Home > Companies > KADER BELARBI - BALLET DU CAPITOLE

KADER BELARBI - BALLET DU CAPITOLE

Kader BELARBI

The Ballet du Capitole is a ballet "of today" in which dance is fed by a dialogue between different arts, times and styles. Ballet's vocation is to illustrate the repertoire's great classical works at the highest level, with all the demands imposed by respect for tradition. However, its vocation is also to present works that have been revisited, imaginary works and more personal writings with that same degree of rigour.It is with an artist's spirit and work that I seek to build a radiant identity for the Ballet du Capitole de Toulouse, centring on a team and a theatre, so that the art of dance can participate fully in life.

Kader Belarbi

 

Valser © David Herrero 

KADER BELARBI - BALLET DU CAPITOLE

Programs

VALSER

Premiere by the Ballet du Capitole, June 18th 2014, in Toulouse


Choreography : Catherine Berbessou

Assistant : Federico Rodriguez Moreno 

Music : Jean-Sébastien Bach, Les Maîtres-tambours du Burundi, Dario Moreno, Giù per la mala via (louange anonyme du XVème siècle) and other tango composors

Scenography and lights : Marc Oliviero

Soundtrack : Anita Praz

Costumes : Cidalia Da Costa

Duration : 1h15

Piece for 8 dancers

 

Co-production: Les Gémeaux - Scène nationale de Sceaux/ Cie Quat'Zarts. With the support of the Adami, the caisse des dépôts et consignations / the AFAA (Association Française d'Action Artistique) / Ministère des Affaires Etrangères and the DRAC Ile de France / Ministère de la Culture et de la Communication. Piece created during the residence of the company in Sceaux, from September 1998 to March 1999.

 

Despite its title, Waltzing is a tribute to the tango. In a ring and on dry land, men and women seek and find each other during a milonga dance. Choreographer Catherine Berbessou is convinced that the tango, which she associates with bullfighting, is a battle, and Waltzing therefore portrays her concept of «a combative form of tango» and expresses her «conviction that fighting can be a celebration». In this piece, she has sought to create order from chaos, to play on ambivalence, and thus produce feelings that may seem to be incompatible in a single outpouring: violence in affection, desire in repulsion, waltzing in tango dancing... All of which is contrary to expectations.

 

LA REINE MORTE

Music : Pyotr Ilyitch Tchaïkovski,

Choreography : Kader Belarbi,

Set : Bruno de Lavenère,

Costumes : Olivier Bériot,

Lighting: Sylvain Chevallot

Length : 2h15 (intermission)

Piece for 35 dancers

About this play by Montherlant, Maeterlinck believes that his writing "is enough to justify a life". This monument of drama tells the true story of Don Pedro of Portugal and his illegitimate wife, ines de Castro who, strangely, became queen after her death. Adapting this overwhelming stroy into a ballet, the french choreographer Kader Belarbi, "convinced that tragedy is one of the keys to decipher the enigma of human behavior and relationships between people", tackles the theme of mad love thwarted by reason of State. In a neoclassical choreography, he reveals all the beauty and the engravings of the "dagger with the damascened hilt, black and gold", to borrow the words of Montherlant.

LA BETE ET LA BELLE

The Beast and the Beauty

Created by Les Grands Ballets Canadiens in Montreal, on October 20th, 2005 at Théâtre Maisonneuve in Montreal.


Choreography and scenography : Kader Belarbi

Assistant : Susanna Campo

Adaptation based on the tale The Beauty and the Beast : Kader Belarbi and Josseline Le Bourhis

Music : Louis-Claude Daquin, Franz Josef Haydn, György Ligeti, Maurice Ravel Set and Costumes : Valérie Berman

Lighting : Marc Parent

Length : 120 minutes with intermission

Piece for 35 dancers

Ballet in two acts and six scenes

 

