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Giselle

Ballet in two acts by Patrice Bart after Jean Coralli and Jules Perrot
Libretto by Théophile Gautier and Jules-Henri Vernoy de Saint-Georges
Music by Adolphe Adam (1803–1856)
Revised, Zurich version

Choreography Patrice Bart Musical director Paul Connelly Stage and costume design Luisa Spinatelli Lighting designer Martin Gebhardt Assistant choreographer Raffaella Renzi
Solo-Viola
Solo-Viola
Solo-Viola

Duration 2 H. 15 Min. incl. intermission. Introduction 45 min before the performance.

Past performances

April 2019

Thu

11

Apr
19.00

Giselle

Ballet by Patrice Bart, AMAG people's performance subscription

Fri

12

Apr
19.00

Giselle

Ballet by Patrice Bart, Ballet subscription Big

Sun

14

Apr
14.00

Giselle

Ballet by Patrice Bart, Sunday subscription A

May 2019

Fri

03

May
19.00

Giselle

Ballet by Patrice Bart, Mixed subscription C

Sat

11

May
19.00

Giselle

Ballet by Patrice Bart, Combo subscription

Thu

16

May
19.30

Giselle

Ballet by Patrice Bart

Fri

17

May
20.00

Giselle

Ballet by Patrice Bart

Thu

30

May
20.00

Giselle

Ballet by Patrice Bart, Thursday subscription A

Good to know

Abstract

Giselle

Abstract

Giselle

Trailer «Giselle» - Ballett Zürich

Gallery

 

Photos «Giselle»

Gallery

 

Rehearsal photos «Giselle»


Special Guests


For this season’s revival of «Giselle» we’re very happy to welcome two special guests: Polina Semionova and Friedemann Vogel will dance Giselle and Herzog Albrecht on Thursday, 30 May!


Program book

Giselle

Giselle

Synopsis

Giselle

Synopsis

Giselle

Biographies


Patrice Bart,

Patrice Bart

Patrice Bart, Jahrgang 1945, ist untrennbar mit dem Ballett und der Ballettschule der Opéra de Paris verbunden. 1957 trat er in die Schule ein und wurde bereits 1959 Mitglied des Corps de ballet. Als Coryphée erhielt er 1963 den Prix René Blum, der den vielversprechendsten jungen Tänzern verliehen wird. 1969 gewann er als Premier danseur die Goldmedaille beim Tänzerwettbewerb in Moskau und wurde 1972 zum Etoile ernannt. Patrice Bart tanzte die männlichen Hauptrollen in Balletten wie Schwanensee, Petruschka, Dornröschen, Don Quixote, Der verlorene Sohn und trat in Kreationen wie Constellations (Serge Lifar, 1969), Mouvances (Roland Petit, 1976) und Métaboles (Kenneth McMillan, 1978) auf. Von 1970 bis 1982 gastierte Bart regelmässig als Etoile beim London Festival Ballet, dem jetzigen English National Ballet. Er war ausserdem mit zahlreichen Compagnien auf den bedeutendsten internationalen Bühnen zu sehen. Noch vor seinem offiziellen Bühnenabschied im Jahre 1989 begann Patrice Barts Karriere als Ballettmeister, der sich mehr und mehr mit Direktionsaufgaben befasste, nach dem Weggang von Rudolf Nurejew auch, zusammen mit Eugen Poljakow, für einige Zeit als Interimsdirektor. Danach war Patrice Bart über mehr als zwei Jahrzehnte als der Direktion assoziierter Ballettmeister wesentlich mitverantwortlich für die Aufrechterhaltung und Weiterführung der aussergewöhnlichen Tradition und des hohen Standards der französischen Elite-Compagnie. 1991 inszenierte er, zusammen mit Eugen Poljakow, die Pariser Giselle-Produktion aus Anlass des 150. Jahrestags der Uraufführung. 1992 assistierte er Rudolf Nurejew bei der Einstudierung von La Bayadère. 1993 brachte er seine eigene Don Quixote-Produktion an der Berliner Staatsoper heraus, die auch vom Finnischen Nationaltheater übernommen wurde. Für die Mailänder Scala inszenierte er eine neue Giselle, deren Premiere 1996 im Fernsehen europaweit live übertragen wurde. Ebenfalls 1996 brachte er mit Coppélia seine erste abendfüllende Eigenproduktion für die Opéra de Paris heraus. 1997 hatte seine Neufassung von Schwanensee an der Deutschen Staatsoper in Berlin Premiere. 1998 schuf er für das Bayerische Staatsballett eine neue, komplettierte Fassung von Petipas La Bayadère. Es folgten für Berlin Der Nussknacker (1999) und Romeo und Julia (2002). Ausserdem kreierte er einige ganz neue, eigene Stoffe: Verdiana (Berlin 1999, Florenz 2001), La Petite Danseuse de Degas (Paris 2003), Tschaikowsky (Helsinki 2005), Gustav III. (Stockholm 2008), Das flammende Herz (Berlin 2009) und Chopin (Warschau 2010). Jüngste Projekt waren Giselle für das Koreanische Nationalballett in Seoul und das Balletto di Roma (2011) sowie – ebenfalls in Rom – Romeo und Julia (2011) und Schwanensee (2013). Patrice Bart ist Commandeur des Arts et Lettres, Officier de l’Ordre national du Mérite und Chevalier de la Légion d’honneur.



