Romeo und Julia
Ballet by Christian Spuck
In three acts after the tragedy by William Shakespeare
Music von Sergei Prokofiev (1891-1953)
Duration 2 H. 30 Min. incl. interval after 2nd act after approx. 1 H. 20 Min. Introduction 45 min before the performance.
Romeo und Julia
Romeo und Julia
In Shakespeare’s famous tragedy Romeo and Juliet, the power of love enables two young people to rise above themselves to overcome all obstacles. However, because they come from two families engaged in a mortal feud, their union is ill-starred from the very beginning. In the end, Romeo and Juliet pay for their love with their lives. Shakespeare’s play has inspired generations of artists to adaptations like scarcely any other work. In his colourful, passionate music, the Russian composer Sergei Prokofiev brilliantly captured the clash of love and hatred, and the proximity of tenderness and violence. Although Moscow’s Bolshoi Theatre initially rejected the ballet as insufficiently dance-like, it has now become an indispensable fixture in the international ballet repertoire. Christian Spuck’s production has been celebrated not only in Zurich, but also at guest performances given by Zurich Ballet in Tel Aviv, Bogotá and Stuttgart. Inspired by Prokofiev’s vivid music and the timeless quality of Shakespeare’s tragedy, the choreographer narrates the most famous love story in world literature using strong images that are full of enthralling theatricality and touching emotion. With a theatre-within-a-theatre situation rooted in the acting tradition and a broad, captivating narrative arc, he creates an immediacy of feeling to which no-one can be immune. Michail Jurowski, a true Prokofiev expert, will be at the rostrum of the Philharmonia Zurich.
Romeo und Julia
Romeo und Julia
Die beiden Familien Capulet und Montague sind seit Generationen verfeindet. Wo immer sie und ihre Anhänger sich begegnen, kommt es zu Provokationen und oft tödlich endendem Streit. Angeführt werden die jungen Capulets vom edlen Tybalt, bei den Montagues sind es die unzertrennlichen Freunde Romeo, Mercutio und Benvolio. Die immer heftiger werdenden Auseinandersetzungen der beiden Parteien fordern ständig neue Opfer. Julia, die Tochter der Capulets, vergnügt sich gemeinsam mit ihrer Amme und ihren Freundinnen. Julias Eltern planen die Hochzeit ihrer Tochter mit dem jungen Grafen Paris, der bei einem abendlichen Ball im Hause Capulet um ihre Hand anhalten soll. Von ihrer Mutter erhält Julia ihr erstes Ballkleid. Die drei Montagues Romeo, Mercutio und Benvolio schleichen sich maskiert auf das Fest der Capulets. Dort trifft Julia erstmals auf den Grafen Paris und wird wenig später auf Romeo aufmerksam. Beide verlieben sich auf den ersten Blick. Tybalt erkennt in Romeo einen der verhassten Montagues. Er versucht eine Auseinandersetzung zu provozieren, wird aber von Julias Vater daran gehindert. Romeo und seine Freunde verlassen das Fest. Noch in derselben Nacht zieht es Romeo zurück zu Julia. Beide gestehen sich ihre Liebe.
Bei einem Fest überbringt die Amme in Julias Auftrag einen Brief für Romeo, in dem sie ihn bittet, sich zum Pater Lorenzo zu begeben. Im Beisein der Amme werden Romeo und Julia von Pater Lorenzo getraut. Romeo begibt sich erneut auf das Fest, wo er nicht nur von seinen Freunden, sondern auch von Tybalt erwartet wird. Romeo will einem neuerlichen Streit mit ihm aus dem Weg gehen. Die Situation eskaliert, als Mercutio Tybalt provoziert und im Zweikampf von ihm getötet wird. Um den Tod seines Freundes zu rächen, fordert Romeo Tybalt heraus und verwundet ihn tödlich im Duell. Gräfin Capulet trauert um ihren Neffen und schwört Romeo und den Montagues blutige Rache.
