COMPAÑÍA NACIONAL DE DANZA

COMPAÑÍA NACIONAL DE DANZA
Paseo de la Chopera, 4
28045 Madrid
cnd@inaem.mcu.eshttp://cndanza.mcu.es

Compañía Nacional de Danza 2
Artistic Director: Hervé Palito
Co-Artistic Director: Fabrice Edelmann

Vitoria

Teatro Principal

9th of June, 2011

Program:

Jardí Tancat
Nacho Duato/Mª del Mar Bonet

Everything might spill
Lesley Telford/collage

Kol Nidre
Nacho Duato/John Zorn, Arvo Pärt and John Tavener

CND2

Compañía Nacional de Danza 2 (CND2) was created in October 1999 in order to prepare future dancers for their professional lives. CND2 inspires young dancers and offers new and exciting choreographic visions while enhancing the cultural panorama.

Jardí Tancat

Choreography: Nacho Duato
Music: María del Mar Bonet
Set and Costumes: Nacho Duato
Light Design : Nicolás Fischtel (A.A.I.)(according to the original design by Joop Caboort)

World premiered by the Nederlands Dans Theater 2 in Hoorn, 19th December, 1983
Premiered by Compañía Nacional de Danza 2 at Teatro CICCA, Las Palmas, 21st July, 2000

Jardí Tancat was Nacho Duato´s first choreography. It was originally made during a workshop at Nederlands Dans Theater.
Jardí Tancat  Catalonian for Closed Garden  is a collection of folk songs, based on ancient Spanish folk tales. In these songs, the Spaniards  direct a supplication to God:
Water, we asked for water
And You, oh Lord, You gave us wind
And You turn Your back to us
As though You will not listen to us
Choreographer Nacho Duato has portrayed this appeal in the powerful movements of three couples, who are occupied with the sowing, planting and threshing of the barren Catalonian land. They grieve about the lack of rain but try to keep high spirits  in spite of this. Desperately but proudly they continue with their work, which is translated into a dynamic and expressive, yet wonderfully naive piece of dance.
“I have always known that my songs were born with rythm, but I only really became aware of it the day  Nacho Duato danced to them. When I saw the first choreography, Jardí Tancat, I was quite excited. He had given them another life, they were independent and at the same time tied to me, yet they had acquired a new palpitation, they had taken a different road.
There is something in Jardí Tancat that has always fascinated me: the treatment of the Majorcan work songs which I sing a capella. These are songs which form part of our earliest Majorcan tradition , but which are no longer sung where they come from or what they were created for, that is the work in the fields. There are hardly a few places in Majorca where the works in the country are still the same that forty or fifty years ago.  However, when  Nacho has used them for his choreographies he has given them back this role of unique pieces, as if they were precious stones.
I will never tire of repeating that these choreographies of Nacho Duato have been one of the most precious artistic presents I have ever received. I believe they belong to that type of things which goes hand in hand with the most deeply felt emotions and is hard to explain with words.”
Thank you, Nacho.
María del Mar Bonet

Everything might spill

Choreography: Lesley Telford
Music: Marcos Balter, Karl Friedrich Abel, Alva Noto+Ryuichi Sakamoto,
Zoe Keating, Murcof, Max Richter y Dirk Haubrich
Music publishing: Thijs Scheele
Sets: Yoko Seyama
Costumes: Bregje Van Balen
Light design: Tom Visser

Worldpremiere by Compañía Nacional de Danza 2 at Teatro de Madrid, March 17th 2011

In Everything might spill the reality is an illusion, a place where the apparent stability is maintained in a state of fragile balance.

Kol Nidre

Choreography: Nacho Duato
Music: John Tavener, Arvo Pärt and John Zorn
Sets and Costume: Nacho Duato
Lighting design: Joop Caboort

Premiered by the Compañía Nacional de Danza 2 at Teatro de Madrid, or 22 January 2009

Kol Nidre is the name of the declaration recited in the synagogue before the beginning of the Yom Kipur evening service. Its name is taken from the initial words of the declaration and it is a time to reflect and forgive.
This is the base taken by Duato to establish his new creation for the Compañía Nacional de Danza 2. It is a more introspective spiritual work that reflects on how armed warfare affects youths: those known as “war children”.

Nacho Duato

Born in Valencia, Spain. Duato signed his first professional contract with the Cullberg Ballet in Stockholm in 1980 and a year later Jirí Kylián brought him to the Nederlands Dans Theater in Holland, where he was quickly assimilated into the company and its repertoire. In recognition of his achievement as a dancer, Duato received the Golden Dance Award in Schouwburgen, Netherlands in 1987. Duato’s natural talent as a dancer led him to begin exploring choreography, and his first attempt at it in 1983 turned into a major success: Jardí Tancat, set to Catalanan music by fellow Spaniard Mª del Mar Bonet won him the first prize at the International Choreographic Workshop in Cologne. In 1988 Nacho Duato was named Resident Choreographer for Nederlands Dans Theater alongside Hans van Manen and Jirí Kylián.
In 1995 he received the title of Chevalier dans l’Ordre des Arts et des Lettres, presented annually by the French Embassy in Spain.
The Spanish Government awarded him the Golden Medal for Merit in the Fine Arts in 1998.
He won the Benois de la Danse at the Stuttgart Opera  for Multiplicity. Forms of Silence and Emptiness in April of 2000. In 2003, Duato became the winner of Spain’s National Dance Award, in the Creative category.
In 2010 he awarded with the Chile Arts Critics Circle Prize and his choreography Na Floresta is nominated to the Moscow Golden Mask.
Nacho Duato was the Artistic Director of Compañía Nacional de Danza for twenty years since June of 1990 until July 2010. In January 2011 he became the new director of the Ballet of Theater Mijailovsky at St. Petesburg, Rusia.
His ballets form part of the repertoire of the most important companies around the world.

Lesley Telford

Lesley Telford was born in Vancouver, Canada. She finished her studies in Montreal at L´École Supérieur de Danse du Québec before joining the company Les Grands Ballets Canadiens in 1992 under the direction of Lawrence Rhodes.
She went on to dance with Nacho Duato´s Compañia Nacional de Danza in Madrid, Spain and was promoted to principal dancer in 1999. From 2001 until 2010, she has been dancing with Netherlands Dans Theater  where she been a part of the creation of many works by resident choreographer Jiri Kylian, as well as working with choreographers such as Paul Lightfoot and Sol Leon, William Forsythe, Ohad Naharin, Johan Inger, Crystal Pite and others.
As a choreographer, she has frequently created for SWITCH, the annual Netherlands Dans Theater choreographic workshop. In 2006, she created a work, Here but Gone, for the Netherlands Dans Theater program: Upcoming Choreographers. She also created for Hubbard Street Dance Company 2 in Chicago (2008) and has presented her work in the CaDance Festival and Korzo Theatre in the Netherlands. This season she has been invited to choreograph for Compañia Nacional de Danza 2 in Madrid, Spain.
Lesley complements her freelance choreographic, performing and teacher’s work with academic studies. She is currently studying a Master of Arts in Cultural Production at the University of Salzburg.

Hervé Palito

He was born in Saint Martin of Re Charente Maritine (France). After training as a pianist, he studied dance in the Conservatoire of The Rochelle (France) and began to dance in 1985 in Ballet de XXE Siecle de Maurice Bejart in Brussels (Belgium) and in the Bejart Ballet Lausanne among 1987 and 1993, where he was a chief of the relay teachers from 1993 to 1995.
He was a codirector and main repeater of the Aalto Ballet Theater Essen (Germany), choreographic assistant of the Ballet de la Comunidad de Madrid and relay teacher and ballet teacher for the production Salt of the company LaLaLa Human Step, directed by Edouard Lock in Montreal (Canada).
There realized montage of Maurice Bejart’s choreographies for the Paris Opera Ballet (France), Stuttgart Ballet (Germany), Staatsoper Berlín (Germany), Tokyo Ballet (Japan), Aterballeto of Regio Emilia (Italy), Ballet de la Comunidad de  Madrid, Ballet du Rhin in Mulhouse (France) and for Sylvie Guillem, Altinai Asylmouratove and Konstantin Zaklinsky, in London.
He has realized montage of Nacho Duato’s choreographies for the Basler Ballet (Switzerland), Companhia Nacional de Bailado (Portugal) and Stockholm Opera (Sweden).
Since teacher has been a guest for the Cullbert Ballet, Bejart Ballet, Ballets Montecarlo, Staatstheater Nürnberg, Aalto Ballet Theater, LaLaLa Human Step, Notre Dame de Paris, Staatstheater Augsburg.
He has been invited as Ballet Master and Artistic Coordinator by 59º North company (Sweden) during ist USA and South America tours.
He has imparted Master Classes and Workshops in USA, Korea, France & Uruguay cities.
From 2001 he is a teacher invited of the Compañía Nacional de Danza and from 2002 he is an artistic coordinator of the company.
In August 2010 Hervé Palito took the reins of a new project when he became Compañía Nacional de Danza Artistic Director.

Fabrice Edelmann

He was born in Geneva (Switzerland) where he started his studies of classical ballet in the Genève’s Ecole de Danse with Beatriz Consuelo as a teacher. During this period he begins to form a part of the School Junior Ballet.
In 1994 he joined the Hagen Ballet, of Richard Wherlock and, two years later, he has been a part, as soloist, of the Luzerner Ballet, also with Richard Wherlock.
In 1998 he joined as soloist the Euregio Tanz Forum of Jochen Ulrich and, one year later, the Komische Oper Berlin. Finally, in 2001 he ends up at the Basler Ballet.
In March, 2002 he joins the Compañía Nacional de Danza in which he danced many works from his artistic director, Nacho Duato, as well as works from other prestigious choreographers of contemporary dance.
In September 2008 he ends his career as a dancer and he begins to form a part of Compañía Nacional de Danza 2 as Repetiteur.
In August 2010 he succeds Tony Fabre as Co-Artistic Director of Compañía Nacional de Danza 2.

Compañía Nacional de Danza 2
Artistic Director: Hervé Palito
Co-Artistic Director: Fabrice Edelmann

Marbella

Teatro Ciudad de Marbella

7th May, 2011

Program:

Jardí Tancat
Nacho Duato/Mª del Mar Bonet

L’Amoroso
Nacho Duato/Venetian & Neapolitan music (XVI and XVII centuries)

Gnawa
Nacho Duato/collage

CND2

Compañía Nacional de Danza 2 (CND2) was created in October 1999 in order to prepare future dancers for their professional lives. CND2 inspires young dancers and offers new and exciting choreographic visions while enhancing the cultural panorama.

Jardí Tancat

Choreography: Nacho Duato
Music: María del Mar Bonet
Set and Costumes: Nacho Duato
Light Design : Nicolás Fischtel (A.A.I.)(according to the original design by Joop Caboort)

World premiered by the Nederlands Dans Theater 2 in Hoorn, 19th December, 1983
Premiered by Compañía Nacional de Danza 2 at Teatro CICCA, Las Palmas, 21st July, 2000

Jardí Tancat was Nacho Duato´s first choreography. It was originally made during a workshop at Nederlands Dans Theater.
Jardí Tancat  Catalonian for Closed Garden  is a collection of folk songs, based on ancient Spanish folk tales. In these songs, the Spaniards  direct a supplication to God:

Water, we asked for water
And You, oh Lord, You gave us wind
And You turn Your back to us
As though You will not listen to us

Choreographer Nacho Duato has portrayed this appeal in the powerful movements of three couples, who are occupied with the sowing, planting and threshing of the barren Catalonian land. They grieve about the lack of rain but try to keep high spirits  in spite of this. Desperately but proudly they continue with their work, which is translated into a dynamic and expressive, yet wonderfully naive piece of dance.
“I have always known that my songs were born with rythm, but I only really became aware of it the day  Nacho Duato danced to them. When I saw the first choreography, Jardí Tancat, I was quite excited. He had given them another life, they were independent and at the same time tied to me, yet they had acquired a new palpitation, they had taken a different road.
There is something in Jardí Tancat that has always fascinated me: the treatment of the Majorcan work songs which I sing a capella. These are songs which form part of our earliest Majorcan tradition , but which are no longer sung where they come from or what they were created for, that is the work in the fields. There are hardly a few places in Majorca where the works in the country are still the same that forty or fifty years ago.  However, when  Nacho has used them for his choreographies he has given them back this role of unique pieces, as if they were precious stones.
I will never tire of repeating that these choreographies of Nacho Duato have been one of the most precious artistic presents I have ever received. I believe they belong to that type of things which goes hand in hand with the most deeply felt emotions and is hard to explain with words.”
Thank you, Nacho.
María del Mar Bonet

L’Amoroso

Choreography: Nacho Duato
Music: Venetian & Neapolitan music (XVI and XVII centuries)
Sets: Walter Nobbe
Costumes: Nacho Duato
Light design: Nicolás Fischtel (A.A.I.)

World premiere by Compañía Nacional de Danza 2 at Teatro de Madrid on  May 21,  2004

L’Amoroso is Nacho Duato’s first piece created expressly for the Compañía Nacional de Danza 2.
The choreographer uses a selection of concerts of viola da gamba from the Italian baroque. The soft, artful music and the freshness and youth of the dancers inspire Duato to create a dynamic and vital atmosphere on stage.

Gnawa

Choreography: Nacho Duato
Music: Hassan Hakmoun/Adam Rudolph (Gift of the Gnawa, “Ma’Bud Allah”); Juan Alberto Arteche and Javier Paxariño (Finis Africae, “Carauari”); Rabih Abou-Khalil, Velez, Kusur y Sarkissian (Nafas, “Window”).
Costumes: Luis Devota and Modesto Lomba
Lighting Design: Nicolás Fischtel (A.A.I.)

