemptin 1983 turned into a major success: JardiTancat to Spanish/Catalan music by compatriotMaria del Mar Bonet won him the first prize at the International Choreographic Workshop(Internationaler Choreographischer Wettbewerb)at Cologne.

Without reducing his responsibilities as a dancerNacho Duato has – since then – created about

a dozen works for both Nederlands DansTheater and Nederlands Dans Theater II, forinstance, Danza y Rito (Chvez), Uccelli(Respighi), Synaphai (Xenakis/Vangelis), Boléro (Ravel), Arenal (Maria del Mar Bonet),Chansons Madecasses (Ravel), and Raptusto Richard Wagner’s Wesendonk Lieder. For almost every work painter/designer WalterNobbe has proved an inspiring and reliablecollaborator.

In 1988 Nacho Duato was named ResidentChoreographer for Nederlands Dans Theater –next to Hans van Manen and Jirí Kylián.

With the growing demand of internationalcompanies requesting his works for their

repertoire – including The Cullberg Ballet, The Frankfurt Ballet, Ballet Gulbenkian, LesGrands Ballets Canadiens, Ballet Teatro LiricoNacional – Duato was forced to make adecision about his future career. Being soughtafter by a number of important opera housesand ballet companies, it was the call of theMinisterio de Cultura of his native Spain whichmost appealed and, at the beginning of the1990-91season, Duato assumed the position of artistic director and choreographer with Ballet Teatro Lirico Nacional de Espaa in Madrid,since 1993 known as Compañía Nacional deDanza.

NACHODUATO

“HIS MASTERY IS ABSOLUTE,EMOTIVE AND RECREATES THE

AESTHETIC ENJOYMENT OF ABALANCE ONLY ACHIEVED BY THE

GREAT MASTERS.”ABC, BARCELONA

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ALAS (WINGS)NACHO DUATO/P. ALCALDE, S. CABALLERO; PÄRT, MASSENET, SZYMANSKI Y FUCKHEAD

Choreography Nacho Duato

Theatre direction Tomaz Pandur

Sets Tomaz Pandur, Nacho DuatoConstructed by Odeón

Music Pedro Alcalde/Sergio Caballero (original music); Arvo Pärt (Fratres, Adagio, from Chandons Records); Jules Massenet (Elegie, from Silva Screen Records); Pawel Szymanski (Five Pieces for String Quartet, from the CD Lament) and Michael Strohmann to Fuckhead (Doin’ Business, from the album The Male Comedy, of Mego 025)

Costumes Angelina Atlagic

Lighting Design Brad Fields

Texts Fragments of the cinemato-graphic script of the movie Der Himmel über Berlin (Wim Wenders/Peter Handke), selected by Tomaz Pandur

Video Zeljko Serdarevic and Dragan Mileusnic

Voice Ana Wagener

Performed by Nacho Duato, Ana López, Ana Tereza Gonzaga, Lucía Barbadillo, Kayoko Everhart, Susana Riazuelo, Tamako Akiyama, Yolanda Martín, Dimo Kirilov, Clyde Archer, Fabrice Edelmann, Bruno Da Silva, Isaac Montllor, Amaury Lebrun, José Carlos Blanco, Francisco Lorenzo and Gentian Doda

The world premiere of Alas was performed by Compañía Nacional de Danzaat the Palacio de Festivales de Cantabria, Santander, on April 28, 2006.

1hr 5mins, no interval.

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“TWO GREAT FIGURES FROM WOLFSBURG THEATRE, NACHO DUATO AND TOMAZ PANDUR, HAVE MADE WINGS OF DESIRE DANCE AS NEVER BEFORE.”HANNOVERSCHE ALLGEMEINE ZEITUNG, GERMANY


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Alas is the first collaboration betweenCompañía Nacional de Danza’s Artistic DirectorNacho Duato and acclaimed Slovenian theatredirector Tomaz Pandur.

Wim Wenders’ celebrated 1987 film Wings ofDesire serves as inspiration for this evocativemeditation on solitude, love and death. Duatohimself performs in the piece as Damiel, anangel who sheds immortality to become human.

Dance, cinema and theatre combine as Alasintegrates fragments of Peter Handke’sscreenplay to create what Duato describes as ‘dancing with mouth’.

Having worked under Jirí Kylián at NederlandsDans Theater, as a dancer and choreographer,Nacho Duato has developed a modern stylebased on classical ballet which challengescontemporary dance trends. Here he teamswith Tomaz Pandur, one of the world’s mostregarded theatre directors, renowned forcreating dramatically charged interpretationswhich inspire stage images of overwhelmingbeauty.

This production features original music by Pedro Alcalde and Sergio Caballero, whopreviously composed the music for CompañíaNacional de Danza’s Herrumbre (2004) andDiecisiete (2005). Duato also draws upon music from Arvo Pärt, Jules Massenet andPawel Szymanski. For the lighting design on this ambitious project, Alas sees Duato team up once again with one of his most faithful andsuccessful collaborators, Brad Fields.

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THREE WORKS BY NACHO DUATO

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Music Old Spanish Music – XV and XVI centuries (Cançons de la Catalunya mil-lenària El Mestre, popular from Catalonia by La Capella Reial de Catalunya, directed by Jordi Savall; Canciones y Danzas de España, and España, Antología de la Música Española)

Sets Nacho DuatoSets constructed by Enrique López Corella and Tajuela

Costumes Nacho Duato and Ismael AznarCostumes made by Compañía Nacional de Danza's Wardrobe Department

Lighting Design Nicolás Fischtel (A.A.I.)

Text Garcilaso de la Vega

Voice Miguel Bosé

Performed byJanuary 6 and 8, 2008Ana María López, Gentian Doda, Susana Riazuelo, Joel Toledo, Luisa María Arias, Dimo Kirilov, Lucía Barbadillo, Amaury Lebrun, Ana Tereza Gonzaga, Randy Castillo, Tamako Akiyama and Fabrice EdelmannJanuary 7, 2008Tamako Akiyama, Clyde Archer, Inês Pereira, Jean Phillipe Dury, Stephanie Dalphond, Isaac Montllor, Marina Jiménez, Héctor Torres, Yolanda Martín, José Carlos Blanco, Kayoko Everhart and Mathieu Rouvière

The world premiere of Por Vos Muero was performed by Compañía Nacional de Danza at Teatro de Madrid, on April 11, 1996.

POR VOS MUERO

GNAWA WHITE DARKNESS

POR VOS MUERONACHO DUATO/OLD SPANISH MUSIC XV AND XVI CENTURIES

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“POR VOS MUERO TRANSFORMS DANCE INTOA PASSIONATE TORNADO.”

LE PARISIEN, PARIS

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1hr 55mins, including two intervals.