Romeo und Julia haben die Nacht miteinander verbracht. Pater Lorenzo und die Amme drängen Romeo zur Flucht vor seinen Verfolgern. Julia lehnt es ab, den Grafen Paris zu heiraten, und wird deshalb von ihren Eltern mit Vorwürfen überhäuft. In ihrer Verzweiflung wendet sich Julia erneut an Pater Lorenzo. Er gibt ihr einen Schlaftrunk, um den Anschein zu erwecken, sie sei gestorben und so ihre Flucht zu ermöglichen. Gegenüber ihren Eltern gibt Julia vor, in die Heirat mit Graf Paris einzuwilligen. Allein gelassen, nimmt sie den Trank zu sich, der sie in einen todesähnlichen Schlaf versetzt. Am nächsten Morgen finden ihre Eltern und Paris die vermeintlich Tote.
Julia wird von ihren trauernden Angehörigen beigesetzt. Romeo hat von Julias Tod erfahren und glaubt die schreckliche Nachricht. An Julias Grab wählt er den Freitod. Julia erwacht in dem Moment, da ihr Geliebter stirbt. Sie ersticht sich mit seinem Dolch.
Christian Spuck, Choreografie
Christian Spuck comes from Marburg and was trained at the John Cranko School in Stuttgart. He began his dance career with Jan Lauwers’ Needcompany and Anne Teresa de Keersmaeker’s Ensemble Rosas. In 1995 he became a member of the Stuttgart Ballet and served as the company’s resident choreographer from 2001 to 2012. In Stuttgart he created fifteen world premieres, including the story ballet Lulu. Eine Monstretragödie after Frank Wedekind, Der Sandmann and Das Fräulein von S. after E.T.A. Hoffmann.
Christian Spuck has also worked with numerous renowned ballet companies in Europe and the USA. The Return of Ulysses (guest performance at the Edinburgh Festival) was created for the Royal Ballet of Flanders, and Woyzeck (after Georg Büchner) was premiered at the Norwegian National Ballet Oslo. The ballet Die Kinder, premiered at the Aalto Ballett Theater Essen, was nominated for the «Prix Benois de la Danse». His ballet Leonce und Lena (also after Georg Büchner) likewise premiered in Essen and subsequently was taken over by the Grands Ballets Canadiens de Montreal and the Stuttgart Ballet. The world premiere of Poppea//Poppea for Gauthier Dance at the Theaterhaus Stuttgart was voted one of the ten most successful dance productions worldwide by the magazine Dance Europe in 2010 and was awarded the German Theatre Prize Der Faust in 2011 as well as the Italian Danza/Danza Award. Christian Spuck is also active in the field of opera. Gluck’s Orphée et Euridice at the Staatsoper Stuttgart (2009) was followed by Verdi’s Falstaff at the Staatstheater Wiesbaden (2010), Berlioz’s La Damnation de Faust (2014) and Wagner's Der fliegende Holländer (2017) at the Deutsche Oper Berlin.
Since the 2012/13 season, Christian Spuck has been director of Ballett Zürich. Thus far, his Romeo und Julia, Leonce und Lena, Woyzeck, Der Sandmann, Messa da Requiem (a co-production of the Oper and Ballett Zürich) and Nussknacker und Mausekönig have been shown here. The ballet Anna Karenina after Lew Tolstoy, which premiered in Zurich in 2014, was taken over by the Norwegian National Ballet Oslo and the Stanislavski Theatre in Moscow in 2016, as well as by the Korean National Ballet in Seoul, and the Bavarian State Ballet in 2017. For Winterreise, which premiered in October 2018 in Zurich, he was awarded with the «Prix Benois de la Danse 2019». In autumn 2019, he staged the musical theatre Das Mädchen mit den Schwefelhölzern (The Little Match Girl) by Helmut Lachenmann with Ballett Zürich.