Premiere performance by the Hubbard Street Dance Chicago at the Joan W. and Irving B. Harris Theater for Music and Dance, March 2005
Premiered by the Compañía Nacional de Danza 2 at the Teatro Gran Vía, Madrid, the 18th of April 2007

In 1992 in his home city of Valencia, Nacho Duato premiered Mediterrania, searching deeper into his roots and those of his forebears, and his sense of complicity with the Mediterranean Sea.
In Gnawa, premiered by the Hubbard Street Dance Chicago in 2005, the renowned choreographer has continued along the path he set out on with Mediterrania, seeking to transmit, through the medium of movement, the sensuality of the landscape, the true nature of its peoples. With a suggestive musical score replete with Spanish and North African sounds, Gnawa captivates its audience through its all-encompassing power and its sensual elegance, combining the spirituality and organic rhythm of the Mediterranean.

Gnawa is the name that receives in Morocco and other parts of the Magreb the members of different mystic Muslim brotherhoods characterized by their sub-saharian origin and the use of song, dances and syncretic rituals as a mean to reach ecstasy. This term also refers to a musical style of sub-saharian reminiscences practised by these brotherhoods or by musicians inspired by them. It is considered one of the main Moroccan Folklore genres.

Nacho Duato

Born in Valencia, Spain. Duato signed his first professional contract with the Cullberg Ballet in Stockholm in 1980 and a year later Jirí Kylián brought him to the Nederlands Dans Theater in Holland, where he was quickly assimilated into the company and its repertoire. In recognition of his achievement as a dancer, Duato received the Golden Dance Award in Schouwburgen, Netherlands in 1987. Duato’s natural talent as a dancer led him to begin exploring choreography, and his first attempt at it in 1983 turned into a major success: Jardí Tancat, set to Catalanan music by fellow Spaniard Mª del Mar Bonet won him the first prize at the International Choreographic Workshop in Cologne. In 1988 Nacho Duato was named Resident Choreographer for Nederlands Dans Theater alongside Hans van Manen and Jirí Kylián.
In 1995 he received the title of Chevalier dans l’Ordre des Arts et des Lettres, presented annually by the French Embassy in Spain.
The Spanish Government awarded him the Golden Medal for Merit in the Fine Arts in 1998.
He won the Benois de la Danse at the Stuttgart Opera  for Multiplicity. Forms of Silence and Emptiness in April of 2000. In 2003, Duato became the winner of Spain’s National Dance Award, in the Creative category.
In 2010 he awarded with the Chile Arts Critics Circle Prize and his choreography Na Floresta is nominated to the Moscow Golden Mask.
Nacho Duato was the Artistic Director of Compañía Nacional de Danza for twenty years since June of 1990 until July 2010. In January 2011 he became the new director of the Ballet of Theater Mijailovsky at St. Petesburg, Rusia.
His ballets form part of the repertoire of the most important companies around the world.

Hervé Palito

He was born in Saint Martin of Re Charente Maritine (France). After training as a pianist, he studied dance in the Conservatoire of The Rochelle (France) and began to dance in 1985 in Ballet de XXE Siecle de Maurice Bejart in Brussels (Belgium) and in the Bejart Ballet Lausanne among 1987 and 1993, where he was a chief of the relay teachers from 1993 to 1995.
He was a codirector and main repeater of the Aalto Ballet Theater Essen (Germany), choreographic assistant of the Ballet de la Comunidad de Madrid and relay teacher and ballet teacher for the production Salt of the company LaLaLa Human Step, directed by Edouard Lock in Montreal (Canada).
There realized montage of Maurice Bejart’s choreographies for the Paris Opera Ballet (France), Stuttgart Ballet (Germany), Staatsoper Berlín (Germany), Tokyo Ballet (Japan), Aterballeto of Regio Emilia (Italy), Ballet de la Comunidad de  Madrid, Ballet du Rhin in Mulhouse (France) and for Sylvie Guillem, Altinai Asylmouratove and Konstantin Zaklinsky, in London.
He has realized montage of Nacho Duato’s choreographies for the Basler Ballet (Switzerland), Companhia Nacional de Bailado (Portugal) and Stockholm Opera (Sweden).
Since teacher has been a guest for the Cullbert Ballet, Bejart Ballet, Ballets Montecarlo, Staatstheater Nürnberg, Aalto Ballet Theater, LaLaLa Human Step, Notre Dame de Paris, Staatstheater Augsburg.
He has been invited as Ballet Master and Artistic Coordinator by 59º North company (Sweden) during ist USA and South America tours.
He has imparted Master Classes and Workshops in USA, Korea, France & Uruguay cities.
From 2001 he is a teacher invited of the Compañía Nacional de Danza and from 2002 he is an artistic coordinator of the company.
In August 2010 Hervé Palito took the reins of a new project when he became Compañía Nacional de Danza Artistic Director.

Fabrice Edelmann

He was born in Geneva (Switzerland) where he started his studies of classical ballet in the Genève’s Ecole de Danse with Beatriz Consuelo as a teacher. During this period he begins to form a part of the School Junior Ballet.
In 1994 he joined the Hagen Ballet, of Richard Wherlock and, two years later, he has been a part, as soloist, of the Luzerner Ballet, also with Richard Wherlock.
In 1998 he joined as soloist the Euregio Tanz Forum of Jochen Ulrich and, one year later, the Komische Oper Berlin. Finally, in 2001 he ends up at the Basler Ballet.
In March, 2002 he joins the Compañía Nacional de Danza in which he danced many works from his artistic director, Nacho Duato, as well as works from other prestigious choreographers of contemporary dance.
In September 2008 he ends his career as a dancer and he begins to form a part of Compañía Nacional de Danza 2 as Repetiteur.
In August 2010 he succeds Tony Fabre as Co-Artistic Director of Compañía Nacional de Danza 2.

COMPAÑÍA NACIONAL DE DANZA
Paseo de la Chopera, 4 ?
28045 Madrid
Phone: (+34) 699 06 84 87 (Luis T. Vargas)
cnd@inaem.mcu.es?
http://cndanza.mcu.es

Compañía Nacional de Danza 2

Artistic Director: Hervé Palito

Co-Artistic Director: Fabrice Edelmann

USA

New York

NYU Skirball Center

31st March, 1st & 2nd April, 2011

Omaha

Orpheum Theater, Slosburg Hall

5th April, 2011

Fayetteville

Walton Arts Center, Baum Walker Hall

7th April, 2011

Germantown

Germantown Performing Arts Centre

9th April, 2011

Princeton

McCarter Theatre Center

12th April, 2011

Program:

Jardí Tancat

Nacho Duato/ Mª del Mar Bonet

L’Amoroso

Nacho Duatro/ Venetian & Neapolitan music (XVI and XVII centuries)

Gnawa

Nacho Duato/ collage

CND2

Compañía Nacional de Danza 2 (CND2) was created in October 1999 in order to prepare future dancers for their professional lives. CND2 inspires young dancers and offers new and exciting choreographic visions while enhancing the cultural panorama.

Jardí Tancat

Choreography: Nacho Duato

Music: María del Mar Bonet

Set and Costumes: Nacho Duato

Light Design : Nicolás Fischtel (A.A.I.)(according to the original design by Joop Caboort)
World premiered by the Nederlands Dans Theater 2 in Hoorn, 19th December, 1983

Premiered by Compañía Nacional de Danza 2 at Teatro CICCA, Las Palmas, 21st July, 2000
Jardí Tancat was Nacho Duato´s first choreography. It was originally made during a workshop at Nederlands Dans Theater.

Jardí Tancat -Catalonian for Closed Garden- is a collection of folk songs, based on ancient Spanish folk tales. In these songs, the Spaniards direct a supplication to God:
Water, we asked for water

And You, oh Lord, You gave us wind

And You turn Your back to us

As though You will not listen to us

Choreographer Nacho Duato has portrayed this appeal in the powerful movements of three couples, who are occupied with the sowing, planting and threshing of the barren Catalonian land. They grieve about the lack of rain but try to keep high spirits in spite of this. Desperately but proudly they continue with their work, which is translated into a dynamic and expressive, yet wonderfully naive piece of dance.

“I have always known that my songs were born with rythm, but I only really became aware of it the day Nacho Duato danced to them. When I saw the first choreography, Jardí Tancat, I was quite excited. He had given them another life, they were independent and at the same time tied to me, yet they had acquired a new palpitation, they had taken a different road.

There is something in Jardí Tancat that has always fascinated me: the treatment of the Majorcan work songs which I sing a capella. These are songs which form part of our earliest Majorcan tradition , but which are no longer sung where they come from or what they were created for, that is the work in the fields. There are hardly a few places in Majorca where the works in the country are still the same that forty or fifty years ago. However, when Nacho has used them for his choreographies he has given them back this role of unique pieces, as if they were precious stones.

I will never tire of repeating that these choreographies of Nacho Duato have been one of the most precious artistic presents I have ever received. I believe they belong to that type of things which goes hand in hand with the most deeply felt emotions and is hard to explain with words.”

Thank you, Nacho.

María del Mar Bonet

?
L’Amoroso

Choreography: Nacho Duato

Music: Venetian & Neapolitan music (XVI and XVII centuries)

Sets: Walter Nobbe

Costumes: Nacho Duato

Light design: Nicolás Fischtel (A.A.I.)
World premiere by Compañía Nacional de Danza 2 at Teatro de Madrid on May 21, 2004
L’Amoroso is Nacho Duato’s first piece created expressly for the Compañía Nacional de Danza 2.

The choreographer uses a selection of concerts of viola da gamba from the Italian baroque. The soft, artful music and the freshness and youth of the dancers inspire Duato to create a dynamic and vital atmosphere on stage.

Gnawa

Choreography: Nacho Duato

Music: Hassan Hakmoun/Adam Rudolph (Gift of the Gnawa, “Ma’Bud Allah”); Juan Alberto Arteche and Javier Paxariño (Finis Africae, “Carauari”); Rabih Abou-Khalil, Velez, Kusur y Sarkissian (Nafas, “Window”).

Costumes: Luis Devota and Modesto Lomba

Lighting Design: Nicolás Fischtel (A.A.I.)
Premiere performance by the Hubbard Street Dance Chicago at the Joan W. and Irving B. Harris Theater for Music and Dance, March 2005

Premiered by the Compañía Nacional de Danza 2 at the Teatro Gran Vía, Madrid, the 18th of April 2007
In 1992 in his home city of Valencia, Nacho Duato premiered Mediterrania, searching deeper into his roots and those of his forebears, and his sense of complicity with the Mediterranean Sea.

In Gnawa, premiered by the Hubbard Street Dance Chicago in 2005, the renowned choreographer has continued along the path he set out on with Mediterrania, seeking to transmit, through the medium of movement, the sensuality of the landscape, the true nature of its peoples. With a suggestive musical score replete with Spanish and North African sounds, Gnawa captivates its audience through its all-encompassing power and its sensual elegance, combining the spirituality and organic rhythm of the Mediterranean.
Gnawa is the name that receives in Morocco and other parts of the Magreb the members of different mystic Muslim brotherhoods characterized by their sub-saharian origin and the use of song, dances and syncretic rituals as a mean to reach ecstasy. This term also refers to a musical style of sub-saharian reminiscences practised by these brotherhoods or by musicians inspired by them. It is considered one of the main Moroccan Folklore genres.

Nacho Duato
Born in Valencia, Spain. Duato signed his first professional contract with the Cullberg Ballet in Stockholm in 1980 and a year later Jirí Kylián brought him to the Nederlands Dans Theater in Holland, where he was quickly assimilated into the company and its repertoire. In recognition of his achievement as a dancer, Duato received the Golden Dance Award in Schouwburgen, Netherlands in 1987. Duato’s natural talent as a dancer led him to begin exploring choreography, and his first attempt at it in 1983 turned into a major success: Jardí Tancat, set to Catalanan music by fellow Spaniard Mª del Mar Bonet won him the first prize at the International Choreographic Workshop in Cologne. In 1988 Nacho Duato was named Resident Choreographer for Nederlands Dans Theater alongside Hans van Manen and Jirí Kylián.

In 1995 he received the title of Chevalier dans l’Ordre des Arts et des Lettres, presented annually by the French Embassy in Spain.

The Spanish Government awarded him the Golden Medal for Merit in the Fine Arts in 1998.

He won the Benois de la Danse at the Stuttgart Opera for Multiplicity. Forms of Silence and Emptiness in April of 2000. In 2003, Duato became the winner of Spain’s National Dance Award, in the Creative category.

In 2010 he awarded with the Chile Arts Critics Circle Prize and his choreography Na Floresta is nominated to the Moscow Golden Mask.

Nacho Duato was the Artistic Director of Compañía Nacional de Danza for twenty years since June of 1990 until July 2010. In January 2011 he became the new director of the Ballet of Theater Mijailovsky at St. Petesburg, Rusia.

His ballets form part of the repertoire of the most important companies around the world.

Hervé Palito
He was born in Saint Martin of Re Charente Maritine (France). After training as a pianist, he studied dance in the Conservatoire of The Rochelle (France) and began to dance in 1985 in Ballet de XXE Siecle de Maurice Bejart in Brussels (Belgium) and in the Bejart Ballet Lausanne among 1987 and 1993, where he was a chief of the relay teachers from 1993 to 1995.

He was a codirector and main repeater of the Aalto Ballet Theater Essen (Germany), choreographic assistant of the Ballet de la Comunidad de Madrid and relay teacher and ballet teacher for the production Salt of the company LaLaLa Human Step, directed by Edouard Lock in Montreal (Canada).

