Sun

Choreography, music: Hofesh Shechter
Sets design: Merle Hensel
Costume design: Christina Cunningham
Lighting design: Lee Curran
Additional music: ‘Let’s Face The Music And Dance’, composed by Irving Berlin, published by Universal Music Publishing Ltd / Tannhauser WWV 70’ by Wagner – Arrival of the Guests at Wartburg, composer: Richard Wagner/‘Sigur 1’, written by Sveinsson/Birgisson/Holm/Dyrason, published by Universal Music Publishing Ltd., ‘Abide with me’, (traditional arrangement by David Cresswell), published by Music Masters Ltd., erformed by The Queen’s Royal Irish Hussars and used by courtesy of Music Masters Ltd.
Musicians on soundtrack: Christopher Allan, Rebekah Allan, Nell Catchpole, Joseph Ashwin, Joel Harries, Vinz
Scenic artist: Kirsty Glover
Puppet artists: Businessman, Hoodsman, Tribesman, Explorer – James Ward at jimbobart, with additional work on Tribesman by Rebecca Cusack /Sheep on loan from John I Gordon  / Wolf courtesy of Framestore
Photo: Gabriele Zucca

Dancers: Paula Alonso Gomez, Chien-Ming Chang, Frederic Despierrre, Neus Gil Cortes, Bruno Guillore, Yeji Kim, Merel Lammers, Attila Ronai, Hannah Shepherd, Diogo Sousa.
Apprentice dancers: Madeleine Fairminer, Clara Villalba

duration: 70’
premiere: 2013, Melbourne

“Sun” is produced by Hofesh Shechter Company and commissioned by Bruno Wang.  “Sun”is supported by The Columbia Foundation fund of the London Community Foundation.  “Sun” is co-commissioned by Brighton Dome & Brighton Festival, Sadler’s Wells London, Melbourne Festival, Les Théâtres de la Ville de Luxembourg, Théâtre de la Ville - Paris, Festspielhaus St Pölten, Berliner Festspiele - Foreign Affairs, Roma Europa, Belgrade Dance Festival, with co-production support from Mercat de les Flors and the Theatre Royal Plymouth.

Perfection becomes warped and harmony gives way to a visceral depiction of antagonism and violence in Shechter's disruptive new work. From the courtly idyll that sets the scene to the clean, spare vision of a ‘perfect’ world, Shechter’s choreography embraces frenetic abandon and his signature understated intricacy in a work that confronts the pastoral horror of colonialism with a hint of sharp humor.  

Hofesh Shechter is recognised as one of the UK’s most exciting artists and is renowned for composing the musical scores for his dance creations with his raw, atmospheric music complimenting his Company’s unique physicality. Shechter graduated from the Jerusalem Academy for Dance and Music before moving to Tel Aviv to join the world renowned Batsheva Dance Company, where he worked with artistic director Ohad Naharin and other choreographers including Wim Vandekeybus, Paul Selwyn-Norton, Tero Saarinen and Inbal Pinto. He began drum and percussion studies whilst in Tel Aviv and continued later in Paris at the Agostiny College of Rhythm. Subsequently, he began experimenting and developing his own music while participating in various projects in Europe involving dance, theatre and body-percussion. In 2002 Shechter arrived in the UK. His choreographic debut, “Fragments”, for which he also created the score, immediately attracted international attention and in 2004 he was commissioned by The Place Prize to create “Cult”. The work was one of five selected finalists and was announced winner of the Audience Choice Award. From 2004 to 2006 Hofesh was Associate Artist at The Place and was commissioned by the Robin Howard Foundation to create “Uprising”. The three works formed the triple bill “deGENERATION”, Hofesh’s first full evening of work. In 2007 London’s three major dance venues, The Place, Southbank Centre and Sadler’s Wells, collaborated on a unique producing venture, commissioning Shechter to create “In your rooms” which was presented at all three venues in 2007 and culminated in sell-out shows at Sadler’s Wells Theatre. “In your rooms” was nominated for a South Bank Show Award and won the Critics’ Circle Award for best choreography in 2008. In 2008, in response to popular demand Shechter formed Hofesh Shechter Company and the Company embarked on its first world tour. Since then the Company can be found performing throughout Europe, Asia, North America and Australia and reaching audiences in many of the world’s leading dance venues.  Recent tours have included South America and the Middle East with the global appetite for Shechter’s work continuing with his later creations. Now under the banner of Hofesh Shechter Company, in 2009 Shechter produced his first The Choreographer’s Cut – commissioned by Sadler’s Wells and performed at The Roundhouse. He reworked his acclaimed double bill “Uprising/In your rooms” to feature a band of 20 musicians alongside a company of 17 dancers. Also in 2009 he was commissioned by Brighton Festival in 2009 to create the “The Art of Not Looking Back”, which was inspired by and made for six female dancers. In May 2010 his first full-length work “Political Mother” premiered at the Brighton Festival, winning 5 star reviews from all the major national press and subsequently embarking on an extensive international tour, further cementing the Company’s reputation. 2011 saw the second time Shechter created a ‘Choreographer’s Cut’ of his work, this time for “Political Mother” – the result was ‘a howling beast of a dance show’ (Metro), featuring over 40 performers and which returns to Sadler’s Wells in July 2013. Shechter collaborated with Antony Gormley on “Survivor” commissioned by the Barbican and reaching sell-out audiences for its run in January 2012. In 2013 Hofesh unveiled his latest major creation, “Sun”, co-produced by partners around the world and touring worldwide. Alongside his work for Hofesh Shechter Company, Hofesh’s works have been taken into the repertory of many UK and international dance companies including Cedar Lake Contemporary Ballet, Carte Blanche Dance Company, Bern Ballett, Scottish Dance Theatre, CandoCo and Nederland DansTheater. He has also worked as a choreographer in theatre, television and opera notably at The Royal Court Theatre for Motortownby Simon Stephens (2006), TheArsonists (2007), and for the National Theatre’s award winning production of Saint Joan (2007) directed by Marianne Elliot and starring Anne Marie Duff. In television Shechter choreographed the hit dance sequence ‘Maxxie’s Dance’ for the opening of the second series of Channel 4’s popular drama Skins. In 2013, he collaborated with Metropolitan Opera in New York on Nicol Mulhy’s opera “Two Boys” and in 2014 he was Guest Director of Brighton Festival. In March 2015, Shechter is starting to create a piece for The Royal Ballet which will premiere at the Royal Opera House, London. Shechter is an Associate Artist of Sadler’s Wells and Hofesh Shechter Company is Resident Company at Brighton Dome.

