'Heise’s direction is simple and effective, and his choreography, rich and varied, expressing in movement the emotions that are beyond words....This is a tremendously impressive production' - Der Sandmann, Ballet Oper Graz, 2018 - Maggie Foyer, Critical Dance.
Best of all were the physically uplifting dance sequences, led by Celestin Boutin’s Tadzio and choreographed by Andreas Heise, which turned the Games of Apollo into the high point of the opera. Britten’s controversial decision to bring together opera and dance for once felt vindicated. - Death in Venice, Garsington Opera, 2015 - The Financial Times, Richard Fairman
'The dance is multifaceted. The opening processional dance in formal lines in the dress and style of the period gives way to livelier Baroque dance full of nimble skips and neat batterie. Later the dancers perform in neo-classical style in nude bodytights as exquisitely refined as Bernini’s sculpted shapes. The pairings continue to intrigue and excite: Baraula bearing the weight of Christensen as she carries her on her back, duets with a singer and a dancer and the space between and round filched by the Baroque Soloists.' ) Dido and Aeneas, Norwegian National Opera and Ballet - February, 2019 - Maggie Foyer, Critical Dance
'Heise's choreography was sharp, clean, elegant' - The New York Times
Born in Germany, Andreas Heise studied dance at the Palucca School in Dresden and in more recent years has trained in Acting in New York, Norway at East 15 Acting School London in London where he also studied theatre direction.
Andreas' career as a dancer began under Uwe Scholz at the Leipzig Ballet in 1998. In 2003, Andreas joined the Norwegian National Ballet in Oslo and retired in 2019. There he performed many leading roles, including Romeo in Romeo and Juliet, Lensky in Onegin, Mitch in A Streetcar Named Desire, Oswald in Ghosts, Albrecht in Giselle and Lysander in A Midsummer Night's Dream. He also created roles in ballets by Jirí Kylián, William Forsythe, Paul Lightfoot, Sol Leon, John Neumeier, Nacho Duato, Christopher Wheeldon, Liam Scarlett, David Dawson and Jorma Elo.
As a teacher, Andreas has taught extensively for the Norwegian National Ballet School and for DV8’s touring productions of John and Can We Talk About This.
In 2006, Andreas started to choreograph regularly for the Norwegian National Ballet and his creations for the company include Liebestod, Nucleus, Souls' Complexion, Meditative Rose; and Montverdi's Il Combattimento di Tancredi e Clorinda as a collaboration between the Norwegian Opera and Ballet. In 2013 he created How I would like to... for the Ballet Company in Ekaterinburg, Russia and later reproduced this work with dancers from Wiesbaden at the International
Competition for Choreographers in Hannover 2014. In 2015, Andreas created a new piece for Palucca Schule in Dresden's 90th anniversary celebrations as well as two works for the Norwegian National Youth Company and in 2017 he staged, How I would like to… for Koblenz Ballet in Germany.
In 2015 he made his UK debut as Associate Director/Choreographer of Paul Curran’s production of Benjamin Britten’s Death in Venice at Garsington Opera. Recent productions include Ariodante at the Salzburg Whitsun Festival 2017 starring Cecilia Bartoli which will be staged by the Monte Carlo Opera in 2019 and La Scala in 2021. In April 2018, he was movement director for The Flying Dutchman for Reiseopera in The Netherlands.
In 2019, Andreas is Movement Director for Christof Loy's production of Capriccio at the Teatro Real Madrid as well as for Ariodante at Monte Carlo Opera. They will work together again in 2020 on a production of Eugene Onegin at the Norwegian Opera. He recently directed his own production of Dido and Aeneas in a collaboration between Norwegian National Opera and Ballet.
Commissions in 2019 include the world premiere of Lamento for Stuttgart Ballet. In 2018 Andreas created Nachtstuck for the Noverre Society Young Choreographers programme for Stuttgart Ballet and Der Sandmann, his first full-evening ballet for the Ballet of Oper Graz in October 2018. Der Sandmann has been nominated for Österreicher Musiktheaterpreis (AWARD) as one of the best ballet production in 2018.
He returns to Graz in 2021 to create Schwanengesang to the music of Franz Schubert.