Paul Connelly,

Paul Connelly

Paul Connelly studierte am New England Conservatory in Boston und debütierte als Dirigent mit Gershwins Porgy and Bess im Rahmen einer Tournee der Houston Grand Opera. 1980 wurde er auf Einladung von Michail Baryshnikov Erster Kapellmeister des American Ballet Theatre und arbeitete dort mit Choreografen wie Jerome Robbins, George Balanchine und Anthony Tudor. Während dieser Zeit dirigierte er auch Vorstellungen des New York City Ballet sowie Gala-Veranstaltungen wie Nureyev and Friends und Baryshnikov and Co., ausserdem war er Gastdirigent beim National Ballet of Canada. Während der Zeit beim ABT war er an zahlreichen Film- und Fernsehprojekten beteiligt (u.a. Don Quixote). Zu seinen Opernaktivitäten in dieser Zeit gehören Brittens Death in Venice, Debussys Pelléas et Mélisande sowie Purcells Dido and Aeneas. Nach der musikalischen Leitung einer Ballettgala an der Wiener Staatsoper wurde ihm dort Rossinis Barbiere di Siviglia anvertraut, ein Erfolg, der den Anfang einer intensiven Dirigententätigkeit in Europa markiert. Einladungen führten ihn zum Staatsballett Berlin, das Ballett der Opéra Paris (Verfilmungen von Neumeiers Sylvia, Balanchines Jewels, Giselle, Roland-Petit-Abend), zum Orchestre Colonne in Paris, an das Opernhaus Nizza, ans Teatro di San Carlo in Neapel, an die Oper Oslo, zum Royal Ballet in London und in Birmingham, zum Het Nationale Ballet in Amsterdam, zum Tokyo Ballet, zum Semperoper Ballett Dresden und an die Mailänder Scala, wo er auf Einladung von Riccardo Muti die Opern Il turco in Italia, Die Zauberflöte oder Don Giovanni dirigierte. An der Scala leitete er auch eine Reihe von Ballettaufführungen, unter anderem Giselle, die auch verfilmt wurde. Auf DVD erschienen jüngst Mauro Bigonzettis Caravaggio mit dem Staatsballett Berlin und Nureyews Nussknacker mit dem Ballett der Wiener Staatsoper. Geplant sind weitere Ballettdirigate in Wien, Berlin, Dresden und Mailand.

Nussknacker und Mausekönig20, 25, 27, 29 Nov; 02, 03, 06, 08, 10 Dec 2022 Anna Karenina19, 23, 25 Mar; 01, 02, 05, 06 Apr 2023 The Cellist30 Apr; 06, 14, 18, 20 May; 15, 16, 20, 22 Jun 2023


Luisa Spinatelli,

Luisa Spinatelli

Luisa Spinatelli wurde an der Akademie der Schönen Künste im italienischen Brera zur Bühnen- und Kostümbildnerin ausgebildet. Heute ist sie dort als Dozentin tätig. Ihr erstes Bühnenbild entwarf sie 1965 an der Mailänder Scala für das Ballett Francesca da Rimini. Auch auf dem Gebiet des Schauspiels und der Oper machte sie sich bald einen Namen. Opern wie Attila, La forza del destino, Andrea Chénier oder Fedora waren an der Mailänder Scala in ihrem Bühnenbild zu sehen. Für das Teatro Regio in Turin entwarf sie die Ausstattung für Kiss me, Kate und Die Jungfrau von Orléans sowie für das Teatro Massimo in Palermo Luisa Miller. Ihre ureigenste Domäne ist aber stets das Ballett geblieben. In ihrer Ausstattung gelangte 1976 Der Nussknacker in der Arena di Verona zur Aufführung, den Klassiker stattete sie auch 1999 für die Staatsoper Unter den Linden und 2002 beim Tulsa Ballett aus.Sie entwarf Bühnenbilder und Kostüme für Robert Norths Choreografhie Orlando am Teatro dell’Opera in Rom, für die Dornröschen-Inszenierung des Royal Opera House Covent Garden, für Pierre Lacottes Paquita am Bolschoi Theater Moskau, für eine Inszenierung der Pique Dame am Nationaltheater Tokio oder für George Balanchines Choreografie Ein Sommernachtstraum an der Mailänder Scala. Für ihre Ausstattung von Schwanensee, den Patrice Bart 1997 für die Staatsoper Unter den Linden choreografiert hat, wurde sie mit dem Benois de la danse ausgezeichnet, und 2005 wurde ihr für die Ausstattung von Raymonda in Tokio der Premio Akiko Tachibana verliehen. Luisa Spinatelli und Patrice Bart haben bereits mehrfach zusammengearbeitet.



Martin Gebhardt,

Martin Gebhardt

Martin Gebhardt war Lichtgestalter und Beleuchtungsmeister bei John Neumeiers Hamburg Ballett. Ab 2002 arbeitete er mit Heinz Spoerli und dem Ballett Zürich zusammen. Ballettpro­duk­­­tionen der bei­den Compagnien führten ihn an re­­­­nom­­­mierte Theater in Eu­ro­­pa, Asien und Amerika. Am Opernhaus Zürich schuf er das Lichtdesign für In­szenie­run­gen von Jürgen Flimm, David Alden, Jan Philipp Gloger, Grischa Asagaroff, Matthias Hartmann, David Pountney, Moshe Leiser/Patrice Caurier, Da­miano Mi­chie­­letto und Achim Freyer. Bei den Salzburger Festspielen kreierte er die Lichtgestaltung für La bohème und eine Neufassung von Spoerlis Der Tod und das Mädchen. Seit der Spielzeit 2012/13 ist Martin Gebhardt Leiter des Beleuchtungswesens am Opernhaus Zürich. Eine enge Zu­sam­men­arbeit verbindet ihn heute mit dem Cho­reo­grafen Christian Spuck (u.a. Win­ter­­reise, Nussknacker und Mause­könig, Messa da Requiem, Anna Karenina, Woy­zeck, Der Sandmann, Leonce und Lena, Das Mädchen mit den Schwefelhölzern). In jüngster Zeit war er ausserdem Lichtdesigner für die Choreografen Edward Clug (u.a. Strings, Le Sacre du printemps und Faust in Zürich; Petruschka am Moskauer Bolschoitheater), Alexei Ratmansky, Wayne McGregor, Marco Goecke, und Douglas Lee. Mit Christoph Mar­tha­ler und Anna Viebrock arbeitete er beim Händel-Abend Sale und Rossinis Il viaggio a Reims in Zürich sowie bei Lulu an der Hamburgischen Staatsoper zu­sam­men und mit Jossi Wieler und Sergio Morabito an der Oper Genf für Les Huguenots. In der Spielzeit 2021/22 gestaltet er das Licht u.a. für Monteverdi und Le nozze di Figaro am Opernhaus Zürich.

