Broken Wings
Choreographer: Annabelle Lopez Ochoa
Music: Peter Salem
Petite Mort
Choreographer: Jirí Kylián
Music: W. A. Mozart
World Premiere
Choreographer: Stanton Welch AM
Music: Mason Bates
Annabelle Lopez Ochoa’s Broken Wings is a narrative ballet inspired by Frida Kahlo’s life and art, created in 2015 for English National Ballet. Drawing from Kahlo’s paintings, the ballet incorporates surrealist elements and Mexican folk music, with a score by Peter Salem. The story features three human characters, with male dancers representing Kahlo’s self-portraits, symbolizing her strength and grounded nature. The ballet highlights Kahlo’s transformation of personal pain into art, focusing on her unapologetic personality and deep connection to her Mexican roots. Diego Rivera, Kahlo’s husband and creative partner, plays a central role in her life and work. Through Broken Wings, Lopez Ochoa celebrates Kahlo’s resilience and the indigenous influences in her art, offering a powerful portrayal of her legacy.
Translated from French, “petite mort” means “little death.” Jirí Kylián’s Petite Mort features subtle sensualism and a contemplation on life and death. This work was created for the Salzburg Festival to commemorate the bicentennial of Mozart’s death. Set to two of Mozart’s most beloved piano concertos, this striking ballet features six women, six men, and six fencing foils—each playing a pivotal role in the choreography. The foils are manipulated with exquisite timing and precision, becoming dynamic partners in the performance and adding a layer of complexity to the dancers’ movements. Kylián posits, “maybe so, that in the moment of pleasure we are reminded of the fact that our lives are of a relatively short duration, and that death is never too far from us.”
Artistic Director Stanton Welch AM adds another thrilling work to Houston Ballet’s diverse repertoire with a world premiere set to Mason Bates’ Stereo is King. Bates, a DJ and composer of the Grammy-winning opera The (R)evolution of Steve Jobs, has earned a reputation for subverting the expectations of classical music by uniquely combining orchestral and electronic sounds. Bates’ Stereo is King puts the spotlight on percussion—featuring indigenous instruments like Thai gongs and Tibetan prayer-bowls—and incorporates hard-panned stereo effects, phasing between antiphonal tribal grooves and surreal ambience. Bates’ contemporary score, paired with Welch’s signature touch, will undoubtedly result in an immersive performance that pushes the boundaries of both music and movement.
