本周末在天桥剧场上演，欢迎大家前来欣赏。
演出节目详细介绍：
《卡兹米尔的色彩》
音乐：德米特里·肖斯塔科维奇
编导：毛罗·比贡泽蒂
首演：斯图加特芭蕾舞团，1996年12月
Kazimir's Colours
Music by Dmitri Shostakovich
Choreography by Mauro Bigonzetti
World Premiere: Stuttgart Ballet, Dec. 1996
《卡兹米尔的色彩》是意大利编导毛罗·比贡泽蒂1996年12月为斯图加特芭蕾舞团编创的作品。其创意来源于两位俄国人——艺术家卡兹米尔·马列维奇（1878年——1935年）的画作，和作曲家德米特里·肖斯塔科维奇的音乐作品。以肖斯塔科维奇的钢琴、小号与管弦乐队协奏曲为背景，这部充满活力与幽默气息的芭蕾作品展现了比贡泽蒂招牌式的诙谐快速的舞蹈编排。作品的核心是一段感人至深的双人舞，对主要演员有着很高的技巧和情感要求。随着肖斯塔科维奇一段狂热的小号吹奏，作品在结尾处达到了胜利的高潮，激起台下观众想要跳上舞台和演员们一同庆祝的冲动。富有戏剧性的灯光由卡罗·塞里设计；露西娅·索奇设计的多彩服装则重现了马列维奇调色板上的色彩。1997年《卡兹米尔的色彩》获得了国际舞蹈家协会大奖的提名。
Created by the Italian choreographer Mauro Bigonzetti for the Stuttgart Ballet in December 1996, Kazimir's Colours was inspired by the paintings of the Russian artist Kazimir Malevich (1878 - 1935) and the music of the Russian composer Dmitri Shostakovich. Set to Shostakovich's "Concerto for Piano, Trumpet and Orchestra", this humorous and energetic ballet features twenty dancers in Bigonzetti's trademark fast paced and witty choreography. At the ballet's heart is a sensual and moving pas de deux which demands intense physical and emotional committment from the leading dancers. Lashed on by Shostakovich's frenetic trumpet, the work culminates with a triumphant finale which leaves the audience with the desire to jump onto the stage and join in the celebration. The dramatic lighting is by Carlo Cerri; the colorful costumes reminiscent of Malevich's color palette are by Lucia Socci. In 1997 Kazimir's Colours was nominated for the Prix Benois de la Danse.
毛罗·比贡泽蒂
毛罗·比贡泽蒂出生于罗马。他在罗马歌剧院芭蕾舞学校接受了训练，并于1978年加入罗马歌剧院芭蕾舞团。1982年，他成为了艾米利亚省雷吉奥市阿岱舞蹈团的一员，并演出了一系列不同风格的作品。从1990年起，他开始作为一名自由编导为世界上的多个知名舞团创作剧目。1997年，他被任命为阿岱舞蹈团艺术总监。比贡泽蒂还为斯图加特芭蕾舞团创作过《卡兹米尔的色彩》（1996年）和《奥尔玛》（2004年）等作品。
Mauro Bigonzetti
Mauro Bigonzetti was born in Rome. He was trained at the ballet school of the Rome Opera and joined the Rome Opera Ballet in 1978. In 1982, he became a member of Aterballetto in Reggio Emilia, where he danced a wide variety of works. Since 1990 he has worked as a freelance choreographer and created numerous ballets for renowned companies worldwide. He was appointed Artistic Director of Aterballetto in 1997. For the Stuttgart Ballet, Bigonzetti has created three works: Kazimir's Colours (1996), Quattro Danze per Nino (1998) and Orma (2004).
