Choreographies

2022

Schütz Universum

A new interdisciplinary work between the ensemble Auditiv Vokal, the music collective Topograph and dancers as part of the festival celebrating the 350th anniversary of Heinrich Schütz's death.

Schwanengesang

A new interpretation of Franz Schubert’s masterpiece merging voice, piano and movement.

Mozart - Selig neben dir

Andreas Heise's exploration of the themes of love, loss and letting go forms an extraordinary evening with a selection of Mozart songs and piano pieces. In addition to singing and piano, dance functions as a dramaturgical means to make feelings and situations intensely tangible. Movement, voice and piano merge into one overall expression and offer a gripping and highly emotional theater experience with the music of Mozart.

2020

Miss Julie

Miss Julie is a pas de deux inspired by the tragedy by Swedish author August Strindberg. We explored the protagonists Miss Julie and the Servant Jean for the first time and spent a creative week together in the studio. The piece had its digital premiere on www.fltpk.com on October 2nd, 2020. 

2019

Winterreise

Winterreise is my staged and choreographed version of Franz Schubert’s song cycle. A new and exciting experience of Schubert’s piece is created by merging voice, dance and music together with the soprano Juliane Banse, the principal dancer István Simon and the pianist Alexander Krichel. First performances took place at the International Music Festival in Marvão, Portugal, at Erholungshaus in Leverkusen, Germany under Bayer Kultur and at the Opera in Santiago de Compostela, Spain.

Capriccio

The opera Capriccio by Richard Strauss was my second collaboration with the director Christof Loy. The production took place in Spring 2019 at Teatro Real in Madrid.

Dido and Aeneas

Henry Purcell’s opera Dido and Aeneas was my first work as a director and choreographer. The production originated in a collaboration between the Norwegian National Opera & Ballet and the baroque ensemble Barokksolistene under the leadership of Bjarte Eike. Merging voice, movement and music and creating a homogeneous ensemble on stage was my main objective in this production.

2018

Sandmann

The story ballet Sandmann is based on E.T.A. Hoffmann’s short novel Der Sandmann. The production was created for the newly formed ballet company at the opera in Graz under the direction of Beate Vollack in Fall 2018. The ballet focuses on the relationship of the young couple Nathanael and Clara which is strongly influenced and in the end destroyed by Nathanael’s dark phantasy world.

2017

Ariodante

Ariodante is a Dramma per musica in three acts by Georg Friedrich Handel, HWV 33 (1734) to the Libretto by an unknown author after Antonio Salvi’s Ginevra, princepessa di Scozia (1708) to the Epos Orlando furioso (4.-6. Song) by Ludovico Ariosto. For the famous choreographer and dancer Marie Sallé and her company Handel composed dance scenes at the end of each act of his opera. They were a continuation of the storyline and therefore didn’t fulfil the purpose of a divertissement commonly used in baroque opera at this time. Here the dances were used to deepen and demonstrate the emotional and psychological paths of the protagonists. Together with director Christof Loy we created a contrasting world between baroque and modern. For this production I studied intensively baroque dance with Elizabeth Svarstad in Norway and Bruno Benne in Paris.

2016

Me, Myself and I

Me, Myself and I is set to the 2nd movement of Mozart's Piano Concerto No. 9 - Jeune Homme. Mozart's music with all his colourful harmonies, playfulness, depth and intensity, is constantly inspiring me to create new work. The choreography in Me, Myself and I follow the music with the purpose of making the score visible to the audience. It was created for three male dancers who represent one single person that is always accompanied by two shadows which harmonise, bother and separate from each other. The 'I' in Me, Myself and I divides, recreates and commutes between its masculine and feminine side.

2015

Death in Venice

Death in Venice is an opera by Benjamin Britten based on Thomas Mann’s novel. This unique composition of Britten’s allows for a close collaboration between an opera director and a choreographer. Because Britten cast the Polish Family with dancers,Venice presents a platform in which both opera and dance can coexist and merge into one artistic expression, giving the choreographer a chance to create a new language for the characters. The director Paul Curran and I wished to achieve a seamless interaction between singers and dancers by casting both for their strong acting abilities, which allowed us to unite both opera and dance into a harmonic expression of Mann’s story and Britten’s score.

2013

How I would like to…

My inspiration for How I would like to... is Mozart's concerto aria Vorrei spiegarvi, oh Dio. My big passion and affection for Mozart's music makes this work the first choreography I have made within a larger concept of an entire evening of works set to several of Mozart's concerto arias. How I would like to... draws from the libretto, with a female dancer representing the soprano voice while the other four dancers move like shadows or echoes. My goal is to make Mozart's score visible and use all of his colors in the musical harmonies to draw a painting from the notes in which the female soloist dancer stands clearly in the focus. The other four dancers accompany and support the soloist like the instruments do in the score.

2012

Souls’ Complexion

Anton Chekov’s drama Three Sisters is the inspiration for my work Souls' Complexion. After being strongly influenced by acting studies prior to the production, I approached this work much like a theatre play. I focused mainly on the relationships between the three sisters Olga, Masha and Irina and introduced one male dancer who represents both the male element in the sisters’ lives as well as the bigger idea of and the longing for Moscow. I was fascinated by the way Chekov creates real life on stage. The three sisters are unhappy and dream of a different life. Hope is omnipresent throughout the play, including the hope to return to Moscow. Old memories and the dream of a better future offer escape from the present, making their lives bearable.

2011

Colette

Colette was created as a solo for participation in international ballet competitions. The focus was to create a short solo in which the individual dancer could show of both her artistry and technical ability. The lyrics of Jaques Brel’s song, Ne me quitte pas, were my inspiration for this piece.

2010

Nucleus

The story of Nucleus is based on and inspired by ideas of family. I wanted to create a situation and emotions to which the audience could easily recognize and relate. I used an oversized sofa to create a symbol of home and safety. I drew from my own experiences, and all of these characters have an element of myself within them. The "perfect" family that is unable to communicate, that has fears, that discovers and grows, are a few of the ideas realized in this creation.