There realized montage of Maurice Bejart’s choreographies for the Paris Opera Ballet (France), Stuttgart Ballet (Germany), Staatsoper Berlín (Germany), Tokyo Ballet (Japan), Aterballeto of Regio Emilia (Italy), Ballet de la Comunidad de Madrid, Ballet du Rhin in Mulhouse (France) and for Sylvie Guillem, Altinai Asylmouratove and Konstantin Zaklinsky, in London.

He has realized montage of Nacho Duato’s choreographies for the Basler Ballet (Switzerland), Companhia Nacional de Bailado (Portugal) and Stockholm Opera (Sweden).

Since teacher has been a guest for the Cullbert Ballet, Bejart Ballet, Ballets Montecarlo, Staatstheater Nürnberg, Aalto Ballet Theater, LaLaLa Human Step, Notre Dame de Paris, Staatstheater Augsburg.

He has been invited as Ballet Master and Artistic Coordinator by 59º North company (Sweden) during ist USA and South America tours.

He has imparted Master Classes and Workshops in USA, Korea, France & Uruguay cities.

From 2001 he is a teacher invited of the Compañía Nacional de Danza and from 2002 he is an artistic coordinator of the company.

In August 2010 Hervé Palito took the reins of a new project when he became Compañía Nacional de Danza Artistic Director.

Fabrice Edelmann
He was born in Geneva (Switzerland) where he started his studies of classical ballet in the Genève’s Ecole de Danse with Beatriz Consuelo as a teacher. During this period he begins to form a part of the School Junior Ballet.

In 1994 he joined the Hagen Ballet, of Richard Wherlock and, two years later, he has been a part, as soloist, of the Luzerner Ballet, also with Richard Wherlock.

In 1998 he joined as soloist the Euregio Tanz Forum of Jochen Ulrich and, one year later, the Komische Oper Berlin. Finally, in 2001 he ends up at the Basler Ballet.

In March, 2002 he joins the Compañía Nacional de Danza in which he danced many works from his artistic director, Nacho Duato, as well as works from other prestigious choreographers of contemporary dance.

In September 2008 he ends his career as a dancer and he begins to form a part of Compañía Nacional de Danza 2 as Repetiteur.

In August 2010 he succeds Tony Fabre as Co-Artistic Director of Compañía Nacional de Danza 2.

COMPAÑÍA NACIONAL DE DANZA

Paseo de la Chopera, 4

28045 Madrid

cnd@inaem.mcu.es http://cndanza.mcu.es

Click here to buy tickets

Compañía Nacional de Danza 2
Artistic Director: Hervé Palito
Co-Artistic Director: Fabrice Edelmann

Madrid

Teatro de Madrid

17th, 18th, 19th, 20th, 24th, 25th & 26th of March 2011

Program:

Everything might spill
Lesley Telford/collage
- Worldpremiere -

Fractus
Luisa Mª Arias/Antonio Mariscal
- Worldpremiere -

Gnawa
Nacho Duato/collage

CND2

Compañía Nacional de Danza 2 (CND2) was created in October 1999 in order to prepare future dancers for their professional lives. CND2 inspires young dancers and offers new and exciting choreographic visions while enhancing the cultural panorama.

Everything might spill

Choreography: Lesley Telford
Music: Marcos Balter, Murcof, Alva Noto+Ryuichi Sakamoto, Zoe Keating and Max Richter
Music publishing: Thijs Scheele
Sets: Yoko Seyama
Costumes: Bregje Van Balen
Light design: Tom Visser

Worldpremiere by Compañía Nacional de Danza 2 at Teatro de Madrid, March 17th 2011

 In Everything might spill the reality is an illusion, a place where the apparent stability is maintained in a state of fragile balance.
 … For all its charms, the island is uninhabited,
and the faint footprints scattered on its beaches
turn without exception to the sea.

Excerpt from Utopia poem,
by Wislawa Szymborska

Lesley Telford

Lesley Telford was born in Vancouver, Canada. She finished her studies in Montreal at L´École Supérieur de Danse du Québec before joining the company Les Grands Ballets Canadiens in 1992 under the direction of Lawrence Rhodes.
She went on to dance with Nacho Duato´s Compañia Nacional de Danza in Madrid, Spain and was promoted to principal dancer in 1999. From 2001 until 2010, she has been dancing with Netherlands Dans Theater  where she been a part of the creation of many works by resident choreographer Jiri Kylian, as well as working with choreographers such as Paul Lightfoot and Sol Leon, William Forsythe, Ohad Naharin, Johan Inger, Crystal Pite and others.
As a choreographer, she has frequently created for SWITCH, the annual Netherlands Dans Theater choreographic workshop. In 2006, she created a work, Here but Gone, for the Netherlands Dans Theater program: Upcoming Choreographers. She also created for Hubbard Street Dance Company 2 in Chicago (2008) and has presented her work in the CaDance Festival and Korzo Theatre in the Netherlands. This season she has been invited to choreograph for Compañia Nacional de Danza 2 in Madrid, Spain.
Lesley complements her freelance choreographic, performing and teacher’s work with academic studies. She is currently studying a Master of Arts in Cultural Production at the University of Salzburg.

Fractus

Choreography: Luisa María Arias
Music: Antonio Mariscal (Miguel Tallada, collaboration)
Sets: Luisa María Arias
Costumes: Cecile Christy
Light design: Nicolás Fischtel

Worldpremiere by Compañía Nacional de Danza 2 at Teatro de Madrid, March 17th 2011

A troubled society united by the same rate and momentum which declares the need to look into another way, perhaps towards the essence of being.

Luisa María Arias

She was born in Madrid, where she started her studies of classical ballet in the Real Conservatorio de Madrid. Later, she continued her formation in the Real Escuela Superior de Arte Dramático y Danza.
 In 1990 she enrolled the Euroballet with Peter Busse as director.
 In 1991 she joined the Ballet National de Nancy et de Lorraine and, in 1995, she has been a part of the Ballet du Rhin with J. P. Gravier as director.
 In July 1997 she became a part of the Peter Schaufuss Ballet.
 In August 1998 she joined Compañía Nacional de Danza and under the direction of Nacho Duato, she dances the majority of his works, as well as many other works by Jirí Kylián, Mats Ek, Ohad Naharin, William Forsythe, Win Vandekeybus, etc.
 From 2005 she has created three ballets for Compañía Nacional de Danza Workshop: Cenizas, Pasajes and A través.
 Fractus is her first work for CND2.

Gnawa

Choreography: Nacho Duato
Music: Hassan Hakmoun/Adam Rudolph (Gift of the Gnawa, “Ma’Bud Allah”); Juan Alberto Arteche and Javier Paxariño (Finis Africae, “Carauari”); Rabih Abou-Khalil, Velez, Kusur y Sarkissian (Nafas, “Window”).
Costumes: Luis Devota and Modesto Lomba
Lighting Design: Nicolás Fischtel (A.A.I.)

Premiere performance by the Hubbard Street Dance Chicago at the Joan W. and Irving B. Harris Theater for Music and Dance, March 2005
Premiered by the Compañía Nacional de Danza 2 at the Teatro Gran Vía, Madrid, the 18th of April 2007

In 1992 in his home city of Valencia, Nacho Duato premiered Mediterrania, searching deeper into his roots and those of his forebears, and his sense of complicity with the Mediterranean Sea.
 In Gnawa, premiered by the Hubbard Street Dance Chicago in 2005, the renowned choreographer has continued along the path he set out on with Mediterrania, seeking to transmit, through the medium of movement, the sensuality of the landscape, the true nature of its peoples. With a suggestive musical score replete with Spanish and North African sounds, Gnawa captivates its audience through its all-encompassing power and its sensual elegance, combining the spirituality and organic rhythm of the Mediterranean.

Gnawa is the name that receives in Morocco and other parts of the Magreb the members of different mystic Muslim brotherhoods characterized by their sub-saharian origin and the use of song, dances and syncretic rituals as a mean to reach ecstasy. This term also refers to a musical style of sub-saharian reminiscences practised by these brotherhoods or by musicians inspired by them. It is considered one of the main Moroccan Folklore genres.

Nacho Duato

Born in Valencia, Spain. Duato signed his first professional contract with the Cullberg Ballet in Stockholm in 1980 and a year later Jirí Kylián brought him to the Nederlands Dans Theater in Holland, where he was quickly assimilated into the company and its repertoire. In recognition of his achievement as a dancer, Duato received the Golden Dance Award in Schouwburgen, Netherlands in 1987. Duato’s natural talent as a dancer led him to begin exploring choreography, and his first attempt at it in 1983 turned into a major success: Jardí Tancat, set to Catalanan music by fellow Spaniard Mª del Mar Bonet won him the first prize at the International Choreographic Workshop in Cologne. In 1988 Nacho Duato was named Resident Choreographer for Nederlands Dans Theater alongside Hans van Manen and Jirí Kylián.
 In 1995 he received the title of Chevalier dans l’Ordre des Arts et des Lettres, presented annually by the French Embassy in Spain.
 The Spanish Government awarded him the Golden Medal for Merit in the Fine Arts in 1998.
 He won the Benois de la Danse at the Stuttgart Opera  for Multiplicity. Forms of Silence and Emptiness in April of 2000. In 2003, Duato became the winner of Spain’s National Dance Award, in the Creative category.
 In 2010 he awarded with the Chile Arts Critics Circle Prize and his choreography Na Floresta is nominated to the Moscow Golden Mask.
 Nacho Duato was the Artistic Director of Compañía Nacional de Danza for twenty years since June of 1990 until July 2010. In January 2011 he became the new director of the Ballet of Theater Mijailovsky at St. Petesburg, Rusia.
 His ballets form part of the repertoire of the most important companies around the world.

Hervé Palito

He was born in Saint Martin of Re Charente Maritine (France). After training as a pianist, he studied dance in the Conservatoire of The Rochelle (France) and began to dance in 1985 in Ballet de XXE Siecle de Maurice Bejart in Brussels (Belgium) and in the Bejart Ballet Lausanne among 1987 and 1993, where he was a chief of the relay teachers from 1993 to 1995.
He was a codirector and main repeater of the Aalto Ballet Theater Essen (Germany), choreographic assistant of the Ballet de la Comunidad de Madrid and relay teacher and ballet teacher for the production Salt of the company LaLaLa Human Step, directed by Edouard Lock in Montreal (Canada).
There realized montage of Maurice Bejart’s choreographies for the Paris Opera Ballet (France), Stuttgart Ballet (Germany), Staatsoper Berlín (Germany), Tokyo Ballet (Japan), Aterballeto of Regio Emilia (Italy), Ballet de la Comunidad de  Madrid, Ballet du Rhin in Mulhouse (France) and for Sylvie Guillem, Altinai Asylmouratove and Konstantin Zaklinsky, in London.
He has realized montage of Nacho Duato’s choreographies for the Basler Ballet (Switzerland), Companhia Nacional de Bailado (Portugal) and Stockholm Opera (Sweden).
Since teacher has been a guest for the Cullbert Ballet, Bejart Ballet, Ballets Montecarlo, Staatstheater Nürnberg, Aalto Ballet Theater, LaLaLa Human Step, Notre Dame de Paris, Staatstheater Augsburg.
 He has been invited as Ballet Master and Artistic Coordinator by 59º North company (Sweden) during ist USA and South America tours.
 He has imparted Master Classes and Workshops in USA, Korea, France & Uruguay cities.
From 2001 he is a teacher invited of the Compañía Nacional de Danza and from 2002 he is an artistic coordinator of the company.
 In August 2010 Hervé Palito took the reins of a new project when he became Compañía Nacional de Danza Artistic Director.

Fabrice Edelmann

He was born in Geneva (Switzerland) where he started his studies of classical ballet in the Genève’s Ecole de Danse with Beatriz Consuelo as a teacher. During this period he begins to form a part of the School Junior Ballet.
In 1994 he joined the Hagen Ballet, of Richard Wherlock and, two years later, he has been a part, as soloist, of the Luzerner Ballet, also with Richard Wherlock.
In 1998 he joined as soloist the Euregio Tanz Forum of Jochen Ulrich and, one year later, the Komische Oper Berlin. Finally, in 2001 he ends up at the Basler Ballet.
In March, 2002 he joins the Compañía Nacional de Danza in which he danced many works from his artistic director, Nacho Duato, as well as works from other prestigious choreographers of contemporary dance.
In September 2008 he ends his career as a dancer and he begins to form a part of Compañía Nacional de Danza 2 as Repetiteur.
 In August 2010 he succeds Tony Fabre as Co-Artistic Director of Compañía Nacional de Danza 2.

COMPAÑÍA NACIONAL DE DANZA
Paseo de la Chopera, 4 ?
28045 Madrid
Phone: (+34) 699 06 84 87 (Luis T. Vargas)
cnd@inaem.mcu.es?
http://cndanza.mcu.es

Compañía Nacional de Danza
DIRECTOR ARTÍSTICO: HERVÉ PALITO

Israeli Opera Tel Aviv
22, 23, 24 y 25 de marzo de 2011

Programa
Multiplicidad. Formas de silencio y vacío
Nacho Duato/ Johan Sebastian Bach

Compañía Nacional de Danza

La Compañía Nacional de Danza fue fundada en 1979 con el nombre de Ballet Nacional de España Clásico, y tuvo como primer Director a Víctor Ullate.
En junio de 1990 se produce la incorporación de Nacho Duato como Director Artístico de la Compañía Nacional de Danza quien permanece veinte años al frente de la formación, hasta julio de 2010.
En agosto de 2010 Hervé Palito le sucede como Director Artístico para la temporada 2010-2011..