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Estoy contino en lágrimas bañadorompiendo siempre el aire con suspirosy más me duele el no usar decirosque he llegado por vos a tal estado

Canción, yo he dicho más que me mandarony menos que penséno me pregunten más, que lo diré

Nadie puede ser dichoso, señora,ni desdichado, sino que os haya miradoporque la gloria de veros en ese punto se quitaque se piensa merecerosasí que, sin conoceros,nadie puede ser dichoso, señora,ni desdichado, sino que os haya mirado

La gente se espanta todaque hablar a todos distesque un milagro que hicisteshubo de ser en la bodaPienso que habeis de venirsi vais por ese caminoa tornar el agua en vinocomo el danzar en reir

Las lágrimas que en esta sepulturase vierten hoy en día y se vertieron, recibeaunque sin fruto ya te seanhasta que aquella eterna noche oscurame cierre aquestos ojos que te vierondejándome con otros que te vean

Escrito está en mi alma vuestro gestoy cuanto yo escribir de vos deseovos sola lo escribistes yo lo leotan solo que aún de vos me guardo en esto

En esto estoy y estaré siempre puestoque aunque no cabe en mi cuanto en

vos veode tanto bien lo que no entiendo creotomando ya la fe por presupuesto

Yo no nací sino para quererosmi alma os ha cortado a su medidapor hábito del alma misma os quiero

Cuanto tengo confieso yo deberospor vos nací por vos tengo vidapor vos he de morir y por vos muero

I‘m continuously bathed in tearsalways breaking the air with sightsand I’m even more hurt by not telling theeI’ve arrived at this point because of thee

Song, I have told more that was orderedand less than I thoughtdon’t ask me more, ‘cause I shall disclose.

No one can be happy, Madam,nor unhappy, unless he has looked at thee‘cause the glory of seeing thee vanishesin the moment one thinks of deserving theetherefore, without knowing thee,no one can be happy, Madam,nor unhappy, unless he has looked at thee

People get scaredas thou hast made them all gossip‘cause a miracle thee madehad to happen in the wedlockI think thou hast to comeif thou persist on that wayto turn water into wineas well as dance into laugh

Tears that on this gravepour and were poured, receive,although they shall be fruitlessuntil that eternal, dark nightclose my eyes which saw theeleaving me with other ones to see thee

Written on my soul is thy gestureand all I desire to write about theethee thyself wrote it, I only read itthat even on that matter I follow thee

In that I am and shall be ever readycause even though I cannot cope with as much

as I see in theefrom so much good, I believe in what I cannot

understandalready taking the faith as a premise

I was not born but to love theemy soul is patterned to thy measuresand because of my soul’s habit I do love thee

I confess to owe thee all I havefor thee I was born, for thee I am alivefor thee I have to die, and for thee I die

In Por Vos Muero, Duato has taken inspirationfrom old Spanish music of the XV and XVIcenturies, together with some of the mostbeautiful verses of the Spanish poet Garcilasode la Vega. Music and poetry connect theobvious contemporary dance of Por Vos Muerowith its historic references.

In the XV and XVI centuries dance formed anintegral part of cultural expression in all socialhierarchies, therefore the dances of the periodpresent an honest reflection of the culture. Por Vos Muero pays tribute to the veryimportant role dance played in all kinds of social events during those times.

Music

Venegas de HenestrosaVillancico II: Al revuelto de una garzaRomance I: Pues no me queréis hablarRomance II: Mira Nero de Tarpeya

Pedro GuerreroMoresca: La perra mora

Diego OrtizPasamezzo moderno

Pedro RuimonteVillancico: Madre la mi madre

Antonio Martín y CollDanza: El Villano

Juan VasquezRomance de Don Beltrán: Los braços traygocansados

Cristóbal de MoralesRequiem: Pie Jesu

Mateu FlechaDindirindin (de la Ensalada La Bomba)

Tradicional catalana/Jordi SavallEl Mestre

Garcilaso de la Vega

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In 1992 in his home city of Valencia, NachoDuato premiered Mediterrania, searching deepinto his roots and those of his forebears, andinto his sense of complicity with theMediterranean Sea.

In Gnawa, premiered by the Hubbard StreetDance Chicago in 2005, the renownedchoreographer has continued along the path he set out on with Mediterrania, seeking totransmit, through the medium of movement, the sensuality of the landscape, the true natureof its peoples. With a suggestive musical scorereplete with Spanish and North African sounds,Gnawa captivates its audience through its all-encompassing power and its sensualelegance, combining the spirituality and organic rhythm of the Mediterranean.

Gnawa is the name given in Morocco and other parts of the Magreb, to members of thedifferent mystic Muslim brotherhoods that werecharacterised by their sub-Saharian origin andthe use of song, dances and syncretic rituals as a means to reach ecstasy. This term alsorefers to a musical style of sub-Saharianreminiscences practised by these brotherhoodsor by musicians inspired by them. It isconsidered one of the main Moroccan folkloricgenres.

GNAWANACHO DUATO/ H.HAKMOUN/ A. RUDOLPH; J.A. ARTECHE/ J. PAXARIÑO; R. ABOU-KHALIL, VELEZ, KUSUR AND SARKISSIAN

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Premiere performance by the Hubbard Street Dance Chicago at the Joan W. and Irving B. Harris Theater for Music and Dance, March 2005.

Gnawa was premiered by Compañía Nacional de Danza at the Euskalduna, Festival Dantzaldia,Bilbao, on November 4, 2007.


Music Hassan Hakmoun/Adam Rudolph (Gift of the Gnawa, ‘Ma’Bud Allah’ ); Juan Alberto Arteche and Javier Paxariño (Finis Africae, ‘Carauari’ ); Rabih Abou-Khalil, Velez, Kusur and Sarkissian (Nafas, ‘Window’ )

Costumes Luis Devota and Modesto Lomba

Lighting Design Nicolás Fischtel (A.A.I.)

