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Ballet by John Neumeier
free after Henrik Ibsen

 

Music
  Alfred Schnittke
Commission Score for the Hamburg State Opera
New Choreography
Staging
  John Neumeier
Set
Costumes
  Jürgen Rose

 

World Premiere
The Hamburg Ballet, Hamburg, January 22, 1989

 

Original Cast    
Peer Gynt
  Ivan Liska
Solveig
  Gigi Hyatt
Aase, Peer Gynt's Mother
  Anna Grabka
The Other - Ingrid,
The green One, Anitra
  Chantal Lefèvre
 
Peer's Aspects
   
Anima
  Gigi Hyatt
Childhood
  Patrick Becker
Flying   Jeffrey Kirk
Erotic   Jean Laban
Daredevil   Eric Miot
Aggression   Gamal Gouda
Doubt   Stephen Pier

 

 

2015 Production

Premiere
The Hamburg Ballet, Hamburg, June 28, 2015

 

Original Cast    
Peer Gynt
  Carsten Jung
Solveig
  Alina Cojocaru
Aase, Peer Gynt's Mother
  Anna Laudere
The Other - Ingrid,
The green One, Anitra
  Carolina Agüero
 
Peer's Aspects
   
ooo   Marc Jubete
ooo   Sasha Riva
ooo   Karen Azatyan
ooo   Alexandre Riabko

 

 

On Tour
1990 Paris, Moscow, Leningrad

 

 

Synopsis
 

PROLOGUE Into the world

Peer has many aspects

 

FIRST ACT Norway

The young Peer and his mother Aase Peer’s fantasy – the ride through the air

Dance on the Haegstadhof – Ingrid’s wedding Peer sees Solveig
he cannot have her, and kidnaps the bride

Flight into the mountains
Peer has Ingrid, and wants Solveig
Solveig searches for Peer, Aase calls for him

Phantoms or reality – the troll world
Peer meets The Green One
he allows himself to be seduced, but does not conform

Solveig rings the bells
Roundabout or through the middle to her Peer stands in his own way

Alone, high up in the mountains Peer builds his house

Solveig comes to him

Disruption – the past catches up with Peer he cannot stay

Aase is destitute
Peer comes to her, she dies Peer leaves

 

SECOND ACT Out in the World – Illusions

Auditions for a show
the beginner Peer is noticed

and is hired
Revue theatre – “Rainbow Sextet” Peer draws attention to himself he is successful

Music Hall – “The Slave Handler” Peer builds his career

Premiere party with the film star Anitra Peer is the centre of attention
and courts Anitra

At the cinema
Peer’s star rises – Anitra’s sinks

Premiere party with Peer Gynt the famous film actor
he is the new star

At the film studio
Peer films “Caeser of the World” he is a megalomaniac,
and loses control

Asylum nightmare Peer has lost himself

 

THIRD ACT Return

Homecoming Memories Ingrid’s funeral Solveig waits

Peer searches for himself and finds Peer everyman

 

EPILOGUE Out of the World

Solveig recognises Peer Peer recognises Solveig

 

 

Peer Gynt certainly must rank musically as the most substantial fulllength ballet d'action commissioned since Prokofiev's Romeo and Juliet of 1938. The ailing fifty-year-old composer, of German descent though of Soviet citizenship, is considered by many to be the most important Soviet composer of our time.

Musically Peer Gynt stands as the cross point of two different traditions: the symphonic lineage, stretching from Beethoven through Mahler, and the development of the big action ballet, proceeding from Tchaikovsky through Prokofiev. The landscape of sounds conjured up by the three-hour ballet - freewheeling its way through centuries and styles and culminating in an "unending adagio" apotheosis of almost thirty minutes' duration - is truly overwhelming. Philosophically the ballet aspires to heights that even Béjart has never tried to approach. For it is Peer Everyman Gynt who is at the heart of Neumeier's spiritual odyssey and I was not the only observer who sensed that it may be Peer Neumeier Gynt who is the secret driving force behind this monumental quest.

In Jürgen Rose's evocative and spacious sets, sparsely furnished (he has designed the elaborate costumes, too), we accompany Peer from a prologue in which Mother Aase gives birth to him along with figures representing his seven aspects to his recognition that his true identity lies in Solveig's love for him and their final union among a multitude of lovers in the Elysian Fields.

The elaborate story is clearly rendered as a man's quest for his identity. Even if I myself cannot follow Neumeier in his claim that Peer represents Everyman, I am full of admiration for the astonishing range of choreographic means he mobilizes, from the musicless modern dance sequence of Peer's birth, via the Norwegian folk idiom of the wedding, the too harmless carnival antics in the Kingdom of Trolls, the showbiz routines of Peer's career as a dancer, an the bizarre movements of the lunatics, to the erotically fueled pas de deux with the various manifestations of the Other Woman and the pure and crystal clear lines of his encounters with Solveig.

This is by far the most ambitious undertaking of Neumeier's career, going even beyond his St. Matthew Passion, and I find that on the whole he has magnificently succeeded.

Horst Koegler, Dance Magazine (1989)

 
 

 
Photos
Synopsis

1 intermission
3 hours

Season 2015/2016

Hamburg State Opera
September 30
October 6, 8, 11
2015
July 6
2016

Calendar

Prices
4,- bis 89,- € (B)
4,- bis 79,- € (C)

 
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