This prolific piece has been performed by some of the most prominent ballet companies in Europe, including the Norwegian National Ballet, the Bavarian State Ballet, and the Stanislavsky Music Theater in Moscow. How have you adapted Anna Karenina to make it uniquely yours?
Every company comes with its own style. Therefore, every time Anna Karenina is staged, I go there myself and adapt the production for each company and all of the different personalities of the dancers performing the roles.
It's a very dark and dramatic story. How do you bring this out in the performance's visual elements?
We have amazing costumes by Emma Ryott which reflect the 19th century, but are designed from a 21st century perspective. It takes places in a gloomy ball room where we present big corps de ballet scenes and also incorporate videos to show the train, for example, which is an important theme in the novel.
How does Rachmaninoff's music lend itself to your choreography?
The music needs to convey the atmosphere of a scene. I need to understand immediately, what is going on just from listening to the music. I always loved Rachmaninoff; his incredibly beautiful music is able to make you feel the drama, the wickedness, and the emotions of the characters.
© Monika Rittershaus
Some ballet companies are starting to incorporate newer, more contemporary trends into their works. Are you a strong believer in adhering to tradition?
Quite the opposite. I consider Anna Karenina to be a more contemporary piece. Looking at the repertoire of Ballett Zürich, our company stands out for its contemporary ballet, as we work with renowned choreographers, such as: William Forsythe, Jiří Kylián, Marco Goecke, Crystal Pite, Ohad Naharin, and many more. We do not follow the tradition, but rather provide a new perspective on where ballet has come from.
How do you keep a 19th century novel relevant in 2018?
This novel is as relevant as ever. Nowadays, there are still many women who get married to men whom they have never met before and they secretly love somebody else. It deals with the question that will probably remain as long as people exist: how far are you willing to go for love?
This isn't your first time in Israel, eh?
You must have missed our guest performance with Romeo and Juliet in 2015. I also worked with the Israel Ballet to recreate Dos Amores in 1999. I am always very excited to return to this vibrant city.
Where has this work already been performed?
It was first performed in Zurich, and was then incorporated into the repertoire of the National Norwegian Ballet in Oslo, the Stanislavsky Ballet in Moscow, the Korean National Ballet in Seoul, and the Bavarian State Ballet in Munich. We also went on tour to Hong Kong and are now coming to Tel Aviv. All performances were sold out and very well received by the audience.
© Gregory Batardon
You've been with the Zurich Ballet since 2012/13. Do you plan on remaining with them indefinitely or are there other plans in your future?
I am very fortunate that my contract has been extended to the 2021/22 season. So I still have a lot of time to think about what will happen next.
How do you feel that you've grown as choreographer in these 5-6 years?
I am incredibly thankful to have been given the opportunity to create demanding pieces like Verdi’s Messa da Requiem or The Nutcracker as well as Anna Karenina with Ballett Zürich. As challenging as choreographing can be, I enjoy it a lot. I am very lucky to find such an inspiring and productive atmosphere at the Zurich Opera House where many internationally acclaimed artists and choreographers are present, and to collaborate with supportive and excellent dancers and colleagues.
June 26-30. The Israeli Opera, 19 Sha'ul HaMelech Blvd, Tel Aviv (israel-opera.co.il)