Performed by January 6 and 8, 2008Tamako Akiyama, Dimo Kirilov, Francisco Lorenzo, Africa López, Ana Tereza, Gonzaga, Fabrice Edelmann, Mathieu Rouviere, Gentian Doda, Ines Pereira, Marina Jiménez, Clyde Archer, Ana López, Stephanie Dalphond and Joel ToledoJanuary 7, 2008Yolanda Martín, Isaac Montllor, Randy Castillo, Kayoko Everhart, Luisa María Arias, Stein Fluijt, Héctor Torres, Jean Philippe Dury, Susana Riazuelo, Lucía Barbadillo, Bruno Da Silva, Soojee Watman, Stephanie Dalphond and Joel Toledo

“MYSTERIOUS, EVER-CHANGING, A TIMELESS EVOCATION OF ANEXOTIC LOCATION.”POST-GAZETTE, PITTSBURGH


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Music Karl Jenkins (Adiemus Variations, String Quartet no 2)

Sets Jaffar ChalabiSets made by Pintos and Peroni

Costumes Lourdes FríasCostumes made by Compañía Nacional de Danza Wardrobe

Lighting Design Joop Caboort

Performed by

January 6 and 8, 2008Yolanda Martín, Dimo Kirilov, Ana MaríaLópez, Amaury Lebrun, Marina Jiménez,José Carlos Blanco, Tamako Akiyama,Joel Toledo, Inês Pereira and FabriceEdelmann

January 7, 2008Luisa Maria Arias, Isaac Montllor,Susana Riazuelo, Mathieu Rouviere,Soojee Watman, Francisco Lorenzo,Africa López, Bruno Da Silva, KayokoEverhart and Clyde Archer

The world premiere of White Darkness was performed by Compañía Nacional de Danza at Teatro de la Zarzuela in Madrid on November 16, 2001.

This piece by Nacho Duato for the CompañíaNacional de Danza very much follows thechoreographer’s creative line over recent years.Here he investigates, through both movementand a profound knowledge of music, formulaewhich expand his vocabulary, always startingfrom the same point; the potential forexpression inherent in his dancers. As far as his inspiration is concerned, this is an openreflection on the world of drugs and the effectthey can have on our social behaviour, on ourability to communicate with others and on ourwhole lives. Nacho Duato’s vision, once again, ispurely testimonial. There are no value judgementshere – rather an invitation to reflect upon asubject matter that is both painful andcontroversial.

WHITE DARKNESSNACHO DUATO/ KARL JENKINS

“DUATO HAS DARED TO STRIP BARE HIS FEELINGSAND WITH PRAISEWORTHYSIMPLICITY HAS PROFILEDAN INTENSE, EXTREMELYBEAUTIFUL POETIC ELEGYDEDICATED TO HIS SISTER.”EL MUNDO, BARCELONA

“DUATO HAS DARED TO STRIP BARE HIS FEELINGSAND WITH PRAISEWORTHYSIMPLICITY HAS PROFILEDAN INTENSE, EXTREMELYBEAUTIFUL POETIC ELEGYDEDICATED TO HIS SISTER.”EL MUNDO, BARCELONA


THE DANCERS OF COMPANIA NACIONAL DE DANZATamako Akiyama

Tamako was born inHokkaido (Japan). Shestarted her studies of balletin the Uchiyama BalletStudio, later continuing hertraining at the Academie deDanse Classique PrincessGrace with M. Besobrasovaas director. In 1986 she won

the Second Prize in the Prix de Lausanne and twoyears later, the Fourth Prize in Varna. In 1989, shejoined the Stuttgarter Ballet with Marcia Haydée as director, dancing many works of choreographerslike G. Balanchine, J. Cranko, J. Neumeier, Petipa, M. Béjart, Jirí Kylián, Nacho Duato and WilliamForsythe. In 1996, she enrolled in the DeutscheOper Ballet with Richard Cragun as director. InSeptember 1999, she joined Compañía Nacional de Danza.

Lucía BarbadilloLucia was born in La Coruñaand began her dancestudies at the Dégas Schoolin El Ferrol. Afterwards, shefurthered her training at theDruida Dance School in LaCoruña, the Madrid RoyalHigher School of DramaticArt and Dance, the Dance

School of María de Ávila in Saragossa, the MadridRoyal Professional Conservatory of Dance and,finally, from January to June 1999, the School ofVíctor Ullate. During these years, she attendedcourses given by Virginia Valero, Luciano Gómez,Margarita Levina, Carmen Roche, Graciela Kraus,Eva Borg, José Parés, Lázaro Carreño, Juan CarlosSantamaría and Ana Laguna. In October 1999, shebecame a member of Compañía Nacional de Danza2, joining Compañía Nacional de Danza inSeptember 2002.

Fabrice EdelmannFabrice was born in Geneva(Switzerland) where hestarted his studies ofclassical ballet in the Ecolede Danse de Genève withBeatriz Consuelo as ateacher. During this periodhe began to form a part ofthe School’s Junior Ballet.

In 1994, he joined the Hagen Ballet of RichardWherlock and two years later he became a soloist of the Luzerner Ballet, along with Richard Wherlock.In 1998, he joined Jochen Ulrich’s Euregio TanzForum as a soloist and, one year later, the KomischeOper Berlin. In 2001, he moved to the Basler Ballet. In March 2002, he joined Compañía Nacionalde Danza.

José Carlos BlancoJosé was born in Madridwhere he began his balletstudies at the Dance Centreof Víctor Ullate. During histraining period he obtainedhis Certificate from theNational Conservatory of the Hague (Holland) withdistinction. In 1996, he

joined the Ballet de Víctor Ullate (today, the Balletde la Comunidad de Madrid) as the First Dancer,under the teachers Karemia Moreno, José Pares,Menia Martínez Aurora Bosch, Bella Batchinskaia,Zoltan Nagy, Lola de Ávila and Ullate himself. InSeptember 2001, he became a member ofCompañía Nacional de Danza. Since 2006, he hasbeen considered a principal dancer.

África GuzmánBorn in Madrid, Áfricastudied at the AfricaGuzman School of Balletand Spanish Dance and atthe School of the SpanishNational Ballet. Shegraduated from the RoyalAcademy of Dancing(London) and the Royal

Conservatory of Dance, Madrid, in Classical Ballet,attaining High Honours at both institutions. She was

awarded First Prize in Classical Ballet in the Countyof Kent, 1985; in the County of Sussex, 1987; andin the Monteprincipe National Dance Competition,1987. She has been a member of CompañíaNacional de Danza since 1988. Under the directionof Maya Plisetskaya, she danced numerous starringroles from the classical and neo-classical repertoire.In 1990, she was made Prima Ballerina under theartistic direction of Nacho Duato, staying at CNDuntil 2002. After two seasons at the NederlandsDans Theater, she returned to CND in 2005.

Amaury LebrunAmaury was born inTourcoing (France). Hestarted his studies ofclassical ballet in the Écolede Danse du Ballet du Nordand later at the School of American Ballet, where he had the followingteachers: Stanley Williams,

Kramarevsky, Truman Finney and Whillem Burmann.He has worked as a professional dancer in theJeune Ballet de France (1992), Ballet du Rhin(1994), Chataqua, USA (1995), Staatsoper Berlin(1996), Opera de Nice (1997) and QueenslandBallet, Australia (1999). In September 2000, hejoined Compañía Nacional de Danza.