Impulse22, 31 Oct 2021 Boléro / Le Sacre du printemps29 Oct; 07, 11, 14, 28, 30 Nov; 03, 04 Dec 2021 Le Comte Ory31 Dec 2021; 07, 09, 14, 16, 20 Jan 2022 Monteverdi15, 19, 22, 23, 27, 29 Jan; 04, 06, 10, 12, 20, 26 Feb 2022; 26, 29, 31 May; 03, 09, 11, 25 Jun 2023 Il turco in Italia20, 24, 27 Feb; 04 Mar 2022 Dornröschen10, 18, 23, 24, 28 Apr; 06, 11, 12 Jun 2022 Le nozze di Figaro19, 22, 25, 28 Jun; 01, 03, 07, 10 Jul; 23, 25 Sep; 07, 13, 15, 22 Oct 2022 Nachtträume30 Sep; 04, 09, 14, 16, 20, 21, 28 Oct; 10, 15 Nov 2022 Horizonte22, 23, 25, 26 Oct 2022; 12, 25 Mar 2023 Nussknacker und Mausekönig20, 25, 27, 29 Nov; 02, 03, 06, 08, 10 Dec 2022 On the Move14, 15, 21, 22, 27, 28, 29 Jan; 02, 04, 11 Feb 2023 Anna Karenina19, 23, 25 Mar; 01, 02, 05, 06 Apr 2023 Orphée et Euridice07, 11, 14, 19, 23 May 2023 Lessons in Love and Violence21, 25, 27 May; 02, 04, 08, 11 Jun 2023


Yen Han a.G.,

Yen Han a.G.

Chinese-American dancer Yen Han studied with Stefan Mucsi and Paul Maure in Los Angeles, at the Hartford Ballet School, at the San Francisco Ballet, and at the Beijing Dance Academy. After engagements with the Jeune Ballet de France and the Ballet de Nice, she was engaged as a principal dancer in the Ballett Zürich in 1994, where she has proven to be one of the most versatile and charismatic dancers in a variety of leading roles. Heinz Spoerli choreographed Le Sacre du printemps, Peer Gynt, Daphnis et Chloé, Romeo and Juliet, and A Midsummer Night’s Dream for her. She worked with Mats Ek on Sleeping Beauty (Aurora), and at the Royal Swedish Opera on Romeo and Juliet (Juliet). Other important choreographers she has worked with include Nicholas Beriozoff, Hans van Manen, Jiří Kylián, William Forsythe, Mauro Bigonzetti, Twyla Tharp, Christopher Wheeldon, Patrice Bart, Lin Hwai Min, Sol León/Paul Lightfoot, Martin Schläpfer, and Filipe Portugal. She has been seen in works by Christian Spuck, as Juliet (Romeo and Juliet), Court Master (Leonce and Lena), Kitty (Anna Karenina), in Messa da Requiem and as the Clown (Nutcracker and Mouse King). In 2013 she was honored with the Dance Prize of the Friends of Ballett Zürich and the Outstanding Female Dancer prize at the Swiss Dance Awards.



Inna Bilash,

Inna Bilash

Inna Bilash comes from Ukraine. She studied ballet at the Kharkov Choreographic School, the Perm State Choreographic College and the Perm State Academy of Arts and Culture. She was a principal dancer in the Perm Ballet, where she appeared as Julia in Kenneth MacMillan’s Romeo und Julia, Odette/Odile in Natalia Makorova’s Schwanensee, Giselle in the choreography of Perrot/Coralli/Petipa, the Bride in Kylián’s Les Noces and Masha in MacMillan’s Winter Dreams. She has also appeared as a soloist in choreographies by Jerome Robbins, George Balanchine and Douglas Lee. She won the Arabesque Competition in Perm and the Bolshoi Ballet Television Competition. In 2017 she was awarded the prize from the ballet magazine «The Soul of Dance». Inna Bilash has been a member of Ballett Zürich since the 2018/19 season and has appeared in a variety of roles, including as the title role in Patrice Bart’s Giselle.

Leonce und Lena08, 10 Dec 2021 Dornröschen10, 18, 23, 24, 28 Apr; 06, 11, 12 Jun 2022 Peer Gynt21, 24 May; 16, 17, 18, 24 Jun 2022


Eléonore Guérineau,

Eléonore Guérineau

Eléonore Guérineau is French. After her training at the Paris Opera Ballet School, she danced at the Paris Opera Ballet from 2005 to 2018, since 2013 as a Sujet (demi- soloist). Her main roles in Paris were Gourouli in Les deux pigeons by Albert Aveline, Lise in La fille mal gardée by Frederick Ashton and the title role in Giselle by Perrot/Coralli. She danced other important roles in Bergamasques by Jean-Guillaume Bart, Donizetti by Manuel Legris, Seasons Canon by Crystal Pite and Faun by Sidi Larbi Cherkaoui. She has also appeared in Artifact, In the Middle, of any if and, and The Vertiginous Thrill of Exactitude by William Forsythe. In 2009 she was awarded the AROP Award of the Paris Opera Ballet. She performed as Kitri in Don Quichote in Bangkok. She also completed studies as a ballet teacher. This is Eléonore Guérineau’s first season as a member of the Ballett Zürich.



Polina Semionova a.G.,

Polina Semionova a.G.