Adults are often ignorant of what children already know: fairy tales, draped in marvellous colours, conceal darker truths. Beauty and the Beast is one such tale, expressing the fear of a humble young girl, promised by her father to a monster - half man, half animal - in exchange for a rose stolen from the garden of this terrible king. Beauty, terrified to begin with, discovers little by little that behind this frightening appearance lies a beast so noble and good that she soon starts to feel empathy for this strange creature that will lead her to love him as he is. I didn't simply want to "illustrate" (in images and in dance) Mme Leprince de Beaumont's tale, which remains fairytale-like and ends well (they marry, etc.) Josseline Le Bourhis and I wrote a scenario that offers a variation on the Beauty and the Beast theme. By inverting the title, La Belle et la Bête [The Beast and Beauty], we wanted to shift the intention, by producing this fable as a symbol of rejection and acceptance of difference. My artistic career as a dancer is marked by interpretations of awkward, "animalistic" beings (Quasimodo in Notre-Dame de Paris, Rothbart in Swan Lake, a wolf in Roland Petit's eponymous ballet, Nijinski's faun, etc.). Through them, I was able to understand the feelings of these rejected beings "on the fringes". The Beast thus reveals a certain animality within all of us. The history of a transgression, where the Beast shows more humanity than the men, and where Beauty overcomes her inhibitions, to find the path that the heart and body must tread in order to open up to love. Faced with Beauty's approach to love, both sentimental and sensual, the Beast does not wait like a spurned lover in the hope that Beauty may one day have feelings for him. This very human Beast, "too human", helps Beauty to become aware of the conformism that surrounds her, to escape and become herself. Veering between her desires and repulsion with regard to this Beast, Beauty will come to incarnate attraction for the sake of pleasure and, finally, emancipation from social conventions. The Beast serves as a catalyst in this journey of initiation which presents itself as a new Carte du Tendre (a map on the theme of love). The choreography - supported by the surprising scenery and costumes of Valérie Berman - strives to search for movements that are in harmony with the unusual, distilled atmosphere, in particular through the remarkable music of György Ligeti. For me, this composer is a painter of sound. I explored all of his musical work and its universe arouses strong emotions in me, bringing to mind images and visions. Advised by the composer Philippe Hersant, I started with a selection of extracts of the works of Ligeti, and added Louis-Claude Daquin, Franz Josef Haydn and Maurice Ravel to the musical montage. The ballet La Bête et la Belle should lead us into a tender and violent dream world that has something of the enchanting nature of fairy tales.

Kader Belarbi

 

LA FILLE MAL GARDEE

or Il n'y a qu'un pas du mal au bien

Two actes

Choreography: Ivo Cramer (adapted from Dauberval)

Music : anonymous score of 1789 arranged by : Charles Farncombre

Set, costumes and vaudeville lyrics : Dominique Delouche

Lights : Jean-paul Asquié

Length : 90 minutes

Piece for 20 dancers

Created for the Ballet de l'Opéra de Nantes in 1989, on the occasion of the bicentenary celebrations of the French Revolution, this Fille mal gardée (the poorly-watched girl) stands out from other productions in that it is as faithful to the original as possible. Jean-Paul Gravier, at the time director of the Ballet de Nantes and the man behind the project, wanted to rediscover the traces, the spirit, and if not the letter of La Fille mal gardée of 1789. After extensive historical and choreographic research, he was able to submit a fully-developed project to Ivo Cramér, a Swedish choreographer and specialist in 18th century dance, who accepted the challenge and offered us this Fille mal gardée, entirely in the spirit of the1789 ballet. Leaning on anonymous popular music (later replaced by the versions of Hérold and Hertel), the 1789 score, rediscovered by Ivo Cramér in Stockholm library, is annotated by Dauberval himself and provided all of the necessary instructions to recreate the mime. Dominique Delouche was responsible for recreating the décor and costumes using documents dating back to the era, including the 1789 Inventory of the Grand-Théâtre de Bordeaux

 

LE CORSAIRE

Word Premiere May 16, 2013 at Théâtre du Capitole, Toulouse (France)

Ballet in two acts

Argument by Kader Belarbi, inspired by Lord Byron's poem, The Corsair (1814)

 

Choreography : Kader Belarbi
Music : Adolphe Adam, Anton Arensky, David Coleman, Edouard Lalo, Jules Massenet, Jean Sibilius
Scenography : Sylvie Olivé
Costumes : Olivier Bériot

Light designer : Marion Hewlett

Length : 120 minutes

Piece for 35 dancers

From the moment it was published in 1814, the huge success of Lord Byron's Corsair would help to be a source of inspiration for the artists and the public's taste for exoticism throughout the 19th century. In 1829, in the preface of Les Orientales, Victor Hugo confirms: "The result of all this is that, regarding either its image or its idea, the Orient has become, for the intellect as well as the imagination, a sort of general preoccupation".

