TICKETS
1st Stalls  25€
2nd Stalls 22€
Laterals 15€
Central Boxes 25€ 
Lateral Boxes 22€
Lateral Circle 15€
1st Circle 17,5€
2nd Circle 7,5€ 
Balconies 5€


DISCOUNTS (For tickets purchased at the CCB Box Office)
< 25 and > 65 years old save 25% (except on 1st stalls and central boxes)
5€ students and professionals of the art industry (subject to availability)
10 to 50 bookings save 20% CCB Membership

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ALMOST A CENTURY OF RITE

The Rite of Spring is one of the 20th-century most important symphonic works. It closes a trilogy of ballet (after the Firebird, in 1910, and Petrushka in 1911) which Igor Stravinsky composed for Sergei Diaghilev’s Ballet Russes Company. Choreographed by the famous dancer Vaslav Nijinksy, the new work – premiered on the 29th of May 1913 in Paris – stirred the world of music and dance. Even today, the harmonic richness and density of rhythms stimulates surprise at first sight.

97 years later, also on the 29th of May, Luís Tinoco and Olga Roriz premiere their own creations, confirming the timelessness of this seminal work. "I feel that I have been always listening to it, it walked along with me, and I have a high regard for it since the first listening" – Luís Tinoco’s interest for Stravinsky’s score aroused while he was a composition student. To Olga Roriz, the decisive contact with The Rite of Spring was when she was already a choreographer, while watching Pina Bausch’s creation.

The historical and cultural memory around Stravinsky’s composition is the inspiration basis of this program. But the works to be featured arise from a very personal universe, as Olga Roriz says: "The Rite will always be inside me."

ABOUT WHAT I FEEL

Two are my anchors in this piece which I propose, predispose and impose myself, unexpectedly, to create. I say unexpectedly, because throughout my career as a choreographer – and 32 years have already gone by – the only piece that I definitely never wanted to choreograph was precisely "The Rite of Spring". Until 3 years ago, the reasons were all so obvious that not for a single moment I bothered or regretted myself with this decision. And now here I am, facing the denied work. Facing a scary major work. Nevertheless, I must confess – perhaps with some overconfidence or unconsciousness – that, little by little, it does no longer scares that much. Perhaps because I fall or fell in love with, and when that happens I am unstoppable and therefore I only calm myself down when the consumption of the desired object is totally accomplished.

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