Polina Semionova stammt aus Moskau. Sie erhielt ihre Ballettausbildung an der Bolschoi Ballettschule und wurde direkt nach ihrem Abschluss im Alter von 17 Jahren als Erste Solotänzerin an das Ballett der Staatsoper Unter den Linden verpflichtet. Seit September 2012 ist sie Principal Dancer beim American Ballet Theatre, Principal Guest beim Mikhailovsky Theater St. Petersburg und beim Bayerischen Staatsballett München. Polina Semionova tanzt nahezu alle grossen Partien des klassischen Balletts: Odette-­Odile (Schwanensee), Nikia (La Bayadère), Marie (Der Nussknacker), Prinzessin Aurora (Dorn­röschen), Swanilda (Coppélia), Kitri (Don Quixote), Giselle und Myrtha (Giselle), Tatjana (John Crankos Onegin), Sieglinde und Brünnhilde (Maurice Béjarts Ring um den Ring), Manon (Titelrolle), Julia (in Kenneth MacMillans, Leonid Lawrowskis sowie Nacho Duatos Versionen von Romeo und Julia), Michail Fokins Scheherazade und Les Sylphides, die Titelrollen in Vladimir Malakhovs Cinderella, in Roland Petits Carmen oder Frederick Ashtons Sylvia. Zu ihrem Repertoire zählen ausserdem Werke von Robbins, Balanchine, Forsythe, Neumeier, Kylián und Tudor. Choreografen wie Nacho Duato, Mauro Bi­gon­­zetti, Patrice Bart, Renato Zanella, Uwe Scholz, Alexei Ratmansky, Giorgio Madia, Twyla Tharp und Christian Spuck arbeiteten mit ihr und kreierten Rollen für sie. Einladungen führten Polina Semionova an die Mailänder Scala, zum American Ballet Theatre, zum Bayerischen Staatsballett, ans Mikhailovsky Theater St. Petersburg, zum Dresden Semperoper Ballett, zum English National Ballet, zum Tokyo Ballet, zum Ballett der Wiener Staatsoper, zum Ballett Zürich, zum Ballett des Mariinsky Theaters St. Pe­ters­burg, zum Bolschoi Ballett Moskau, zum  Stutt­garter Ballett und zum Ballett der Opera di Roma. Polina Semionova wurde mit zahlreichen Auszeichnungen geehrt, darunter die Gold­­medaille beim Internationalen Ballettwett­be­werb in Moskau, der Erste Preis des Waganowa-­Ballettwettbewerbs St. Petersburg, der Ju­­nior­preis des Internationalen Ballettwettbewerbs Nagoya (Japan), der Berliner Publikumspreis «Daphne», der Deutsche Kritikerpreis und der Deutsche Tanzpreis «Zukunft». 2007 wurde sie vom deutschen Ballettmagazin tanz zur «Tänzerin des Jahres» gekürt und erhielt 2008 den Heinz-Spoerli-Preis. 2014 wurde ihr der derzeit wohl wichtigste Preis der Ballettwelt, der «Benois de la danse», verliehen. 2013 wurde sie von der Staatlichen Ballettschule Berlin als Professorin berufen.



Kevin Pouzou,

Kevin Pouzou

Kevin Pouzou is French. He studied at the École de Danse de l’Opéra de Paris and at the Conservatoire National Supérieur de Musique et de Danse in Paris. In 2007 he became a member of the Staatsballett Berlin, where he was appointed principal dancer in 2015. He has performed as Benno in Patrice Bart’s Schwanensee, as Paris in John Cranko’s Romeo und Julia, as well as in choreographies by George Balanchine, Nacho Duato, Stanton Welch, Angelin Preljocaj, Alexei Ratmansky, Ohad Nahrin, Vladimir Malakhov, and Jiří Kylián. He has been a member of Ballett Zürich since the 2017/18 season, where he has appeared as Prince Siegfried in Alexei Ratmansky’s Schwanensee, Diaghilev in Marco Goecke’s Nijinski, and Albrecht in Patrice Bart’s Giselle.

Leonce und Lena08, 10 Dec 2021 Dornröschen10, 18, 23, 24, 28 Apr; 06, 11, 12 Jun 2022 Peer Gynt26, 27 May; 02, 03, 16 Jun 2022 Junge Choreograf:innen14, 15, 21, 22, 23 Jun 2022


Yannick Bittencourt,

Yannick Bittencourt

Yannick Bittencourt is Swiss. He was born in Bern and he studied at the AS Ballettschule in Switzerland, the Opéra de Paris Ballet School and the Royal Ballet School in London. After an engagement with the American Ballet Theatre Studio Company in New York, he became a member of the Paris Opera Ballet in 2007, where he was appointed demi-soloist (Sujet) in 2010. In Paris he has danced Prince Siegfried in Nureyev's Swan Lake, James in Pierre Lacotte's La Sylphide, Daphnis in Benjamin Millepieds Daphnis et Chloé, and Benvolio and Paris in Nureyev's Romeo and Juliet. He has also appeared in key roles in ballets by William Forsythe, John Neumeier, José Martinez, Serge Lifar, Wayne McGregor, and George Balanchine. He has performed in galas at the National Theatre Tokyo and the Moscow Bolshoi Theatre (Benois de la Danse Ceremony Gala). This is his first season as a member of the Ballett Zürich.



Wei Chen,

Wei Chen

Wei Chen comes from the USA and received his education at the Boston Ballet School, the Margo Marshall School of Ballet, the Walnut Hill School, and the Houston Ballet’s Ben Stevenson Academy. At the Royal Ballet of Flanders he danced in Marcia Haydées Schwanensee (Siegfried) and Dornröschen (Prince Desiré) as well as in Cranko’s Onegin (Lensky). He has also appeared in choreographies by Balanchine, Bournonville, Dawson, Forsythe, Godani, McGregor, Nureyev, Pite, Stevenson, and Wheeldon. He has been a member of Ballett Zürich since the 2013/14 season and has performed in choreographies by Douglas Lee, Jiří Kylián, Marco Goecke, Edward Clug, William Forsythe, and Crystal Pite, among others. He also danced Romeo and Mercutio in Spuck’s Romeo und Julia, Benno in Ratmansky’s Schwanensee, Coppelius in Spuck’s Der Sandmann, and Albrecht in Patrice Bart’s Giselle.

Leonce und Lena08, 10 Dec 2021 Dornröschen10, 18, 23, 24, 28 Apr; 06, 11, 12 Jun 2022 Peer Gynt24, 29 May; 17, 18 Jun 2022


Alexander Jones,

Alexander Jones

Alexander Jones comes from Great Britain. He received his dance training at the Royal Ballet School in London. In 2004 he won the gold medal in the Adeline Genée Competition and the Dame Ninette de Valois Prize. In the 2005/06 season he became a member of the Stuttgart Ballet, where he was appointed principal dancer in 2011/12. In Stuttgart he has appeared as Armand Duval in Neumeier’s Kameliendame, Romeo in Cranko’s Romeo und Julia, in the title roles of Cranko’s Onegin and Kevin O’Days Hamlet, as Basilio in Maximiliano Guerra’s Don Quixote and in MacMillan’s Lied von der Erde. He has also danced in choreographies by Balanchine, Robbins, Ashton, Schaufuss, Tetley, Béjart, Haydée, van Manen, Forsythe, Lee, McGregor, Clug, and Spuck. Alexander Jones has been a first soloist of Ballett Zürich since the 2015/16 season. Here he has danced Prince Siegfried in Alexei Ratmansky’s Schwanensee reconstruction, Albrecht in Patrice Bart’s Giselle and Romeo in Romeo und Julia, Nathanael in Der Sandmann and Vronsky in Anna Karenina (all by Christian Spuck), among others.