Ana LópezAna was born in Wintenthür(Switzerland). She startedher studies of classical balletin the KindertanztheaterClaudia Corti, working withmany teachers such asDavid Howard, SvetlanaBeriosova, David Wall andJosé de Udaeta. In 1986,

she enrolled in the Ballettschulle für das Opernhaus Zürich, continuing her training later in the Ballettschulle der Hamburgischen Staatsoperwith John Neumeier. From 1990 to 1993, she waswith the Zürcher Ballet (Switzerland), StadttheaterBern (Switzerland), Compañía Marta Levis (Milan)and Compañía C.S.C. (Milan). In 1993, she becamea part of the Ballett Braunschweig (Germany) withPierre Wyss as director, dancing many works bychoreographers such as Oscar Araiz, AntonioGomes, Richard Wherlock, Ysutomu Ben Ida, Pieterde Ruiter, José María Alves and Pierre Wyss. InAugust 1998, she joined Compañía Nacional deDanza. Since 2006 she has been considered aprincipal dancer.

Ana Tereza GonzagaBorn in Salvador de Bahía,Brazil, Ana began her dance studies at the Balletin Brazil School in herhometown, to latercomplete them at the ParisOpera Ballet School. In1994, she joined the BalletNational de Nancy et de

Lorraine, where in 2000 she attained the categoryof Soloist. In 2001, she moved to New York to work with Karole Armitage at the Jayce Theatre. As from September 2001 she has been a memberof Compañía Nacional de Danza.

Bruno CezarioBruno was born inPetropolis RJ, in Brazil. He began his formal balletstudies at the age of 12 at the Ballet Moderno KatiaAlves, later finishing themwith Renato Vieira in Rio de Janeiro. In 1995, hejoined Renato Vieira Cia

de Dança, moving two years later in 1997 to theBallet do Teatro Municipal do Río de Janeiro. In1999, he was voted best dancer at the Voce e aDança Voice and Dance Awards, winning the RíoDança award the following year. In 2001, Brunomoved to Europe, joining the Ballet du GrandTheatre de Geneve, where he remained until 2004,when he joined the Cullberg Ballet. A year later, in2005, he moved to France to join the Ballet del’Opera de Lyon, before finally becoming a memberof Compañía Nacional de Danza in 2007.


Christelle HornaBorn in Pau, France,Christelle began her balletstudies at the Pau DanceSchool. Later she studied at the Paris Opera DanceSchool and the ToulouseTraining Centre, and shefinished her training at theNice Choreographic Art

Centre. In 1992, she joined the Grand BalletClassique de Paris directed by Jeannette Jacquet. A year later, she joined the Ballet de l’Ópera de Nice(directed by Jean-Albert Cartier and Hélène Trailine)attaining, in 1997, the category of Soloist. SinceSeptember 2001, she has been a member ofCompañía Nacional de Danza.

Clyde ArcherClyde E. Archer was born inNew York, where he beganhis dance training at theBallet Tech (Feld Ballet/TheNew Ballet School). In 1995,he joined The Ailey School(The Alvin Ailey AmericanDance Center). In 1997, heentered The Juilliard School,

under the direction of Benjamin Harkarvy. His formaltraining completed, in 1999 he joined The JuilliardDance Ensemble as a dancer. In 2000, Clydereceived the Princess Grace Award, and a year later,in 2001, he joined Compañía Nacional de Danza for the first time. He stayed with the Spanishnational company until 2003, when he returned tohis native USA to once again work with the AlvinAiley American Dance Center. Later he returned toEurope, dancing for both the Goteborg Ballet andthe Cullberg Ballet. In September 2007, Clyde E.Archer rejoined Compañía Nacional de Danza.

Dimo KirilovBorn in Sofia, Bulgaria, hebegan his ballet studies atthe Sofia National OperaSchool, and then, in 1993,made the leap to theNational Opera of that city.In 1994, he joined theJeune Ballet de France, and a year later he formed

part of the National Ballet of Nancy and Lorraine,becoming a Soloist from 1996. Since September2001 he has been a member of Compañía Nacionalde Danza.

Francisco LorenzoFrancisco was born inBuenos Aires, Argentina,where he completed hisstudies at the Art HighSchool of the Colón Theatrein 1998. He won numerouscompetitions in his countrybetween 1991 and 1999when the Buenos Aires daily

Diario Clarín branded him as a dancing hit. In 1994,he joined the Junior Section of the Ballet Mar delPlata. In 1996, he started to dance in the BalletNeoclásico of Buenos Aires and the Colón TheatreBallet. In 1999, he became a member of the BalletContemporáneo del Teatro San Martín. In July 2003,he started with Compañía Nacional de Danza.

Gentian DodaBorn in Tirana, Albania,Gentian began his studies at the Dance Academy in his hometown. In 1997, hejoined the Tirana OperaBallet and in the same yearhe danced in the OperaBallet of Baku, the capital of Azerbaijan, a member of

the Russian Federation. In 1999, he worked at theVerona Arena Theatre in Italy and with the Balleto di Parma. He has been a guest Ballet Dancer inMaurice Béjart’s Ballet de Laussane. In 2000, hejoined Víctor Ullate’s Ballet de la Comunidad deMadrid. In September 2003, he became a memberof Compañía Nacional de Danza.

Héctor TorresHéctor was born in Madridwhere he commenced hisballet studies at the VíctorUllate Academy. In 1994, hecontinued his studies at theMadrid Royal ProfessionalConservatory of Danceunder the teachers VirginiaValero, Antonio Almenara,

Lázaro Carreño, Yoko Taira and María Luisa Ramos.In 1998, he joined the Santamaría Compañía deDanza. During the years 1999 and 2000 heperformed with Europa Danse, becoming a memberof the youth ballet, Joven Ballet de Carmen Roche in 2001. In September of the same year he becamea member of Compañía Nacional de Danza 2, under the orders of Nacho Duato and Tony Fabre.He stayed with the junior company for two years,

dancing numerous choreographies by Nacho Duato,Tony Fabre and Yoko Taira. In September 2003, he became a member of Compañía Nacional deDanza.

Inés PereiraInés was born in Baixa daBanheira, Portugal. In 1986,she began her ballet studiesin Lisbon. In 1990, shejoined the Dance School ofthe National Conservatoryunder teachers GeorgesGarcía, Iván Krammer, UlrikeCaldas, Carlos Caldas, Luisa

Taveira, Jorge Salavisa, Violatte Quenole, AnaMáscolo, Marck de Graef, Armando Jorge, CristinaPereira, Diane Grey and Olga Roriz. While she was a student she collaborated with the National Balletof Portugal on different choreographies. In 1998,she became a member of the National Ballet ofPortugal and three years later, in 2001, she joinedCompañía Nacional de Danza 2, under the orders of Nacho Duato and Tony Fabre. Inés stayed withthe junior company for two years, dancing numerouschoreographies by Nacho Duato, Tony Fabre andYoko Taira. In September 2003, she became amember of Compañía Nacional de Danza.

