Artistic Director Bruno Bouché


Founded in 1972, the Ballet du Rhin, which has since become the Ballet of the Opéra national du Rhin, has journeyed far. From Strasbourg to Mulhouse firstly where it settled in its premises in 1974. In Alsace, France and then the world, it has travelled as an acknowledged ambassador for dance, ever growing through the talent of its successive «bosses»: Jean Babilée, Denis Carey, Peter Van Dyk, Jean Sarelli, Jean-Paul Gravier, Bertrand d’At, Ivan Cavallari and Bruno Bouché from September 2017. Through their personal influence and artistic choices, they have all contributed to turning this company into a dance troupe whose expertise and quality are unanimously acclaimed.

The Ballet of the Opéra national du Rhin is one of the rare French companies to move seamlessly from baroque to modern and from classical to contemporary styles, so that every mode of dance can be appreciated to the full.

The long list of choreographers from Bournonville to Heinz Spoerli, not forgetting Balanchine, Kylián, Béjart, Forsythe and Lucinda Childs, merely serves to illustrate this illustrious journey. Its repertoire also includes classic ballets such as La Sylphide and Giselle and re-interpretations of iconic masterpieces such as Don Quichotte, Romeo and Juliet, e Nutcracker Suite and Coppelia, which act as landmarks for the great 20th-century choreographers, and creations solicited of both young choreographers and seasoned artists.

The company consists of a troupe of 32 permanent dancers from the world over, who, in addition to their solid academic training, must be able to take on board and explore in depth a broad variety of styles.

BRUNO BOUCHE entered the Dance School at the Opéra national de Paris in 1989, and was later recruited into the Corps de Ballet of the Opéra national de Paris in 1996 as a Quadrille, Coryphée and Sujet in 2002. Since 1999, he has been the Artistic Director of Incidence Chorégraphique, which produces choreographic creations for the dancers of the Ballet of the Opéra de Paris, which are regularly performed in France, Spain, Italy, Japan, in Israel and in Turkey. He has signed several choreographies since 2003, including Elegie, Nous ne cesserons pas and From the Human Body. He created SOI- Ătman and Music for Pieces of Wood for the Opéra national de Paris in 2013, Yourodivy in 2014, Amores 4 and Dance Musique 3-2-1 in 2015. Undoing World in 2017. He worked with the artist JR for his lm Les Bosquets, and a lm shoot on the roofs of the Opéra Garnier. For Israel Tour 2015, he created Between light and nowhere at the Suzanne Dellal Centre in Tel Aviv. In 2013, he took over the artistic direction of Les Synodales Festival in Sens, and for the dance season at the municipal theatre and the contemporary choreographic competition for young dance companies. In 2014-2015, assisted by Laura Gédin, he undertook the choreographic programme “Ten months of school and Opera” and created Ça manque d’amour. During the 2015-2016 season, Benjamin Millepied asked him to take part in his first Choreography Academy at the Opéra de Paris. In July 2016, he was appointed Director of the CCN/Ballet of the OnR. He officially takes up the position of Director in September 2017.In May 2018, he restaged Bless-ainsi soit-IL for the soirée Dancing Bach in the 21st Century. In October 2018, he signed the choreography for Fireflies. In the fall of 2019, he created, as part of the "Danser Chostakovitch, Tchaïkovski" evening, 40D, a piece for 7 dancers on music by Rachmaninov and Scriabin, and he will create Encore at the end of the season as part of the programming "Spectres d'Europe # 2".


The contract of Bruno Bouché, Artistic Director of the Ballet of the Opéra national du Rhin, was renewed, for a second mandate of three seasons, until 2022-2023.





Choreography Bruno Bouché

Musical dramaturgy Jamie Man, Bruno Bouché

Music Jamie Man, Jean Sibelius, Olivier Messiaen, Steve Reich, Einstürzende Neubauten, Jean-Sébastien Bach, John Adams, Antony and the Johnsons.

Piano Bruno Anguera Garcia

Dramaturgy Christian Longchamp

Scenography Aurélie Maestre
Assistant scenography Clara Cohen
Costumes Thibaut Welchlin
Lights David Debrinay

Video Étienne Guiol
Artistic support for lighting Fabrice Guillot

Ballet de l’OnR

Piece for the whole company

Duration : 1h50 intermission included
Show performed to recorded music


In Wings of Desire (Der Himmel über Berlin), German director Wim Wenders imagines how an angel decides to leave his condition of pure and immaterial eternity to become flesh for the love of a woman...