Michail Jurowski, Musikalische Leitung
Michail Jurowski studierte am Moskauer Konservatorium bei Leo Ginsburg und Alexej Kandinsky und wurde im Alter von 25 Jahren Assistent von Gennadi Roshdestwensky beim Grossen Symphonieorchester des Staatlichen Rundfunks und Fernsehens in Moskau. 1989 übersiedelte er aufgrund einer Einladung der Semperoper Dresden nach Deutschland und wurde 1990 Musikdirektor und ständiger Gastdirigent der Nordwestdeutschen Philharmonie Herford. Von 1999 bis 2001 war er Chefdirigent an der Oper Leipzig. Er ist ständiger Gastdirigent des Rundfunk-Sinfonieorchesters Berlin, der Deutschen Oper Berlin, des Tonkünstlerorchesters Wien, des Odense Symphony Orchestra und des Norrköping Symphony Orchestra. Von 2006 bis 2008 war er Chefdirigent des WDR-Rundfunkorchesters Köln. Höhepunkte seiner Operntätigkeit waren Sir Peter Ustinovs Produktion «Iolanthe» und Rachmaninows Francesca da Rimini bei den Dresdner Musikfestspielen, Boris Godunow an der Deutschen Oper Berlin, Schostakowitschs Nase an der Oper Leipzig und Prokofjews Die Liebe zu den drei Orangen an der Komischen Oper Berlin, Parsifal am Teatro Carlo Felice in Genua, Tosca, La traviata und Die Zarenbraut an der Oper Frankfurt, Götterdämmerung in Dortmund, Tschaikowskis Dornröschen in Oslo sowie Respighis Marie Victoire, Un ballo in maschera und Rienzi an der Deutschen Oper Berlin. Am Opernhaus Zürich dirigierte er Glasunows Raymonda.
Christian Schmidt, Bühnenbild
Christian Schmidt, geboren in Coburg, studierte an der Akademie der Bildenden Künste in Wien bei Erich Wonder. Eine enge Zusammenarbeit verbindet ihn mit dem Regisseur Claus Guth. Neben einem Mozart/Da Ponte-Zyklus und Fidelio für die Salzburger Festspiele sowie Der fliegende Holländer bei den Bayreuther Festspielen entstanden Inszenierungen für die Mailänder Scala (Die Frau ohne Schatten und Lohengrin), die Opéra de Paris (Rigoletto, La bohème, Berenice), das Liceu Barcelona (Parsifal), das Opernhaus Zürich (u.a. Tristan und Isolde, Ariane et Barbe-Bleu und Ariadne auf Naxos), die Berliner Staatsoper (The Turn of the Screw), die Oper Frankfurt (u. a. Der Rosenkavalier, Daphne, Die lustige Witwe), das Theater an der Wien (u.a. Orlando, Saul, Messiah, L’incoronazione di Poppea), das Teatro Real Madrid (Rodelinda) und das Glyndebourne Festival (La clemenza di Tito). Ausserdem arbeitet Christian Schmidt mit Hans Neuenfels (Pique Dame in Salzburg), Christof Loy (u.a. I Capuleti e i Montecchi in Zürich, Tosca in Helsinki), Andreas Homoki (Das schlaue Füchslein an der Komischen Oper, Juliette in Zürich), Amélie Niermeyer (Otello in München, Rusalka in Wien) und Shirin Neshat (Aida in Salzburg) zusammen. Für das Ballett Zürich schuf er die Bühnenbilder zu Christian Spucks Romeo und Julia und Messa da Requiem.
Emma Ryott, Kostüme
Emma Ryott trained at Trent Polytechnic with a BA in Theatre Design. Ever since their first collaboration in 2003, Emma Ryott and Christian Spuck continued working together for ballet and opera productions, such as Lulu. Eine Monstretragödie in Stuttgart, Anna Karenina in Zurich, Oslo and Moscow, Romeo und Julia in Zurich, Woyzeck in Oslo and Zurich, Das Fräulein von S. in Stuttgart, Leonce und Lena in Montréal, Stuttgart und Zurich, Der Sandmann in Stuttgart und Zurich, Poppea / Poppea und Don Q. for Gauthier Dance, The Return of Ulysses for das Royal Ballet of Flanders, La Damnation de Faust at the Deutsche Oper Berlin, Falstaff in Wiesbaden and Orfeo ed Euridice in Stuttgart. She also works closely with director Keith Warner. Their collaborations include Mathis der Maler at Theater an der Wien, Manon Lescaut at the English National Opera as well as La Damnation de Faust and Harbison’s The Great Gatsby at the Semperoper Dresden. Other designs were created for Sunset Boulevard and Manon Lescaut (Goteborg), Otello (Salzburg), The Heart of Robin Hood for the Royal Shakespeare Company (awarded with Elliot Norton Award for outstanding design), Rock ‘n Roll by Tom Stoppard (London Royal Court, West End and Broadway), Chekhov-trilogy directed by Jonathan Kent (National Theatre, London) and the New Year’s Day Concert, Vienna, 2016.
