Atlanta Ballet Gennadi Nedvigin | Artistic Director

Atlanta Ballet Gennadi Nedvigin | Artistic Director

Atlanta Ballet at City Springs

Atlanta Ballet at City Springs

Photo by Charlie McCullers.

April 12-13, 2019 City Springs

  • Return to a Strange Land Choreography by Jiří Kylián
  • The Premiere Choreography by Ricardo Amarante (Debuted September 2018)
  • Tschaikovsky Pas de Deux Choreography by George Balanchine
  • Don Quixote Grand Pas de Deux Choreography by Marius Petipas (Excerpt)
  • Remembrance/Hereafter Second Movement Choreography by Craig Davidson (Excerpt)

Atlanta Ballet is excited to take part in the inaugural season of performances at the Sandy Springs Performing Arts Center at City Springs. Situated in the heart of downtown Sandy Springs, this state-of-the-art facility boasts stunning green spaces and a large selection of on-site dining options before and after the show.

The evening program will include one of dance visionary Jiří Kylián’s signature celebrations of dancers’ physical limits and an emotional tribute to his late mentor, John Cranko, Return to a Strange Land. Sinewy forms entwine in intimate embraces before spiraling across the stage in graceful lifts. They are physical bodies in space detached from place and time – travelers in a strange land. They move as counterpoints, exploring the limits of centrifugal force and, seemingly, gravity.

Rising Brazilian choreographer Ricardo Amarante, recognized for his emotionally-charged, purely neoclassical style, complements the program with The Premiere, an original work commissioned by Atlanta Ballet for the 2018|2019 Season. It follows the dancers from rehearsals in the studio to opening night at the theatre, capturing the palpable energy surging through the artists as they perfect their steps for the premiere.

Atlanta Ballet will also present a divertissement of short works, including excerpts from ballet classics from previous seasons. This selection of works will include the Grand Pas de Deux from Don Quixote, George Balanchine's Tschaikovsky Pas de Deux staged by Balanchine protégé and beloved Atlanta Ballet Artistic Director Emeritus Robert Barnett, and the second movement of Remembrance/Hereafter by Craig Davidson that made its world premiere with Atlanta Ballet during the 2017|2018 Season.

George Balanchine© The George Balanchine Trust


Please be advised that this production uses theatrical haze.

Run time is approximately 2 hours and 10 minutes, including two 20-minute intermissions.

Performance Photos

  • Venue
    Sandy Springs Performing Arts Center's Byers Theatre

    The Byers Theatre is the primary performance space in the Sandy Springs Performing Arts Center. The theatre features excellent sight lines, with seating for 1,070 on three levels, including box seats. Superb acoustics, a full orchestra pit, and fly loft make the theatre an ideal venue for a variety of performance events. 

    Location & Parking
    The Sandy Springs Performing Arts Center is located off of I-285 between Mount Vernon Highway and Johnson Ferry Road in Sandy Springs, Georgia. Ample parking is available with approximately 1,125 parking spaces on site, 750 of those in an underground parking deck. The parking garage entrance is off of Galambos Way at Mount Vernon and extends under the City Green. Event self-parking is available for $5 and valet for $10, starting two hours prior to the performance. If you enter the parking garage before the two hour mark, you will be charged the hourly rate. When you exit the parking garage, be sure to walk towards the theater entrance on the east side of the building. If you are facing the building with your back towards Mt. Vernon Hwy, it will be the last entrance on the right. Click here for a list of restaurants and retail stores in the City Springs complex.

    Ticketing
    If you received your tickets via email, please print them out and bring them with you to the theatre. Tickets on mobile devices will not be accepted. Tickets held at the box office will be available at the will call window starting two hours prior to the performance. Please bring your photo ID; staff cannot release tickets to a person whose name is not on the ticket envelope. Atlanta Ballet staff will be available at the box office to assist you. Doors to the Sandy Springs Performing Arts Center open one hour prior to the performance. Once you enter the theatre, there is no reentry.