Inspired by this masterpiece of cinema, the ballet adaptation Les Ailes du désir by Bruno Bouché is an invitation to explore this absolute mystery of incarnation through music and dance. Each twitch of flesh, each stir of the senses is a unique experience which immediately gives us a dazzling feeling of body and soul coming together. Even better than words, dance and music catalyze this spark of life within us, this inexhaustible joy of the senses, of smell, taste, the pleasure of touch – all that makes up the joy of life and which we too often take for granted!

For this delicate reflection of our senses, Bruno Bouché has called on the young London
composer Jamie Man to provide the music.


Act I
A theatrical representation of the film’s subject.
The first act freely follows the film’s plot: two angels fly over Berlin, visit places and people’s hearts and register this immaterial part of us, this breath of life. One of these angels, finding his life boring and monochrome, decides to become a man. Having ‘‘fallen’’ into love with a trapeze artist, she helps him take this ‘‘leap of faith’’. Each scene in Act I is inspired by key scenes from the film and introduces the main roles. The entire corps of the de Ballet of the OnR represents both angels and humans in alternation.
Act II
The dance picks up the poetry of the film’s subject and gives shape to this final open ending.
Act II puts all attention and all trust in the dancers to stage and represent the pure taste for life. It features group scenes, solos, duos and trios. There’s no strict storyline in this act. The dance is like a light in the heart of the nocturnal city. Since the city is where the film unravels, it precedes even the story.


Piece for the entire company Premiered in 2010 at the Leipziger Ballet

Choreography and lighting Mario Schröder

Musics Charlie Chaplin, John Adams, Ruggero Leoncavallo, Alfred Schnittke, Kurt Schwertsik, Peteris Vasks, Colin Matthews, Johannes Brahms, Hans Werner Henze, Charles Ives, Richard Wagner, Benjamin Britten, Samuel Barber

Set design and costumes Paul Zoller

Ballet of the Opéra national du Rhin

Show performed with recorded musics Duration 1h30 without interval

Director of the Ballet of Leipzig, choreographer Mario Schröder wanted to pay homage in 2010 to the person who inspired him with a desire to dance when he was a child - none other than one of the greatest artists of the 20th century: Charlie Chaplin. We are reminded of emblematic episodes in the life of this genius actor and creator thanks to the Ballet’s 32 dancers. A journey fraught with pitfalls, a strong determination to succeed, a quest for perfection and, nally, acknowledgement that in just a few years turned him into one of the most powerful gures in Hollywood. Yet, through laughter and tears, Chaplin perfectly analysed and distilled for us the follies of our modern world. Chaplin was a great success when premiered in Leipzig. With his walking stick and bowler hat, a universal gure makes his entrance in the repertoire of the Ballet of the OnR.

Mario Schröder has invented for many years with the 42 dancers of the Leipzig Ballet a work of quality recognized by professionals and welcomed with fervor by the public of Leipzig. Without denying the aesthetic contributions of his academic training and his career as Principal Dancer of the Leipzig Ballet, notably with Uwe Scholz, he knew how to mark with a singular imprint his choreographies which transcribe modern aesthetic concerns and express emotions of today. His creations are nourished by his training in German dance and theatricality, especially at the Ernst Busch Berlin Academy of Dramatic Art, but also by influences of psychological narration and physical engagement which recall the energy of Swedish choreographers (Culberg Ballet, Mats Elk, etc.). He chooses scores and builds rich musical dramaturgies thanks to an extraordinary musical culture, from Rachmaninov to Philip Glass, including The Doors.

With Chaplin, Mario Schröder signs a ballet with historical references displayed. is source of inspiration confirms the style of the choreographer in a choreographic language fully playing the contemporary card. He draws a modern Chaplin by carrying history in a timeless climate, out of myth, where Chaplin is no longer a romantic protagonist, but the emblem of a society which, beyond the eras, remains in perpetual conflict. In search of recognition and constantly in creation, Chaplin traces his path between passions and impulses, between desires and necessities. In the sets of Paul Zoller, the viewers feels like they are in a cinema from the 1920s, which provides the ideal setting for the quest for man and artist. The musical choices are of an exceptional variety: Charlie Chaplin, Arvo Pärt, Benjamin Britten, Samuel Barber, John Adams and Richard Wagner.