Lucas Valente, Graf Capulet / Tybalt
Lucas Valente comes from Brazil. He studied performing arts and philosophy at the University of São Paulo. He first danced in the Ballet Company Laura Alonso in Havana and 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 the Ballett Zürich since the 2017/18 season. He presented his choreography Trees Die Standing as a part of the Young Choreographers series. He has appeared among others as Tybalt/Count Capulet in Christian Spuck’s Romeo und Julia and in Crystal Pite’s Emergence.
Filipe Portugal, Graf Capulet / Pater Lorenzo
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».
Eva Dewaele, Gräfin Capulet
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 the 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 «Young Choreographers» series. Her choreography Passing by was created for the Junior Ballet. She has been a ballet master of the 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 Bavarian State Ballet.
Katja Wünsche, Julia
Katja Wünsche comes from Dresden and was trained at the Staatliche Ballettschule Berlin. She has won prizes at numerous ballet competitions. From 1999 to 2012 she danced in the Stuttgart Ballet, since 2006 as a principal dancer. She danced leading roles in choreographies by John Cranko (Romeo und Julia, Der Widerspenstigen Zähmung, Onegin), John Neumeier (Endstation Sehnsucht, Die Kameliendame), Marcia Haydée (Dornröschen, La Sylphide, La fille mal gardée) and Christian Spuck (Lulu, Der Sandmann, Leonce und Lena, Das Fräulein von S.) and ballets by Forsythe, Kylián, León/Lightfoot and Goecke. In 2007 she was awarded the German Dance Prize Zukunft (for promising young artists) and the German Theater Prize Der Faust. Katja Wünsche has been a first soloist with the Ballett Zürich since the 2012/13 season. She has been seen in Zurich as Julia in Spuck's Romeo und Julia, Lena in Leonce und Lena, Marie in Woyzeck, Anna Karenina and Kitty in Anna Karenina and Clara in Der Sandmann. She has also performed in choreographies by Sol León/Paul Lightfoot, Douglas Lee, Martin Schläpfer, Wayne McGregor and Marco Goecke. In 2014 she was awarded the «Tanzpreis der Freunde des Balletts Zürich».
Giulia Tonelli, Julia
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 the 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. Other highlights include Emergence by Crystal Pite and Gretchen in Edward Clug's Faust - Das Ballett. During the «Junge Choreografen» 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».
Tigran Mkrtchyan, Tybalt
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.
William Moore, Romeo
William Moore is British and studied at the Royal Ballet School in London. He has won prizes at international ballet competitions. He has belonged to the Stuttgart Ballet since 2005 and was appointed as principal dancer there in 2010. Important roles were Siegfried in Schwanensee, Lensky in Onegin and Lucentio in Der Widerspenstigen Zähmung (all by John Cranko), Armand in Neumeier's Kameliendame, Leonce in Christian Spuck's Leonce und Lena, the title role in Marco Goecke's Orlando, Albrecht in Giselle by Anderson/Savina, Colas in Ashton's La fille mal gardée. In 2012 William Moore was awarded the German Theater Prize Der Faust. Since the 2012/13 season he has been first soloist with the Ballett Zürich. Important roles include Romeo in Spuck's Romeo und Julia, Wronsky in Anna Karenina, the Nutcracker in Spuck's Nussknacker und Mausekönig, Mephisto in Faust by Edward Clug and Petrushka in the choreography by Marco Goecke. He has also appeared in pieces by Wayne McGregor, Sol León/Paul Lightfoot, Douglas Lee and Jiří Kylián. In 2018 he received the «Tanzpreis der Freunde des Balletts Zürich».
Alexander Jones, Romeo
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 first soloist of the 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 Wronsky in Anna Karenina (all by Christian Spuck), among others.
Wei Chen, Mercutio
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 the Ballett Zürich since the 2012/13 season and has performed in choreographies by Douglas Lee, Jiří Kylián, Marco Goecke, Edward Clug and Crystal Pite, among others. He also danced Romeo in Spuck’s Romeo und Julia, Benno in Ratmansky's Schwanensee and Coppelius in Spuck’s Sandmann.
