1. Concerto en Fa majeur BWV 1046

2. Concerto en fa majeur BWV 1047

3. Concerto en sol majeur BWV 1048

4. Concerto en sol majeur BWV 1049

5. Concerto en ré majeur BWV 1050

6. Concerto en si bémol majeur BWV 1051

image-1

Choreographer: Anne Teresa De Keersmaeker

When Anne Teresa De Keersmaeker worked on Violin Phase in New York in 1980, one piece of music alone besides Steve Reich’s was played in the studio: Bach’s Brandenburg Concertos. Thirty‑five years later, the choreographer continues her work with these pieces.“For me, Bach’s music contains movement and dance like none other and succeeds in associating extreme abstraction with a concrete, physical and even transcendental dimension, perhaps for that very reason.”A regular guest at the Palais Garnier, Anne Teresa De Keersmaeker has been invited back this season with her company, Rosas, to present a codified choreographic language that goes to the very heart of Bach’s music. Production: Rosas A coproduction Opéra national de Paris, Telmondis, Mezzo With the support of Le Centre national du Cinéma et de l'Image AniméeDirector: Louise Narboni © Opéra national de Paris - Telmondis - Mezzo - 2019

6BB---Anne-Van-Aerschot21

Les six Concertos Brandebourgeois_trailer

Les six Concertos Brandebourgeois



When Anne Teresa De Keersmaeker worked on Violin Phase in New York in 1980, one piece of music alone besides Steve Reich’s was played in the studio: Bach’s Brandenburg Concertos. Thirty‑five years later, the choreographer continues her work with 

Anne Teresa De Keersmaeker

The Six Brandenburg Concertos

In 1980, after dance studies at the Mudra school in Brussels and then at the Arts de New York, Anne Teresa De Keersmaeker, born in1960, created her first piece Asch. Two years later, she made her mark with Fase, Four Movements to the Music of Steve Reich. In 1983, she choreographed Rosas danst Rosas and founded her own dance company, Rosas, in Brussels. Based on these founding works, Anne Teresa De Keersmaeker has continued to explore connections between dance and music. She has gathered, with Rosas, a large panel of shows which take on the musical structures and scores from all eras, from early music to contemporary music and folk expressions. Her choreographic style is based on the formal principles of geometry and mathematical models, the study of the natural world and social structures. Between 1992 and 2007, Rosas was a resident dance company at La Monnaie in Brussels. During this time, Anne Teresa De Keersmaeker directed several operas and large productions which has, since, entered the repertoires of companies from all over the world. More recent works feature a simplicity that exposes the essential sources of her style: a space defined by geometry, a balance between a raw simplicity in the movement-generating principles and a rich, complex choreographic organization, a deep connection to the (musical or other) score in her own writing. In 1995, Anne Teresa De Keersmaeker founded the P.A.R.T.S.(Performing Arts Research and Training Studios) in Brussels, in association with La Monnaie.

At the Paris Opera: Rain, 2011; Verklärte Nacht, 2015; Die Grosse Fugue, 2015; Quatuor n°4, 2015; Drumming Live, 2017; Così fan tutte, 2017; The Six Brandenburg Concertos, 2019; L'Après-midi d'un faune, 2020

Marie Goudot

Robin-Haghi

Cynthia Loemij was born in 1969 in the Netherlands and studied at the Rotterdam dance academy, where she obtained her diploma in 1991. She joined the company Rosas after her studies and began her career with ERTS (1992) and Mozart / Concert Arias. Un moto di gioia (1992). She is credited with more than thirty creations or revivals of the company. In 2006, she performed in Nusch, a piece of the theatre troupe STAN. In 2009, she danced the duet Prélude à la Mer with Mark Lorimer, in the film of the same name by Thierry De Mey. She appeared in Kris Verdonck’s End and collaborated with Manon de Boer on the installations Dissonant and Mirror Modulation. With David Zambrano, she created a duet, as part of the performance Holes. Cynthia Loemij also taught at P.A.R.T.S. (Brussels), the Panetta Movement Centre and Movement Research (New York), Dance Works (Rotterdam), and for the Lisbon ballet. In 2011, she founded the company OVAAL with Mark Lorimer, and created the performances To Intimate and Dancesmith – Camel, Weasel, Whale. In 2020, she worked with Anne Teresa De Keersmaeker for the creation of West Side Story on Broadway. She also teaches the Rosas repertoire at Opera Ballet Vlaanderen and is a free-lance dancer and teacher.