Bruno Bouché, Artistic Director of the CCN • Ballet of the ’OnR


Choreography, dramaturgy Amir Hosseinpour, Jonathan Lunn

Musical creation Philip Glass

Musical Direction Karen Kamensek

Stage design, costumes Anne Marie Legenstein

Lighting Fabrice Kebour

Video David Haneke

Paintings Robert Israel

Actress Sunnyi Melles


Music and choreography, Word Premiere on February 11th, 2022, La Filature, Mulhouse

Piece for the whole company.

Duration : 2.20 hrs intermission included


In two words

Ballet with original music by Philip Glass based on Lewis Carroll's novel (1865).

In the early 1860s, to entertain young Alice Liddell, Lewis Carroll dreamt up a strange and wonderful world where common sense is nonsense, cats are nihilists, hatters are mad, silkworms are opium addicts, and playing cards are soldiers under the command of a tyrannical Queen of Hearts. Written in 1865, Alice's Adventures in Wonderland, followed in 1871 by Through the Looking-Glass, was a popular success. Before long, all British schoolchildren and their parents knew about the escapades of the young Alice who, to dis­pel the boredom of a summer afternoon, follows a white rabbit sporting a tailcoat and pocket watch as he dashes into his bur­row. From Walt Disney to Tim Burton, artists spanning all dis­ciplines have been inspired by Carroll's rich imagination. With a new score by Philip Glass, a figurehead of American minima­lism, choreographers Amir Hosseinpour and Jonathan Lunn rei­magine and reinvent Carroll's fantastical world. Freed from the original narrative, the dancers of the OnR Ballet play a new gal­lery of contemporary creatures and characters, joined by actor Sunnyi Melles.




Choreography Radhouane El Meddeb

Artistic advisor Bruno Bouché

Music Piotr Illitch Tchaïkovski

Set design Annie Tolleter

Costumes Celestina Agostino

Lighting Eric Wurtz


Created and Premiered in January 2019, Strasbourg Opera

Piece for the entire Ballet of the OnR

Show performed with recorded music

Duration: 1h30



Since the Marius Petipa / Lev Ivanov interpretation of 1894, «Swan Lake» (Le Lac des cygnes) represents the magic of classic dance like few other ballets. Tchaikovsky didn't live long enough to experience the impact of his great composition on the Russian and international audience. His friends even warned him against accepting the job to write the score to this ballet, as it seemed unimportant compared to his symphonic ambitions. The black and the white swan, Odette and Odile, Siegfried and Rothbart - legendary characters who have been interpreted in various ways by choreographers for more than 120 years. Now it's on Tunisian choreographer Radhouane El Meddeb to show his vision of «Swan Lake » performed by the entire Ballet of the OnR. This artist based in two cultures from both sides of the Mediterranean likes to probe his roots, interacting with the Other and finding out what it reveals about himself. With this anticipated premiere, he undertakes to explore new fields of poetry and imagination.


Choreographer's note - By Radhouane El Meddeb

Drawing inspiration from ancient Slavic and Nordic legends, where fate emerges from the mysterious forces of Nature, Swan Lake has fashioned its own myth. When I was invited by Bruno Bouché, Director of the CCN/Ballet of the OnR, I hungrily pounced on this deeply nostalgic work - where ideal love is ever out of reach.

I will take the "Freudian" slant devised by Rudolf Nureyev for the Ballet of the Opéra in Paris in 1984 as my starting point. Prince Siegfried, manipulated by the malevolent Rothbart, escapes from the chains of power and marriage to hide in dreams, where a magic lake harbouring idealised love appears to him. The tragic ending to this masterpiece doesn't reflect the victory of evil, but the never-ending quest for unattainable perfection.

My Lake will be a Lake where dancers, musicians and the audience will meditate in an atmosphere of true closeness... witnessing a love story in a setting where all three exchange glances and reach out to each other. I want to deconstruct the classical text - while preserving its excellence and magic - to create something more romantic and emotional, by playing on the carnal, emotive dimension of the body.


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