Kader Belarbi reorganised the narrative coherence of the initial poem by creating a major epic, academic as well as orientalist ballet. The choreography plays on the virtuosity of the set pieces and the solo variations, the spirit of romantic ballet and its interlacing, the twists and turns of the action and the exoticism of the amusements.

 

 

DANS LES PAS DE NOUREEV

An evening of excerpts from great ballets choreographed by Rudolf Nureyev.

On 6 January 1993, the exceptional dancer Rudolf Nureyev died in Paris. Twenty years have passed since that day, and this is an opportunity to pay tribute to the rebel, the dancer and the choreographer that he was. Kader Belarbi, dancer at the Paris Opera during Nureyev's time, worked closely with him and wishes to share this great figure of dance. As a dancer of the Nureyev generation, Kader Belarbi gratefully remembers Nureyev, the unusual dance director, who was consecrated at the Paris Opera from 1983 to 1989.

41 dancers - 54 persons on tour

New program - November 2013

 

 

La Bayadère l Act III Le Royaume des Ombres

Music: Ludwig Minkus

Arrangements: John Lanchbery

Choreography: Rudolf Nureyev after Marius Petipa

Set : Ezio Frigerio

Costumes : Franca Squarciapino

Lights : Vinicio Cheli adaptated by Patrick Méeüs 

Duration: 35 minutes

The evening of ballets will open with a hypnotic and eerie procession of the Shades from Act III of La Bayadère. This tribute to Rudolf Nureyev is symbolic in that he considered this act, The Kingdom of the Shades, to be the absolute masterpiece of Marius Petipa, his favourite choreographer. Furthermore, it was as the male lead of this ballet (Solor) and in this act, that he debuted on the stage of Palais Garnier on 19 May 1961 at the age of 23. And it was on that same stage that he attended the Première of his La Bayadère on 8 October 1992, which turned out to be his final ballet. He died three months later at the age of 54. With this La Bayadère marking the beginning and end of his career in the west, Rudolf Nureyev creates a synthesis of the transmission of ballet over several generations; the original by Marius Petipa (1877) was enhanced by numerous revisions added by the dancers and choreographers of the Maryinski, over the course of more than a century.

 

The Sleeping Beauty l Act III Pas de deux

Music: Pyotr Ilyich Tchaikovsky

Choreography: Rudolf Nureyev after Marius Petitpa

Costumes : Franca Squarciapino

Lights : Vinicio Cheli adaptated by Patrick Méeüs 

Duration: 12 minutes

The Sleeping Beauty is a key work in Nureyev's career, with him qualifying it as the "ballet of ballets": a huge success for Marius Petipa, it is also the ultimate expression of the classical style of the Maryinski in Saint Petersburg. The pas de deux in Act III between Aurora and Prince Désiré, also known as the Wedding pas de deux, is a concentrate of classical precision, virtuosity, technical sharpness and unsurpassable elegance.

 

 

Romeo and Juliet l Acte I Love scene

Music: Sergei Prokofiev

Choreograhy: Rudolf Nureyev

Costumes : Ezio Frigerio and Mauro Pagano

Duration: 10 minutes

The love scene in Act I of Nureyev's Romeo and Juliette corresponds to the traditional balcony scene. At the end of the ball, Romeo and Juliette meet at night in the Capulets' garden and exchange vows of love. Extremely lyrical, this scene is extenuating for dancers because of its extreme length and many steps that must be strung together almost without breathing.

 

 

Swan Lake l Act III Pas de trois Black Swan

Music: Piyotr Ilyich Tchaïkovsky

Choreography: Rudolf Nureyev after Marius Petipa and Lev Ivanov

Costumes : Franca squarciapino

Lights : Vinicio Cheli adaptated by Patrick Méeüs

Duration: 14 minutes

The pas de trois in Act III of Swan Lake doesn't exist in the original version by Petipa and Ivanov. This pas de trois between Odile, the Black Swan, Prince Siegfried and the Magician Von Rothbart is an innovation by Nureyev who, concerned with bringing balance to the characters, gives von Rothbart an opportunity to stand out in a brilliant variation.