    Venue Policies
    The Sandy Springs Performing Arts Center is a smoke-free campus. There is no reentry permitted through the outside entrance of the theatre.

  • Group Discounts

    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. Groups save up to 25% on regular prices!

    Click here for details and to submit a request to Group Sales Manager Myredith Gonzales.

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  • Seating Chart

    Sandy Springs Performing Arts Center's Byers Theatre

  • Video

    Ricardo Amarante's "The Premiere" | Atlanta Ballet

    Jiří Kylián's "Return to a Strange Land" at Atlanta Ballet

    Craig Davidson's "Remembrance/Hereafter" | Atlanta Ballet

  • Artistic & Designers - Return to a Strange Land

    Jiří Kylián, Choreographer, Scenic Designer & Costume Designer 

    Jiří Kylián (Czechoslovakia, 1947) started his dance career at the age of nine at the School of the National Ballet in Prague. In 1962, he was accepted as a student at the Prague Conservatory. He left Prague when he received a scholarship for the Royal Ballet School in London in 1967.  After this, he left to join the Stuttgart Ballett led by John Cranko. Kylián made his debut as a choreographer here with Paradox for the Noverre Gesellschaft. After having made three ballets for Nederlands Dans Theater (Viewers, Stoolgame, and La Cathédrale Engloutie), he became artistic director of the company in 1975. In 1978 he put Nederlands Dans Theater on the international map with Sinfonietta. That same year, together with Carel Birnie, he founded Nederlands Dans Theater II, which served as a bridge between school and professional company life and was meant to give young dancers the opportunity to develop their skills and talents and to function as a breeding ground for young talent. He also initiated Nederlands Dans Theater III in 1991, the company for older dancers, above forty years of age. This three-dimensional structure was unique in the world of dance. After an extraordinary record of service, Kylián handed over the artistic leadership in 1999, but he remained associated with the dance company as house choreographer until December 2009.

    Jiří Kylián has created nearly 100 works of which many are performed all over the world. Kylián has not only made works for Nederlands Dans Theater, but also for the Stuttgart Ballet, the Paris Opéra Ballet, Bayerisches Staatsoper Münich, Swedish television, and the Tokyo Ballet. Kylián has worked with many creative personalities of international stature. Composers: Arne Nordheim (Ariadne 1979) and Toru Takemitsu (Dream Time 1983). Designers: Walter Nobbe (Sinfonietta 1978), Bill Katz (Symphony of Psalms 1978), John Macfarlane (Forgotten Land 1980), Michael Simon (Stepping Stones 1991), Atsushi Kitagawara (One of a Kind 1998), Susumu Shingu (Toss of a Dice 2005), and Yoshiki Hishinuma (Zugvögel 2009).

    In the summer of 2006, together with film director Boris Paval Conen, he created the film Car-Men. It was choreographed on location on the surface brown coal mines of the Czech Republic. In 2010, Kylián served as mentor in dance in the Rolex Mentor and Protégé Arts Initiative. In 2013, together with Boris Paval Conen and NTR, he created the film Between Entrance & Exit, which was nominated as one of the contestants for the “Gouden Kalf” award during the Dutch Film Festival in Utrecht. For the Aichi Trienalle 2013 in Nagoya, Japan, he created the full-evening dance/film production East Shadow, which was dedicated to the victims of the Tsunami in Japan. Together with the Czech film director Jan Maliř, he made the films Schwarzfahrer (2014) and his newest film Scalamare (2017) that was filmed on the steps of the famous Monumento ai Caduti in Ancona, Italy.