Dornröschen18, 28 Apr; 12 Jun 2022


Friedemann Vogel a.G.,

Friedemann Vogel a.G.

Friedemann Vogel wurde in Stuttgart geboren. Er absolvierte seine Ballettausbildung zunächst an der John Cranko Schule in Stuttgart und danach als Stipendiat des John Gilpin Fonds bei Marika Besobrasova an der Académie de Danse Classi­que «Princesse Grace» in Monte Carlo. Er war Preisträger zahlreicher internationaler Ballettwettbe­werbe. 1997 gewann er innerhalb eines Jahres den Prix de Lausanne, die Junior-­Gold­medaille beim Prix de Luxembourg und bei der Eurocity Competition in Italien, 1998 war er Gewinner der Jackson Competition in den USA. 1998 wurde Friedemann Vogel Mitglied des Stuttgarter Balletts, wo er 2002 zum Ersten Solisten ernannt wurde. In diesem Jahr gewann er auch den renommierten Erik-Bruhn-Preis. 2010 wurde er von der Zeitschrift tanz zum «Tänzer des Jahres» gewählt, 2012 wurde er mit dem italienischen «Danza&Danza Award» als «Bester Tänzer» ausgezeichnet. Sein Repertoire um­fasst die grossen klassischen Rollen ebenso wie Hauptrollen in Choreografien von Cranko, Balanchine, Robbins, Kylián, Neumeier, Forsythe und McGregor. Friedemann Vogel begleitet das Stuttgarter Ballett auf Tourneen in die ganze Welt. Als Solist gastierte er am Mariinsky-Theater in St. Petersburg, beim Bolschoi Ballett Moskau, an der Mailänder Scala, beim English National Ballet, dem National Ballet of China, dem Tokyo Ballet, dem Hong Kong Ballet, den Ballets de Santiago de Chile, dem Finnish National Ballet, dem Staats­ballett Berlin, dem Bayerischen Staatsballett, dem Ballett der Opera di Roma, dem Ballett der Wiener Staatsoper, dem Royal Swedish Ballet und dem Béjart Ballet Lausanne. Seit September 2014 ist Friedemann Vogel Gast­solist am Mikhailovsky Theater in St. Petersburg.



Elena Vostrotina,

Elena Vostrotina

Elena Vostrotina comes from St. Petersburg. She received her ballet education at the Vaganova Academy of Russian Ballet. In 2003 she became a member of the Mariinsky Ballet. There she danced among others Odette/Odile in Schwanensee (Petipa/Ivanov), Myrtha in Giselle (Coralli/Perrot), Queen of the Dryads in Don Quixote (Gorsky) and in Approximate Sonata (Forsythe). In 2006 she was engaged by Aaron S. Watkin at the Semperoper Ballett Dresden. Here she was appointed principal dancer and danced a wide repertoire of classical, neoclassical and modern ballets. She has collaborated with renowned choreographers and performed at the Stanislavsky and Nemirovich-Danchenko Moscow Academic Music Theater in Moscow, at the State Theater Novosibirsk, at the gala «Roberto Bolle and Friends», and at the Ballets Bubeníček. Elena Vostrotina has been a first soloist at Ballett Zürich since the 2017/18 season, where season she has appeared as Odette/Odile in Ratmansky’s Schwanensee reconstruction, as the nursemaid in Christian Spuck’s Romeo und Julia, Myrtha in Patrice Bart’s Giselle as well as in Christian Spuck’s Nussknacker und Mausekönig, Winterreise and Nocturne.

Leonce und Lena21, 23 Nov; 12, 16 Dec 2021 Dornröschen10 Apr 2022


Francesca Dell'Aria,

Francesca Dell'Aria

Francesca Dell’Aria comes from Italy. She received her training at the Elmhurst School and the Birmingham Royal Ballet. After an engagement with the Slovak National Ballet, she was a member of the Bayerisches Staatsballett from 2010 to 2014. She has belonged to Ballett Zürich since the 2014/15 season and has appeared in choreographies by William Forsythe (New Sleep, workwithinwork, In the middle, The Second Detail), Jiří Kylián (Gods and Dogs, Falling Angels), George Balanchine, Hans van Manen (Kammerballett) Jacopo Godani, Douglas Lee, Edward Clug, Marco Goecke (Nijinski), and Crystal Pite. She also appeared in the title role of Christian Spuck’s Anna Karenina and as Myrtha in Patrice Bart’s Giselle. She was awarded with the «Tanzpreis der Freunde des Balletts Zürich» in 2019.

Dornröschen18, 28 Apr; 12 Jun 2022 Peer Gynt21, 26, 27 May; 02, 03, 24 Jun 2022


Constanza Perotta Altube,

Constanza Perotta Altube

Italian-Argentinian dancer Constanza Perotta Altube studied at the Instituto Superior de Arte del Teatro Colón in Buenos Aires and at the La Scala Ballet School in Milan. After her first engagements in the ballet of the Teatro Colón and the Victor Ullate Ballet in Madrid, she joined Ballett Zürich in the 2009/10 season. Here she appeared in choreographies by Christian Spuck (including the Snow Queen in Nussknacker und Mausekönig), Marco Goecke (Nijinski), Patrice Bart (Myrtha in Giselle), Mats Ek, Iacopo Godani, Hans van Manen, Jiří Kylián, Edward Clug, Mats Ek, Crystal Pite, Ohad Naharin, Alexei Ratmansky, and William Forsythe.



