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Mixed Repertory Program

April 2, 2019 at 7:30 pm
Northrop Memorial Auditorium
Minneapolis, Minnesota

Mixed Repertory Program

Northrop favorites since their first appearance in 1956, ABT returns to the venue in a richly varied repertory program that showcases the passion, innovation and athleticism that the Company is renowned for. Alexei Ratmansky’s Songs of Bukovina is set to music by Leonid Desyatnikov, full of folk-inspired choreography with a jubilant feel. Other Dances by Jerome Robbins pays homage to Chopin’s romanticism and the purity of classical ballet technique, while Twyla Tharp’s In the Upper Room, set to one of Philip Glass’ propulsive scores, is 40 continuous minutes of sheer, exuberant motion.

Running Time: 131 minutes

Songs of Bukovina

Choreography by Alexei Ratmansky
Music by Leonid Desyatnikov (Excerpts from "Bukovinian Songs [24 Preludes for Piano]")
Costumes by Moritz Junge
Lighting by Brad Fields

Running Time: 23 minutes

Join Artist in Residence Alexei Ratmansky on a stroll through a festive village gathering, full of jubilant color and cheer. Set to the music of Leonid Desyatnikov, Songs of Bukovina rhythmically explores the folk traditions of the Carpathian Mountains.

Other Dances

Choreography by Jerome Robbins
Staged by Isabelle Guérin
Music by Frédéric Chopin
Costumes by Santo Loquasto
Lighting by Nananne Porcher

Running Time: 20 minutes

Set to a waltz and four mazurkas by Frédéric Chopin, the plotless classical character pas de deux was created by Jerome Robbins for a Gala evening for the Library for the Performing Arts at Lincoln Center at the Metropolitan Opera House on May 9, 1976. The piece was first performed by Natalia Makarova and Mikhail Baryshnikov and staged for American Ballet Theatre by Isabel Guerin.

In the Upper Room

Choreography by Twyla Tharp
Staged by Shelley Washington
with Nancy Raffa
Music by Philip Glass
Costumes by Norma Kamali
Lighting by Jennifer Tipton

Running Time: 39 minutes

A ballet in nine parts, In the Upper Room is one of ABT’s most impressive performances. Somewhere between ballet and modern dance, Tharp’s choreography calls for a power and grace from the dancers that demands attention. Bold kinetic movements open into Philip Glass’s propelling original score, creating a transcendent experience for both audience and dancer.