Choreographer: Bronislava Nijinska (1891-1972)
Scenery and costumes: Natalia Gontcharova (1881-1962)
Restaging: Maria Palmeirim
Rehearsal invited: Suzana Mafra
23 minutes duration with 36 dancers

Despite the seemingly trivial theme – a marriage of traditional Russian peasant presented in four movements – Les Noces is setting a new artistic innovation, for its peculiar geometry of motion and its scenic austerity, combined with the originality of the Stravinsky composition. Besides its cultural relevance, as the first ballet whose focus is through the female gaze, Les Noces incorporates dance movement to break the innovative use of modernism to the wedding rituals of ancient Russia to explore the possibilities of the dancers and bring new accents to the classical language. Nijinska draw lines with the bodies and abstract shapes in the spirit of constructivism.

Choreographer: Nacho Duato
Music: Hassan Hakmoun, Adam Rudolph, Juan Alberto Arteche, Javier Paxariño, Rabih Abou-Khalil, Velez, Kusur e Sarkissian
Costumes: Luis Devota e Modesto Lomba
Lighting: Nicolás Fischtel
Restaging: Hilde Koch e Tony Fabre
Organization and original production: Carlos Iturrioz Mediart Producciones SL (Spain)
21 minutes duration with the participation of 14 dancers

Nacho Duato was inspired by the nature of Valencia, surrounded by sea and sun, and by Mediterranean aromas, colors and flavors, to create Gnawa. The Gnawas are a mystical Islamic fellowship. Duato is interested in gravity and the use of the solo as key elements in constituting his dance. This interest is renewed in a ritualistic tone involving a musical trance that leads to (and is driven by) the movement of the bodies.

Choreographer: George Balanchine (1904-1983)
Music: Serenade for Strings in C, Op. 48 (1880) by Peter Ilyitch Tchaikovsky (1840-1893)
Restaging: Ben Huys
Costumes: Barbara Karinska
Original Lighting: Roland Bates
30 minutes duration with 26 dancers.

Serenade was created by George Balanchine for the premiere of his School of American Ballet. The work started with exercises that sought to show his students the fundamental differences between the ballet classroom and dance presented on stage. The choreographer incorporated unusual formations into the piece, such as a group of seventeen or five dancers, and incidents, such as the tardiness of one of them, the gesture another makes to protect herself from the sun, and the fall of a third one, to renew the tradition of classical dance.

The presentation of Serenade, a Balanchine Ballet® is made through an agreement with The George Balanchine Trust and was produced in accordance with the standards of the Balanchine Style® and Balanchine Technique® established and provided by the Trust.

Choreography: George Balanchine (1904-1983)
Music: Peter Ilyitch Tchaikovsky (1840-1893)
Costumes: Barbara Karinska
Restaging: Ben Huys
8 minutes duration with 2 dancers

This George Balanchine choreography is an eight-minute work that combines classical with and neoclassical techniques, in a tribute to romantic ballet. The ballerina plays with a vertical axis as she dances, with a special command of balance and imbalance. For the male dancers, the challenge lies in the combination of difficult spins, the speed of the movements, and the great leaps

The presentation of the Tchaikovsky Pas de Deux, a Balanchine Ballet® is made through an agreement with The George Balanchine Trust and was produced in accordance with the standards of the Balanchine Style® and Balanchine Technique® established and provided by the Trust.

Choreographer: George Balanchine (1904-1983)
Restaging: Ben Huys
Music: Final movement of Suite no. 3 for Orchestra in G Major, Op. 55, by Pyotr Ilyich Tchaikovsky (1840-1893)
25 minutes duration (approximately) with 26 dancers

Balanchine evokes a period in which classical dance flourished, with Theme and Variations. The final movement of Suite No. 3 consists of 12 variations. At the beginning, 12 dancers and a leading couple present the themes that are then recaptured throughout the choreography. The work demands a great deal of its interpreters because, like all of Balanchine's works, the technical stamina, lightness, strength, skill and virtuosity in the imbalances are necessary. In the course of the work, the couple merges their involvement with the corps de ballet, and the work ends with a grand polonaise with 26 dancers.

