Hans Van Manen:  Concertante  


A ballet by modern choreographer Hans van Manen:  Concertante featuring the Bavarian State Ballet

Both humor and aggression are to be found in Concertante, which generates an explosive tension in a succession of encounters between four male and four female dancers. The springboard for this ballet is Frank Martin’s expressive Petite Symphonie Concertante. Sets and costumes for both ballets are by Keso Dekker.





Judith Turos, born in Romania, is a member of the Bavarian State Ballet since 1981. After receiving a scholarship from the Ballet-Academy in Moscow she joined the Nationalballet of Romania as a soloist. 1981 she became a member of the Bavarian State Ballet, where she was promoted quickly: 1982 she was appointed as a soloist.

In the following years she danced all important roles of the classical and contemporary repertoire: Tatjana in Onegin, Julia in Romeo and Juliet, Lise in La Fille mal gardée, Marie in The Nutcracker, the title role in Giselle, Aurora in The Sleeping Beauty. 1993 she made her debut as Katharina in The Taming of the Shrew. She danced also in Don Quijote (Mecedes, Kitri als Gast in Ljubljana), Titania in John Neumeiers A Midsummernights Dream, Five Tangos, Songs Without Words, Concertante, Black Cake, Grosse Fuge, Sarkasmen (van Manen); Larmes Blanches, Firebird (Preljocaj); Tabula Rasa, Passomezzo (Naharin); Sinfonietta, Svadebka, Nuages (Kylian). She gave guest performances at the Ballet de Marseille in Symphonie Phantastique (Roland Petit), Cinderella by Jacques Fabre in Toulouse, and with the Bavarian State Ballet in New York, where she performed Tatjana in Onegin. Judith Turos is married to Marko Kathol , a former dancer from the Bavarian State Ballet.

1997 Turos was awarded the title of Bayerische Kammertänzerin as the first ballet dancer ever by the Bavarian minister of education. After her success with John Neumeiers Die Kameliendame, José Limons Chaconne, Georges Balanchines Die Vier Temperamente, Neumeiers A Cinderella Story and Balanchine's Who Cares, she waa given the Hungarian Dance-Award Európas 2000 and, in the same year, with a Dance Award from the regional capital Munich.

On the occasion of being a member of the Bavarian State Ballet for 20 years, the company paid a tribute to her with a gala performance in the Prinzregententheater in autumn 2001.

Judith Turos is still a member of the Bavarian State Ballet and works now as a Ballet Mistress with the new dancer generation.





Hans van Manen began his ballet career in 1951 as a member of Sonia Gaskell's Ballet Recital. In 1952 he joined the Nederlandse Opera Ballet, directed by Francoise Adret, where he created his first ballet, Feestgericht, in 1957. He later joined Roland Petit's company in Paris. He began to work with Nederlands Dans Theater in 1960, as dancer (until 1963), and choreographer, and from 1961 until 1971 also as artistic director.

For the following two years he worked as a freelance choreographer, until his appointment, in 1973, as choreographer/regisseur to Het Nationale Ballet in Amsterdam. Abroad he has staged his ballets for amongst others the Stuttgart Ballet, Bayerisches Staatsballett Munchen, Berlin Opera, Houston Ballet, the National Ballet of Canada, Pennsylvania Ballet, the Royal Ballet, the Royal Danish Ballet, the State Opera in Vienna, Tanzforum in Cologne and for Alvin Ailey.

In September 1988 Hans van Manen rejoined Nederlands Dans Theater as resident choreog- rapher. In the meantime he has created over forty choreographies for this company. In 1991 Van Manen received the Sonia Gaskell prize for his repertoire and in particular for the three duets he created during the season 1990/91: Two, Theme and Andante. For his choreography Two, he received the choreography prize from the VSCD, the United Dutch Theater Directors, again in 1991.

In 1992 the year of his 35th anniversary as as choreographer, he was given a Knighthood in the Order of Orange Nassau by the Queen of The Netherlands. Hans van Manen is also a photographer and his work can be admired in exhibitions all over the world. Hans van Manen was awarded the German Dance Prize 1993, for his influence in the German dance-world over the past twenty years.

“One of the founding fathers of European neoclassical dance, and in the course of a 60-year career has created pieces for companies all over the world. His work is characterized by its structural sophistication, and while his principal subject is dance itself, there is often a detectable subtext, a sense of dark undercurrents swirling beneath the formal balletic architecture. These often relate to the conflicted relations between men and women, concerning whose differing natures Van Manen has clear ideas….”—Luke Jennings, The Observer





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