Jean-Christophe Maillot’s Roméo et Juliette — February 7-15, 2014
Choreographed by Jean-Christophe Maillot
Music by Sergei Prokofiev
Live with Atlanta Ballet Orchestra led by guest conductor Ari Pelto
All the way from Les Ballets de Monte-Carlo, the Southeast premiere of this alluring, ethereal production of Roméo et Juliette redefines the classic love story of the two star-crossed lovers of Verona. Perfect for Valentine’s Day, Roméo et Juliette will take you on an emotional, cinematic journey that will leave you quivering in anticipation and breathless.
“Set to Sergei Prokofiev's shiveringly beautiful score… the dance unfolds as a series of chases, of catches, of rapture as one young body discovers another, and one pair of eyes beholds what it didn't know it had always looked for.” – The Seattle Times
“Maillot's 'Roméo et Juliette' is famously stripped of much of what we expect from the ballet: Ernest Pignon-Ernest's scenery is stark and contemporary; Jérôme Kaplan's costumes flowing but simple; Maillot's choreography often flows from just a natural walk or run. But it's all the more moving for it.” – The Seattle Times
Cobb Energy Performing Arts Centre
The Cobb Energy Performing Arts Centre is the first major performing arts facility built in metro Atlanta in four decades.
Location and Parking
The Cobb Energy Performing Arts Centre is located in northwest Atlanta near the junction of I-75 and I-285, at the intersection of Cobb Galleria Parkway and Akers Mill Road. Self parking is available on site for a $6 fee, and valet parking is available for select performances for a $10 fee.
Emergency Phone Number
(770) 916-2911 is the 24-hour public safety number for the Cobb Energy Centre. Please leave your seat location with your babysitter or answering service so that the house manager may find you in case of an emergency.
The venue is ADA compliant. Designated seats in various locations are available for guests with disabilities and those needing special assistance. The venue is equipped with wheelchair accessible courtesy phones, elevators, plaza ramps, wheelchair accessible ticket windows, and wheelchair accessible drinking fountains. For more information, please call (770) 916-2800.
Community and Corporate Group Tickets
It only takes 10 people to benefit from Atlanta Ballet's Group Sales program. With our fast, friendly and convenient service, you can secure the best seats in the house in no time at all. For more information or to reserve your group's seats today, contact Myredith Gonzales, Group Sales Manager, by one of the easy methods below.
||404.873.5811 ext 207
||404.874.4873, Attention: Group Sales
1695 Marietta Boulevard NW
Atlanta, GA 30318
Group Benefits include:
- Priority seating at Cobb Energy Performing Arts Centre and the Fabulous Fox Theatre
- Discounts of up to 30% for select performances and special access to tickets not available to the general public
- One-time $10 service fee, no matter how large your order
- Flexible payment options
- VIP opportunities such as backstage tours and dancer meet-and-greets (nominal fees apply)
- Personal VIP service from our outstanding staff including presentation and marketing materials on the program of your choice. Assistance with restaurant and hotel reservations, transportation options, pre/post-show receptions and tours of the Cobb Energy Centre/Fox Theatre are also available at your request.
Born in 1960, Jean-Christophe Maillot studied dance and piano at the Conservatoire National de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes until winning the Prix de Lausanne in 1977. He was then hired by John Neumeier at the Hamburg Ballet, where he danced in principal roles as a soloist for five years. An accident brought his dancing career to an abrupt end.
In 1983, he was appointed choreographer and director of the Ballet du Grand Théâtre de Tours, which later became a National Centre of Choreography. He created around twenty ballets for this company and, in 1985, founded the dance festival "Le Chorégraphique". In 1987, he created Le Mandarin Merveilleux for the Ballets de Monte-Carlo, which was a great success. He became the company's artistic advisor for the 1992-1993 season and was then appointed director-choreographer by H.R.H. the Princess of Hanover in September 1993.
His arrival at the Ballets de Monte-Carlo set the company on a new path that quickly developed the level of maturity and excellence for which this company of 50 dancers has been renowned for 20 years. He has created almost 30 ballets for the company, some of which, such as Vers un pays sage (1995), Romeo and Juliet (1996), Cinderella (1999), La Belle (2001), Le Songe (2005), Altro Canto (2006), Faust (2007), and LAC (2011), have forged the reputation of the Ballets de Monte-Carlo across the world. Several of these works are now included in the repertoires of major international ballet companies such as the Grands Ballets Canadiens, the Royal Swedish Ballet, the Korean National Ballet, the Stuttgart Ballet, the Royal Danish Ballet, the Ballet du Grand Théâtre de Genève, the Pacific Northwest Ballet, the American Ballet Theatre, and the Béjart Ballet Lausanne.