    Over the course of his career, Kylián received many international awards, including Officer of the Orange Order (Netherlands); an honorary doctorate (Julliard School New York), three Nijinsky Awards for best choreographer, company, and work (Monte Carlo); Benoit de la Dance (Moscow and Berlin); Honorary Medal of the President of the Czech Republic; Commander of the Legion d'honneur (France); and, in 2008, he was distinguished with one of the highest royal honors, the Medal of the Order for Arts and Science of the House of Orange given to him by Her Majesty the Queen Beatrix of the Netherlands. Kylián received the Lifetime Achievement Award in the field of dance and theater by the Czech Ministry of Culture in Prague, and, in this same year, the documentary Forgotten Memories received the Czech Television Award. During the Celebrating Kylian! Festival in 2017, Kylián received the prestigious gold penning as honorary citizen of The Hague, the Netherlands. In September 2017, Kylián was awarded with the prestigious Lifetime Achievement Prize, the Positano Premia La Danza Léonide Massine Award.

    Jeanne Solan, Assistant to the Choreographer

    Jeanne Solan was born in New Jersey in 1948. For the past 20 years, she has worked as an international teacher with dance companies and conservatories around the world. She also assists choreographer Jiří Kylián, teaching his earlier works to international ballet companies. She has danced with the Harkness Ballet in New York (1968-70), the Deutsche Oper Ballett in Berlin (1970-71), the Lar Lubovitch Dance Company in New York (1971-73, 1986-88), the Nederlands Dans Theater I in The Hague (1973-78, 1980-86), Dennis Wayne’s Dancers in New York (1978-80), and the Nederlands Dans Theater III in The Hague (1993-99). In addition to Kylián, she has worked with such choreographers as Rudi van Dantzig, Lar Lubovitch, William Forsythe, Mats Ek, Christopher Bruce, Nacho Duato, George Balanchine, Jerome Robbins, Jennifer Muller, Martha Clarke, Paul Lightfoot, Sol Léon and Johan Inger. In 1996, Solan received the Golden Swan Award for career achievement.

    Kees Tjebbes, Lighting Designer and Technical Supervisor for Jiří Kylián

    Kees Tjebbes worked with the Dutch theater and dance groups Toneelgroep Theater, Introdans, Scapino Ballet Rotterdam and Nederlands Dans Theater after his studies at the Brussels Academy of the Arts. For Introdans and Scapino Ballet Rotterdam, he began creating lighting designs for new works by such choreographers as Ed Wubbe, Nils Christe and Itzik Galili. In 2000, choreographer Jiří Kylián asked Tjebbes to create the lighting design for Click-pause-Silence; since then, he has collaborated on almost all of Kylián’s dance productions. The list includes 27'52" (NDT II, 2002), Claude Pascal (NDT I, 2002), When Time Takes Time (NDT III, 2002), Far too close (NDT III, 2003), Last Touch (NDT I, 2003), Sleepless (NDT II, 2004), Toss of a Dice (NDT I, 2005), Chapeau (NDT II, 2006), Tar and Feathers (NDT I, 2006), Vanishing Twin (NDT I, 2008), Gods and Dogs (NDT II, 2008), Mémoires d’Oubliettes (NDT I, 2009), and his creation for the Ballet de l’Opéra de Paris, 2004’s Il Faute Qu’une Porte (2004). In the past few years, Tjebbes has supervised, adapted or re-created the lighting designs for Kylián productions being staged or restaged around the world.

  • Artistic & Designers - The Premiere

    Ricardo Amarante, Choreographer 

    Ricardo Amarante was born in Brazil. He studied at the National Ballet School Cuba and English National Ballet School. As a soloist, he worked with Paris Opera Ballet, Jeune Ballet de France and Royal Ballet of Flanders. After creating many ballets for the Royal Ballet of Flanders, he participated in the New York Choreographic Institute. His ballet Love Fear Loss received the French Dance Foundation award and was performed at many international galas. He has restaged and created works for Palluca Schule Dresden, English National Ballet School, Royal Ballet School of Antwerp in Belgium, and Dortmund Ballet in Germany. He also choreographed the Adeline Genée Awards. In 2014, he created In Flanders Fields for the Royal Ballet of Flanders (Belgium), which was praised by dance magazines. Since 2016, Amarante has been the resident choreographer and an artistic associate at Astana Ballet in Kazakhstan, which has performed and toured his ballets to major theaters and festivals worldwide.