The presentation of Theme and Variations, a Balanchine Ballet® is made through an agreement with The George Balanchine Trust and was produced in accordance with the standards of the Balanchine Style® and Balanchine Technique® established and provided by the Trust.

Choreographer: Marie Chouinard
Music: Prèlude à L´après-midi d´un Faune, de Claude Debussy
Costumes: Marie Chouinard e Vandal e Luc Courchesne 
Lighting: Alain Lortie | Maquiagem: Jacques-Lee Pelletier
Makeup | São Paulo
Artistic Productions: Isabella Poirier | Direção de ensaio: Carol Prieur
Ensaiador: Allan Falieri | Duration: 8 minutes | Cast: 1 dancer

When Stéphane Mallarmé wrote The Afternoon of a Faun in 1876, he wanted to write poetry for the theater. The poem inspired Claude Debussy to compose Prelude to the Afternoon of a Faun (Prélude à l´après-midi d´un Faune), in 1894. In Paris in 1912, Vaslav Nijinsky created his first choreography, based on the poem. The work was permeated with a ritualistic, sensual tone inspired by the movements of the Greek friezes. When Marie Chouinard created her Faun, she chose to study the photos of Nijinsky's choreography taken by Adolphe Meyer and put together a piece that was based on horizontality, as in the original choreography. However, in the solo, the seven nymphs of the 1912 performance turn into dreams, revealed through the lighting design.

Choreographer and costume designer: Jirí Kylián
Music: Sechs Deustsche Tänze KV 571, by Wolfgang Amadeus Mozart
Assistant choreographer and Restager: Patrick Delcroix | Lighting design: Joop Caboort
Duration: 13 minutes
Cast: 8 dancers

Sechs Tänze, by Kylian, is a work that combines dance and humor. The choreographer has composed six pieces without any apparent meaning, that dialogue to protest and criticize the values prevailing at the time when the Six German Dances K 571, by Mozart was composed.

Choreographer: John Cranko
Music: Legend, op. 17 (1859), de Henryk Wieniawski
Re-assembled by: Richard Cragun
Costumes: made for the São Paulo Cia de Dança: Arte & Cia
Duration: 10 minutes with 2 dancers

Legend is a neoclassical pas de deux immortalised by Márcia Haydée and Richard Cragun, which tells in gentle steps the lyrical love between a man and a woman by the confidence and surrender of the movements and by the bodies’ fusion in a delicate balance. John Cranko’s choregraphy (1927-1973) was inspired in the legend Galina Ulanova’s tunic (1910-1998) received by Richard Cragun and offered to Márcia Haydée. Ulanova started her professional career in the Kirov Ballet in 1928 and she was prima ballerina in the Bolshoi Ballet from 1944 to 1962. Her plastic movements, her perfect technique, her versatility and expressive dance became emblematic. The tunic worn by Ulonova was again used by Márcia in the première of Legend on 29th June 1972. The music Legend,op. 17, used by Cranko in the choreography was  composed by the Polish violinist Henryck Wieniawski (1835-1880), as a love confession to his future wife Isabel Hampton. The film The Turning Point 1977, directed by Herbert Ross, reveals part of this choreography. The Sao Paulo Companhia de Dança’s new assembly of Legend is signed by Richard Cragun, this being the first time that this piece is presented by a company in Brazil.

Choreographer and costumes: Marco Goecke
Music: Pierre Louis Garcia-Leccia, album "Ohimé" track "Aka", Antony & The Johnsons, album "Another Word" track "Shake That Devil"
Restaging: Giovanni di Palma
Lighting: Udo Haberland
Dramaturgy: Nadja Kadel
Duration: 21 minutes with 7 dancers

Inspired by the music of Antony & The Johnsons and by the astronomical phenomenon of the supernovas - stars that explode with brightness as they die - Marco Goecke created this work in 2009 to Scapino Ballet Rotterdam. Supernova is choreography full of contrasts, in which death and life, dark and light, are linked by the energy of each body. The dancers mysteriously appear and disappear on stage and their movement is characterized by very quick, precise and controlled sequences that make the bodies vibrate. To Goecke, each movement can happen only once. "You can always make it quicker, so, it will hardly exist in the end". São Paulo Companhia de Dança is the first ballet company in Brazil to dance a work from Goecke.