Since exploding on to the dance scene with their very first performances, Shechter and his young and talented Dance Company have established themselves as a leading force in the UK contemporary dance. Following a career as a dancer, Shechter moved to the UK making his choreographic debut in 2004. A former drummer in a rock band, Shechter creates the musical scores for each of his dance creations and his atmospheric, groovy music alongside his company’s unique physicality has earned his work acclaim around the world.

He’s still the only dance-maker on earth even attempting shows this eye-poppingly packed with with energy and ambition, and three cheers to him for that.
© The Telegraph

Hofesh Shechter. It’s a name to remember!
© New York Times

7. i 8. april 2015. u 20:00
Velika scena Madlenianuma

5. oktobar 2014 u 19:30
Velika scena Madlenianuma

Dirigent: Stanko Jovanović
Režija: Voja Soldatović
Koreograf: Mirko Knežević
Scenograf: Dalibor Tobdžić
Kostimograf: Maja Studen
Dizajn svetla: Srđan Jovanović
Prevod: Husnija Kurtović

LICA

Knez Ipshajm Gindelbah
Nenad Nenić / Ivan Plazačić
Balduin, grof Cedlau
Ljubomir Popović / Vanja Biserčić
Gabrijela, njegova žena
Tanja Obrenović
Grof Bitovski
Milan Milosavljević
Gospođica Franciska Kaljari
Branislava Podrumac / Olga Malević Đorđević
Kagler
Ivan Bekjarev
Pepi
Senka Nedeljković / Aleksandra Jovanović
Jozef
Goran Strgar / Marko Živković

Orkestar Opere i teatra MADLENIANUM, koncertmajstor Vesna Janssens

Horski ansambl:
Nevena Đorđević, Irina Dragojević, Marijana Radosavljević, Milica Marjanović, Milica Stojčev, Aleksandra Anđelković, Maja Tomašević, Svetlana Krstić, Jovana Ćirić, Danica Andrić, Jovana Bijelić, Jovana Jovićević, Zorana Stanišić, Bojan Dragojević, Srđan Mladenović, Boris Balunović, Nikola Piperski, Ivan Debeljak, Igor Andrić, Momčilo Radojević, Svetozar Vujić, Vladimir Bulatović, Andrija Nikoletić, Marko Pantelić
Hor pripremila: Biserka Vasić

Plesni ansambl:
Marija Martinović, Jelena Borović, Vanja Vasiljević, Katarina Obradović, Irena Maksimović, Ignjat Filipović, Marko Vasiljević, Vukašin Prvulović, Boško Graovac, Luka Bugarin

 
Inspicijent: Vesna Ćurčić Petrović 
Organizator: Andreja Rackov
Muzička priprema: Dragana Anđelić Bunjac 
Sufleri: Zorica Popović i Silvija Pec
Audio realizacija: Dušan Arsikin
Video realizacija: Zvonimir Jelušić
Realizacija svetla: Vladimir Krunić
Prevod i titl: Dragan Stevović
Majstor pozornice: Milan Ćirić
Šminka i frizure: Mirjana Rakić
Garderoba: Tanja Vuksanović i Miladin Pavićević