Isaac MontllorIsaac was born in Alcoywhere he began hisClassical Ballet studies at the Ana Calvo DanceSchool. In 1989, he joinedthe Juan CantóConservatory of Music andDance in Alcoy and, in 1994, he joined the Dance

Corps of that Conservatory, performing annual galas throughout the Valencian Region. In 1997, he attained his Certificate in Ballet and SpanishDancing from the Oscar Esplá Higher Conservatoryof Dance in Alicante joining, in June 1998, theCompañía de Danza Contemporánea Lino Zorrilla. In November 1998, he moved to Valencia to attendtechnique perfection classes in Ballet and inContemporary Dance. In January 1999, he becamea member of the Art Ballet Compañía Neoclásica de Danza. In January 2000, he became a member of Compañía Nacional de Danza 2, joining the maincompany two years later.

Jean Philippe DuryJean was born in Paris in1978 where he began hisballet studies at the age ofsix. At the age of eleven, hejoined the L’Opéra de ParisDance School, becoming afull member of the companyeight years later in the Corps de Danse category,

performing a large number of pieces within theclassical and contemporary repertoire. In 1998, hewon first prize for artistic and contemporary dance at the Saint Petersburg Awards and, in 2001, hewas awarded first prize at the Firenze & Danzadance awards in Florence, as well as at the GrandPrix de la República de Italia. During the 2003-04season, L’Opéra de Paris granted him a sabbaticalyear during which he danced for Les Ballets deMonte Carlo. He returned to Paris rejoining L’Opéraunder the Coryphée category. In September 2007,he joined Compañía Nacional de Danza.

Joel ToledoJoel was born in La Havana(Cuba). He started hisstudies of ballet in theEscuela Elemental de laHabana, later continuing his training in the EscuelaNacional. In July 1994, hefinished his ballet studies inthe Real Conservatorio de

Danza de Madrid. After that, he was admitted to anAlicia Alonso professorship at the UniversidadComplutense of Madrid, working with teachers such as Lázaro Carreño and Aurora Bosch. In 1996, he became a part of the Ballet de laComunidad de Madrid, with Víctor Ullate as director.In September 2000, he joined Compañía Nacionalde Danza.


Kayoko EverhartKayoko was born in Tokyo,Japan. From 1993 to 2000, she trained at theWashington ContemporaryBallet under the direction of Kay Englert, as well asattending summer courses in the Pacific NorthwestBallet and the San Francisco

Ballet School. In 2000, she joined the San FranciscoBallet School and, in 2002, became a member ofthe Tulsa Ballet Theater, directed by MarcelloAngelini. Two years later, in September 2004, shejoined Compañía Nacional de Danza 2 under thedirection of Nacho Duato and Tony Fabre. Shestayed with the ‘Junior’ company for two and a halfyears, dancing numerous choreographies by NachoDuato, Tony Fabre and Chevy Muraday. In January2007, she became a member of Compañía Nacionalde Danza.

Luisa María AriasLuisa was born in Madridwhere she started herstudies of classical ballet inthe Real Conservatorio deMadrid. Later, she continuedher training at the RealEscuela Superior de ArteDramático y Danza. In 1990,she enrolled the Euroballet

with Peter Busse as director. In 1991, she joined the Ballet National de Nancy et de Lorraine and, in 1995, she became a member of the Ballet duRhin, with J. P. Gravier as director. In July 1997, she became a member of the Peter SchaufussBallet and, in August 1998, she joined CompañíaNacional de Danza.

Marina JiménezBorn in Madrid, Marinabegan her studies ofclassical ballet at the RealConservatorio Profesional deDanza in Madrid, where shehad the following teachers:Lolita de Avila, CarminaOcaña, Héctor Zaraspe,Ramiro Guerra, Aurora

Bosch, Trinidad Sevillano and Verena Maschat.Throughout these years, she gave numerousperformances throughout Spain as a member of theWorkshop of the Conservatoire under Juan CarlosSantamaría’s direction. She obtained the First Prize

of the Dávalos-Fletcher Interpretation Foundation inthe III Convocatoria Nacional de Danza Ciudad deCastellón. In October 1999, she joined CompañíaNacional de Danza 2 under Nacho Duato’s artisticdirection and, in September 2001, she joinedCompañía Nacional de Danza.

Mathieu P. RouviereMathieu was born in Mende-Lozère, France. He embarked on his careerin 1996 in the Jeune Balletde France and, a year laterin 1997, he joined the ZurichBallet formation, dancing as a semi-soloist. During his time with the company,

he interpreted numerous creations by its director Heinz Spoerli, as well as choreographies by George Balanchine, Hans Van Manen and MerceCunningham. In July 2003, he became a member of Compañía Nacional de Danza.

Randy CastilloRandy Castillo was born inNew York where he studiedClassical Ballet at LaGuardiaSchool for the PerformingArts, the Dance Theater of Harlem, the Alvin AileyAmerican Dance Center, the School of AmericanBallet and the Juilliard

School. In January 2004, he joined CompañíaNacional de Danza 2, becoming a member of themain company a year later. In 2006, he joined the Ballet Dresden, returning to Spain a year later in September 2007 to rejoin Compañía Nacional de Danza.

Soojee WatmanSoojee Watman isAustralian, born in Kangwon-Do, in South Korea. From2002 to 2004, she trainedwith Hanne Larson at theBrent Street Studios underthe direction of ChristianeKeith. During the periodfrom 2001 to 2003, Soojee

won a number of first prizes at the Performing Arts Challenge. In 2002, she took part in theopening ceremony of the Olympic Games in Sydney,performing a solo piece of contemporary dance. Twoyears later, in 2004, she joined Compañía Nacional

de Danza 2, working under Nacho Duato and TonyFabre. She stayed in the ‘Junior’ dance company for three years, performing a number of workschoreographed by Nacho Duato, Tony Fabre andChevy Muraday among others. In September 2007,Soojee Watman became a full member of CompañíaNacional de Danza.

Stein FlujtStein Fluijt was born inNijmegen, Holland. Hebegan his classical ballettraining at Hogeschool voor de Kunsten Arnhem,graduating in 2004. Whilststill a student, during the2002-04 seasons, heperformed for the Aalto

Ballet in Essen and Introdans in Arnhem. He wasawarded third place at the BurghausenChoreography Competition in Germany. In 2004,Stein joined Introdans, Ensemble Voor de Jeugd,becoming a full member of Introdans a year later.During this period he performed in numerousproductions, working under choreographers such as Nils Christe, Jorma Uotinen, Patrick Delcroix,Hans van Manen, JiIí Kylián and Nacho Duato,among others. In September 2007, he joinedCompañía Nacional de Danza.