Hervé Palito

Nació en Saint Martin de Re Charente Maritine (Francia). Después de formarse como pianista, estudió danza en el Conservatorio de La Rochelle (Francia) y comenzó a bailar en 1985 en el Ballet de XXième Siecle de Maurice Bejart en Bruselas (Bélgica) y en el Bejart Ballet Lausanne entre 1987 y 1993, donde fue jefe de los maestros repetidores de 1993 a 1995.
Ejerció como codirector y maestro repetidor del Aalto Ballet Theater Essen (Alemania), asistente coreográfico del Ballet de la Comunidad de Madrid y maestro repetidor y profesor de Ballet para la producción Salt de la compañía  LaLaLa Human Step, dirigida por Edouard Lock en Montreal (Canadá).
Realizó el montaje de coreografías de Maurice Bejart para el Ballet de la Ópera de París, el Stuttgart Ballet (Alemania), Staatsoper Berlín (Alemania), Tokyo Ballet (Japón), Aterballeto de Regio Emilia (Italia, Ballet du Rhin de Mulhouse (Francia) y para Sylvie Guillem, Altinai Asylmouratove y Konstantin Zaklinsky, en Londres.
Ha realizado el montaje de coreografías de Nacho Duato para el Ballet de Basilea (Suiza), Companhia Nacional de Bailado de Lisboa (Portugal), Ópera de Stockolm (Suecia).
Como profesor de danza ha sido invitado por el Cullbert Ballet, Bejart Ballet, Ballet Montecarlo, Staatstheater Nürnberg, Aalto Ballet Theater, Ballet de la Comunidad de Madrid, LaLaLa Human Step, Staatstheater Augsburg.
Ha sido invitado como maestro y coordinador artístico de la compañía 59º North (Suecia) en sus giras por USA y Sudamérica.
Ha impartido clases magistrales y talleres en diversas ciudades de USA, Corea, Francia y Uruguay.
A partir de 2001 es profesor invitado de la Compañía Nacional de Danza y desde 2002 es Coordinador Artístico de la misma.
En agosto de 2010, Hervé Palito es nombrado director artístico de la Compañía Nacional de Danza.

Multiplicidad. Formas de silencio y vacío

Coreografía: Nacho Duato
Música: Johann Sebastian Bach (collage)
Escenografía: Jaffar Chalabi (sobre una idea de Nacho Duato)
Figurines: Nacho Duato (con la colaboración de Ismael Aznar)
Diseño de Luces: Brad Fields

En coproducción con Weimar 99, Capital Cultural Europea
Estreno Mundial en Weimar, en el Viehauktionshalle, el 23 de abril de 1999
Pre-estreno en España  en el Teatro Calderón de Valladolid, el 9 de abril de 1999

Vielfältigkeit: Formen von Stille und Leere, es fruto de la coproducción  entre la ciudad de Weimar -capital cultural de Europa en 1999-  y la CND. En junio de 1997, durante la última presencia en el Festival de Weimar de la Compañía Nacional de Danza, la dirección del mismo encargó a Nacho Duato un ballet que de alguna manera tuviera algún lazo con dicha ciudad. Para Duato la respuesta sólo podía ser una: Bach.  El ballet de Duato se inspira pues en la música y la vida de Johann Sebastian Bach y se compone de dos partes.
La primera, Vielfältigkeit, es una reflexión coreográfica partiendo fundamentalmente de la maravillosa música del genial compositor. Se caracteriza esta primera parte por una variedad y diversidad coreográficas que concuerdan con los extractos encadenados de distintas piezas musicales de Bach. Constantes cambios de vestuario y escenografía, realzan visualmente este collage muscial.
La segunda parte, Formen von Stille und Leere, es de tono más introspectivo, más místico, más espiritual, reflexionando en torno al tema de la muerte, tan presente en la obra de Bach. Musicalmente se apoya fudamentalmente en el Arte de la Fuga.

El pliegue hacia una concepción visual
- Reflexiones del escenógrafo, Jaffar Chalabi, sobre su concepto de la obra -

Mi concepto arquitectónico sobre la temática barroca en la música de Bach, viene determinado a través del proceso de plegado. En arquitectura, el pliegue proporciona un modelo para las teorías sobre la metamorfosis (Bekleidung, Gottfried von Semper). Los pliegues son fronteras susceptibles de maniobrabilidad que separan el interior del exterior, creando sin embargo un interior dentro del exterior y un exterior dentro del interior. Considerado desde un punto de vista abstracto, es exclusivamente el tipo de curvatura -cóncava o convexa- lo que determina la superficie de fuera y la superficie de dentro, configurando así el género del espacio. En este estado de indeterminación, el pliegue proporciona un modelo de transformación.
Una estructura metálica basada en un andamiaje se sitúa en la parte posterior del escenario, actuando como edificación que soporta una pared que, a modo de cortina, se transforma a sí misma desde una entidad abierta a una entidad cerrada. Dentro del concepto del género arquitectónico del Barroco, la estructura representa la separación de la fachada (exterior) y la estancia cerrada (interior), la fachada de fuera como recepción y los espacios cerrados como acción. La arquitectura barroca confronta siempre dos principios: uno sustentador y otro de recubrimiento.El andamio, y su orden geométrico, dan lugar a siete alturas conectadas entre sí por rampas, creando un movimiento fluido. Estas rampas representan los pliegues verticales, dentro de un espacio contínuo, creándose entonces relaciones diagonales (dinámicas) dentro de una estructura rígida (estática). Al contrario que la estructura, la fachada consiste en una membrana elástica que se transforma a sí misma a través de contracciones y extensiones. Estas contracciones proporcionan modelos de pliegues literales, simulando zonas de intervalos y densificación.
Vielfaeltigkeit, plegado múltiple, diversidad, multiplicidad, laberinto: nos referimos a la idea del plegado en serie. El concepto barroco designa no ya una esencia si no más bien una función operativa. Se originan pliegues de manera indefinida. El rasgo barroco del retorcimiento se transforma aquí en múltiples pliegues, enpujándolos hacia el infinito, pliegue sobre pliegue, uno sobre otro. El Barroco se desarrolla pues, en toda su grandeza, hacia el infinito.
Jaffar Chalabi

Multiplicidad
(Información musical)

Prologue- ARIA OF THE GOLDBERG VARIATIONS
BWV 988
Glen Gould, piano
1- AEOLUS
BWV 205
Concertus Musicus Wien
Nikolaus Harnoncourt, conductor
2- PRELUDE
BWV 1007
Anner Bylsma, violoncello

3- PER MOTUM CONTRARIUM
BWV 1079
David Moroney, cembalo
Martha Cook, cembalo

4- POLONAISE
BWV 1067
Barthold Kuijken, flauta
La Petite Bande
Sigiswald Kuijken, conductor

5- VIOLINO IN UNISONO
BWV 1079
David Moroney, cembalo
John Holloway, flute

6- BRANDENBURG
BWV 1048
Musica Antiqua Köln
Reinhard Goebe, conductor

7- ALLEGRO-ADAGIO
BWV1023
Elizabeth Walfisch, violin
Paul Nicholson, cembalo
Richard Tunnicliffe, violoncello

8- FOUR HARPSICHORDS
BWV 1065
Bob van Asperen, cembalo
Bernhard Klapprott, cembalo
Carsten Lohff, cembalo
Marcelo Bussi, cembalo
Melanie Amsterdam
Bob van Asperen, conductor
9- LARGO
BWV 1056
Alice Harnoncourt, violin
Concertus Musicus Wien
Nikolaus Harnoncourt, conductor

10- CONCERT FOR TWO VIOLINS
BWV 1043
Andrew Manze, violin
Rachel Podger, violin
The Academy of Ancient Music
Andrew Manze, conductor

11- MENUET
BWV 115
Gustav Leohnardt, cembalo

12- “WEICHET NUR, BETRÜBTE SCHATTEN” (¡APARTAOS, SOMBRAS TENEBROSAS!)
BWV 202
Lisa Larsson, soprano
The Amsterdam Baroque Orchestra and Choir
Ton Koopman, conductor

13- SONATA
BWV 1018
Jaime Laredo, violin
Glen Gould, piano

Formas de silencio y vacío
(Información musical)

1- CONTRAPUNCTUS
BWV 1080
Hesperion XX
Jordi Savall, conductor

2- TOCCATA
BWV 538
Ton Koopman, organ
3- LENTO
BWV 530
Ton Koopman, organ

4- CHORAL
from “Mach’s mit mir, Gott, nach deiner Güt”
Joseph Payne, organ

5- SYNPHONY
BWV 21
The Amsterdam Baroque Orchestra and Choir
Ton Koopman, conductor

6- “SEUFZER, TRÄNEN, KUMMER, NOT”
BWV 21
Barbara Schlick, soprano
The Amsterdam Baroque Orchestra and Choir
Ton Koopman, conductor

7- ARIA
BWV 1080
Hesperion XX
Jordi Savall, conductor

8- FINAL FUGUE
BWV 1080
Hesperion XX
Jordi Savall, conductor
9- EPILOGUE
ARIA OF THE GOLDBERG VARIATIONS
BWV 988
Glen Gould, piano

Nacho Duato
Coreógrafo

Nació en Valencia. En 1980 Nacho Duato firmó su primer contrato profesional con el Cullberg Ballet (Estocolmo) y, un año después, de la mano de Jirí Kylián, ingresó en el Nederlands Dans Theater, compañía de la que fue nombrado Coreógrafo Estable, junto a Hans van Manen y Ji?í Kylián, en 1988. Por sus éxitos como bailarín recibió en 1987 el VSCD Gouden Dansprijs (Premio de Oro de la Danza). Su primera coreografía, Jardí Tancat (1983), con música de María del Mar Bonet, ganó el primer premio en el Internationaler Choreographischer Wettbewerb (Concurso Coreográfico Internacional) de Colonia.
En 1995 recibió el grado de Caballero de la Orden de las Artes y las Letras que concede la Embajada de Francia en España.
En 1998, el Consejo de Ministros le galardonó con la Medalla de Oro al Mérito de las Bellas Artes.
En abril de 2000 recibió en la Ópera de Stuttgart el Premio Benois de la Danse.
En 2010 recibe el premio del Círculo de Críticos de Arte en Chile así como la nominación a la Máscara de Oro de Moscú por Na Floresta. Ese mismo año celebra 20 años de dirección artística con la Compañía Nacional de Danza.
En junio de 1990 es nombrado  Director Artístico de la Compañía Nacional de Danza. En 2010 celebra su XX aniversario al frente de la CND que deja en julio de ese mismo año. A partir de enero 2011 comienza a dirigir el Ballet del Teatro Mijailovski de San Petersburgo.

Jaafar Chalabi
Escenógrafo

Arquitecto afincado en Viena, nació en Bagdad. Comenzó sus estudios de escultura y artes aplicadas en Viena. Perfeccionó sus estudios en la Universidad de Michigan, Ann Arbor (EEUU) y completó su educación en la Universidad Politécnica de Viena, donde obtuvo el doctorado en Arquitectura. En 1993 fundó, junto con Talik Chalabi, el estudio de arquitectura Chalabi Architects. Ha ganado varios premios en concursos de arquitectura como el diseño del nuevo Palacio de Congresos de Darmstadt, actualmente en construcción.
Desde 1996 imparte clases en la Universidad Politécnica de Viena. Es profesor invitado en la Escuela de Arquitectura de París (Francia).
Ha recibido premios internacionales de las más prestigiosas instituciones entre los que destaca el Benois de la Danse (2000) por el diseño de escenografía de la coreografía Multiplicidad. Formas de Silencio y Vacío de Nacho Duato y  la mención de honor de los Premios austriacos de Arquitectura Experimental (2002).
Desde 1999 establece una estrecha colaboración con Nacho Duato para el que ha diseñado las escenografías de Multiplicidad. Formas de Silencio y Vacío (1999), Ofrenda de Sombras (2000), Txalaparta (2001), White Darkness (2001), Castrati (2002), Herrumbre (2004) y Hevel (2007).

Brad Fields
Diseñador de Iluminación

Nacido en Carolina del Norte (EEUU), Brad Fields es colaborador habitual de Nacho Duato. Para la Compañía Nacional de Danza ha realizado los diseños de iluminación de Alas, Arcangelo, Multiplicidad: Formas de Silencio y Vacío, Diecisiete, Sueños de Éter, Gilded Goldbergs, Herrumbre, Ofrenda de Sombras, Remanso, Without Words y Hevel.
Es el director de iluminación del American Ballet Theater para el que ha creado, entre otros, los diseños de luces de Coppelia, La Fille Mal Gardée, Glow-Stop y Within You Without You: a tribute to George Harrison.
Otros de sus diseños han sido el Don Quixote de Balanchine para el Ballet Nacional de Canadá y Suzanne Farrel Ballet, Follia de Nicolo Fonte y Rite of Spring para el Göteborg Opera Ballet y la Bayadére de Natalia Makarova  para el Australian Ballet. Ha diseñado para el Ballet Argentina, Boston Ballet, Houston Ballet, Les Grands Ballets Canadiens, Lewitzky Dance Company, Ballet de la Ópera de Lyon, Netherlands Dance Theatre, North Carolina Dance Theatre, San Francisco Ballet, Royal Ballet y Royal Danish Ballet.

COMPAÑÍA NACIONAL DE DANZA
Paseo de la Chopera, 4 – 28045 Madrid
91.3545053/91.4740326
http//:cndanza.mcu.es
cnd@inaem.mcu.es

Bilbao – Teatro Arriaga
15th, 16th & 17th April, 2011

PROGRAMA
Noodles
Phllippe Blanchard/ Philippe Boix-Vives

Gnawa
Nacho Duato/ collage

White Darkness
Nacho Duato/Kart Jenkins

Compañía Nacional de Danza

The Compañía Nacional de Danza was founded in 1979 under the name of Ballet Nacional de España Clásico, and its first Director was Víctor Ullate.
In 1983 the Direction of the Ballets Nacionales   Español y Clásico   was put under the charge of María de Avila who put Ray Barra, a former Northamerican dancer and choreographer living in Spain, in charge of a number of choreographies, and later offered him the post of Assistant Director, which he held until 1990. In December 1987, Maya Plisetskaya was appointed the ballet’s Artistic Director.
The appointment of renowned dancer and choreographer Nacho Duato as Artistic Director of Compañía Nacional de Danza in June 1990 has meant an innovative change in the company’s history. Duato was director of CND for twenty years (1990-2010). In August 2010 Hervé Palito is named new director of Compañía Nacional de Danza for the season 2010-2011.