At the Paris Opera: Mozart / Concert Arias. Un moto di gioia, 1993; Così fan tutte, 2017; The Six Brandenburg Concertos, 2019&nbsp;

Loemij.Cynthia © Anne Van-Aerschot

Michaël Pomero has been a figure of the choreographic European landscape for 25 years. Settled in Brussels since 2010, his eclectic career took him first in Switzerland (Rudra Béjart, Béjart Ballet), then in France (Ballet de l’Opéra de Lyon, John Jasperse) and in England (Russell Maliphant). Between 2006 and 2023, he worked closely with Anne Teresa De Keersmaeker, both as dancer and/or assistant to creation: The Song (2009), Vortex Temporum (2013), Die Weise von Liebe und Tod des Cornets Christoph Rilke (2015), Work/Travail/Arbeid (2015), Mitten wir im Leben sind/Bach6Cellosuiten (2017), Così fan tutte (2017), Somnia (2019), West Side Story (2020), Dark Red projects, 5Agon (2023). He co-founded with Marie Goudot and Julien Monty the Loge 22 collective, with which he took part in a dozen of creations, and the SPIDER international arts cooperative. Michaël Pomero has been a member of the P.A.R.T.S. faculty since 2016, in charge of composition. He teaches and gives workshops at the Paris Music and Dance Conservatoire, Summerschool and KASK. In 2022, he co-founded YOUNGSTERS, a platform based in Brussels gathering international artists committed to making art accessible to young people in Brussels. He is also part of a European research group on diversity in higher dance education in Europe.

At the Paris Opera: Così fan tutte, 2017; The Six Brandenburg Concertos, 2019&nbsp;

Micha l-Pomero

Jason-Respilieux

Igor-Shyshko-

Luka-Svajda

Jakub-Truszkowski

Thomas Vantuycom

Samantha van Wissen was born in 1970 in the Netherlands. She joined the Rosas company after her training at the Rotterdam Dansacademie. She took part in many creations and works of the Rosas repertoire ERTS (1992), Mozart / Concert Arias. Un moto di gioia (1996), Amor Constante más allá de la muerte (1994), Verklärte Nacht (1995), Woud (1996) et Work/Travail/Arbeid (2015). Since 1997, she has been a member of Thomas Hauert’s ZOO company. She has appeared in the children's plays Drie Zusters and Droesem, directed by Inne Goris (Zeven) and has worked with François Gremaud for the performance Giselle. She received the award for Best Performer of the 2023 season and the prize from the professional union of theatre, music and dance critics for her role in Giselle. In 2024, she works with Marc Vanrunxt for Freie Form. Samantha van Wissen leads the P.A.R.T.S. workshops and other training.

At the Paris Opera: Mozart / Concert Arias. Un moto di gioia, 1993 ; Così fan tutte, 2017; The Six Brandenburg Concertos, 2019&nbsp;

Samantha_Van_Wissen_by_AnneVanAerschot

Sandy-Williams

Sue-Yeon-Youn

In recent years, Amandine Beyer has established herself as a benchmark interpreter of the Baroque violin repertoire. Her recording of Bach's Sonatas and Partitas has renewed the vision of this corpus, to critical acclaim (Diapason d'or de l'année, Choc Classica de l'année, Editor's choice de Gramophone, Prix Académie Charles Cros, Excepcional de Scherz). Her work on these works continued with Partita 2, written and danced by Anne Teresa De Keersmaeker and Boris Charmatz. Amandine Beyer is programmed in prestigious venues and renowned theaters (Théatre de la Ville, Théâtre du Châtelet, Bozar, Festival de Sablé, Innsbruck Festwochen, Vienna Konzerthaus... ), and divides her musical activity between the various groups in which she participates: the Cornets Noirs, the duo with Pierre Hantaï, Kristian Bezuidenhout, or Laurence Beyer and her own ensemble Gli Incogniti, with whom she has made several recordings (Les Apothéoses de Couperin, the complete Concerti Grossi by Corelli, Vivaldi's Four Seasons, a program dedicated to Nicola Matteis), all of which have received enthusiastic reviews. Her other passion is teaching: for many years she taught at the ESMAE in Porto (Portugal), as well as numerous master classes all over the world (France, Brazil, Taiwan, USA, Canada, Italy). Since 2010, she has been professor of baroque violin at the Schola Cantorum Basiliensis in Switzerland.

Creatives

Cast

Extras

Choreographer: Anne Teresa De Keersmaeker

Show more

The characters

The acts

Creatives

Choreographer: Anne Teresa De Keersmaeker