Filipe Portugal,

Filipe Portugal

Filipe Portugal studied in Lisbon and, after his first engagement with the Portuguese National Ballet, was engaged by the Ballett Zürich in 2002. Here he danced solo roles in numerous choreographies by Heinz Spoerli (including Cinderella, Der Nussknacker, Schwanensee, Don Quixote, Coppélia, Giselle and Ein Sommernachtstraum). From 2009 to 2011 he was principal dancer at the Portuguese National Ballet. He returned to the Ballett Zürich in 2011 and has starred in numerous ballets by Christian Spuck, including Pater Lorenzo in Romeo und Julia, King Peter in Leonce und Lena, Doctor in Woyzeck, Karenin in Anna Karenina and Spalanzani in Der Sandmann. He has also appeared in choreographies by Mats Ek, Jiří Kylián, Hans van Manen, William Forsythe, Douglas Lee and Martin Schläpfer. Parallel to his dancing career, Filipe Portugal works successfully as a choreographer. Among his most recent works for the Ballett Zürich are Dialogos to the music of Swiss jazz musician Nik Bärtsch and disTANZ. He also choreographs for the Charlotte Ballet (USA) and the Stuttgart Noverre Society. In 2014 Filipe Portugal was awarded the «Tanzpreis der Freunde des Balletts Zürich».



Dominik Slavkovský,

Dominik Slavkovský

Dominik Slavkovský is from Slovakia. After training at the Bratislava Dance Conservatory, he danced for five years in the ballet of the Slovak National Theatre in Bratislava, most recently as a demi-soloist. He has been a member of Ballett Zürich since the 2014/15 season. He has appeared in numerous choreographies by Christian Spuck, including the title role of Woyzeck, Drosselmeier in Nussknacker und Mausekönig, Coppelius in Der Sandmann and as Paris in Romeo und Julia. He has also danced in choreographies by George Balanchine, Uwe Scholz, Alexei Ratmansky, Jiří Kylián, William Forsythe, Hans van Manen, Nacho Duato, Marco Goecke, Edward Clug, James Kudelka, Vladimir Malakhov, and many others. He presented his choreographies How to save the world and Conspiracy as a part of the «Junge Choreografen» series.

Dornröschen10, 18, 28 Apr; 06, 11 Jun 2022 Peer Gynt21, 24, 26, 27, 29 May; 02, 03, 16, 17, 24 Jun 2022 Junge Choreograf:innen14, 15, 21, 22, 23 Jun 2022


Jesse Fraser,

Jesse Fraser

Jesse Fraser was born in Saskatoon, Canada. He trained at the Royal Winnipeg Ballet School and became a member of the Stuttgart Ballet with the 2010/11 season. There he danced in choreographies by Cranko, MacMillan, Spuck, Haydée, Neumeier, Béjart, Forsythe, Cherkaoui, Goecke, Clug, Volpi, and Stiens. He created the choreographies Back and Forth and Second Self(ie) as a part of the «Young Choreographers» of the Noverre Society series. He has been a member of Ballett Zürich since the 2015/16 season. He has appeared as Paris in Christian Spuck’s Romeo und Julia, as Levin in Spuck’s Anna Karenina, as Hilarion in Patrice Bart’s Giselle, in Marco Goecke’s Petruschka and in choreographies by Jacopo Godani, Jiří Kylián, Hans van Manen, and Crystal Pite. In the 2019/20 season he appeared in Forsythe’s The Second Detail.

Peer Gynt21, 24, 26, 29 May; 02, 03, 17, 18, 24 Jun 2022


Mélissa Ligurgo,

Mélissa Ligurgo

Mélissa Ligurgo comes from Belgium and studied at the Royal Ballet School in Antwerp. She danced in John Cranko’s Onegin (Tatiana), as well as in ballets by Forsythe, Kylián, Dawson, and Robbins, at the Royal Ballet of Flanders. She appeared in Preljocaj’s Romeo und Julia (Julia) at the Ballett Basel in the 2011/12 season. She has been a member of Ballett Zürich since the 2012/13 season, where has danced Lena in Leonce und Lena by Christian Spuck and Frau Mauserinks in Nussknacker und Mausekönig. She has also appeared in choreographies by Wayne McGregor and Douglas Lee. As part of the «Junge Choreografen» series she presented Mind Games and Klastos together with Giulia Tonelli as well as Individuo.

Leonce und Lena21 Nov; 08, 10 Dec 2021 Peer Gynt26, 27, 29 May; 24 Jun 2022


Alba Sempere Torres,

Alba Sempere Torres

Alba Sempere Torres is Spanish. She trained at the Institut del Teatro in Barcelona and at the John Cranko School in Stuttgart. She won the Castellón Ballet Competition and danced with the Vienna State Opera Ballet, the Staatsballett Berlin and, from 2004 to 2008 with the Bayerisches Staatsballett. She has appeared in choreographies by Jo Strømgren, Peter Wright, Jiří Kylián, Vladimir Malakhov, John Neumeier and Mats Ek, among others. She has belonged to Ballett Zürich since the 2014/15 season, where she has been seen in choreographies by Jiří Kylián, Hans van Manen, George Balanchine, Patrice Bart, Martin Schläpfer, and Christian Spuck.

Leonce und Lena08, 10 Dec 2021


Eva Dewaele,

Eva Dewaele

Eva Dewaele is from Belgium. After completing training at the Royal Ballet School in Antwerp, she was engaged by the Hessisches Staatstheater Wiesbaden, the Theater Luzern, the Opera Göteborg, the Opéra de Lyon, the Cullberg Ballet and the Royal Ballet of Flanders. She has danced in choreographies by William Forsythe, Mats Ek and Jiří Kylián as well as in world premieres by Jacopo Godani, Douglas Lee, David Dawson and Christian Spuck. Eva Dewaele has also appeared in several feature films. With the start of the 2012/13 season she became a member of Ballett Zürich and was also ballet master of the Junior Ballett. She danced Lady Capulet in Christian Spuck’s Romeo und Julia, Rosetta in Leonce und Lena and the Dark Lady in Spuck’s Sonett. As a choreographer, Eva Dewaele created the piece Mit Blick auf for the Hodler retrospective of the Fondation Beyeler and presented the piece Miss(es) as a part of the «Junge Choreografen» series. Her choreography Passing by was created for the Junior Ballett. She has been a ballet master of Ballett Zürich since the 2014/15 season. She staged the production of Christian Spuck’s Anna Karenina at the Stanislavski Theatre in Moscow, the Korean National Ballet, and the Bayerisches Staatsballett.