Stephanie DalphondBorn in Montreal, Canada,Stéphanie Dalphondbecame, at the age offourteen, one of the firstCanadians to be accepted at the School of the ParisOpera on a full scholarship.Two years later, she joinedLes Grands Ballets

Canadiens. During her six seasons with thecompany, she excelled both in the classical and thecontemporary repertoire. She started to freelance in Montreal until American choreographer KevinO’Day offered her a soloist contract with his newcompany in Mannheim, Germany. Stéphanie dancedwith the company for a year before going back tofreelancing in Europe. For the following two years,she worked with some of the best contemporaryEuropean choreographers. She has danced as aguest in galas in Switzerland, Italy and Germany. She joined Compañía Nacional de Danza inSeptember 2005.

Susana RiazueloBorn in Venezuela, Susanabegan her ballet studies atthe Rambert School inLondon and the GustavoFranklin School in Caracas.In 1988, she won ascholarship for the School of American Ballet in NewYork, where she stayed for

three years. She then returned to Venezuela whereshe joined the Ballet Nacional de Caracas under the direction of Vicente Nebreda. In 1996, shejoined the Deutsche Oper Berlin. In 1998, shebecame a member of the Aterballetto of ReggioEmilia (Italy), under the direction of MauroBigonzetti. In 2000, she joined the Ballet de l’Óperade Lyon (France) and, in 2002, she formed part ofthe Ballet de la Comunidad de Madrid, with VíctorUllate. In September 2003, she became a memberof Compañía Nacional de Danza.

Yolanda MartínYolanda was born inBarcelona, where shestarted her studies of balletin the Academy Madó Aris(1981-1987). During theseyears, she obtained theAdvanced Diploma of theRoyal Academy of London.In 1997, she enrolled in the

Institut de Teatre i Dansa of Barcelona and later, in1988, continued her training in the Hamburg BalletSchool (Germany). In 1990, she joined the Balletder Hessiches in Wiesbaden. In 1992, she becamea part of the Nederlands Dans Theater 2, and four years later at the Nederlands Dans Theater 1.In September 1997, she enrolled in the New PowerGeneration Dance Company in Minneapolis (USA),to participate in the show Around the World in aDay. In August 1998, she joined Compañía Nacionalde Danza, dancing many works by Jirí Kylián, WilliamForsythe, Nacho Duato, Hans Van Manen, OhadNaharin, Mats Ek, Lionel Hoche, Johan Inger andItzik Galili.


He is the Lighting Director for American BalletTheatre where he has designed the lighting fornumerous ballets including Coppelia, La FilleMal Gardée, and Within You Without You: A tribute to George Harrison. Other creditsinclude Natalia Makarova’s La Bayadére for The Australian Ballet and Bella Lewitzky’s Meta 4 for the Lewitzky Dance Company.

He has designed for Ballet Argentina, BostonBallet, San Francisco Ballet, Royal Ballet, LyonOpera Ballet, Houston Ballet, NetherlandsDance Theatre, Les Grands Ballets Canadiens,Los Angeles Chamber Ballet, North CarolinaBlack Repertory Company and North CarolinaDance Theater.

Angelina AtlagicCostumes (Alas)

Angelina graduated from the CostumeDepartment in the Faculty of Applied Arts inBelgrade in 1985. From 1999, she taughtCostume and Mask at the Faculty of DramaticArts in Cetinje, Montenegro, as a professor ofthe directing department.

Since 1984, Angelina has designed over 100theatre, ballet, opera and puppet productions.She has designed costumes for three feature films as well as many TV dramas and entertainment shows, designing both theset and costumes for some productions.

Angelina has exhibited her work in the former

Czechoslovakia, Japan, Israel and USA. In 1999,she gave a series of lectures and presentationsof her work at US universities in Nebraska,Indiana, Oklahoma, Kansas and Texas.

Angelina has received many awards and prizesfor productions in Serbia, Macedonia, Sloveniaand Russia. In 1995, Angelina was elected BestTheatre Designer by 20th century arts magazine,KVADRAT. She was also elected Best CostumeDesigner by the theatre critics’ magazine Scenafor four years running, from1994-1998.

Dragan Mileusnic andZeljko SerdarevicVideo (Alas)

Dragan Mileusnic (Serbia, 1967) and ZeljkoSerdarevic (Croatia, 1965) formed a creativepartnership in 2003 and have since producedaward-winning websites, edited and published a best-selling monography on former Yugoslavia,and designed numerous visual identities, booksand posters. Their working method, combininggraphic design, fine art and video, has found itsfullest expression in the spectacles of directorTomaz Pandur: Onehundred minutes (Ljubljana,2003), Aus einem Totenhaus (Bonn, 2004) and Infierno (Madrid, 2005).

CREATIVE TEAMTomaz PandurTheatre Director (Alas)

Born in Slovenia, Pandur studied theatre,cinema and television at Ljubljana University,where he founded the company Thespis Cartand began to catch the eye of theatre critics.His 1989 production of Scheherazade, whichmarried Eastern and Western theatricaltraditions, and was staged at festivals acrossEurope over the next seven years.

At the age of 26, Pandur became Director ofthe Slovenian National Theatre, staging worksby Goethe, Shakespeare, Dante and Dostoyevskyamong other prominent productions andcollaborations. In 1997, he staged Silence ofthe Balkans, an open-air multi-media concertwith music by Balkan icon Goran Bregovic, as part of the program marking Thessalonika’syear as European Capital of Culture.

His work is recognised worldwide, winningnumerous international drama awards. Pandurcurrently splits his time between Ljubljana,Madrid and New York.

Pedro AlcaldeComposer (Alas)

Pedro Alcalde was born in Barcelona where he studied pianoforte, flute, violin andcomposition, and he graduated in Philosophy at the Universidad Central. He went on to studyorchestral direction at Columbia University (New York), and obtained the degree of Masterof Arts at the Vienna Hochschule für Musik,always achieving the highest grades as KarlOsterreicher’s student. In 1988, he completedhis doctorate in Musicology and Philosophy atthe Berlin Freie Universität, with a thesis onMozart’ s Don Giovanni which was subsequentlypublished as a book.

In 1984, he was awarded the prize at theinternational competition of orchestra directorsheld at Bad-Wiesee (Munich), Federal Republicof Germany. That same year, he directed theSüdbayerische Philharmonie and staged IgorStravinsky’ s L’Histoire du Soldat at New York’sHorace Mann Auditorium. He has worked at the Vienna Opera, from 1991 to 1995 he wasAssistant Director at the Berlin Philharmonic

Orchestra, with Claudio Abbado, and he wasAssistant Director for the productions of Otelloand Elektra at the Salzburg Easter Festivals.Pedro Alcalde has also directed numerousEuropean orchestras.