Hervé Palito
Artistic Director

He was born in Saint Martin of Re Charente Maritine (France). After training as a pianist, he studied dance in the Conservatoire of The Rochelle (France) and began to dance in 1985 in Ballet de XXE Siecle de Maurice Bejart in Brussels (Belgium) and in the Bejart Ballet Lausanne among 1987 and 1993, where he was a chief of the relay teachers from 1993 to 1995.
He was a codirector and main repeater of the Aalto Ballet Theater Essen (Germany), choreographic assistant of the Ballet de la Comunidad de Madrid and relay teacher and ballet teacher for the production Salt of the company LaLaLa Human Step, directed by Edouard Lock in Montreal (Canada).
There realized montage of Maurice Bejart’s choreographies for the Paris Opera Ballet (France), Stuttgart Ballet (Germany), Staatsoper Berlín (Germany), Tokyo Ballet (Japan), Aterballeto of Regio Emilia (Italy), Ballet de la Comunidad de  Madrid, Ballet du Rhin in Mulhouse (France) and for Sylvie Guillem, Altinai Asylmouratove and Konstantin Zaklinsky, in London.
He has realized montage of Nacho Duato’s choreographies for the Basler Ballet (Switzerland), Companhia Nacional de Bailado (Portugal) and Stockholm Opera (Sweden).
Since teacher has been a guest for the Cullbert Ballet, Bejart Ballet, Ballets Montecarlo, Staatstheater Nürnberg, Aalto Ballet Theater, LaLaLa Human Step, Notre Dame de Paris, Staatstheater Augsburg.
He has been invited as Ballet Master and Artistic Coordinator by 59º North company (Sweden) during ist USA and South America tours.
He has imparted Master Classes and Workshops in USA, Korea, France & Uruguay cities.
From 2001 he is a teacher invited of the Compañía Nacional de Danza and from 2002 he is an artistic coordinator of the company.
In August 2010 Hervé Palito became Compañía Nacional de Danza Artistic Director.

Noodles

Choreography: Philippe Blanchard
Original Music (*): Philippe Boix-Vives
Sets: Arik Levy
Costumes: Maline Casta
Lighting Design: Peder Lindbom
Artistic Assistence: Sandra Medina, Peter Gardiner, Niklas Stureberg  Premiered by Compañía Nacional de Danza at Teatros del Canal in Madrid, November, 11th, 2010

I always wanted to work on a single subject, which would be the essence of the creation. On this occasion, I’m going to try to concentrate on four different themes which take me to an essence that resides in our subconscious, where we can find:

1. Violence:
As a result of my first work, AIR BAG, my intention was to suggest that violence is more dangerous when it is not visible. An expression of violence is not dangerous in itself, it is the reasons for the violence which are the real danger.

2. Gravity, weightlessness and elevation:
The idea of losing our gravity is a fascinating subject for me, from a physical point of view and in theatrical terms.

3. Popular dance:
There is a blend of pleasure and violence in the dances. The majority of the dances are synonymous with vertigo and nimbleness. In this voluntary intoxication from turning on oneself around the stage, the dance creates a seductive form of violence.

4. Francis Bacon’s work: It is the roughness and physicality of Bacon’s painting that impresses me, as it is so intense it cannot be avoided. The distortion in his work reveals the essence of his characters, with no exaggerations, and he shows beauty in ugliness. The source of his inspiration is not technique or style, it is his commitment to an idea.

Philippe Blanchard, September 2010

Philippe Blanchard
Choreographer
Born in France, Philippe Blanchard began his music and dance studies at the Conservatoire National La Rochelle. After working with Colette Milner, he joined the Nederlands Dans Theater company, directed by Jiri Kylian, as a dancer before working with the Geneva Ballet for a short time.
In 1991, he accepted Ohad Naharin’s invitation to join the Batsheva Dance Company, which proved to be a fundamental experience for his career as an artist.
The following year, he transferred to the Cullberg Ballet to work with Mats Ek, and he started to investigate his own ideas, which resulted in his first collective work.
In 1996, he was chosen to take part in a course for choreographers and composers directed by Lloyd Newson.
After the success of his piece AIR BAG, Philippe Blanchard decided to create his own working structure based in Stockholm.
NOODLES has been acclaimed by the audience and critics alike since its premiere, and it has toured for three years all over Europe and Israel. His latest choreographic work, How About You?, is also enjoying huge international success.

Philippe Boix-Vives
Composer

Born in France/Savoie, Philippe Boix-Vives, at the age of 16 decided to become a composer and realized the need to dedicate all his time to music studies. At the age of 19, he entered the Conservatoire National de Grenoble, where he was a student of the renowned professor François Luzignan. In addition to his composition skills, Boix-Vives was active as a musician, frequently playing rock and jazz guitar on stage and in the studio. While observing and absorbing classical forms, the arrival of computers in the mid eighties meant a turning point in his work. Since then, Boix-Vives has never stopped composing. Regularly performing his own music with the rock-fusion band Living Wood, Boix-Vives released his first album “Mata Hormigas” in 1993. In 1994, he wrote and conducted his piece the Electric Guitar Concerto and other works for a full-evening program that premiered in Chambery, France. He moved to Stockholm, Sweden in 1995, where he established himself professionally as a composer. Boix-Vives fusion style exhibits a global diversity of influences: atonality, afro beats, polyrhythm, sound scapes and repetitions, going from large orchestral works to hybrid ensembles. His work comprises a catalogue of over 600 musical pieces. He collaborates regularly with directors, choreographers and visual artists. He also writes scores for films, television series, documentaries and commercials for TV and cinema throughout Europe. Boix-Vives is the creative force behind the band Kluster, the performing band for Philippe Blanchard’s choreography Noodles created in Sweden in 2000.

Maline Casta
Costume Designer

Maline Casta is a visual artist working in the fields of stage design, illustration and performance art. She received her Master of Fine Arts from Tisch School of the Arts in New York and is currently based in Stockholm. Maline has designed set and costumes for a large number of stage productions including Juilliard (NYC), Repertorio Espanol (NYC), 59E59 (NYC), Columbia University (NYC),The Culture Project (NYC), Moderna Dansteatern (SE), Grey Room Giljotin (SE), Västerås Konserthus (SE), Teater Västmanland (SE) etc. Recent collaborations with choreographers include Dorte Olesen (DK), Benno Voorham (NL), Quarto Physical Theater (BR) and Con/Text (SE). Maline also has a BA in Theater and Art history from Umeå University.
www.malinecasta.com

With the support of: Molteni and Co.

(*) Live music interpreted by:

Pär Ulander: Accordion, Pedal Steel Guitar, Percussion, Electronic.
Andreas Kleerup: Guitars, Percussion.
Kjell Nordeson: Drums, Percussion.
Mats Lindberg: Bass

Gnawa

Choreography: Nacho Duato
Music: Hassan Hakmoun/Adam Rudolph (Gift of the Gnawa, “Ma’Bud Allah”); Juan Alberto Arteche and Javier Paxariño (Finis Africae, “Carauari”); Rabih Abou-Khalil, Velez, Kusur y Sarkissian (Nafas, “Window”).
Costumes: Luis Devota and Modesto Lomba
Lighting Design: Nicolás Fischtel (A.A.I.)

Premiere performance by the Hubbard Street Dance Chicago at the Joan W. and Irving B. Harris Theater for Music and Dance, March 2005
Premiered by the Compañía Nacional de Danza at the Euskalduna, Festival  Dantzaldia, Bilbao, the 4 th of November 2007

In 1992 in his home city of Valencia, Nacho Duato premiered Mediterrania, searching deeper into his roots and those of his forebears, and his sense of complicity with the Mediterranean Sea.
In Gnawa, premiered by the Hubbard Street Dance Chicago in 2005, the renowned choreographer has continued along the path he set out on with Mediterrania, seeking to transmit, through the medium of movement, the sensuality of the landscape, the true nature of its peoples. With a suggestive musical score replete with Spanish and North African sounds, Gnawa captivates its audience through its all-encompassing power and its sensual elegance, combining the spirituality and organic rhythm of the Mediterranean.
Gnawa is the name that receives in Morocco and other parts of the Magreb the members of different mystic Muslim brotherhoods characterized by their sub-saharian origin and the use of song, dances and syncretic rituals as a mean to reach ecstasy. This term also refers to a musical style of sub-saharian reminiscences practised by these brotherhoods or by musicians inspired by them. It is considered one of the main Moroccan Folklore genres.

Nicolás Fischtel
Lighting Designer (A.A.I.)

He studied lighting desing  and sound at The Royal Academy of Dramatic Art of London (R.A.D.A.) with teachers like Francis Reid and Neil Fraser among others. He continued his studies at The Yale School of Drama (Yale University) in Connecticut (U.S.A.), under the supervision of Jenniffer Tipton and William Warfel.
He has worked as sound technician in several Festivals, with  James Brown, Gran Combo  from Puerto Rico, Nacha Pop, Danza Invisible, Orquesta Mondragón, and with different young theatre groups  in Madrid creating light designs for various Theatre Festivals. He has also collaborated with Sala San Pol since 1984.
His work as lighting designer includes Amongst Barbarians for GBS Theatre of London (1989),  Company  for Vanbrugh  Theatre of London, Lisístrata  for  J. Pedro Aguilar Company, La Noche Toledana for National Classical Theatre(1990) and Aires de Villa y Corte for José Antonio and the Spanish Ballet (1994).
He has made the following designs for Nacho Duato’s ballets since 1991: Coming Together, Rassemblement, Jardí Tancat, Mediterrania, Duende, Na Floresta, Kaburías, Alone, for a Second, Sinfonía India, Cautiva,  Tabulae, Remansos, Romeo and Julieta, Txalaparta, L´Amoroso and Gnawa.

White Darkness
Choreography: Nacho Duato
Music: Karl Jenkins (Adiemus Variations, String Quartet nº 2)
Sets: Jaffar Chalabi
Costumes: Lourdes Frías
Light Design: Joop Caboort

Worldpremiered by Compañía Nacional de Danza at Teatro de la Zarzuela in Madrid, November, 16th, 2001

Duato investigates, through both movement and a profound knowledge of music, formulae which expand his vocabulary, always starting from the same point; the potential for expression inherent in his dancers. As far as his inspiration is concerned, this is an open reflection on the world of drugs and the effect they can have on our social behaviour, on our ability to communicate with others and on our whole lives. Nacho Duato’s vision, once again, is purely testimonial. There are no value judgements here – rather an invitation to reflect upon a subject matter that is both painful and controversial.

Nacho Duato
Choreographer
Born in Valencia, Spain. Duato signed his first professional contract with the Cullberg Ballet in Stockholm in 1980 and a year later Jirí Kylián brought him to the Nederlands Dans Theater in Holland, where he was quickly assimilated into the company and its repertoire. In recognition of his achievement as a dancer, Duato received the Golden Dance Award in Schouwburgen, Netherlands in 1987. Duato’s natural talent as a dancer led him to begin exploring choreography, and his first attempt at it in 1983 turned into a major success: Jardí Tancat, set to Catalanan music by fellow Spaniard Mª del Mar Bonet won him the first prize at the International Choreographic Workshop in Cologne. In 1988 Nacho Duato was named Resident Choreographer for Nederlands Dans Theater alongside Hans van Manen and Jirí Kylián.
In 1995 he received the title of Chevalier dans l’Ordre des Arts et des Lettres, presented annually by the French Embassy in Spain.
The Spanish Government awarded him the Golden Medal for Merit in the Fine Arts in 1998.
He won the Benois de la Danse at the Stuttgart Opera  for Multiplicity. Forms of Silence and Emptiness in April of 2000. In 2003, Duato became the winner of Spain’s National Dance Award, in the Creative category.
In 2010 he awarded with the Chile Arts Critics Circle Prize and his choreography Na Floresta is nominated to the Moscow Golden Mask.
Nacho Duato was the Artistic Director of Compañía Nacional de Danza for twenty years since June of 1990 until July 2010.
His ballets form part of the repertoire of the most important companies around the world.

Karl Jenkins
Composer

Karl Jenkins: born in 1944, of a Welsh mother and Swedish father, at the age of six started his piano studies encouraged by his father, a chorus director and organist. Later, at the age of eleven, he started to play the oboe and to work at the National Youth Orchestra of Wales. He also studied composition at University of Wales at Cardiff, finishing his training in the Royal Academy of Music in London, where he specialised in playing the saxophone. He received awards for his oboe interpretations for jazz and as a multi-instrumentalist. Jenkins worked, amongst others, with Ronnie Scott and created Nucleus, winning the first prize of Montreal Jazz Festival, in 1972. Later, he joined Soft Machine. This group of the seventies’ played a wide range of styles (jazz, classic, rock and even minimalism). In April 1995, Jenkins published Adiemus – Songs of Sanctuary, an extensive work composed for voice, percussion and string, that was an unprecedented success in Europe and Japan.