    Renê Salazar, Costume & Scenic Designer, The Premiere

    Renê Salazar graduated as a stage designer from the University of Scenography at Universidade Federal do Estado do Rio de Janeiro (UNIRIO). His most significant work includes scenery for the ballet Catulli Carmina for Theatro Municipal do Rio de Janeiro (TMRJ) and scenography for the opera Orpheus and Eurydice by Christoph W. Gluck for the UNIRIO orchestra and theater, both in 2014. In 2016, Salazar created the costume design for the triple bill titled Trilogia Amazônica for TMRJ. He also created the costume and set designs for the ballet Diversity by choreographer Ricardo Amarante, done at the ceremonial opening of the new Theatre Ballet Astana in Kazakhstan. In 2017, Salazar created new costume and set designs for Contrasts and Touch of Illusion at Astana Ballet. In 2018, he created costumes and sets for Giselle at Astana Ballet. Today he lives in Rio de Janeiro, and he works at TMRJ and as a freelance designer.

    Joseph R. Walls, Lighting Designer

    Joseph R. Walls has designed several pieces for Atlanta Ballet, including Yury Yanowsky's AON <All or Nothing>, Ricardo Amarante’s The PremiereLa Sylphide, Gemma Bond’s Denouement, Tara Lee’s blink and Andrea Miller’s Push. He has also designed for STEPS Panama, Staibdance, Ballet West, Inland Pacific Ballet, Charlotte Ballet and The Washington Ballet at the Kennedy Center. This past summer, Walls designed for Sundance Mountain Resort’s Summer Theatre. He has been nominated for the prestigious Premios Escena award for best lighting design in Panama City, Panama. In January, Walls designed the lighting for the weeklong World Youth Day 2019 celebration with Pope Francis in Panama. Currently, Walls is collaborating with Dana Genshaft, Ethan Stiefel and Trey McIntyre for The Washington Ballet’s evening of Three World Premieres in April 2019. www.jwallsdesign.com

  • Artistic & Designers - Divertissement

    George Balanchine, Choreographer, Tschaikovsky Pas de Deux

    Simply put, George Balanchine (Jan. 22, 1904-April 30, 1983) transformed the world of ballet. He is widely regarded as the most influential choreographer of the 20th century and co-founder of two of ballet’s most important institutions: New York City Ballet and the School of American Ballet. Balanchine was born in St. Petersburg, Russia. He studied at the Imperial Ballet School in St. Petersburg and danced with Maryinsky Theatre Ballet Company, where he began choreographing short works. In the summer of 1924, Balanchine left the newly formed Soviet Union for Europe, where impresario Serge Diaghilev invited him to join the Ballet Russes. For that company, Balanchine choreographed his first important ballets: Apollo (1928) and Prodigal Son (1929). After Ballet Russes was dissolved following Diaghilev’s 1929 death, Balanchine spent the next few years on various projects in Europe and then formed his own company, Les Ballets 1933 in Paris. There, he met American arts connoisseur Lincoln Kirstein, who persuaded him to come to the United States. In 1934, the pair founded the School of American Ballet, which remains in operation today, training students for companies around the world. Serenade, Balanchine’s first U.S. ballet, was set to music by Tchaikovsky and created for SAB students. It premiered June 9, 1934, on the grounds of an estate in White Plains, N.Y. Balanchine served as New York City Ballet’s ballet master from 1948 until his death in 1983, building the company into one of the most important performing arts institutions in the world and a cornerstone of cultural life in New York City. He choreographed 425 works over the course of 60-plus years; his musical choices ranged from Tchaikovsky (a favorite composer) to Stravinsky (his compatriot and friend) to Gershwin (who embodied Balanchine’s love of America). Many Balanchine works are considered masterpieces and are performed by ballet companies around the world. Courtesy of New York City Ballet.

