30. AUGUST 2025

Balletgalla

PART 1

Hamburg Ballet ♦ Spring and Fall

In a ballet set to Dvǒrák's music, a specific story isn't important. What's more important is the theme of movement, and I see this in the constant alternation of tension and release within the music, a musical line that repeatedly collapses, only to be rebuilt. The title is borrowed from a poem by Gerard Manley Hopkins, because "spring" means not only spring, but also leap, and "fall" not only autumn, but also fall. And that, for me, is the content of the ballet: leap, in which all forces are gathered to ascend, and fall in the sense of a release of all forces, of relaxation that leads back to earth. When I think about the ballet today, it seems to begin with the combined power of three men in one man. It ends with the division—the fusion—of this power (yin and yang) into man and woman... its finale is then open to all possibilities, and they storm toward the audience...” - John Neumeier

Musik: Antonín Dvořák 
Koreografi: John Neumeier 
Akkompagnement: Tivoli Copenhagen Phil

Kammerballetten ♦ Closer

Closer is an intense and sensual pas de deux that explores the physical and emotional intimacy between two bodies.

The choreography is set to Philip Glass’s Mad Rush, which supports the piece's rhythmic and lyrical movements. In Closer, Millepied works with a minimalist and expressive language of movement, where the motions seem to arise organically and in close dialogue with the music.
The piece exemplifies Millepied’s ability to balance classical and modern styles, inviting the audience to experience dance in a fresh and vibrant way.

Music: Philip Glass, Mad Rush
Choreography: Benjamin Millepied
Accompaniment: Trio Vitruvi

Kammerballetten ♦ Unravel 

Kristian Lever’s Unravel is an intense and emotional pas de deux that explores themes of separation, longing, and connection.

The piece moves in a minimalist and expressive movement language, where the dancers seem to be bound by invisible forces that both create closeness and separate them.
The music, Maurice Ravel’s Pavane pour une infante défunte, supports the work’s melancholic and dreamy character and intensifies the feeling of longing and loss. Unravel is a poetic and visually powerful piece that invites the audience to reflect on the emotional bonds that connect and divide us.

Music: Maurice Ravel
Choreography: Kristian Lever
Accompaniment: Trio Vitruvi

Kammerballetten ♦ Oenothera

Tobias Praetorius’ Oenothera was first performed in 2021 as part of The Chamber Ballet program at The Royal Danish Theatre and was praised for its spontaneous and musically intuitive choreography, which radiated a distinctly feminine and immediate expression.

In Oenothera, Praetorius works with a minimalist and expressive movement language, where the choreography seems to arise organically and in close dialogue with the music. This approach creates a piece that is both sensual and present — a work that draws on the aesthetics of classical ballet while simultaneously challenging and renewing its conventions.
The piece is accompanied by Trio Vitruvi, and the interplay between music and movement is central to Oenothera. It is a work that showcases Praetorius’ ability to balance the classical and the contemporary, inviting the audience into an open, vibrant, and poetic dance experience.

Music: Franz Schubert
Choreography: Tobias Praetorius
Accompaniment: Trio Vitruvi

National Ballet of Canada ♦ On the Nature of Daylight

In On the Nature of Daylight, Dawson explores the idea of love as both something ordinary and extraordinary.

The piece portrays two individuals who pass each other without meeting at first, and later find one another in an intimate moment where they let go of their identities and reveal their deepest emotions. This narrative reflects on the serendipity of encountering a soulmate and the love that can arise when it is least expected.

Music: Max Richter
Choreography: David Dawson
Accompaniment: Tivoli Copenhagen Phil
Stage Manager: Alex Wommack

Royal Ballet London ♦ Romeo og Julie - Balcony pas de deux

MacMillan’s Balcony Pas de Deux from Romeo and Juliet is an intense and emotional moment in which the young lovers meet in secret.

The choreography combines lyrical, flowing movements with an underlying tension that reflects both the longing of love and the danger surrounding their encounter.
With a fine balance between classical technique and dramatic expression, the pas de deux conveys tenderness, hope, and uncertainty.
Set to Prokofiev’s passionate music, MacMillan unfolds a moment of beauty and vulnerability, with Romeo and Juliet’s love at the center — caught between dream and reality.

Music: Sergey Prokofiev
Choreography: Kenneth MacMillan
Accompaniment: Tivoli Copenhagen Phil

PART 2

Tivoli Balletteater ♦ On Down the Road

On Down the Road reflects on the journey—not as a path to a destination, but as the destination itself.

To arrive is to realize you have been arriving all along. The road, with its turns and returns, is where meaning lives.

Music: Fanfare Ciocarlia, Shantal
Choreography: Kevin O'Day
Accompaniment: Recorded music

National Ballet of Canada ♦ islands

Emma Portner’s islands is an innovative ballet duet for two women that challenges classical norms and explores physical and emotional intimacy.

In this piece, the two dancers share a single pair of trousers, creating a visual illusion of entwined bodies that twist and interweave in a complex choreography. Portner, making her debut as a ballet choreographer with this piece, brings her background in contemporary dance and commercial choreography into the classical form, resulting in a dynamic and expressive style without the use of pointe shoes. The music, an electronic composition, supports the work’s modern aesthetic and emotional depth.

Music: Brambles, Guillaume Ferran, Forest Swords, Lily Konigsberg, and Bing & Ruth
Choreography: Emma Portner
Accompaniment: Recorded music
Stage Manager: Alex Wommack

New York City Ballet ♦ Diamonds pas de deux

Diamonds Pas de Deux is part of George Balanchine’s ballet Jewels from 1967, created for the New York City Ballet.

This pas de deux is the highlight of the Diamonds section, which is inspired by The Russian Imperial ballet tradition. Set to music from Tchaikovsky’s Symphony No. 3, the piece combines classical elegance and technical precision in a magnificent tribute to the language of romantic ballet.

Music: Pyotr Ilyich Tchaikovsky
Choreography: George Balanchine
Accompaniment: Tivoli Copenhagen Phil

Dutch National Ballet ♦ Don Q pas de deux

The pas de deux in Alexei Ratmansky’s Don Quixote is a technically demanding and dramatic sequence that takes place during the work’s central romantic moment between the two main characters, Kitri and Basilio.

Ratmansky preserves the classical structure from Marius Petipa’s original choreography but adds modern nuances that highlight both the passionate and humorous sides of their relationship. The pas de deux features dynamic lifts, impressive pirouettes, and a playful, flirtatious interaction that underscores the characters’ lively personalities and their intense love.
The music by Ludwig Minkus, which accompanies this sequence, is filled with rhythmic drive, enhancing the dramatic intensity of the scene.

Music: Ludwig Minkus
Choreography: Alexei Ratmansky, after Marius Petipa and Aleksandr Gorsky
Accompaniment: Tivoli Copenhagen Phil

Hamburg Ballet ♦ Adagietto

Adagietto was originally choreographed in 1975 by Neumeier as an independent pas de deux titled Epilogue, created for Natalia Makarova and Erik Bruhn and premiered at the New York State Theater. This Adagietto later became part of Neumeier’s full choreography to Gustav Mahler’s Fifth Symphony, which premiered with Hamburg Ballet in 1989.

Music: Gustav Mahler 
Choreography: John Neumeier 
Accompaniment: Tivoli Copenhagen Phil