Matthew Knight,

Matthew Knight

Matthew Knight is British. He completed his training at the Elmhurst School and the Royal Ballet School in London. After a season with the Junior Ballett, he joined Ballett Zürich in the 2014/15 season. He presented Jane Doe and Mocambo as part of the «Junge Choreografen» series. He has danced in choreographies by Mats Ek (Cavalier in Dornröschen), William Forsythe, Marco Goecke (Moor in Petruschka), Jiří Kylián, Douglas Lee, Sol León/Paul Lightfoot, Hans van Manen, Wayne McGregor, Ohad Naharin, Crystal Pite, and Filipe Portugal. He was Leonce in Christian Spuck’s Leonce und Lena, Nathanael in Spuck’s Der Sandmann and the Clown in Spuck’s Nussknacker und Mausekönig. In 2018 he also appeared as the title roles in Edward Clug’s Faust and in Marco Goecke’s Nijinski. In 2016 he was awarded the «Tanzpreis der Freunde des Balletts Zürich».

Leonce und Lena21, 23 Nov; 12, 16 Dec 2021 Dornröschen10, 18, 23, 24, 28 Apr; 06, 11, 12 Jun 2022 Peer Gynt21, 26, 27 May; 02, 03, 16, 18, 24 Jun 2022


Jan Casier,

Jan Casier

Jan Casier was born in Belgium. He studied at the Royal Ballet School in Antwerp. From 2008 to 2012 he was a member of the Royal Ballet of Flanders where he danced in ballets by John Cranko, William Forsythe, David Dawson and Christian Spuck. He appeared in David Dawson’s Faun(e) as a guest at the English National Ballet. From 2012 to 2014 he was a member of Ballett Zürich, where he performed roles in numerous Christian Spuck ballets, including Leonce in Leonce und Lena, Paris in Romeo und Julia and the title role of Woyzeck. He also danced in choreographies by Edward Clug, Sol León/Paul Lightfoot, Marco Goecke and Wayne McGregor. From 2014 to 2016 he was a member of the Semperoper Ballett Dresden. There he performed in choreographies by Aaron Watkins (Prince in The Nutcracker), William Forsythe, Alexei Ratmansky, David Dawson and Alexander Ekman. Jan Casier returned to Ballett Zürich in 2016. Since his return, he has danced in Forsythe’s Quintett, Godani’s rituals from another when and the title role in Edward Clug’s Faust and Marco Goecke’s Nijinski. He also appeared as Drosselmeier in Christian Spuck’s Nussknacker und Mausekönig. In 2019, he was named «Dancer of the Year» by the «tanz» magazine and was awarded the «Tanzpreis der Freunde des Balletts Zürich».

Leonce und Lena08, 10 Dec 2021 Dornröschen10, 23, 24 Apr; 06, 11 Jun 2022 Peer Gynt24, 29 May; 17, 18 Jun 2022


Lucas Valente,

Lucas Valente

Lucas Valente comes from Brazil. He studied performing arts and philosophy at the University of São Paulo. His first engagement was with the Ballet Company Laura Alonso in Havana and he was involved in the «Arsenale della Danza» project at the Venice Biennale in 2012. From 2012 to 2016 he danced in the São Paulo Companhia de Dança, where he appeared in choreographies by Edouard Lock, Marco Goecke, William Forsythe, Nacho Duato, and Jiří Kylián, among others. He danced in choreographies by Richard Siegal at the Ballet of Difference in 2017. He has been a member of Ballett Zürich since the 2017/18 season. He presented his choreography Trees Die Standing as a part of the «Junge Choreografen» series. He has appeared as Tybalt/Count Capulet in Christian Spuck’s Romeo und Julia and appeared in Crystal Pite’s Emergence.

Dornröschen10, 18, 23, 24, 28 Apr; 06, 11, 12 Jun 2022 Peer Gynt21, 24, 26, 27, 29 May; 02, 03, 16, 17, 18, 24 Jun 2022 Junge Choreograf:innen14, 15, 21, 22, 23 Jun 2022


Mélanie Borel,

Mélanie Borel

Mélanie Borel comes from France. She studied at the École Nationale Supérieure de Danse in Marseille and at the École de Danse de l’Opéra de Paris. Engagements have taken her to the Ballet de l’Opéra National de Bordeaux and, from 2005 to 2008, to the Peter Schaufuss Ballet in Denmark. She has been a member of Ballett Zürich since the 2008/09 season and has performed as a soloist in choreographies by Twyla Tharp, Heinz Spoerli, and Mats Ek.  She was the Haushofmeister in Spuck’s Leonce und Lena and danced the «Cholerisch» variation in Balanchine’s The Four Temperaments. In addition, she has appeared in choreographies by Marco Goecke, Douglas Lee, Jiří Kylián, Wayne McGregor, Martin Schläpfer, Hans van Manen, Edward Clug and Crystal Pite.

Leonce und Lena23 Nov; 12, 16 Dec 2021 Peer Gynt26 May; 02, 03, 16 Jun 2022


Elizabeth Wisenberg,

Elizabeth Wisenberg

Elizabeth Wisenberg comes from the USA. She studied at the Washington School of Ballet and the National Ballet School of Canada in Toronto. She won prizes at the Youth America Grand Prix and at the National Youth Ballet Competition. After her first engagement at the Boston Ballet, she joined the Stuttgart Ballet in 2006, where she has danced as a demi-soloist from 2013. There she performed in choreographies by John Cranko (Olga in Onegin), Christian Spuck (Lena and School Master in Leonce und Lena), Demis Volpi (Kantorka in Krabat), John Neumeier, George Balanchine, Peter Schaufuss, Kenneth McMillan, Jiří Kylián, Marcia Haydée, and Marco Goecke. She has been a member of Ballett Zürich since the 2015/16 season, where she has appeared as Julia in Romeo und Julia, as Clara in Der Sandmann and as Kitty and Dolly in Anna Karenina (all by Christian Spuck), as well as in choreographies by William Forsythe (The Second Detail and Approximate Sonata) und Jiří Kylián (Sweet Dreams).