    Robert Barnett, Stager, Tschaikovsky Pas de Deux 

    Robert Barnett was born in Washington state in 1925, and graduated from Wenatchee High School in 1943. He joined the U.S. Navy during World War II, mustering out in June 1946. He began his ballet training with Bronislava Nijinsky in Los Angeles, joining the original Ballet Russe in Barcelona, Spain in 1948. He studied in Paris with Lubov Igorova, returning to the United States, where he was elevated to the position of soloist. In 1958, Barnett and his wife, Virginia Rich Barnett, were invited by Atlanta Ballet founder and director Dorothy Alexander to join her company as co-directors and principal dancers. Alexander appointed Barnett as artistic director when she retired in 1961, a position he held until 1994. He is the proud father of Virginia and sons Robert Jr. and David, and grandfather of grandsons Aaron, Ryan and Austin Barnett. He is pleased to remain a devoted supporter of Atlanta Ballet, Artistic Director Gennadi Nedvigin and Dean Sharon Story of the Centre for Dance Education, as well as the board of directors, staff and, especially, the talented dancers who fill him with pride.

    Joseph R. Walls, Lighting Designer, Tschaikovsky Pas de Deux & Don Quixote

    Joseph R. Walls has designed several pieces for Atlanta Ballet, including Yury Yanowsky's AON <All or Nothing>, Ricardo Amarante’s The Premiere, La Sylphide, Gemma Bond’s Denouement, Tara Lee’s blink and Andrea Miller’s Push. He has also designed for STEPS Panama, Staibdance, Ballet West, Inland Pacific Ballet, Charlotte Ballet and The Washington Ballet at the Kennedy Center. This past summer, Walls designed for Sundance Mountain Resort’s Summer Theatre. He has been nominated for the prestigious Premios Escena award for best lighting design in Panama City, Panama. In January, Walls designed the lighting for the weeklong World Youth Day 2019 celebration with Pope Francis in Panama. Currently, Walls is collaborating with Dana Genshaft, Ethan Stiefel and Trey McIntyre for The Washington Ballet’s evening of Three World Premieres in April 2019. www.jwallsdesign.com

    Craig Davidson, Choreographer, Remembrance/Hereafter

    Craig Davidson danced with the Royal Ballet of Flanders for 10 years as a soloist and later moved to Germany to become a soloist with the Semperoper Ballett. In 2009, Dance Europe magazine awarded him a Critics’ Choice Award for most outstanding performance by a male dancer for his performance in William Forsythe’s Impressing the Czar at Saddler’s Wells in London. During his tenure at Royal Ballet of Flanders, Davidson created seven works, including his second work, Momentary, which was also performed at the farewell gala for Dinna Bjørn at the Finnish National Ballet. His 2015 work, In-Between, was shown and awarded at the International
    Dance Festival in Berlin. He created his first commissioned work, Ambiguous Content, for the West Australian Ballet. This work was performed at the Perth International Arts Festival and has been re-staged for Ballet Idaho’s 2018/2019 season. Since then, he has created works for the Queensland Ballet, Ballett Dortmund and the dancers of the Semperoper Ballett, Royal Ballet and Ballett Zürich. He is an alumnus of the New York Choreographic Institute, and, in 2017, he became the director of Creative Arts Davidson, an artist collective with projects in museums such as the Kunsthalle Zürich and the Albertinum museum Dresden. Remembrance/Hereafter was his first commission for Atlanta Ballet.