Lourdes Frías
Costumes Designer

She was born in Madrid in 1957, city in which she died in 2006. She studied Design of Interiors but later her career developed towards the fashionable Design. In 1986 she moved to London where there studied in the prestigious school of Central Design Saint Martins College of art and Design. At this city she was employed for the Japanese designer Koji Tatsuno and with the Danish Anne Lise Kjäer. Afterwards she was employed at the accomplishment of her own designs at her study of Notting Hill Gate. In 1995 she returns to Spain. In 1997, Nacho Duato, choreographer and Artistic Director of Compañía Nacional de Danza offered her the accomplishment of the design of wardrobe of his last production: the ballet Romeo and Juliet.
White Darkness supposes the third collaboration between both artists.

COMPAÑÍA NACIONAL DE DANZA
Paseo de la Chopera, 4
28045 Madrid
cnd@inaem.mcu.es
http://cndanza.mcu.es

Compañía Nacional de Danza
ARTISTIC DIRECTOR: HERVÉ PALITO

Teatro Auditorio Ciudad de Alcobendas (http://www.teatroalcobendas.org/)
19th February 2011

PROGRAM

Arenal
Nacho Duato/ Maria del Mar Bonet

Por Vos Muero
Nacho Duato/ Old Spanish Music-XV and XVI centuries

Gnawa
Nacho Duato/collage

Compañía Nacional de Danza

The Compañía Nacional de Danza was founded in 1979 under the name of Ballet Nacional de España Clásico, and its first Director was Víctor Ullate.
In 1983 the Direction of the Ballets Nacionales   Español y Clásico   was put under the charge of María de Avila who put Ray Barra, a former Northamerican dancer and choreographer living in Spain, in charge of a number of choreographies, and later offered him the post of Assistant Director, which he held until 1990. In December 1987, Maya Plisetskaya was appointed the ballet’s Artistic Director.
The appointment of renowned dancer and choreographer Nacho Duato as Artistic Director of Compañía Nacional de Danza in June 1990 has meant an innovative change in the company’s history. Duato was director of CND for twenty years (1990-2010). In August 2010 Hervé Palito is named new director of Compañía Nacional de Danza for the season 2010-2011.

Hervé Palito
Artistic Director

He was born in Saint Martin of Re Charente Maritine (France). After training as a pianist, he studied dance in the Conservatoire of The Rochelle (France) and began to dance in 1985 in Ballet de XXE Siecle de Maurice Bejart in Brussels (Belgium) and in the Bejart Ballet Lausanne among 1987 and 1993, where he was a chief of the relay teachers from 1993 to 1995.
He was a codirector and main repeater of the Aalto Ballet Theater Essen (Germany), choreographic assistant of the Ballet de la Comunidad de Madrid and relay teacher and ballet teacher for the production Salt of the company LaLaLa Human Step, directed by Edouard Lock in Montreal (Canada).
There realized montage of Maurice Bejart’s choreographies for the Paris Opera Ballet (France), Stuttgart Ballet (Germany), Staatsoper Berlín (Germany), Tokyo Ballet (Japan), Aterballeto of Regio Emilia (Italy), Ballet de la Comunidad de  Madrid, Ballet du Rhin in Mulhouse (France) and for Sylvie Guillem, Altinai Asylmouratove and Konstantin Zaklinsky, in London.
He has realized montage of Nacho Duato’s choreographies for the Basler Ballet (Switzerland), Companhia Nacional de Bailado (Portugal) and Stockholm Opera (Sweden).
Since teacher has been a guest for the Cullbert Ballet, Bejart Ballet, Ballets Montecarlo, Staatstheater Nürnberg, Aalto Ballet Theater, LaLaLa Human Step, Notre Dame de Paris, Staatstheater Augsburg.
He has been invited as Ballet Master and Artistic Coordinator by 59º North company (Sweden) during ist USA and South America tours.
He has imparted Master Classes and Workshops in USA, Korea, France & Uruguay cities.
From 2001 he is a teacher invited of the Compañía Nacional de Danza and from 2002 he is an artistic coordinator of the company.
In August 2010 Hervé Palito became Compañía Nacional de Danza Artistic Director.

Arenal

Choreography: Nacho Duato
Music: María del Mar Bonet (Tonada de Segar, Carta a L’Exili, Tonada de Collir Olives, Dansa de la Primavera, Cançó de Bressol, Des de Mallorca a L’Alguer, Den Itan Nisi, Tonada  de Segar.
Sets: Walter Nobbe
Costumes: Nacho Duato
Lighting   Desing: Edward Effron

World premiere by  the Nederlands Dans Theater at the Muziektheatre, Amsterdam, 26 January, 1988
Premiere by Compañía  Nacional de Danza at the Teatro Romea, Murcia, 6 October, 1990

Arenal is a choreography  by  Nacho Duato, inspired by songs of María del Mar Bonet. In this ballet, the choreographer’s purpose has been to show the uninhibited cheerfulness of the Mediterranean personality contrasting with the everyday struggle of life.
Duato makes this contrast very obvious. On the one hand, there is the dancing of a group of men and women motivated by the pure joyfulness of  music. Its jubilation is reflected in the clear movements of the dancers  pas de deux, pas de trois, pas de quatre  to Greek songs translated into Catalonian, and Majorcan ones by María del Mar Bonet.
On the other hand, one woman dancer stands apart, dancing alone to four songs which are performed a capella. These songs are of a realistic content and seem to arise from an agonizing outcry of the heart. The dancer’s movements are nearer to the ground than those of the others. This is to express the influence of the land. Colour, choreography, movement, everything is undeniably Mediterranean.
Nacho Duato had worked before with María del Mar Bonet in another ballet, Jardí Tancat. “Her music constitutes an important source of inspiration for my work”, says the choreographer. “Later, while I was listening to her record Gavines I Dragons, the idea of Arenal immediately occurred to me. At once, I began to consider the possibility of María del Mar Bonet joining us to give a live performance of her songs”. Duato sees Arenal as an extension of his first work, Jardí Tancat, “though it is more vital, more lively, more faithful to the inner  rythm of the songs themselves, without abandoning the worlds of people and of work”.
I have always known that my songs were born with rythm, but I only really became aware of it the day  Nacho Duato danced to them. When I saw the first choreography, Jardí Tancat, I was quite excited. He had given them another life, they were independent and at the same time tied to me, yet they had acquired a new palpitation, they had taken a different road.
There is something in Arenal that has always fascinated me: the treatment of the Majorcan work songs which I sing a capella. These are songs which form part of our earliest Majorcan tradition , but which are no longer sung where they come from or what they were created for, that is the work in the fields. There are hardly a few places in Majorca where the works in the country are still the same that forty or fifty years ago.  However, when  Nacho has used them for his choreographies he has given them back this role of unique pieces, as if they were precious stones.
While Jardí Tancat was so full of life, in Arenal I have been discovering an inner passion each time I sing with them. I will never tire of repeating that these choreographies of Nacho Duato have been one of the most precious artistic presents I have ever received. I believe they belong to that type of things which goes hand in hand with the most deeply felt emotions and is hard to explain with words.
Thank you, Nacho.
María del Mar Bonet

Maria del Mar Bonet

Born on the island of Majorca, she moved to Barcelona in 1967 and was a member of Els Setze Jutges of the Nova Cançó movement. In the early 1970s, she began to tour numerous countries. In 1971, she was awarded her first Gold Album. Her interest in the mixtures of Mediterranean music and those of other cultures is embodied in numerous collaborations with other internationally renowned musicians. In the field of the search for new artistic forms, in 1988 she presented the show Arenal with Nacho Duato. The combination of song and dance achieves an excellent response from the public in all the countries where performed. Her interest in Greek, Turkish, Sicilian and Neapolitan music make her the Mediterranean voice par excellence, being acclaimed in the most important musical forums in Europe and named one of the best voices of the Mediterranean. In 97, she celebrated her 30 years of musical career at the Palau Sant Jordi in Barcelona with more than 14,000 spectators, and on her 40th anniversary as a musician, she produced a symphonic version of her most Mediterranean work, with symphonic concerts by the OSV, Millennium Park Orchestra of Chicago and the Orquestra Ciutat de Palma. As a result of that collaboration, this year she is publishing her first symphonic disc, titled Bellver.

Por Vos Muero

Choreography: Nacho Duato
Music: Old Spanish Music-XV and XVI centuries- (Cançons de la Catalunya mil-lenària - El Mestre, popular of Catalonia by La Capella Reial de Catalunya, directed by Jordi Savall; Canciones y Danzas de España, and España, Antología de la Música Española )
Sets: Nacho Duato
Costumes: Nacho Duato and Ismael Aznar
Light Design: Nicolás Fischtel (A.A.I.)
Text: Garcilaso de la Vega
Voice: Miguel Bosé

Worldpremiere by Compañía Nacional de Danza at Teatro de Madrid, 11th April, 1996.

Duato has inspired in old Spanish music of XV and XVI centuries together with some of the most beautiful verses of the Spanish poet Garcilaso de la Vega. Music and poetry connect the obvious contemporary dance of Por Vos Muero to his historic reference.
In XV and XVI centuries dances formed part of the cultural expression of people, including all social hierarchies, and therefore they produced a honest reflection of culture of that time. Por Vos Muero wants to pay a tribute to the very important role that dance played in every sort of social event during those ancient times.

Music:

Venegas de Henestrosa     Villancico II: Al revuelto de una garza
Romance I: Pues no me queréis hablar
Romance II: Mira Nero de Tarpeya
Pedro Guerrero     Moresca: La perra mora
Diego Ortiz     Pasamezzo moderno
Pedro Ruimonte     Villancico: Madre la mi madre
Antonio Martín y Coll     Danza: El Villano
Juan Vasquez     Romance de Don Beltrán: Los braços traygo cansados
Cristóbal de Morales     Requiem: Pie Jesu
Mateu Flecha     Dindirindin (de la Ensalada La Bomba)
Tradicional catalana/Jordi Savall     El Mestre
_________________________________________

Texto de Garcilaso de la Vega recitado por Miguel Bosé:

Estoy contino en lágrimas bañado
rompiendo siempre el aire con suspiros
y más me duele el no usar deciros
que he llegado por vos a tal estado

Canción, yo he dicho más que me mandaron
y menos que pensé
no me pregunten más, que lo diré

Nadie puede ser dichoso, señora,
ni desdichado, sino que os haya mirado
porque la gloria de veros en ese punto se quita
que se piensa mereceros
así que, sin conoceros,
nadie puede ser dichoso, señora,
ni desdichado, sino que os haya mirado

La gente se espanta toda
que hablar a todos distes
que un milagro que hicistes
hubo de ser en la boda
Pienso que habeis de venir
si vais por ese camino
a tornar el agua en vino
como el danzar en reir

Las lágrimas que en esta sepultura
se vierten hoy en día y se vertieron, recibe
aunque sin fruto ya te sean
hasta que aquella eterna noche oscura
me cierre aquestos ojos que te vieron
dejándome con otros que te vean

Escrito está en mi alma vuestro gesto
y cuanto yo escribir de vos deseo
vos sola lo escribistes yo lo leo
tan solo que aún de vos me guardo en esto

En esto estoy y estaré siempre puesto
que aunque no cabe en mi cuanto en vos veo
de tanto bien lo que no entiendo creo
tomando ya la fe por presupuesto

Yo no nací sino para quereros
mi alma os ha cortado a su medida
por hábito del alma misma os quiero

Cuanto tengo confieso yo deberos
por vos nací por vos tengo vida
por vos he de morir y por vos muero

(english)
I ‘m continuously bathed in tears
always breaking the air with sights
and I’m even more hurt by not telling thee
I’ve arrived at this point because of thee

Song, I have told more that was ordered
and less than I thought
don’t ask me more, ‘cause I shall disclose.

No one can be happy, Madam,
nor unhappy, unless he has looked at thee
‘cause the glory of seeing thee vanishes
in the moment one thinks of deserving thee
therefore, without knowing thee,
no one can be happy, Madam,
nor unhappy, unless he has looked at thee

People get scared
as thou hast made them all gossip
‘cause a miracle thee made
had to happen in the wedlock
I think thou hast to come
if thou persist on that way
to turn water into wine
as well as dance into laugh

Tears that on this grave
pour and were poured, receive,
although they shall be fruitless
until that eternal, dark night
close my eyes which saw thee
leaving me with other ones to see thee

Written on my soul is thy gesture
and all I desire to write about thee
thee thyself wrote it, I only read it
that even on that matter I follow thee

In that I am and shall be ever ready
cause even though I cannot
cope with as much as I see in thee
from so much good, I believe in what
I cannot understand
already taking the faith as a premise

I was not born but to love thee
my soul is patterned to thy measures
and because of my soul’s habit I do love thee

I confess to owe thee all I have
for thee I was born, for thee I am alive
for thee I have to die, and for thee I die.

Gnawa

Choreography: Nacho Duato
Music: Hassan Hakmoun/Adam Rudolph (Gift of the Gnawa, “Ma’Bud Allah”); Juan Alberto Arteche and Javier Paxariño (Finis Africae, “Carauari”); Rabih Abou-Khalil, Velez, Kusur y Sarkissian (Nafas, “Window”).
Costumes: Luis Devota and Modesto Lomba
Lighting Design: Nicolás Fischtel (A.A.I.)

Premiere performance by the Hubbard Street Dance Chicago at the Joan W. and Irving B. Harris Theater for Music and Dance, March 2005
Premiered by the Compañía Nacional de Danza at the Euskalduna, Festival  Dantzaldia, Bilbao, the 4 th of November 2007

In 1992 in his home city of Valencia, Nacho Duato premiered Mediterrania, searching deeper into his roots and those of his forebears, and his sense of complicity with the Mediterranean Sea.
In Gnawa, premiered by the Hubbard Street Dance Chicago in 2005, the renowned choreographer has continued along the path he set out on with Mediterrania, seeking to transmit, through the medium of movement, the sensuality of the landscape, the true nature of its peoples. With a suggestive musical score replete with Spanish and North African sounds, Gnawa captivates its audience through its all-encompassing power and its sensual elegance, combining the spirituality and organic rhythm of the Mediterranean.
Gnawa is the name that receives in Morocco and other parts of the Magreb the members of different mystic Muslim brotherhoods characterized by their sub-saharian origin and the use of song, dances and syncretic rituals as a mean to reach ecstasy. This term also refers to a musical style of sub-saharian reminiscences practised by these brotherhoods or by musicians inspired by them. It is considered one of the main Moroccan Folklore genres.