Choreographer: Eric Gauthier
Narrator: William Moragas
Restaging: Renato Arismendi
Duration: 8 minutes with 1 dancer
World Premiere: 2006, Noverre Gesellschaft Stuttgart, Stuttgart
Debut by SPCD: 2012, Piracicaba

Ballet 101, by Eric Gauthier, is an eight-minute solo that plays with classical dance. Based on the five positions of ballet, the choreographer tells other 96 possible variants by making reference to choreographers – William Forsythe, George Balanchine, Glen Tetley, Marius Petipa, John Cranko and Eric Gauthier – and to established ballets – such as Romeo and Juliet and Onegin. "It's a vibrant ballet, which has a blast at the end", says Renato Arismendi, reassembler of the work. This is the first version of the text translated into Portuguese.

Choreographer, scenic concept, costume and Lighting: William Forsythe
Music: Thom Willems
Restaging: Agnès Noltenius
Duration: 25 minutes with 9 dancers
World Premiere: 1987, Opera de Paris, Paris
Debut by SPCD: 2012, São Paulo

Entrusted by Rudolf Nureyev in 1987 for the Ballet Ópera de Paris, In the Middle, Somewhat Elevated is a play by William Forsythe based on the perception of speed – fast and slow. The choreographer makes use of the language of classical dance to "write the stories of today." In The Middle uses the traditional way of composing a theme and its variations, that is, Forsythe creates a sentence that develops, evolves and transforms in the body of each ballet dancer. A ballerina dances the opening theme and progressively drives an increasing number of other performers until the set is complete with nine people: six women and three men. The music by Thom Willems presents accelerations and slowness that dialogue with the choreography; both the dancers and the audience are taken by surprise by turbulences the play presents at different times. For the scenario, the choreographer had thought of several everyday golden objects, hung by invisible wires. From this initial idea, he opted for the synthesis, translated by two cherries, which won a symbolic meaning: two small mirrors that reflect the performance hall. The title of the work refers to these two cherries in the middle, somewhat elevated, at the scene. São Paulo Companhia de Dança is the first company in Latin America to have a work of Forsythe in its repertory.

Choreographer: Marius Petipa (1818-1910)
Music: Leon Minkus (1826-1917)
Restaging: Manoel Francisco
Duration: 10 minutes with 2 dancers
World Premiere: 1869
Debut by SPCD: 2012, Goiânia

The Grand Pas de Deux of Don Quixote is the moment of the wedding of Kitri and Basilio, the main characters of this work. Danced around the world, this duo is a big challenge for performers, not only for the technical quality, but also for the interpretation. Choreographed by Marius Petipa, the ballet Don Quixote is based on a chapter of the famous work of Miguel de Cervantes, which tells the adventures of the barber Basilio and his love for Kitri, the daughter of the innkeeper. The knight Quixote falls in love with Kitri, confusing her with Dulcinea, his love. After venturing into the world in imaginary battles against winds and mills, in the last act the protagonist celebrates, alongside his faithful squire, Sancho Panza, the marriage between the two lovers.

Choreography: Marius Petipa (1818-1910) and Lev Ivanov (1834-1901)
Music: Piotr Ilitch Tchaikovsky
Reassembly: Tatiana Leskova
Costumes: Marilda Fontes
Duration: 10 minutes with 2 dancers
World Premiere: 1892
Debut by SPCD: 2012, Indaiatuba

The Grand Pas de Deux of The Nutcracker is the highlight of this ballet inspired by the story The Nutcracker and the Mouse King (1816), by E.T.A. Hoffmann. The Sugaring Fairy dances with the Nutcracker to honor the little girl Clara, who came to visit the Kingdom of Sweets. The ballet tells the story of Clara, who earns a Nutcracker doll as a Christmas gift from her Godfather. At the end of the party, she sleeps with the doll and dreams to be in enchanted worlds, she takes part on battles and adventures. After saving her prince in the fight against the Mouse King, he takes her to meet the Kingdom of Snows and then the Kingdom of Sweets.