    Kate Venables, Costume & Scenic Designer, Remembrance/Hereafter

    Kate Venables joined the Royal New Zealand Ballet in 2002 and performed in many soloist and principal roles. A significant back injury led to a new career in the film industry, predominantly as a motion capture/action performer contracting to Weta Digital for such feature films as “The Jungle Book,” “The Hunger
    Games,” “The Planet of the Apes” trilogy, “The BFG” and “Avatar.” In 2010, Venables began working at Academy Award-winning special effects house Weta Workshop as a costume technician creating costumes, armor, weapons and props for feature films including “The Hobbit” trilogy, “World of Warcraft,” “Spectral” and the “Avatar” series. Venables’ passion for costume design is informed greatly by her work as a technician. She
    specializes in soft fabrics, weaving, leatherwork, embroidery, painting and drawing techniques, and is devoted to understanding the properties of many mediums. She has designed costumes for the Royal New Zealand Ballet, the Royal Ballet of Flanders, Ballet Dortmund, West Australian Ballet, Ballet Idaho and the 2016 World Ballet Gala in Seoul, South Korea. Some of Venables’ specific handcrafted costume pieces have been featured in Ethan Stiefel’s Bierhalle and Loughlan Prior’s short dance film "Memory House."

    Matt Miller, Lighting Designer, Remembrance/Hereafter

    Matt Miller is based in Chicago, IL. Matt brings over a decade of experience to the industry with experience lighting for dance, theatre, music, corporate events and much more. Matt has worked with such companies as Hubbard Street Dance Chicago, Yeager Design, arc3design, The Chicago Symphony Orchestra, Microsoft, Github, Brooklyn Academy of Music, HMS Media, LINES Ballet, The Chicago Dancing Festival, Music Theatre of Wichita and Madison Square Garden. Matt has toured extensively throughout the U.S. and internationally to over a dozen countries. During his time with Hubbard Street Dance Chicago, he designed over 30 new works and had the honor to act as a cultural ambassador for the U.S. State Department during Hubbard Street’s participation in Dancemotion USA. Matt holds a Bachelor of Arts in lighting design from the Johnny Carson School of Theatre and Film at the University of Nebraska-Lincoln and is a proud member of United Scenic Artists 829.

    Marius Petipa, Choreographer, Don Quixote

    Marius Petipa is considered the Father of Classical Ballet. Petipa (March 11, 1818-July 14, 1910) came from a family of artists in Marseilles, France. His father, Jean, was a ballet master, and his brother, Lucien, was a principal dancer and choreographer at the Paris Opéra.

    In 1870, after many years of dancing in Europe, Petipa was offered a position as principal dancer in St. Petersburg. There he apprenticed under ballet masters Jules Perrot and Arthur Saint-Léon. In 1870, Saint-Léon left Russia, and Petipa was named chief ballet master. He was the architect of greatness at the Imperial Ballet during the last 30 years of the 19th century, developing the opulent, multi-act evening- length spectacle that was to set the pattern for the entertainments so loved by the court audience. It was this grand classical style of controlled emotion (stressing the formal values of clarity, harmony, symmetry and order) that produced such successes as Don Quixote, La Bayadère, Raymonda and, ultimately, Sleeping Beauty. One of Petipa’s greatest contributions to classical ballet was the crystallization of the pas de deux, which always has a well-defined structure in his ballets — the opening adagio for the ballerina and her partner, variations for each dancer and the concluding coda for both dancers, which usually contains a display of pyrotechnics.

  • Program Notes

    Notes contributed by Nathan Hites, Atlanta Ballet dance researcher/historian:

    Return to a Strange Land (Rückkehr ins Fremde Land)
    Music by Leoš Janáček
    Choreography by Jiří Kylián

    A visually quiet and heartbreaking ballet, Jiří Kylián’s Return to a Strange Land (Rückkehr Ins Fremde Land) was choreographed for the Stuttgart Ballet in 1975 as a tribute to the company’s director, John Cranko (Kylián’s mentor and longtime friend), who died suddenly in 1973. Created as a pas de trois in 1974, it was later extended to its present format for six dancers (two women and four men) forming intimate geometric shapes with light and fluid acrobatic poses. A signature of Kylián’s choreography is its perpetual movement. Kylián uses fast running across open spaces, sudden turns, lifts, falls and graceful contortions of the body to give shape and energy to the ballet’s elegiac theme. While the ballet has no story, it mingles themes of passing and reappearance with death and rebirth.