Opereta Bečka krv je prvi put izvedena 26. oktobra 1899. godine, četiri meseca nakon smrti Johana Štrausa II. Operu je naručio Franc Januer, upravnik Karl pozorišta. Ideja u pozadini ove operete, kao i naslov preuzet od jednog od Štrausevih najpopularnijih valcera (Bečka krv- op. 354), bila je kreiranje scenskog dela u kome bi se iskoristile melodije iz Štrausovih starijih i manje poznatih dela. Muziku je izabrao i uredio Adolf Miler Jnr, dirigent pozorišta u Beču (Theater an der Wien). Jauner je imao visoka očekivanja po pitanju Bečke krvi koja je urađena u raskošnoj produkciji, ali je izvođenje prve noći doživelo potpuni fijasko i nakon samo trideset izvođenja, predstava je otkazana. Doveden do bankrotstva ovim neuspehom, Januer se ubio. 
1905. godine Bečka krv je, sa neznatno prerađenim tekstom i muzikom, ponovo počela da se prikazuje u pozorištu u Beču (Theater an der Wien) i tada doživljava veliki uspeh. Ona je 1928. godine stavljena na repertoar Bečke narodne opere i do dana današnjeg je ostala na repertoaru. 
Bečka krv je komponovana u vreme Bečkog kongresa, 1814-1815, međunarodne konferencije koja traži naseljavanje Evrope nakon Napoleonovih ratova, te stoga prati tradicionalni zaplet operete koji je pun pogrešnih identiteta. Grof Balduin Cedlau, ambasador malog okruga Reus-Šlajc-Grajc, poslat je u Beč. Iako je oženjen Gabrijelom, Grof je u vanbračnim aferama i sa igračicom Franci i sa manekenkom Pepi. Sa druge strane, Pepi i njegov sluga Josef su vereni. Cedlaovi pokušaji da istovremeno sve drži pod kontrolom dovode do potpune konfuzije koja biva još haotičnija kad se tu umeša vremešni, ali zaljubljivi ministar. Nakon mnogo intriga, puno nesporazuma i brojnih lažnih identiteta, Cedlau shvata da njegovo srce pripada Gabrijeli, koja mu velikodušno prašta brojne ljubavne indiskrecije. 

* * *

Na našim prostorima ova opereta nikada nije izvođena, tako da je njena premijera na sceni Opere i teatra Madlenianum ujedno i njena srpska premijera.

Pred nama se pruža Beč iz 19. veka u svoj svojoj raskoši, frivolnosti, ležernosti, lepoti, ali i licemerju i hipokriziji. Na sceni se ređaju prinčevi, grofovi, kneževi u nekoj vrsti ljubavnog trilera u kome je grof centar ljubavnog zbivanja, a njegova žena kao i dve ljubavnice u vrtlogu dobre muzike, mešaju stare i nove ljubavi utapajući se u bečki duh i bečku krv koja svemu tome daje posebnu draž. Smenjuju se najpoznatije polke, galopi, valceri, pleše se uz penušavi šampanjac, a „Šta daje balu radost i sjaj/ bečki je valcer taj“. Triler se do samog kraja ne razrešava, a laka igra uz mnogo plesa, dobre svirke i smeha deluje razgaljujuće. Raskoš, neverstvo, intrige, zaljubljivanje, radost življenja predstavljaju kapljice bečke krvi koju samo Bečlije poseduju i koja se prepoznaje na daleko. 
Prenošenje prave bečke atmosfere dalekih vekova u Beograd, veliki je izazov, posebno jer opereta kao žanr nije česta na našim scenama. Iako sve deluje lako i lepršavo, zahtevi koji se postavljaju pred protagoniste podrazumevaju veoma dobro pevanje i isto tako dobru glumu, jer se opereta i sastoji iz obimnih govorenih delova kao i iz niza arija, dueta, ansambala. Partitura Bečke krvi podrazumeva zahuktala i ubrzana tempa, uz preciznost do perfekcije svih delova velikog ansambla koji sadrži najpre raskošan orkestar, zatim hor, grupu igrača-plesača i niz solista, pevača i glumaca. U tako razuđenoj ekipi, uklapanje svih elemenata, kao i njihovo međusobno i tesno prožimanje donosi uspeh postavke.
Scena i kostimi treba da dočaraju blistavi sjaj bečkih salona, vila, separea, kazina a sve to u naivnoj igrariji koja ima zadatak da razonodi, zasmeje i ponudi uživanje . Poznate melodije kao i numere koje slušamo prilikom Novogodišnjih koncerata prenošenih iz Beča, još više nas približavaju sredini kojoj smo i geografski, društveno-ekonomski, politički, ali i muzički bili veoma blizu svih proteklih vekova.