Messiah

Messiah represents for the choreographer in this particular time of his life, a look at new and old utopias, a call for solidarity perhaps unprecedented among us all.

“I feel that this end of the millennium and the new millennium coming is an event of great importance, and hence in some way, we are privileged to be the protagonists of such a special date that evidences a highly emotional charge. Messiah represents for me, in this particular time of my life, a look at new and old utopias, a call for solidarity perhaps unprecedented among us all. It is also a look into our inner self, like a need to listen to our most intimate, profound and forgotten silences once again.”

Words of Mauricio Wainrot on the occasion of the premiere of Messiah,
in Buenos Aires, at the end of 1999.

In 1996, Mauricio Wainrot created a first, shorter version of Messiah, with the music of the famous oratorio by Georg Friedrich Händel and the choreography and costumes of Carlos Gallardo, for the Royal Ballet of Flanders in Belgium. Then, in 1998, he created the current version, more extensive and with a greater number of dancers, for the National Ballet of Chile. Since then, Messiah has been performed by numerous ballet companies in the world, such as the Royal Ballet of Sweden, the Royal Winnipeg Ballet, the Ballet of the Opera of Bordeaux, the Ballet of the Opera of Nice, the National Dance Company of Mexico, the Ballet of the Opera of Riga in Latvia and the Contemporary Ballet of San Martín Theater, which Wainrot artistically directed since 1999. This is not the first time that BNS – Ballet Nacional Sodre premieres a work by Mauricio Wainrot. In 2011, it premiered A Streetcar Named Desire with music by Bela Bartok, based on the stage play of the same name by the renowned American playwright Tennessee Williams, which received a great response of the public and critics.

Source : Ballet nacional Sodre