The Australian Ballet celebrates
50 years on the world stage
The Australian Ballet returns to New York as part of its historic 50th anniversary celebrations to present two distinctly Australian programs, Swan Lake and Infinity.
This dazzling version, created by superstar Australian choreographer Graeme Murphy, gives this most classical of ballets a modern twist. Set to Tchaikovsky’s immortal score, this spectacular interpretation features a contemporary storyline full of drama, wit and passion.
The Australian Ballet shows off its agility, athleticism and unique Australian style in Infinity, a daring mixed bill. The program features Wayne McGregor’srule-breaking Dyad 1929, a work created in 2009 especially for the company’s dancers; an electrifying collaboration between The Australian Ballet and Bangarra Dance Theatre, Australia’s Indigenous dance company; and a sensational selection of excerpts from the company’s most loved ballets set against a multimedia backdrop.
The Australian Ballet has wowed audiences across the globe in Australia, Paris, London, Tokyo and Shanghai. Don’t miss your chance to see them as they celebrate their 50th birthday in New York!
“The company has a sleekness,
clarity and modern spirit”
The New York Times
“Wonder from Down Under”
New York Post
Choreography Graeme Murphy
Creative associate Janet Vernon
Music Piotr Ilyich Tchaikovsky
Set and costume design Kristian Fredrikson
Concept Graeme Murphy, Janet Vernon and Kristian Fredrikson
Lighting design Damien Cooper
Dyad 1929 (2009)
Choreography Wayne McGregor
Music Steve Reich’s Double Sextet
Costume design Moritz Junge
Stage concept Wayne McGregor and Lucy Carter
Lighting design Lucy Carter
New collaboration with Bangarra Dance Theatre (2012)
Choreography Stephen Page
Music David Page
Costume design Jennifer Irwin
Set design Jacob Nash
June 12 – 13, 2012 (2 performances)
June 15 – 17, 2012 (4 performances)
|A Reserve||B Reserve||C Reserve||D Reserve||E Reserve|
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On the evening before her wedding, the apprehensive young maiden Odette wandered the palace and became doubtful of her betrothed Prince Siegfried’s love.
After the wedding Odette, so very much in love with her new husband, realised it was a certain Baroness who really owned his heart. Already fragile, Odette became so distressed that by royal command she was committed to a sanatorium.
With her spirit broken, Odette could only find escape in a frozen dream where swan-like maidens, much like herself, would calm her fevered mind and where, for a brief time, it seemed as if Siegfried loved her alone.
Some months later, Odette left the white loneliness of the sanatorium to seek and reclaim her husband, now fully under the sway of the Baroness. Having appeared uninvited at an evening party given by the Baroness, Odette’s calm beauty and confident purity of spirit caused Siegfried to fall deeply in love with her. The jealous Baroness attempted to have Odette returned to the sanatorium, but before she could be seized, Odette fled into the night.
Siegfried then discovered the terrified Odette near the lake and for a short time the couple were united in ecstatic embrace. But even as she lay in the arms of her husband, Odette knew there would be no peace for her ever-troubled mind and she was only to find ultimate release in the depths of the dark lake of swans.
For the rest of his life, Prince Siegfried never loved again, but mourned ever his lost Odette.
To celebrate the centenary of the magnificent Ballets Russes, I have embarked upon generating a diptych: two contrasting yet complementary ideas produced on two sides of the world – Dyad 1909 (London) and Dyad 1929 (Melbourne).
The maverick impresario and founder of the Ballets Russes, Sergei Diaghilev, had a creative vision that served to challenge the social norms of the day. His work seduced the rest of the world with productions that not only redefined ballet but set a fresh agenda for the process of art. The Ballets Russes was very much a product of its time. From a scientific, social, political and technological perspective, the period of 1909 – 1929 was rich with discovery and experimentation; the world was changing and fast.
For this Dyad diptych, I have been inspired by a fascinating example of the period’s rapid evolution, illustrated brilliantly in its preoccupation with Antarctica. In January 1909, the Anglo-Irish explorer Ernest Shackleton embarked upon his seminal Antarctic expedition, the Nimrod. He was the first to successfully reach the magnetic South Pole. By 1929, aviator Richard Evelyn Byrd – the pioneering American polar explorer – was the first to actually fly over the South Pole in a Ford Trimotor. In a mere 20 years the technological revolution had given man the enduring power of flight and with it a renewed energy for expedition. Literally now able to ‘discover’ more of the globe, it was a new dawn in possibility. Although Dyad 1929 is not a narrative ‘about’ Antarctica the dance, design and music contain its traces of the Ballets Russes spirit, made visible for our time.
Dyad 1929 is dedicated to the memory of Merce Cunningham (1919-2009), a choreographer whose curiosity, sense of adventure and seamless collaboration knew no bounds.
Nightly casting is available approximately one week before the season begins.
Please visit again closer to opening night.
David H. Koch Theater, Lincoln Center,
Broadway and 63rd Street, New York
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