Nacho Duato
Choreographer

Born in Valencia, Spain. Duato signed his first professional contract with the Cullberg Ballet in Stockholm in 1980 and a year later Jirí Kylián brought him to the Nederlands Dans Theater in Holland, where he was quickly assimilated into the company and its repertoire. In recognition of his achievement as a dancer, Duato received the Golden Dance Award in Schouwburgen, Netherlands in 1987. Duato’s natural talent as a dancer led him to begin exploring choreography, and his first attempt at it in 1983 turned into a major success: Jardí Tancat, set to Catalanan music by fellow Spaniard Mª del Mar Bonet won him the first prize at the International Choreographic Workshop in Cologne. In 1988 Nacho Duato was named Resident Choreographer for Nederlands Dans Theater alongside Hans van Manen and Jirí Kylián.
In 1995 he received the title of Chevalier dans l’Ordre des Arts et des Lettres, presented annually by the French Embassy in Spain.
The Spanish Government awarded him the Golden Medal for Merit in the Fine Arts in 1998.
He won the Benois de la Danse at the Stuttgart Opera  for Multiplicity. Forms of Silence and Emptiness in April of 2000. In 2003, Duato became the winner of Spain’s National Dance Award, in the Creative category.
In 2010 he awarded with the Chile Arts Critics Circle Prize and his choreography Na Floresta is nominated to the Moscow Golden Mask.
Nacho Duato was the Artistic Director of Compañía Nacional de Danza for twenty years since June of 1990 until July 2010. In January 2011 he became the new director of the Ballet of Theater Mijailovsky at St. Petesburg, Rusia.
His ballets form part of the repertoire of the most important companies around the world.

COMPAÑÍA NACIONAL DE DANZA
Paseo de la Chopera, 4 ?
28045 Madrid
cnd@inaem.mcu.es?
http://cndanza.mcu.es

Compañía Nacional de Danza prepares its next premiere in Spain, Noodles,  by choreographer Philippe Blanchard. It will be in Madrid, at Teatros del Canal, next November 11th, within the frame of Festival Madrid en Danza. BUY YOUR TICKETS NOW!

Noodles
Choreography: Philippe Blanchard
Original Music (*): Philippe Boix-Vives
Sets: Arik Levy
Costumes: Maline Casta
Lighting Design: Peder Lindbom
Artistic Assistant: Sandra Medina, Peter Gardiner, Niklas Stureberg
Premiere in Spain by Compañía Nacional de Danza, November, 11th, 2010, at  Teatros del Canal de Madrid.

“I always wanted to work on a single subject, which would be the essence of the creation. On this occasion, I’m going to try to concentrate on four different themes which take me to an essence that resides in our subconscious, where we can find:

Violence:

As a result of my first work, AIR BAG, my intention was to suggest that violence is more dangerous when it is not visible. An expression of violence is not dangerous in itself, it is the reasons for the violence which are the real danger.

Gravity, weightlessness and elevation:

The idea of losing our gravity is a fascinating subject for me, from a physical point of view and in theatrical terms.

Popular dance:

There is a blend of pleasure and violence in the dances. The majority of the dances are synonymous with vertigo and nimbleness. In this voluntary intoxication from turning on oneself around the stage, the dance creates a seductive form of violence.
Francis Bacon’s work: It is the roughness and physicality of Bacon’s painting that impresses me, as it is so intense it cannot be avoided. The distortion in his work reveals the essence of his characters, with no exaggerations, and he shows beauty in ugliness. The source of his inspiration is not technique or style, it is his commitment to an idea.”

Philippe Blanchard, September 2010

(*) Philippe Boix-Vives: Guitars, Percussion, electronic.

Kjell Nordeson: Drums, Percussion.

Pär Ulander: Accordion, Pedal Steel Guitar, Percussion.

Gabriel Vegh: Bass

Philippe Blanchard, choreographer

Born in France Philippe begins his studies in Music and dance at “Le conservatoire national de La Rochelle” where he spends most of his studies. After three years studying music he decide to concentrate all his efforts into dance with Colette Milner head teacher of the school. Seven years past when he joined as a dancer the company Nederlands dans teater directed by Jiri Kylian before working with the Geneva Ballet for a short time.
In 1991 Philippe respond to the invitation from Ohad Naharin to join his company in Israel (Batsheva dance company) where the experience and the meeting with Naharin will turn out to be an essential part of Philippe’s career as a dancer. Working under improvisations, theatrical approaches and the self-development as a dancer, Philippe reached total different way of experiencing and working in contemporary dance. The artistic implication does not stop as an interpretation of the work but as a participation of a creative process.¦lt;br /> The following year Philippe will move to the Cullberg ballet to work with Mats Ek. It is from that point on that he slowly begins to investigate on his own ideas and eventually to start is first collective work.
1996 Philippe has been selected to participate at a summer course in UK orientated for choreographers and composers under the direction of Lloyd Newsson. Another important encounter that would encourage Philippe to work further on his personal work.
After the success of the work AIRBAG and few experiences working in different companies as a choreographer, he decide to form his own structure, which would be based in Stockholm.
NOODLES was created during that period and was acclaimed by the audience and the critics. During three years NOODLES was toured all over Europe and in Israel.
Today he still works with the same structure in Sweden where the last performance HOW ABOUT YOU? is being invited to several international platforms and on tour.

Philippe Boix-Vives, composer

Born in France/Savoie, Philippe Boix-Vives, at the age of 16 decided to become a composer and realized the need to dedicate all his time to music studies. At the age of 19, he entered the Conservatoire National de Grenoble, where he was a student of the renowned professor François Luzignan. In addition to his composition skills, Boix-Vives was active as a musician, frequently playing rock and jazz guitar on stage and in the studio. While observing and absorbing classical forms, the arrival of computers in the mid eighties meant a turning point in his work. Since then, Boix-Vives has never stopped composing. Regularly performing his own music with the rock-fusion band Living Wood, Boix-Vives released his first album “Mata Hormigas” in 1993. In 1994, he wrote and conducted his piece the Electric Guitar Concerto and other works for a full-evening program that premiered in Chambery, France. He moved to Stockholm, Sweden in 1995, where he established himself professionally as a composer. Boix-Vives fusion style exhibits a global diversity of influences: atonality, afro beats, polyrhythm, sound scapes and repetitions, going from large orchestral works to hybrid ensembles. His work comprises a catalogue of over 600 musical pieces. He collaborates regularly with directors, choreographers and visual artists. He also writes scores for films, television series, documentaries and commercials for TV and cinema throughout Europe. Boix-Vives is the creative force behind the band Kluster, the performing band for Philippe Blanchard’s choreography Noodles created in Sweden in 2000.

Maline Casta, Costume Designer

Maline Casta is a visual artist working in the fields of stage design, illustration and performance art. She received her Master of Fine Arts from Tisch School of the Arts in New York and is currently based in Stockholm. Maline has designed set and costumes for a large number of stage productions including Juilliard (NYC), Repertorio Espanol (NYC), 59E59 (NYC), Columbia University (NYC),The Culture Project (NYC), Moderna Dansteatern (SE), Grey Room Giljotin (SE), Västerås Konserthus (SE), Teater Västmanland (SE) etc. Recent collaborations with choreographers include Dorte Olesen (DK), Benno Voorham (NL), Quarto Physical Theater (BR) and Con/Text (SE). Maline also has a BA in Theater and Art history from Umeå University.
www.malinecasta.com

Arik Levy, Set Designer

“Design is an uncontrolled muscle” according to Arik Levy (born 1963).
Designer, technician, artist, photographer, filmmaker, Levy’s skills are multi-disciplinary and his work can be seen in prestigious galleries and museums worldwide. Best known publicly for his furniture design for global companies, installations and limited editions, Levy nevertheless feels  “The world is about people, not tables and chairs.”
Hailing originally from Israel and moving to Europe in 1988, Levy currently works in Paris with his 20-strong team of designers and graphic artists forming L design. Under the vision of Levy and his associate, Pippo Lionni, the firm also produces brand identities, packaging, signage, exhibition and interior design…
His formation was unconventional where surfing and his graphic design studio took up much of his time back home. However, following studies at the Art Center Europe in Switzerland where he gained a distinction in Industrial Design in 1991, Levy’s first international success was winning the Seiko Epson Inc. competition, which jettisoned him into the public consciousness as a “thinking” designer.
After a stint in Japan where Levy consolidated his ideas producing products and pieces for exhibitions, the designer returned to Europe where he contributed his artistry to another field -  contemporary dance and opera by way of set design.
The creation of his firm then meant a foray back to his first love, Art and industrial design, as well as other branches of his talents. Respected for his furniture and light designs on all continents, Levy also creates hi-tech clothing lines and accessories for firms in the Far East.
Considering himself now more of a “feeling” designer, Arik Levy continues to contribute substantially to our interior and exterior milieu, his work including public sculpture - his signature Rock pieces - as well as complete environments that can be adapted for multi use. “Life is a system of signs and symbols,” he says, “where nothing is quite as it seems.”