In February 1993, together with ClaudioAbbado, he composed a program devoted toHöderlin’s texts for the Berlin PhilharmonicOrchestra. He has worked with the Europeanorchestras of Berlin, Frankfurt, Rome, Bolonia,Madrid and Barcelona. His recording credits, as well as work for TVE-2, include Stravinsky’sL’Histoire du Soldat, Berlioz’s Nuits d’eté andBeethoven’s Pastoral Symphony. He hasreleased works of Sotelo, Goyette, Kurtág Rihmand Nono. From 1998 he has collaborated withNacho Duato and CND.

Sergio CaballeroComposer (Alas)

Sergio Caballero was born in Barcelona. In1985, he founded the Los Rinos group withMarcellí Antúnez and Pau Nubiola, stagingevents, performance art and theatre with wild,provocative humour and implausible stories.

Caballero is a multi-faceted musician and artist; and in 1987 he founded the musicalgroup Jumo with Enric Les Palau, as well ascomposing pieces for dance and theatre. In1989, he staged an exhibition entitled SergioCaballero Famous Throughout the Whole World, a humorous and sceptical reflection on the authorship of art. Since 1994, he hasbeen the co-director of the Sónar InternationalFestival of Advanced Music and Multimedia Art.

Brad FieldsLighting Designer (Alas)

Born in North Carolina, USA, Brad Fields hasworked for the past 20 years in over 20 countrieslighting all areas of the performing arts. ForCompañía Nacional de Danza, he has designedthe lighting for Nacho Duato’s Hevel, GildedGoldbergs, Alas, Castrati, Sueños de Éter,Arcangelo, Ofrenda de Sombras, Multiplicidad.Formas de Silencio y Vacío, Without Words andRemanso.

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Compañía Nacional de Danza on performancessuch as Remansos and Romeo and Juliet,Txalaparta and L’ Amoroso.

Lourdes FríasCostume Designer (White Darkness)

Lourdes was born in Madrid in 1957, the city in which she died last year. She studied Interior Design but later her career developedtowards Fashion Design. In 1986, she moved toLondon where she studied at the prestigiousschool Central Saint Martins College of Art and Design. In London, she was employed bythe Japanese designer Koji Tatsuno and theDanish designer Anne Lise Kjäer. Later sheproduced her own designs at her studio inNotting Hill Gate.

In 1995, she returned to Spain. In 1997, shedesigned costumes for Nacho Duato’s Romeoand Juliet for Compañía Nacional de Danza.White Darkness marked the secondcollaboration between the two artists.

Jaffar ChalabiSet Designer (White Darkness)

Jaffar Chalabi is an architect, based in Vienna,who was born in Bagdad, Iraq. He startedstudying sculpture in Vienna then continued his studies at the University of Architecture and at the University of Michigan, Ann Arbor,USA. Chalabi completed his education at thePolytechnical University of Vienna and hasobtained his PhD with a thesis on architectureand movement. In 1993, together with TalikChalabi, he founded the Chalabi Architects.Since 1996, he has being regularly teaching at the Polytechnic University of Vienna. He is currently a guest professor at the écoled’architecture de Versailles, France.

Jaffar has been awarded various prizes inprestigious international competitions, amongwhich he received the Benois de la Danse(2000) for the set of the ballet Multiplicity,Forms of Silence and Emptiness by NachoDuato. He also received the honourable mentionof the Austrian award for experimentalarchitecture in 2002. Chalabi Architects havewon several prizes in numerous international

architectural competitions, resulting in thecurrent construction of the convention centre at Darmstadt-Germany.

From 1999, Jaffar Chalabi has had manycollaborations with Nacho Duato, havingdesigned the sets for Multiplicity, Forms ofSilence and Emptiness (1999), Ofrenda deSombras (2000), Txalaparta (2001), WhiteDarkness (2001), Castrati (2002) andHerrumbre (2004).

Joop Caboort Lighting Designer (White Darkness)

Born in 1944 in The Hague, into a theatrefamily (his father was an electrical boss and his mother the head of a costume department),Joop Caboort joined the Nederlands DansTheater (NDT) in 1965. He was the TechnicalDirector and Light Designer of the Companyfrom 1970 to 1995.

His has worked with Hans van Manen, JiríKylián, Jennifer Muller, Louis Falco, Glen Tetley,Nils Christe and Nacho Duato. Joop has alsocollaborated with set designers such as Jean-Paul Vroom, Keso Dekker, William Katz,Walter Nobbe, Nadine Bayliss, John F.Macfarlane and Michael Simon.

Joop has designed the lighting for the mostprestigious dance companies in the world. He gives classes on Lighting Design in Ballet in the Dutch School for Theatre Technicians(SOTT). He was directly responsible for thewhole technical endowment in the Lucent Dans Theater in the Haye, a theatre designedexclusively for dance works.

In 1995, Joop Caboort opened his ownbusiness, Lighting Design & TheatreConsultancy, and since then he has worked as a freelance designer.

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POR VOS MUERO

Nicolás FischtelLighting Designer (Por Vos Muero and Gnawa)

Nicolás Fischtel studied lighting and sound atthe prestigious Royal Academy of Dramatic Art(RADA) in London, under such teachers as Neil Fraser and Francis Reid among others.Awarded a Fullbright Scholarship, he continuedhis studies at the School of Dramatic Art at Yale University in Connecticut, under thewatchful eyes of Jenniffer Tipton and WilliamWarfel.

Since 1984, he has worked as the lightingdesigner at the Teatro SANPOL in Madrid, onworks including Aladdin, Castles in the Air, The Wizard of Oz, Piratas a Babor, The FrogPrince, The Musicians of Bremen and LosFantástikos.

From 1991 to 1996, Fischtel was the residentLighting Designer and Technical Director ofCompañía Nacional de Danza, directed by

Nacho Duato, where he was responsible forlighting 14 productions premiered by thecompany. He has also designed the lighting for other choreographic works by Nacho Duatofor the following companies: Nederlands DansTheater (Holland), Berlín Opera Ballet, LesGrands Ballets Canadiens, Australian Ballet,Gulbenkian Ballet (Portugal), Stuttgart Ballet,Ballets de Montecarlo, Pacific Northwest Ballet(Seattle), Hubbard Street Dance Co. (Chicago),Ballet Opera Finland, Asami Maki Ballet (Tokyo).