Also aware of the work of other artists, Jean-Christophe Maillot is known for his spirit of openness and his commitment to inviting choreographers with a different style to create for the company. In 2000, this same desire to present the choreographic art in all its many forms led him to create the Monaco Dance Forum, an international showcase for dance which presents an eclectic proliferation of shows, exhibitions, workshops, and conferences.
In 2007, he produced his first stage opera, Faust, for the Hessisches Staatstheater and, in 2009, Norma for the Monte-Carlo Opera. In 2007, he created his first choreographic film with Cinderella then Le Songe in 2008. In 2009, he developed the content and coordinated the Centenary of the Ballets Russes in Monaco, which would see over 50 companies and choreographers pass through the Principality in one year, providing entertainment for 60,000 audience members. In 2011, dance in Monaco underwent a major and historical change. Under the presidency of H.R.H. the Princess of Hanover, the Ballets de Monte-Carlo now incorporates the Ballets de Monte-Carlo Company, the Monaco Dance Forum, and the Princess Grace Academy of Dance under a single organization. Jean-Christophe Maillot was appointed head of this organization, which now unites the excellence of an international company, the benefits of a multi-format festival, and the potential of a high-level school.
Jean-Christophe Maillot is an Officer in the Ordre du Mérite Culturel of the Principality of Monaco, Chevalier of the Ordre des Arts et Lettres, and Chevalier of the Légion d’Honneur in France. On 17th November 2005, he was appointed Chevalier of the Ordre de Saint Charles by H.S.H. Prince Albert II of Monaco. In 2010, in Moscow, he received the Prix Benois de la Danse for the Best Choreographer along with the Premio Dansa Valencia 2010.
Biography courtesy of Les Ballets de Monte-Carlo, http://www.balletsdemontecarlo.com.
With performances that have been called poetic, earthy, vigorous and highly individual, conductor Ari Pelto is in demand in opera houses throughout the United States. Since his debut in 2004 conducting Verdi's La Traviata at the New York City Opera, Mr. Pelto has been engaged as a regular guest conductor for the company, conducting Madama Butterfly, Carmen and La Bohème in subsequent seasons. Highlights from his most recent season include Romeo et Juliet at Minnesota Opera, Magic Flute at Portland Opera, La Bohème at Boston Lyric Opera and the Cunning Little Vixen at Chautauqua.
Mr. Pelto works regularly at some of the country's most prestigious conservatories and young artists' programs. In 2005, he conducted Don Giovanni at Wolf Trap and returned in 2006 to conduct a new production of Le Nozze di Figaro. At San Francisco Opera's Merola Program, he conducted Benjamin Britten's Rape of Lucretia in 2004. He has conducted operas at the Oberlin and San Francisco Conservatories, the Manhattan School of Music, The Juilliard School and the Curtis Institute of Music. He has also been engaged as a regular faculty member and conductor at the New National Theatre in Tokyo, where, in the spring of 2008, he conducted Le Nozze di Figaro.
Mr. Pelto spent the fall of 2002 conducting 30 performances of La Bohème in 20 states with the Western Opera Theater (San Francisco Opera's national touring company), after bringing Cosi Fan Tutte to 21 states the previous year. In 1999, he made his international debut in Germany with the Bochumer Symphoniker, and the same year conducted Lucia di Lammermoor at the Festival Opera in Walnut Creek, CA, returning the next year to lead Il Barbiere di Siviglia. He returned to Festival Opera in 2006 to conduct Tosca. In recent seasons he has had repeat engagements with the Florida Orchestra, the Toledo Symphony, and the Atlanta Ballet.
At age 24 he became assistant conductor of the Spoleto Festival USA, where he led symphonic and chamber orchestra programs to critical acclaim and was responsible for the musical preparation of productions of Fidelio, Janacek's Excursions of Mr. Broucek, and Britten's Curlew River. From 2000-2002 he served as assistant conductor of the Florida West Coast Symphony in Sarasota, FL, conducting over 30 concerts there.
Mr. Pelto has had the good fortune to work with a number of the world's finest teachers of conducting, including Robert Spano, Jorma Panula, and Mendi Rodan. At the Indiana University School of Music, he studied with the eminent conductor Imre Pallo. While pursuing his degree there, he also served as assistant conductor of the Opera Theater, where he led many performances including those of Don Pasquale, The Marriage of Figaro, Idomeneo, Orpheus in the Underworld, and Falstaff.
He holds a degree in violin performance from Oberlin Conservatory and has performed as a soloist, chamber musician, and orchestral violinist in Europe, China, and throughout the United States.