art exhibitions and installations
Alon Segev Gallery, Tel Aviv – Natural Disorder – solo exhibtion – 10/10
Mitterrand+Cramer, Genève – Geotectonic – solo exhibition – 09/10
Priveekollektie, Heusden aan de Maas - My Name Is Arik Levy - solo exhibition – 09/10
Istanbul Modern, Istanbul - Log Forest installation – Dice Kayek’s Istanbul Contrast – 08/10
Personality Disorder Social Codes installation – No Holds Barred – Art Amsterdam – 05/10
Eighth Veil Gallery, Los Angeles – Out there logging – solo exhibition – 05/10
Santa Monica Museum of Art, USA – Luminescence, between Fire & Ice – solo exhibition – 05/10
Lambretto Art Project, Milano – 13 798 grams of design – group exhibition – RockFusion Brass – 04/10
21_21 Design Sight gallery, Tokyo – Post Fossil: excavating 21st century creation – group exhibition – RockFusion and SelfArcheology – 04/10
Slott gallery, Paris – Confessions – solo installation in Préliminaires exhibition – 12/09
Kenny Schachter/ROVE, London – Fruit & Flowers - group exhibition 10/09
Vienna Design Week, Vienna – Arik Levy & Swarovski Osmosis Chaton Superstructures at the Liechtenstein Museum and TableScape architectural Jewellery at Sotheby’s – 10/09
Swarovski Crystal Palace, Ex Magazzini di Porta Genova Milano – Osmosis – 04/09
Oratorio Basilica di S. Ambrogio, Milano - Prophets & Penitents, Confessions of a Chair – group exhibition-
Identity Disorder chair – 04/09
Galleria Nina Lumer, Milano - Love Design – group exhibition – Powered by JimmyJane – 04/09
Design Miami, Miami – Beyond Organic: Design In the State of Nature – group exhibition – 12/08
Kenny Schachter/ROVE, London – Diversion – group exhibition – 11/08
Chatsworth, UK – Beyond Limits – group exhibition – Log Corner + Log Corner Grid – 09/2008
Sudeley Castle, UK – The Artist’s Playground – group exhibition – Moon Tables – 06/2008
Wright20, Chicago, IL – Absent Nature – 04/2008
Barbara Davis Gallery, Houston, TX - Imperative Design – group exhibition – 01/2008
Galerie Alain Gutharc, Paris – Propositions lumineuses 2 – group exhibition – 01/2008
Galerie NumerisCausa, Paris – Il était une fois…- group exhibition for the gallery’s opening– Shine light sculpture – 12/2007
The Mews Gallery by Rabih Hage, London – Sitting Pretty – exhibition of photos by Jonathan  Root, featuring a portrait of Arik Levy with his creation Identity Disorder – 09/2007
Dialogues méditerranéens, St. Tropez – Big_Rock – installation – 07/2007
Centre des arts, Enghien-les-Bains – L’Autre – 01/2007
Drugstore Publicis, Paris – MiniMaxi – installation – 09/2006
Baccarat, Paris – Phantom – installation - Designer’s Days 06/2006
Passage de Retz, Paris – Big_Rock – permanent installation – 05/2006
Centre culturel français, Milan - République Libre du Design – installation Organ – 04/2006
Passage de Retz / Mouvements modernes, Paris – Du Bois Dont On Se Chauffe – 12/2005
Gallery Alain Gutharc - Propositions lumineuses – 2005-2006
Centre Georges Pompidou, Paris – D.Day – installation From primitive to virtual – 06/2005
Garanti Gallery, Istanbul - Feel before you see - 05/2005
National Glass Centre/Glass Gallery, Sunderland, UK – Brilliant - 02/2005
Park Ryusook Gallery, Korea - Love counts - 09/2004
Victoria & Albert Museum, London – Brilliant - 02/2004
Hertzlia Museum, Israel Video Zone Biennale - Two stars hotel - in collaboration with Sigalit Landau, 2002
Pascale Cottard-Ollsson Gallery, Stockholm – personal exhibition - 11/2001
Isart Contemporary Art Gallery, Munich – Virtual light - 2000
Isart Contemporary Art Gallery, Munich - Virtual/Religious’ - 2000
Sculpture Biennale Ein Hod, Israel - Humanism 2020 - 1997
Louisiana Museum, Danemark - Design og identitet - 1996
Sculpture Park, Jaffa, Israel -  1986
museum acquisitions and collections
museum acquisitions
The Art Institute of Chicago, Chicago – Confession – 2010
Museum of Arts and Design, New York – Giant Giant Mega Heliodor – 2010
Triennale Design Museum, Milan – Meteorite drawing - 2009
Centre Georges Pompidou, Paris – installation Fractal Cloud – 2006
Seoul Arts Center, Hangaram Design Museum, Seoul - Umbilical Light – 2005
Centre Georges Pompidou, Paris - Handshake light – 2005
Centre Georges Pompidou, Paris – Piflow light – 2005
Victoria & Albert Museum, London - Umbilical ball  and Umbilical knitted lights – 2004
Centre Georges Pompidou, Paris - Xm3 duo, Light pocket, Alchemy tube lights - 2002
Centre Georges Pompidou, Paris - Double layer chair, CD shelf – 2002
FNAC, Fond national d’art contemporain, Paris - Infinite light video - 2001
Israel Museum, Jerusalem - White hole light installation –2001
Israel Museum, Jerusalem - Need light – 2000
Museum of Modern Art, New York – Need light – 1998
collections
HSBC Connection Collection / Volume 1 – Rockshelves and Rocksplit – 2009
design exhibitions
Alon Segev Gallery, Tel Aviv - Untitled – solo exhibtion – 10/10
Mitterrand+Cramer, Genève – Geotectonic – solo exhibition – 09/10
Priveekollektie, Heusden aan de Maas - My Name Is Arik Levy - solo exhibition – 09/10
Istanbul Modern, Istanbul - Log Forest installation – Dice Kayek’s Istanbul Contrast – 08/10
Personality Disorder Social Codes installation – No Holds Barred – Art Amsterdam – 05/10
Eighth Veil Gallery, Los Angeles – Out there logging – solo exhibition – 05/10
Santa Monica Museum of Art, USA – Luminescence, between Fire & Ice – solo exhibition – 05/10
Straf Design Hotel, Milano – Confessions – installation – 04/10
Lambretto Art Project, Milano – 13 798 grams of design – group exhibiton – RockFusion Brass – 04/10
21_21 Design Sight, Tokyo – Post Fossil: excavating 21st century creation – group exhibition – RockFusion and SelfArcheology – 04/10
Arkitekturmuseet, Stockholm – DesignBoost : Design for Life – group exhibition – Crisis Blow Up Furniture – 02/10
Slott gallery, Paris – Confessions – solo installation in Préliminaires exhibition – 12/09
Design Miami – HSCB Designers Lounge - Connection Collection / Volume 1 – Rockshelves and Rocksplit – 12/09
Swarovski Crystal Palace, Ex Magazzini di Porta Genova Milano – Osmosis – 04/09
Oratorio Basilica di S. Ambrogio, Milano - Prophets & Penitents, Confessions of a Chair – group exhibition-
Identity Disorder chair – 04/09
Galleria Nina Lumer, Milano - Love Design – group exhibition – Powered by JimmyJane – 04/09
Design Miami, Miami – Beyond Organic: Design In the State of Nature – group exhibition – 12/08
Kenny Schachter/ROVE, London – Diversion – group exhibition – 11/08
Chatsworth, UK – Beyond Limits – group exhibition – Log Corner + Log Corner Grid – 09/2008
Sudeley Castle, UK – The Artist’s Playground – group exhibition – Moon Tables – 06/2008
Wright20, Chicago, IL – Absent Nature – 04/2008
Barbara Davis Gallery, Houston, TX - Imperative Design – group exhibition – 01/2008
Tai Ping, Cologne – The Rock carpet collection : Rock World installation – Passagen – 01/2008
Home Table Deco Fair 2007, Seoul – guest of honour – Arik at Home exhibit – 11/2007
The Gallery, Brussels – Limited Edition Collections by Bitossi Ceramiche – Tubes – 11/2007
Super Design Covent Garden/Kenny Schachter Rove, London – Cosmic Nature – 10/2007
Hedge Gallery, San Francisco – Not Furniture : XXI century design - 10/2007
Triode, Paris – Total White – Galactica – 11/2006
Kunstpaviljoen, Nieuw-Roden – Museum House – by  Li Edelkoort – Rock – 10/2006
Centre culturel français, Milan - République Libre du Design- Organ installation, 04/2006
Forum Diffusion, Paris - 24H - 01/2006
ShimmerGlimmerTwinkleSparkleShine! - Moss Gallery, New York – 01/2006
Passage de Retz, Paris – Du Bois Dont On Se Chauffe – 12/2005
Museum of Modern Art, New York – Safe: Design Takes On Risk - 10/2005
Seoul Arts Center, Hangaram Design Museum 10/2005
Espace Silvera, Paris - Vipp for Handicap International - 10/2005
Gwangju Design Biennale, Korea - New wave in design - 10/2005
Traveling exhibition - 40/4 forty chairs in four feet - 09/2005
Universal curiosities / trend union by Li Edelkoort  09/2005
Centre Georges Pompidou, Paris - D-day, from primitive to virtual - 06/2005
Galeries Lafayette Home, Paris - Le Petit Poucet - Designer’s Days 06/2005
Forum Diffusion, Paris - Belle Rebelle au Bois Dormant - Designer’s Days 06/2005
Design_Mai,  Berlin - Shots on brave new world - 30’ film, 05/2005
Garanti Gallery, Istanbul - Feel before you see - 05/2005
Espace Tajan, Paris - Le siège dans tous ses états - presenting Book stool 03/2005
Maison & Objet, espace tendance, Paris - ULTRALUX - 01/2005
FNAC, Fond national d’art contemporain, France - Design en stock - 2004-5
Park Ryusook Gallery Seoul - Love counts - 09/2004
National Glass Centre/Glass Gallery, Sunderland, UK – Brilliant - 02/2005
Design lab, Paris - Rocks - 01/2005
Furniture Fair, Köln - Multi functional -01/2005
Villa Noailles, Hyères - Sentiers lumineux - 07/2004
Appel d’air -  by Chantal Hamaide, Paris 05/2004
“Design shooting stars”  “think with the heart and feel with the brain” DVD and objects, Berlin 05/2004
Foundation Armando Alvares Penteado, Brazil – Iluminar - 02/2004
Victoria & Albert Museum, London - Brilliant - 02/2004
Cassina, Paris - Umbilical light - 11/2003-2004
Hannovermesse, Hannover - Aspects of French design - 09/2003
St. Pare Gallery, Paris - Emotional ergonomics - 05/2003
Design lab, Paris  - 01/2003
Sentou, Paris - In the Air - 01/2003
EURO RSCG BETC  agency, Paris – 2D 3D - 01/2003Cité de la sciences et de l’industrie, Paris - Observeur du design – presenting Arik sofa, 11/2002
VIA, Paris – Translucide - presenting light Octopuss, 11/2002
Gallery H2O, Tokyo - French design - 10/2002
Centre Georges Pompidou, Paris - My different Garden - 09/2002
VIA, Paris - Label VIA - 2002
Espace Silvera – Designer’s Days – presenting Get-set office system, 06/2002
Abitare il tempo, Verona - Israeli designers - 03/2002
VIA, Paris - Label VIA – presenting Slim chair and cd  rack, 2001
Pascale Cottard-Ollsson Gallery, Stockholm - personal exhibition - 11/2001
Galerie En Attendant les Barbares, Paris -10/2001
Sentou Galerie, Paris – Tabourets - 2001
Centre Georges Pompidou, Paris - Collection design - 2001
Museum of Modern Art, New York - Work Shipers – presenting an office system, 2001
Galerie für angewandte Kunst, Munich - Licht - 2001
Gilles Peyroulet & Co, Paris - Surprises - 2001
Colette, Paris – Objets à transformer - 2001
Israel Museum, Jerusalem - Ldesign at the Israel Museum - 09/2000 - 04/2001
VIA, Paris - Label VIA – 2000
Musée de la Mode et du Textile/Union centrale des arts décoratifs, Paris - Jouer la lumière - 2000
Isart Contemporary Art Gallery, Munich - Virtual light - 2000
Sotheby’s, London - Contemporary decorative arts - 2000
Lanvin, Paris - Loft éphémère - 2000
VIA, Paris - Carte Blanche mobilier – 2000
Salon du Meuble/ Metropole, Paris - Repères 2000 - 2000
Salon Luminaire, Paris, 1999
French design - Design week, Tokyo, 1999
Galerie Passage de Retz, Paris - Le passage du siècle 1899-1999 - 1999
VIA, Paris - Label VIA - 1999
Salon du Meuble  - Repères 1999 - 1999
Sentou Galerie, Paris - 980°/220V - 1999
Gallery Openspace, Milan - Labirinti di luce -1998
Interior 98, Design for Europe, Kortrijk, Belgium - Contemporary light design - 1998
Spazio gallery, Milan - Contemporary light design - 1998
Galerie Passage de Retz, Paris - The future to meet -1998
Galerie Passage de Retz, Paris - Light light - 1998
L’Ara di Diogene gallery, Paris-Milan Paris-Milano rencontre avec une nouvelle génération - 1997
Ozone Gallery, Tokio - presenting Terra porcelain light, 1997
Seiko AGS Ginza Gallery, Tokio - Conceptual watch design -1996
Louisiana Museum, Danemark - Design and identity – presenting an installation, 1996
Giepac Groupe emballage, France - Exposition Creapac - 1995
“Lustra” modular lamp, exhibition of new designed products, 1995
AXIS gallery, Tokio - Design Thinking - presenting six projects with full scale models, 1991
competitions and awards
2010
Grand Prix Stratégies du Design 2010 : best Branding Packaging – bottle A Scent for Issey Miyake – Paris
2009
Red Dot Design Award : best product design 2009 – SH05 ARIE shelving system by  E15 – Essen
The Interior Innovation Award, category “Best of the Best” SH05 Arie shelving system by  E15 – Köln
Wallpaper* Design Awards 2009 - Best new beds - Landscape by Arik Levy for Verardo – Italy
Wallpaper* Design Awards 2009 - Best shelving - Fluid by Arik Levy for Desalto - Italy
2008
JANUS Award for Industry, design and innovation 2008, Log Light by Saasz – Paris
Label VIA, Torch table lamp by Baccarat - France, 2008
Red Dot Design Award : best product design 2008 – Mistic collection by Gaia & Gino – Essen, Germany
ELLE Decoration International Design Awards 2008 – Designer of the year
Wallpaper* Design Awards 2007 - Best modular furniture - Cubic Meter by A. Levy for Kenny Schachter - London
Design PLUS Award 2008, Mitos glassware collection by Kvetna - Frankfurt
Globes de Crystal Arts et Culture 2008 Paris Première – Best Designer - Paris
2007
JANUS Award for Industry, design and innovation 2007, Invisible system by Visplay – Paris
Wallpaper* Design Awards 2007, Furniture designer of the year, finalist - London
2006
Design PLUS Award 2006, Mistic vase by Gaia&Gino
2005
The Interior Innovation Award, category “Best detail” 4to8 table by  Desalto - Köln
The Interior Innovation Award, category “Best detail” Liko glass table by Desalto - Köln
Elle Decoration magazine Design Award for lighting  (2nd edition)
2003
The Interior Innovation Award, category “Best of the Best” Liko table by Desalto - Köln
2002
Prix de l’Observeur du Design/APCI, Arik sofa by Ligne Roset - France
Grand Prix de la Presse Internationale de la Critique du Meuble Contemporain, Arik sofa by Ligne Roset - France, 2002
Label VIA, Arik sofa by Ligne Roset - France, 2002
2001
Cartier international office furniture and light system in collaboration with Vitra
Label VIA, Slim stacking chair by Ligne Roset - France, 2001
George Nelson Award, Interior magazine, 2001
2000
Label Via, U cd shelf by Ligne Roset - France, 2000
iF Award light fixtures - Germany, 2000
L’Express Best of category Light - France, 2000
Carte blanche VIA - France
1999
Label VIA, Light Pocket lamp by Ligne Roset - France
Grand Prix de la Presse Internationale de la Critique du Meuble Contemporain, Cloud lamp - France
Design PLUS Award 1999, Ambiente Fair, Seed porcelaine lamp – Frankfurt
1997
Mouvement français de la qualité – posters for “Qualité 97” campaign - Paris, 1997
1991
Seiko Epson (International Art Center Award) - Japan, 1991
Among Ldesign / Arik’s clients:

Vitra, Vizona, Desalto, Ligne-Roset, Cinna, Seiko Epson Inc., Gaia&Gino, Boutet, Sentou, L’Oréal, Serralunga, Baleri Italia, Lanvin, Boucheron, Alon Segev Gallery, Belux, Elica, Ansorg, Renault, Tronconi, Sector Sport Watches, Designers Carpets, Tai Ping, Baccarat, Galeries Lafayette, MGX Materialise, Swedese, Softline Allkit, Bitossi, ENO, Zanotta, Bernhardt Design, Council, Viccarbe, Kvetna, Molteni & C., Living Divani, Hennessy, BBBemmebonacina, BPI-Issey Miyake Parfums, Verardo,  Visplay, E15, Christofle, Woongjin Coway, Flora, Planika Fires, Swarovski, EMU …

With the support of: Molteni&C.

Compañía Nacional de Danza collaborates, once more, in this new edition of the most popular celebration of the cultural activities in the city of Madrid, LA NOCHE EN BLANCO -Sleepless Night-, opening the doors of our premises and offering an open rehearsal to everyone who wishes to share that experience. You just come to our studios at  Paseo de la Chopera, 4, next Saturday, Sep 11th, at 21h first pass, and 22.15h second pass. Free tickets available at Matadero Madrid.