Choreography | Krzysztof Pastor
Music | Sergei Prokofiev
Design | Tatyana van Walsum
Dramaturgy | Willem Bruls
Lighting Design | Bert Dalhuysen
Krzysztof Pastor | Choreographer
Krzysztof Pastor began his ballet training with the Ballet School in his home town of Gdansk. After his training, he joined the Polish Dance Theatre in Poznan (1975) where he worked with Conrad Drzewiecki, winning the position of one of the company's leading young artistic personalities. Four years later, he moved to the Teatr Wielki of Lódzi.
In 1983, Pastor became a soloist with Le Ballet de l'Opéra of Lyon in France, dancing ballets by Gray Veredon, Hans van Manen, Kurt Jooss and others. From 1985 to 1995, he danced with the Dutch National Ballet (Het Nationale Ballet), working with many well-known choreographers such as Carolyn Carlson, Nils Christie, Nacho Duato, Rudi van Dantzig, Jan Linkens, Eduard Lock, Hans van Manen, Maguy Marin, Toer van Schayk, Nina Wiener, and Peter Wright. He danced major roles in both classical and neoclassical ballets, as well as modern dance works.
Pastor completed his first choreographic work in 1986 for an international gala performance in Lódzi. After creating several ballets for the Dutch National Ballet's workshop programmes, in 1992 he was asked to design a ballet for the company's main programme: the successful Shostakovich-Chamber Symphony. He worked as a freelance choreographer from 1995. In the 1997/98 season he joined the Washington Ballet as its choreographer in residence, and became the Dutch National Ballet's choreographer in residence in the 1998/99 season.
Alongside his work for the Dutch National Ballet, Pastor has created ballets for many companies in other countries, such as the Royal Swedish Ballet, Bolshoi Ballet in Moscow, Scottish Ballet, Washington Ballet, Ballet Opera Dresden, Israel Ballet, Royal Flemish Ballet, Ballet of the Polish National Opera in Warsaw (Górecki's Third Symphony, 1994), National Ballet of Lithuania, National Ballet of Latvia, Donau Ballet, Ankara State Ballet, Australian Ballet, West Australian Ballet, and Royal New Zealand Ballet. He has also designed smaller choreographies specially for selected ballet soloists.
Sergei Prokofiev | Composor
Sergei Sergeyevich Prokofiev was born in 1891 in Sontsovka, Ukraine and is considered one of the greatest composers of the twentieth century.
He showed precocious talent as a pianist and composer and had lessons from Glier from 1902. In 1904 he entered the St. Petersburg Conservatory, where Rimsky-Korsakov, Lyadov and Tcherepnin were among his teachers. He had made his début as a pianist in 1908, quickly creating something of a sensation as an enfant terrible, unintelligible and ultra-modern - an image he was happy to cultivate. In 1914 he left the conservatory and travelled to London, where he heard Stravinsky’s works and gained a commission from Dyagilev: the resulting score was, however, rejected (the music was used to make the Scythian Suite); a second attempt, Chout, was not staged until 1921
Romeo and Juliet was commissioned for the Bolshoi, but had its premiere in Czechoslovakia 1938, and only later became a staple of the Soviet repertory. Following its Russian premiere at the Kirov in Leningrad in 1940. Its themes of aggression and romantic love provided, as also did the Eisenstein film Alexander Nevsky, a receptacle for Prokofiev's divergent impulses. Meanwhile his own impulse to remain a Westerner was gradually eroded and in 1936 he settled in Moscow, where initially his concern was with the relatively modest genres of song, incidental music, patriotic cantata and children's entertainment (Peter and the Wolf, 1936). He had, indeed, arrived at a peculiarly unfortunate time, when the drive towards socialist realism was at its most intense; and his first work of a more ambitious sort, the opera Semyon Kotko was not liked.
With the outbreak of war, however, he perhaps found the motivation to respond to the required patriotism: implicitly in a cycle of three piano sonatas (nos.6-8) and Symphony no.5, more openly in his operatic setting of scenes from Tolstoy's War and Peace, which again offered opportunities for the two extremes of his musical genius to be expressed. He also worked at a new full-length ballet, Cinderella. In 1946 he retired to the country suffering from increasing ill health and though he went on composing, the works of his last years have been regarded as a quiet coda to his output. He died on 5 March 1953, ironically within minutes of Stalin’s death.
Tatyana van Walsum | Design
Tatyana van Walsum trained on the Motely Theatre Design Course, London, and at Wimbledon College of Art. Her current and recent projects include the costumes for Tristan and Isolde for the Royal Swedish Ballet; Leopold de Witte’s Hof van Haille and Bodil de la Parra’s Slangevel, Ik and De Petomaan, De Necrofiel, De Trompettist for Orkater Thatre; the exhibition Rijkgekleed at the Willet-Holthuysen Museum, Amsterdam; Lebenslienen, Broken Verse and Skin Divers/2, choreographed by Dominique Dumais for Mannheim Ballet; Body/Voice and In Light And Shadow for the Royal Swedish Ballet; Do Not Go Gentle… for Dutch National Ballet; Stravinsky’s The Soldier’s Tale for the Appel Theater, The Hague; Cosí fan tutte at the Aarhus Festival, Denmark (winner of the Reumert Prize for Best Opera Production); an exhibition of Dutch fashion design for the Amsterdams Historisch Museum; R.A.M. in Stuttgart, revived for Gothenberg Ballet; and regular collaborations with the choreographer Peter Schaufuss, including La Sylphide at La Scala, Milan, and Hamlet for the Kongelige Ballet, Coenhagen. In 1996, her designs for Martino Muller’s Le Jour Même in Lyon won the Benois de la Danse Award for Scenopgraphy.
Willem Bruls | Dramaturgy
Willem finished his studies Literature and History of Art in 1990 at the Free University in Amsterdam. As an author on music and theatre he wrote several books and articles, most notably a study on Wagner’s Ring-cycle and on Orientalism in Opera. As a music journalist he contributes to magazines and newspapers as Opernwelt, De Standaard (Belgium) and The Wall Street Journal Europe. ) He has written dramaturgical texts for several opera houses in Europe (Amsterdam, Brussels, Hamburg, Munich, Basel, Salzburg Festival, Palermo, Paris. As a dramaturg he collaborated with directors like Ramsey Nasr (Il re pastore and The Abduction from the Seraglio in Antwerp), Andrejs Zagars (Pique Dame in Riga/Latvia), Pierre Audi (La Juive, Bastille/Paris) and Marco Arturo Marelli (Capriccio, Vienna). Future projects: Handel’s Partenope at the Theater an der Wien in Vienna (2009) and Don Giovanni in Riga (2009).
Bert Dalhuysen | Lighting Design
Born in 1958, Bert studied at the Academy of Photography and Phototechnics in The Hague, graduating in 1978. He then went on to freelance in photography and theatre lighting before becoming managing director of the Arinde Visualdesign photography and design studios in Amsterdam in 1982.
In 1986, he joined the lighting department of Amsterdam’s Het Muziektheatre, eventually becoming deputy chief of the department in 2001. During this time, he also took on the roles of artistic supervisor and residential light designer for The Dutch National Ballet.
He continues to work as a freelance light designer for ballet, opera and theatre, after the succesfull production of Giselle by David Dawson March this year, Romeo en Juliet will be his second full length ballet.