Daniel Mulligan, Mercutio / Benvolio
Daniel Mulligan comes from Great Britain and studied at the Royal Ballet School in London. After two seasons with the Junior Ballett, he joined the Ballett Zürich in the 2009/10 season. He has appeared as a soloist in many of Heinz Spoerli's choreographies. He danced Mercutio/Benvolio in Christian Spuck's Romeo und Julia as well as in ballets by Mats Ek (Dornröschen), Hans van Manen (Solo, Kammerballett), Edward Clug (Chamber Minds, Le Sacre du printemps), Sol León/Paul Lightfoot (Skew-Whiff, Speak for Yourself), William Forsythe (Quintett), Jiří Kylián (Gods and Dogs, Stepping Stones, Sweet Dreams), Ohad Naharin (Minus 16), Marco Goecke (Petruschka), Filipe Portugal (Corpus), Douglas Lee and Crystal Pite. Recent leading roles have included Mephisto in Faust - Das Ballett by Edward Clug, Fritz and the Clown in Christian Spuck's Nussknacker und Mausekönig and Stiva in Spuck's Anna Karenina.
Mark Geilings, Mercutio
Mark Geilings comes from Australia, where he was trained at the Australian Ballet School. From 2012 to 2015 he danced with the Leipzig Ballet and performed in choreographies by Uwe Scholz, Mario Schröder (the title role in Otello), Meryl Tankard (Cinderella), Ohad Naharin and Cayetano Soto. In the 2015/16 season he was a member of Gauthier Dance in Stuttgart, where he performed in Marco Goecke's Nijinsky. He has been a member of the Ballett Zürich since the 2016/17 season, where he has appeared in Petruschka by Marco Goecke, Kammerballett by Hans van Manen, Gods and Dogs by Jiří Kylián, Lady with a Fan by Douglas Lee and as Mercutio in Spuck’s Romeo und Julia among others.
Christopher Parker, Benvolio
Christopher Parker comes from the United Kingdom and graduated from the Royal Ballet School in London. After his first engagement with the Scottish Ballet, he was a member of the Ballett Zürich from 2007 to 2010. He then danced at the Aalto Ballett Essen and at the Dortmund Ballet. He returned to the Ballett Zürich with the 2012/13 season. He has appeared as Benvolio/Valerio in Christian Spuck's Leonce and Lena, in Martin Schläpfer's Trout Quintet, and as the Magician in Marco Goecke's Petrushka. He also had solo roles in Spuck’s Sonett, Balanchine’s The Four Temperaments, New Sleep and In the middle by William Forsythe, as well as in Faust – The Ballet by Edward Clug. As costume designer for Filipe Portugal, he worked for the Charlotte Ballet, the Stuttgart Ballet, and the Junior Ballet.
Dominik Slavkovský, Paris
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 the 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 showed his choreographies How to save the world and Conspiracy as a part of the Junge Choreografen series.
Jan Casier, Paris
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 the 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 the 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».
Jesse Fraser, Paris
Jesse Fraser was born in Saskatoon, Canada. He trained at the Royal Winnipeg Ballet School and became a member of the Stuttgart Ballet in 2010/11. 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 the Ballett Zürich since the 2015/16 season. He has appeared as Paris in Christian Spuck’s Romeo und Julia, as Lewin 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.
Kevin Pouzou, Pater Lorenzo
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 Berlin State Ballet, 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 the 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.
Irmina Kopaczynska, Julias Amme
Irmina Kopaczynska was born in Poland. She studied at the Polish National Ballet School Poznan. She has won several prizes in the Polish National Ballet Competition. She also took part in the Premio Roma and the Prix de Lausanne. After two seasons with the Junior Ballett, she became a member of the Ballett Zürich starting with the 2011/12 season. She danced the Silver Fairy in Mats Ek’s Dornröschen, Betsy in Christian Spuck's Anna Karenina and the Nursemaid in Spuck's Romeo und Julia. She has also appeared in choreographies by William Forsythe (In the middle, New Sleep), Hans van Manen (Kammerballett), Jiří Kylián (Gods and Dogs, Bella Figura), Iacopo Godani, Edward Clug, Marco Goecke (including the Mother in in Nijinski), Douglas Lee and Crystal Pite.
Elena Vostrotina, Julias Amme
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 the 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.