next@90 festival serves up three weeks of forward-looking choreography.
Robert Garland likes what he sees during San Francisco Ballet rehearsals of his new work, “Haffner Serenade,m” one of nine new works the company is presenting as part of its next@90 festival.San Francisco Ballet pops open the champagne — and breaks out the ballet shoes — to celebrate its 90th birthday with the next@90 Festival beginning Jan.
19. The opening night gala will include both traditional ballet pieces and excerpts from some of the nine new works that will premiere at the festival. The following three weeks, rotating three different programs, offers an intoxicating mix of choreographic visions for the future. With longtime company artistic director and principal choreographer Helgi Tómasson’s retirement last summer, new artistic director Tamara Rojo now leads the company. Tómasson initiated the festival during his tenure, so next@90 gives him a last word, and lets him introduce to audiences what may lie ahead as Rojo takes the reins and invites her own pick of dance makers. Prepare to be surprised. The music alone ranges from classical to contemporary, but with choreographic styles that don’t necessarily reflect those periods. Robert Garland, artistic director of the Dance Theatre of Harlem, employs several movements from Mozart’s “Haffner Serenade” in his piece of the same name. He immerses the dancers in an exacting classical ballet style replete with exquisite footwork, yet injecting some West African dance elements as well. The first movement of the Symphony No. 2 by Mahler is the backdrop for “Resurrection,” by Jamar Roberts, his first narrative work. Both a longtime dancer and former resident choreographer with the Alvin Ailey American Dance Theater, Roberts also has a background in visual arts and is creating the scenic elements himself. Two violin concertos from the mid-20th century by Stravinsky and Britten are showcased in different programs. Yuri Possokhov, former principal dancer with the S.F. Ballet and currently its choreographer in residence, had performed Balanchine’s adaptation of Russian composer Stravinsky’s music many times and loves it. Now he has the chance to express his own ideas in his “Violin Concerto.” Looking back at his work over more than 20 years, clearly he won’t be making a copycat version. Bridget Breiner, artistic director and principal choreographer of Staatsballett Karlsruhe in Germany, chose Britten’s Violin Concerto to accompany her first work for S.F. Ballet, “The Queen’s Daughter.” Breiner doesn’t develop her take on thr biblical story of Salome in the Oscar Wilde vein, with the daughter of Herodias as a seductress, but rather delves into the relationship between a young girl and her mother. Ravel’s famous “Bolero” was originally a ballet commissioned by dancer Ida Rubinstein, then choreographed by Bronislava Nijinska. Now Yuka Oishi tries her hand at the iconic score for her own “BOLERO” with additional music by composer Shinya Kiyokawa. Two simultaneous life-changing events, the birth of her son and the death of a loved one, sparked her desire to forge a ballet of energy and not heartbreak. Val Caniparoli’s work marks his 50th year with S.F. Ballet as a dancer, principal character dancer, and choreographer of more than 20 ballets for the company. His latest creation, “Emergence,” is set to Concerto for Cello and Strings by Dobrinka Tabakova. Caniparoli says that during the pandemic, artists were using their work to address the many problems caused by isolation and fear. Now it’s time to look at how we are trying to shape our lives in relation to each other as we move forward. Nicolas Blanc, former S.F. Ballet principal dancer and current rehearsal director/coach and choreographer at the Joffrey Ballet, contributes his “Gateway to the Sun” to the festival. Set to Anna Clyne’s “DANCE” for cello and orchestra from 2019, he was inspired by five lines of poetry by the 13th-century poet Rumi, which Clyne excerpted for her score. They describe dance as liberation and solace for people.Houston Ballet and Nederlands Dans Theater, now transplanted in San Francisco, choreographs her second repertory work, “MADCAP,” for S.F. Ballet, set to a score by Pär Hagström. Rowe’s love of storytelling and theatrics, along with Hagström’s eerie, carnival-inspired music, orchestrated by Philip Feeney, informs the piece and offers insight into the anatomy of a clown. In a new twist for ballet dancers, Rowe has performers using their voices — singing, percussive hisses and hoops and hollers — throughout the piece.composer Tanner Porter to develop the score for “Kin”, her first work for S.F. Ballet.enveloped in a shifting power dynamic, pressured by the limiting nature of time.Where:
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