Giulia Tonelli,

Giulia Tonelli

Giulia Tonelli comes from Italy. She graduated from the Balletto di Toscana and the Ballet School of the Vienna State Opera. After her first engagement at the Vienna State Opera, she danced from 2002 to 2010 with the Royal Ballet of Flanders in Antwerp and from 2004 as a demi-soloist. There she danced Giselle (Petipa) as well as solo roles in choreographies of Forsythe, Balanchine, Kylián, Haydée and Spuck. She has been a member of Ballett Zürich since the 2010/11 season, where she has performed ballets by Spoerli, Goecke, McGregor, Lee, Forsythe, Kylián and Balanchine. She danced Julia in Christian Spuck’s Romeo und Julia, Lena in Spuck’s Leonce und Lena and Betsy in Anna Karenina. In Alexei Ratmansky’s Schwanensee reconstruction she danced in the Pas de trois and she also performed in Forsythe’s Quintett and Spuck’s Messa da Requiem. Last season’s highlights include Emergence by Crystal Pite and Gretchen in Edward Clug’s Faust. During the «Junge Choreografen» series she presented the works Mind Games and Klastos together with Mélissa Ligurgo. In 2013 she was awarded the Giuliana Penzi Prize. In 2017 she received the «Tanzpreis der Freunde des Balletts Zürich».



Michelle Willems,

Michelle Willems

Michelle Willems is French. She studied at the Bolshoi Ballet Academy and at the Atelier Rudra-Béjart in Lausanne. After two seasons with the Junior Ballett, she joined Ballett Zürich in the 2016/17 season. After solo roles in Giselle and Schwanensee, she danced Kitty in Christian Spuck’s Anna Karenina, Marie in Spuck’s Nussknacker und Mausekönig and Gretchen in Edward Clug’s Faust, and in Spuck’s Das Mädchen mit den Schwefelhölzern. She has also appeared in choreographies by William Forsythe, Jiří Kylián, Marco Goecke, Crystal Pite, George Balanchine, Ohad Naharin, Douglas Lee, and Filipe Portugal She was awarded the «Tanzpreis der Freunde des Balletts Zürich» in 2018.

Leonce und Lena08, 10 Dec 2021 Dornröschen10, 23, 24 Apr; 06, 11 Jun 2022 Peer Gynt21, 24, 27, 29 May; 16, 17, 18, 24 Jun 2022


Emma Antrobus,

Emma Antrobus

Emma Antrobus comes from Australia. She studied at the Lamont Dance Theatre, at the Conlan College in Sydney and at the Ballett Akademie of the Hochschule für Musik und Theater in Munich. After two seasons with the Junior Ballett, she joined Ballett Zürich with the 2019/20 season. She danced in choreographies by Christian Spuck (including Das Mädchen mit den Schwefelhölzern), Edward Clug, Crystal Pite, and Ohad Naharin. In 2018, she was awarded the «Tanzpreis der Freunde des Balletts Zürich».

Leonce und Lena21, 23 Nov; 12, 16 Dec 2021 Dornröschen18, 28 Apr; 12 Jun 2022 Peer Gynt24, 29 May; 17, 18 Jun 2022


Aurore Lissitzky,

Aurore Lissitzky

Aurore Lissitzky comes from France. She received her training with Monique Loudières, at the Académie Princesse Grace in Monte Carlo and at the Ballet School of the Hamburg Ballet. She won the gold medal at the Concours International de Grasse in 2008. Starting in 2012, she appeared at the Hamburg Ballet in numerous choreographies by John Neumeier. After half of a season with the Junior Ballett, she joined Ballett Zürich with the 2017/18 season, where he has appeared in Filipe Portugal’s Behind the Mirror, Jiří Kylián’s Stepping Stones and Patrice Bart’s Giselle (peasant pas de deux).

Dornröschen18, 23, 24, 28 Apr; 11 Jun 2022 Peer Gynt21, 26, 27 May; 16, 17, 18, 24 Jun 2022


Tigran Mkrtchyan,

Tigran Mkrtchyan

Tigran Mkrtchyan comes from Armenia. He was trained at the Armenian Ballet School and at the Zurich Dance Academy. He was a finalist at the Prix de Lausanne. After two seasons with the Junior Ballet, he has been a member of the Ballett Zürich since the 2011/12 season. He has danced in choreographies by Heinz Spoerli, Jiří Kylián, Mats Ek, William Forsythe, Sol León/Paul Lightfoot, George Balanchine, and Eric Gautier (Ballett 101). He has also appeared as Tybalt in Christian Spuck's Romeo and Juliet, as Stiva in Anna Karenina, as the Moor in Goecke's Petrushka and as the Prince in Ratmansky's Swan Lake. He presented his choreography The Rose that Grew from Concrete as a part of the Young Choreographers series. He was awarded the Dance Prize of the Friends of Ballett Zürich in 2017.



Karen Forster,

Karen Forster

Karen Forster, geboren in Edmonton, Kanada, ist Solobratschistin der Philharmonia Zürich.

Nach ihrem Bachelor Studium in Vancouver vervollständigte sie ihre Ausbildung mit dem Master an der renommierten Juillard School in bei Karen Tuttle.

In New York kam es auch zum Solodebüt mit dem Bratschenkonzert von William Walton unter Alan Kay im weltberühmten Lincoln Center. Anschliessend beendete Karen Forster ihr Studium mit dem Solistendiplom bei Hatto Beyerle in Hannover.

Auszeichnungen bei internationalen Wettbewerben gab es unter anderem beim Lionel Tertis Wettbewerb. Nach vier Jahren als Solobratschistin des Sinfonieorchesters Basel wurde Karen Forster an das Opernhaus Zürich an die gleiche Position bei der Philharmonia Zürich geholt.

In Zürich ist sie nicht nur als Solistin, sondern auch als sehr geschätzte und gefragte Kammermusikerin tätig. Ebenso gilt ihre grosse Leidenschaft der historischen Aufführungspraxis, welche sie als Solistin und Orchestermitglied bei La Scintilla zum Ausdruck bringt. Ergänzend zu ihrer Tätigkeit als Solistin und Orchestermusikerin unterrichtete Karen Forster an der Musikhochschule Luzern und jetzt an der Orchesterakademie der Philharmonia Zürich.



Valérie Szlávik,

Valérie Szlávik

Mitglied der Philharmonia Zürich seit 01.01.1997