Nicolás Fischtel has recently worked for the San Francisco Ballet, Compañía Nacional deDanza 2, Joan Lluis Bozzo, Daniel Bohr, JuanPedro de Aguilar, Victor Conde, Ramón Oller,Junior Ballet del Dance Conservatoire in Paris,Jesús Cracio, Ricard Reguan, Thaiku Theatre,Washington Ballet, Tulsa Ballet, CompañíaFlamenco Vivo, Compañía Andaluza de Danzaand Ballet Nacional de España. He has alsocontinued to work with Nacho Duato at


Level 2, 10 Hickson RoadThe Rocks NSW 2000Tel: 61 2 8248 6500Fax: 61 2 8248 6599www.sydneyfestival.org.au

PATRONHer Excellency Prof. Marie Bashir AC CVOGovernor of New South Wales

BOARD OF DIRECTORS

PresidentThe Hon Morris Iemma MPPremier of New South Wales

ChairClover Moore MPLord Mayor of Sydney

DirectorsMonica BaroneSimon CorahJo HorsburghRoslyn PackerJoe PollardThe Hon Frank Sartor MPSam Weiss

Alternate Directors

Ann Hoban (for Monica Barone)

Councillor Marcelle Hoff (for Clover Moore MP)

Tim Hurst (for The Hon Morris Iemma MP)

Jean Jenkins (for Joe Pollard)

Peter Loxton (for The Hon Morris Iemma MP)

Charles Pashi (for The Hon Frank Sartor MP)

Jo Rooney (for Jo Horsburgh)

SYDNEY FESTIVAL STAFF

Festival Director & Chief ExecutiveFergus LinehanGeneral ManagerJosephine Ridge

ADMINISTRATIONFinancial ControllerAndrew WilliamsAccountants Margaret O’SheaFrancesca HendricksExecutive AssistantsFiona JacksonBoo MitchellAdministration OfficerJulie Gock

PROGRAMMINGHead of ProgrammingBill HarrisArtistic AssociateCarla TheunissenArtist CoordinatorVicki KayProgram ResearcherTanya GoldbergAssociate ProducerJo DuffyProgramming CoordinatorViv RosmanProgramming AssistantsJames BrowningHannah Sanders

MARKETINGActing Manager, Marketing &CommunicationsGina BowmanManager, Marketing &CommunicationsJill ColvinMarketing CoordinatorRachel LigertwoodOnline CoordinatorMichelle O’BrienPublicity ManagerSarah WilsonPublicistsHelene FoxGaby WilsonTicketing ManagerChris FrostTicketing CoordinatorSimon KeenTicketing AssistantKristal MaherTraffic and Signage CoordinatorChristine PetrouVolunteer CoordinatorCatrin Zeller

BUSINESS DEVELOPMENTHead of Business DevelopmentMalcolm MoirSponsorship ManagersTamara NeedhamKate Armstrong-SmithSponsorship Promotions CoordinatorMarisa Snow

Business Development CoordinatorAmalina Williams

Sponsorship ExecutiveCarla Rocavert

Hospitality CoordinatorFernando Motti

Director’s Circle ConsultantVicki Jones

PRODUCTIONHead of ProductionJohn Bayley

Production ManagerKatie Pack

Production CoordinatorChing Lee

Deputy Production CoordinatorAnna Reece

Transport CoordinatorAlison Hepburn-Brown

Production AssistantAshlee Arnold

DOMAIN STAFFFestival Domain ManagerIain Morrison

Senior Site ManagerTom Drury

Catering ConsultantAnn Jeffery

Assistant Site ManagerAdeneen Craigie

Domain Assistant Tara Whitfield

FESTIVAL FIRST NIGHTProducerJohn Montgomery

Production CoordinatorChris Burn

Operations & Logistics ManagerGenevieve McCabe

Government CoordinationBeatrice Chan

Marketing CoordinatorElise Coran

Production AssistantSteven Hunter

FESTIVAL DESIGNERSThe Property Agency

THANK YOUMichael Abbott · Winsome BernardErin Brannigan · Loretta BusbyNaomi Campbell · Bill CarterBrett Dickson · Maria DillonCheryl Elvey · Carl GreenGerry Godley · Jennifer LindsayTom McFarlane · Tia McIntyreAndrew Overton · Petar VladetaAkua Owusu · Lizzie O’Hara-BoyceStephen Salecich · Peter WhiteMorganics

SYDNEYFESTIVALLIMITED

PRODUCTION CREDITS

ALAS / THREE WORKS BY NACHO DUATO

Production CoordinatorChing LeeEvent CoordinatorSophie ClausenAssistant Stage ManagerLarna MunroSound SupervisorCoda AudioLighting SupervisorChameleon Touring SystemsProjection supplied byStaging ConnectionsArtist LiaisonAlejandro RolandiSpecial Thanks toRoss Cunningham

Artistic DirectorNacho Duato

Principal Dancers

Tamako Akiyama, Luisa María Arias, África Guzmán, Ana María López, Yolanda Martín, Susana Riazuelo, José Carlos Blanco, Bruno Cezario, Gentian Doda, Jean Phillipe Dury, Isaac Montllor, Dimo Kirilov

Corps de Ballet:

Lucía Barbadillo, Stephanie Dalphond, Kayoko Everhart, Ana Tereza Gonzaga, Christelle Horna, Marina Jiménez, Inês Pereira, Soojee Watman, Clyde Archer, Randy Castillo, Fabrice Edelmann, Stein Fluijt, Amaury Lebrun, Francisco Lorenzo, Mathieu Rouvière, Joel Toledo, Héctor Torres

Artistic CoordinatorHervé Palito

RépétiteursYoko Taira, Thomas Klein

PianistCarlos Faxas

Stage ManagerJosé Álvaro Cotillo

Phisical TherapistLuis Gadea

Masseur:Mateo Martín

ManagerCarmen Bofarull

Marketing and PromotionMaite Villanueva

Press OfficersMaite Villanueva (CND), Luis Tomás Vargas (CND2)

Marketing and Press AssistantÁfrica Cruz

ProductionSonia Sánchez

Assistants to ProductionFrancisco Javier Serrano, Cristina González, Luis Martín Oya (Production on Tour)

AdministrationAida Pérez

Human ResourcesJosé Antonio Beguiristáin

Human Resources AssistantCristina Sánchez

MaintenanceAna Galán

Technical DirectorMarcelo Suárez

Assistant to Technical DirectorRicardo Virgós

Stage HandsFrancisco Padilla, César Recuenco,

LightingLucas González, Juan Carlos Gallardo

SoundJesús Santos, Pedro Álvaro

WardrobeAna Guerrero (Head of Wardrobe) Valeriana Bon, Sagrario Martín, Carmen Ortega

PropsJosé Luis Mora

WarehouseReyes Sánchez

ReceptionistsMiguel Angel Cruz, Teresa Morató, Federico Cordero

COMPANIA NACIONAL DE DANZA


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Star City Pty LimitedABN 25 060 510 41080 Pyrmont Street, Pyrmont, NSW 2009Tel: (02) 9777 9000

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program Sydney CND 2008