    Kylián says, “The title Return to a Strange Land conveys the step from one form of existence into another. … To die is to return into the other land: the strange land of one’s origin.” Return to a Strange Land is a masterly universal expression of longing, loss, dislocation and loneliness.

    Premiere: May 17, 1975 at the Grosses Haus, Stuttgart, Germany

    Tschaikovsky Pas de Deux
    Music by Peter Ilyich Tchaikovsky
    Choreography by George Balanchine© The George Balanchine Trust

    George Balanchine created the eight-minute Tschaikovsky Pas de Deux in 1960 to showcase the virtuosity of New York City Ballet principal dancers Violette Verdy and Conrad Ludlow. The choreography demands exceptional speed and even more exceptional musical understanding — qualities that are hallmarks of Balanchine’s choreographic ideals. As is typical with Balanchine, the inspiration for his choreography is the music itself. The duet is set to the music of the original pas de deux from the third act of the first Moscow production of Swan Lake in 1877. This extract from the score was thought to be lost but was discovered many years later in the music library of the Bolshoi Theatre in Moscow. Brought to his attention, Balanchine conceived of this brilliant work we know today. Tschaikovsky Pas de Deux follows the structure of a four-part classical pas de deux: The couple performs a slow, sustained adagio together, which is followed by a solo variation for each. Finally, they reunite in a dazzling coda filled with pyrotechnical feats.

    Premiere: March 29, 1960 at City Center, New York City

    Remembrance/Hereafter - Second Movement
    Music by Franz Schubert
    Choreography by Craig Davidson

    Remembrance/Hereafter premiered in its entirety last season at Atlanta Ballet. In it, choreographer Craig Davidson explores his highly personal ideas on transitions – physical, emotional and spiritual. He believes each moment of one’s life is part of a continuous shift in time and place. “Movement enlightens us,” says Davidson. His ballet employs classical steps with a modern sensibility for a modern audience. This vocabulary shapes thoughts, feelings, intuitions and memories into what he calls “physical human bodies expressing a spiritual journey.” Through the physicality of intimate, weight-shifting partnering, he surveys the landscape of relationships, connections and shared experiences.  The second movement, performed tonight, represents the afterlife with different couples reflecting the central figure’s memories of past relationships and life experiences.

    Premiere: March 16, 2018 at Cobb Energy Performing Arts Centre, Atlanta, Ga.

    Don Quixote Act III – Pas de Deux
    Music by Ludwig Minkus
    Choreography by Marius Petipa

    On Dec. 14, 1869, Marius Petipa premiered the multi-act story ballet Don Quixote in Moscow, the first of many successful collaborations with Ludwig Minkus, the Bolshoi Theatre’s house composer. In this extracted virtuoso pas de deux from the final act, the lovers Kitri and Basilio are united in a grand spectacle celebrating their wedding. This ballet’s popularity endures as a result of its explosive, fiery mixture of traditional Spanish dance and pure classicism.

    Premiere: Dec. 26, 1869 at the Bolshoi Theatre, Moscow


    Notes contributed by Ricardo Amarante, choreographer:

    The Premiere
    Music by Camille Saint-Saëns
    Choreography by Ricardo Amarante

    In my first commission for Atlanta Ballet, I invite the audience to experience a day in the life of the dancers as they prepare for opening night. A palpable excitement surges through the studio as new and returning dancers come together in preparation for a fresh start to the season and contemplate the endless possibilities that lie ahead. They are full of energy, fueled by a passion burning deep inside them for an art form to which they have dedicated their whole lives. Repetition, repetition, repet mselves physically and emotionally as they strive for perfection before the premiere.

    Premiere: Sept. 14, 2018 at Cobb Energy Performing Arts Centre, Atlanta, Ga.

  • Casting