A work by Crystal Pite, a residency by a cutting-edge Spanish choreographer, and collaborations with everyone from visual artists to choirs: Ballet British Columbia's just-announced season is full of promising surprises.
Amid the programming announced at the opening of its Trace show at the Queen Elizabeth Theatre last night was the news that Cayetano Soto—the Spanish-born, Munich-based choreographer behind last season's moodily poetic, critically acclaimed Twenty Eight Thousand Waves—was going to be its resident choreographer for the next three years.
Waves returns in the company's 30th-anniversary season opening program for 2015-16, alongside the Canadian premiere of Vancouver star Crystal Pite's Solo Echo and a world premiere by Belgian-born Stijn Celis that's set to the live music of local all-male choir Chor Leoni. That triple bill runs November 5 to 7.
Next up, in productions from March 17 to 19, 2016, the choreographer behind the company's beloved Petite Ceremonie (showing now, for the final time, in Trace through Saturday night at the Queen E.), France's Medhi Walerski, has been commissioned to create his first full-length work.
The troupe rounds out the season from May 12 to 14, 2016, with the return of Ballet B.C. artistic director Emily Molnar's 16+ a room, Finn Jorma Elo's whirling I and I am You, and the Canadian premiere of red-hot Israeli choreographer Sharon Eyal's Bill.
Ballet B.C. will also present the Alberta Ballet's Russian-themed The Nutcracker from December 29 to 31.
In addition, the company will team up with renegade Brit multimedia artists John Wood and Paul Harrison for a copresentation with the Contemporary Art Gallery in early 2016.
Amid all this, Ballet B.C. unveiled a new brand look and is set to launch a new website in May, designed by local innovators Burnkit.
Molnar also announced the company would tour parts of eastern North America next season, including opening the prestigious Jacob's Pillow festival in Massachusetts.