《多少悬在半空中》
音乐：托姆·威廉姆斯
编导：威廉·福塞
首演：1987年5月30日，巴黎歌剧院芭蕾舞团
In the Middle, Somewhat Elevated
Music by Thom Wilems in collaboration with Leslie Stuck
Choreography by William Forsythe
World Premiere: Ballet de Opéra de Paris, 30 May 1987
“《多少悬在半空中》是一部严格意义上的主题与变奏的作品，是为巴黎歌剧院专门创作的。在沿用学院派遗留下来的‘古典’元素同时，作品还对这些芭蕾元素进行了延伸和发展。通过对本质上的垂直移动在一致性和重心上的变化，摆脱束缚后的作品呈现了出人意料的力量和冲劲，已经和其原始的面目迥然不同了。”
——威廉·福塞
"Originally created for the Paris Opera Ballet, in the middle, somewhat elevated is a theme and variations in the strictest sense. Exploiting the vestiges of academic virtuosity that still signify "the Classical," it extends and accelerates these traditional figures of ballet. By shifting the alignment and emphasis of essentially vertical transitions, the affected enchainment receives an unexpected force and drive that makes them appear foreign to their own origins." —William Forsythe
William Forsythe's "In the middle, somewhat elevated," premiered at Paris Opera Ballet in 1987, was the first ballet of the American choreographer to enter PNB's repertory and has remained popular with audiences ever since. Like most of Forsythe's work, it is explosive in style and appearance. PNB's dancers have always taken to it, as they did Thursday night. They must love the swagger and contemporary edge of the choreography. Ariana Lallone is always given a leading role, and rightly so. She captures Forsythe's percussiveness and fevered intensity. Patricia Barker is cooler, almost counterpoint to Lallone's heat. Between them was Jeffrey Stanton, who exhibits a kind of freedom one doesn't see in more traditional ballet movement. He danced very, very well. The cast -- about nine dancers -- was filled with principals, seven in total. The impact was powerful.
《拉赫玛尼诺夫第三钢琴协奏曲》
音乐：谢尔盖·拉赫玛尼诺夫
编导、布景和服装设计：乌维·舒尔茨
排练者：塔提娅娜·蒂尔巴赫
布景原创：瓦西里·坎丁斯基
灯光设计：米歇尔·罗杰
钢琴独奏：谭小棠
世界首演：瑞士苏黎世芭蕾舞团，1987年4月5日
中国首演：中国国家芭蕾舞团，2008年11月13日
Rachmaninoff Piano Concerto No. 3
Music by Sergei Rachmaninoff
Choreography, Set and Costume design by Uwe Scholz
Staged by Tatjana Thierbach
Set design after Vassily Kandinsky
Lighting design by Michael Roeger
Pianist：TanXiaotang
World Premiere: Zurcher Ballet, 5th April 1987
Premiere in China, National Ballet of China, 13th Nov. 2008
乌韦·舒尔茨（1958.12.31-2004.11.21）
乌韦·舒尔茨是德国已故著名芭蕾编导、莱比锡歌剧院芭蕾舞团前任团长。曾就学著名的斯图加特芭蕾舞学校。1985年起，他担任苏黎世芭蕾舞团首席编导和团长六年，后担任德国莱比锡芭蕾舞团团长。他为世界许多著名芭蕾舞团编排了100多部作品，其中包括：维也纳国家歌剧院、米兰斯卡拉歌剧院、蒙特卡洛芭蕾舞团。他还担任过莱比锡门德尔松音乐戏剧学院编导教授。2004年11月因身患多种疾病而去世，时年不到46岁。
Uwe Scholz(12.31.1958-2004.11.21)
As the former ballet director in Leipzig, Uwe Scholz was hailed as one of the most brilliant choreographic minds of his generation and he was certainly one of the most important German choreographers when he died in November 2004 at the early age of 45. He had enjoyed a full dance and musical education from childhood and took up his first position as a choreographer with Marcia Haydee in Stuttgart when he was 22. He saw himself as a mixture between his teacher John Cranko and the influential George Balanchine, an the well over on hundred magically beautiful and extraordinarily musical choreographies that he created for houses such as the Opera in Vienna, La Scala, Zurich and Leipzig owe much to neoclassicism.
谢尔盖·瓦西里耶维奇·拉赫玛尼诺夫（1873.4.1-1943.3.28）
拉赫玛尼诺夫是俄罗斯杰出的作曲家、指挥家及钢琴演奏大师，1943年临终前入美国籍。其作品极富俄罗斯色彩，充满激情且旋律优美，其钢琴作品更是以难度见称，是许多钢琴演奏家的保留曲目。拉赫玛尼诺夫早期作品受到柴可夫斯基、里姆斯基-柯萨科夫以及其他作曲家的影响。他一生创作了五首以钢琴及交响乐演奏的作品，分别为四首钢琴协奏曲及《帕格尼尼主题狂想曲》，其中以《第二钢琴协奏曲》及《第三钢琴协奏曲》最为著名。
Sergei Vasilievich Rachmaninoff （1873.4.1-1943.3.28）
S. Rachmaninoff was a Russian composer, pianist, and conductor. He was one of the finest pianists of his day, as a composer, the last great representative of Russian late Romanticism in classical music. Early influences of Tchaikovsky, Rimsky-Korsakov and other Russian composers gave way to a thoroughly personal idiom which included a pronounced lyricism, expressive breadth, structural ingenuity and a tonal palette of rich, distinctive orchestral colors.
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