 

 

Don Quichotte l Act III

Music: Ludwig Minkus

Arrangements: John Lanchbery

Choreography: Rudolf Nureyev after Marius Petipa

Set : Emilio Carcano

Costumes : Joop Stokvis

Lights : Vinicio Cheli adaptated by Patrick Méeüs

Duration: 30 minutes

With Don Quixote, we again salute the choreographer but also the dancer: the role of Basilio had always been Nureyev's signature role because, unlike the roles of princes of the repertoire, it gives him an opportunity to express his core personality with his sense of humour, vivacity and love of life. This Act III, which closes the ballet, is the Fiesta Act with, among others, the wedding of the two protagonists, the barber Basilio and the innkeepers' daughter Kitri, after they have deceived their "opponents".

Against the backdrop of local colour and ornate costumes designed by Nicholas Georgiadis, Rudolf Nureyev weaves a talented, vivacious and playful choreography.
Rudolf Nureyev brought a breath of new life to the ballet of the second half of the 20th century. His precepts and intentions still hold true today. He sometimes admitted: "when evening comes, I don't know what to do with myself if I'm not on stage". This ballet evening is an appointment with Nureyev and an important event for the Ballet du Capitole.

 

LES MIRAGES - LES FORAINS

LES FORAINS (the strolling players)

 

Music: Henri Sauguet

Choreography: Roland Petit

Argument : Boris Kochno

Scenery and costumes : Christian Bérard

A production in Paris, Champs Elysées Theatre in 1945

 

Argument

A group of fairground workers, pulling their cart, stop and raise their shack onto the platform. The artists, who you can see silhouetted, first rehearse their act behind a lit-up canvas. Then, the performance begins and people being filing in: a little girl acrobat, the "art visions", the Clown, the Siamese Sisters, the Illusionist and the Sleeping beauty. Just when the quest begins, the curious ones who had gathered around them shirk away, and the little acrobat's begging bowl remains empty. The fairground people dismantle the shack, pile up their herds and set off for the unknown. The square remains empty, deserted.

According to Jean Cocteau, Les Forains is "a real celebration of youth and dance". Full of inventions, this ballet, which combines a number of talented people for the libretto, the music and the stage design is what made the Champs-Elysées Ballets by Roland Petit famous.

 

 

LES MIRAGES (the illusions)

 

A fairyland of choreography in one act on a libretto by Cassandra and Serge Lifar

Music: Henri Sauguet

Choreography: Serge Lifar

Scenery and costumes: Cassandre

A production in the Paris Opera house on 15 December 1947

 

Argument

In her palace, the Moon awakes. The Queen of the Night, still half-asleep, leaves her bed of clouds and led by the shepherd who steers her in her nocturnal vagrancy, leaves her uninhabited dwelling behind her. A young man slips secretly into it. His shadow, following him step by step, makes him go on his way. But he pushes the importunate back: he has found the key to his dreams on the cloud abandoned by the Moon. He dashes towards the palace, jiggles the lock and frees the Girls of the Night. They will open the doors of illusions - dreams, riches, love - to him. But the object of his desire still eludes him. Coming across a mysterious creature, he approaches, she flees... It's a chimera. Traders, accompanied by courtesans, come forward to charm him, and he gives them all his money for the priceless object they lure him with a multi-coloured chest, like the ones found at the bottom of the oceans and holding treasures. The traders withdraw, laughing at how they fooled him. When the young man opens the chest, only his shadow emerges. Furious, he dispels it. Attracted by the uproar, the Girls of the Night reappear. A wonderfully beautiful woman bursts forth from their group. The young man declares his love for her: she faints in the arms of her lover. Then, the angels of death take her with them. With the dawn of a new day, the young man leaves. His shadow is still following him; the only companion he finally recognises, the solitude. His solitude.

 

 

GISELLE

Choreography and stage : Kader Belarbi after the choreography of Jules Perrot and Jean Coralli

Music Adolphe Adam 

Sets : Thierry Bosquet 

Costumes : Olivier Bériot 

Lights : Sylvain Chevallot 

 

World creation by the Capitole Ballet

.

See all companies