Save 25% on Atlanta Ballet tickets and get your seats before they go on sale to the general public!
Single tickets go on sale September 1, 2016 at 10am.
Choreography by David Bintley
Music by Carl Orff
Live with the Atlanta Ballet Orchestra &
The Georgia State University Singers
Atlanta Ballet presents a lush, modern reimagining of the classic parable in which the pleasures of the flesh challenge the resolve of three young seminarians. Set to Carl Orff’s masterful score, David Bintley’s Carmina Burana is a hypnotic feast for the senses. Bold, sensual, and a bit cheeky, this production is perfect for a pre-Valentine’s date night.
Recommended for ages 12 and up.
In front of a lively and spirited audience at the Cobb Energy Performing Arts Centre, Pickett’s “Petal” preceded “Carmina,” creating a program that filled the senses with vivid imagery, pure kinesthesia and richly detailed music.
In a large, light-filled studio at Atlanta Ballet’s complex on the Westside, dancers are rehearsing over and over again one section of choreographer David Bintley’s “Carmina Burana.” Bintley wants them to be tougher, slouchier. He demonstrates; they watch intently. Just react, he urges. Drop the classical poses. This, after all, is not “Swan Lake.” It’s a contemporary ballet about young people rejecting the spiritual life and exploring sex, drugs and rock ‘n’ roll.
Atlanta Ballet’s latest production, Carmina Burana, is a wild ride from faith to sin. Choreographer David Bintley is premiering his version of Carmina Burana for the first time in North America with the Atlanta Ballet at Cobb Energy Performing Arts Centre this weekend. Simply put, the show is incredible and you don’t want to miss it.
“It’s a really, really fun piece,” said Gill, who plays one of the seminary students. “It’s high energy. The music, of course, is mind-blowing. I’m really looking forward to working with the singers. And everything else, too.”
Spine tingling performance hitting on all cylinders! One of my most enjoyable entertainment experiences.
I love Carmina Burana. Own the CD. Have seen it live many times.
But THIS was unbelievable. The dance component brought to us by Bintley adds something to CB that I didn't even realize was missing. What an incredible performance this was. The AB was wonderful, especially the female lead - the opening and closing bookend scenes were delightful, poignant. There was humor, calm, beauty, energy and delight throughout.
Very moving and inventive!
I was familiar with the overture to Carmina Burana, but beyond that, I only had an idea of what I might see. The entire experience from the dancers to the orchestra to the live choir was amazing. Not entirely what I expected, which made it all the more interesting. I also really enjoyed the first performance of the evening, Petal.
Carmina Burana was highly entertaining.
The skill level of the performers was impressive. We thoroughly enjoyed the pre intermission and post intermission performances. We were a little concerned about having our 9 year old granddaughter there, but there was really not anything that she could not see. She is a dancer and was inspired by the performance.
Petal & Carmina Burana
I saw the 2:00 pm showing of Petal & Carmina Burana on April 13. I took my Mother to this event because I had enjoyed ballet so much I was hoping this would be an equal experience, and we certainly weren't disappointed. Everything from the music to the ballet itself was spot on and wonderful! I highly recommend this ballet to anyone.
Show All 9 Reviews
David Bintley, CBE
Huddersfield is not as famous in the world of classical dance as St Petersburg, Paris or London, but it was the birthplace of David Bintley - one of the most consistent and significant forces in British ballet.
At the age of four, he fell in love with the stage at a Sunday school concert, and from that point onwardsdance became 'a single-minded obsession' that led to him winning a place at the Royal Ballet Upper School at the age of 16.
It was 1973, and that meant that Bintley was directly influenced by the founders of British ballet - Dame Ninette de Valois and Frederick Ashton. He still cites 'Madam and Fred' as his heroes, and his love for the communicative style of English ballet that they forged springs from the training they gave him.
Even before he arrived at the school, Bintley knew he was interested in choreography and he made his first fledgling ballets there. But after he joined Sadler's Wells Royal Ballet in 1976, it was as a character dancer that he made his mark. His performances as Alain and Widow Simone in La Fille mal gardée, the smaller Ugly Sister in Cinderella, and Petrushka in Fokine's ballet of that name, set the benchmark for those roles at that time.
At the same time, his choreographic ambition was encouraged, beginning with The Outsider in 1978 and continuing through his first major narrative ballet The Swan of Tuonela in 1982. In 1983, he became resident choreographer of Sadler's Wells Royal Ballet, but left three years later to take up the same position at The Royal Ballet. His period with the Covent Garden company was one of mixed success. Works such as Still Life at the Penguin Café perfectly caught the mood of the late 1980s and has been enduringly popular. Hobson's Choice (1989), a deft, fluent transposition of Harold Brighouse's great Northern working-class comedy to the ballet stage, made for SWRB, was equally enduring. But ambitious pieces such as The Planets (1990) and Cyrano (1991) failed to win over the critics. Bintley resigned from the Royal Ballet in 1993, but not before he had bequeathed them the darkly beautiful Tombeaux.
For the next two years, he worked mainly abroad, but in 1995, he returned home as artistic director of his old company, now based in Birmingham and renamed Birmingham Royal Ballet. Since his appointment, he has shaped a company where the dancers share his philosophy of continuing to preserve the classical repertory while introducing new work made in the same idiom.
He has been a careful curator of the classics - preserving some in Peter Wright's sensitive revivals, but also choreographing his own productions, such as Sylvia (2009) and Cinderella (2010). Just as noticeably, he has also championed the works of de Valois, Ashton and MacMillan which provide the basis of the modern English repertory, giving them a safe and loving home.
At the same time, he has continued to be a prolific choreographer, with a natural impulse towards story telling that has made popular hits of works such as Carmina Burana (1995), Far From the Madding Crowd (1996) and Beauty and the Beast (2003). The reworked Cyrano (2007) and Sylvia (2009) have also emerged as a durable and attractive works. Alongside such narrative pieces, he has tapped another more abstract vein with jazz-inflected creations such as The Shakespeare Suite (1999) and Take Five (2007) taking their place alongside the thrilling E= mc² (2009), a bright meditation on physics with a new score by Matthew Hindson, and Faster (2012), an Olympics inspired commission to the same composer. Such works reflect his instinct, throughout his career, to make work to new music. This ambition, combined with his narrative sophistication, has won him many awards and world-wide recognition. Although still firmly based in Birmingham, since 2010 Bintley has also been Artistic Director of the National Ballet of Japan, creating Aladdin (2008) and The Prince of Pagodas (2011).
- SARAH CROMPTON | Sarah Crompton is Arts Editor in Chief and Dance Critic of The Daily Telegraph
The Georgia State University Singers is the School of Music’s premier vocal ensemble. Selected by competitive audition, the choir is comprised of music majors and non-majors, undergraduate and graduate students and represents the diverse population of Georgia State University. In May of 2013, the University Singers competed in La Florilège Vocal de Tours where they placed second overall in the mixed choir category. The ensemble’s invited performances include appearances before the Georgia Music Educators Association, American Choral Directors Association and at the Georgia Music Hall of Fame Awards. The Singers’ tours have taken them throughout much of the United States, including Carnegie Hall on two occasions and six international tours with stops in France, Belgium, Italy, Yugoslavia, Finland, Russian, Estonia, Canada and Great Britain. Their new CD, Evening Hymn, was recently released by Gothic Records and is available via CD and on iTunes. Click here to visit the Georgia State University Singers' website.