We brought thispanorama of Hungarian dance ensembles to life in 2013 with the name Pas de Trois '13. Under the aegis of this original initiative, the Ballet Company of Győr and Ballet Pécs made guest appearances in the home of the Opera's own ballet ensemble. more
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Last event date: Monday, May 13 2019 8:00PM
Pas de quatre ’19
Ballet show
We brought thispanorama of Hungarian dance ensembles to life in 2013 with the name Pas de Trois '13. Under the aegis of this original initiative, the Ballet Company of Győr and Ballet Pécs made guest appearances in the home of the Opera's own ballet ensemble. Then, in 2014, the Szeged Contemporary Dance Company also joined the event, now appropriately renamed Pas de Quatre. One night each year ever since, Hungary's four greatest ballet companies have appeared on stage together.
1. Ballet Company of Győr: PianoPlays – etudes set to themusic of Liszt and Wagner (excerpt)
Choreographer: László Velekei
Music: Franz Liszt, Richard Wagner
Recorded piano track: János Balázsi
Dramaturg: Alexandra Csépi
Assistant choreographer: Zsuzsa Jónás
Costume designer: Gabi Győri
Lighting designer: Yaron Abulafia
Invariablyappearing in the works of Harangozó Award-winning choreographer László Velekei are the contrasts between individual acts and social judgement. For this new choreography, however, he has chosen an eternal and universally known subject: that of love. This production constructed from short etudes presents the different faces of love, which sometimes appears as a stormy sea, and at others as a slowly burbling, hidden stream. A fight and game between two people: to wound and acquire wounds, to heal and be healed. But who actually bleeds to death from wounds caused to another?
As the principaldancers of the Ballet Company of Győr enter the “ring of love”, they will be accompanied by the youthful vigour and outstandingly technical virtuosity of Liszt Award-winning pianist János Balázs, who will interpret piano works by Liszt and Wagner with a unique musical vision incorporating his own ideas.
2. Ballet Pécs: Inner attraction
Choreographer: Zsolt Molnár
Music: montage
Dancers: Edina Frank, Karin Iwata, Mónika Kócsy, Katalin Ujvári, Péter Koncz, Márton Szabó, Dávid Matola, Máté Varga
Harangozó Award-winning choreographer Zsolt Molnár examines how human relationships are formed. What is it that makes someone appealing to us, and how do people fall in love at first sight? What is that inner vibration that draws us to each other? And what are the phases that a male/female relationship, or a friendship, or the bonds in a circle of friends go through as they take shape and reach their harmonious conclusion? Our relationships determine how our lives and personalities develop, and we never know when we will meet someone who will remain with us for the rest of our lives.
3. Szeged Contemporary Dance Company: The Rite of Spring (Le Sacredu printemps)
Choreographer: Tamás Juronics
Music: Igor Stravinsky
Costume designer: Bianca Jeremias Imelda
Lighting designer: Ferenc Stadler
Consultant: András Almási-Tóth
Dancers: Szandra Szigyártó, Róbert Kiss, Zsófia Takács, Elvetico Claudia, Tamás Hegedűs,
Gergely Czár, Petra Bocsi, Lotár Vincze, Zsolt Aradi, Janka Nier, Enikő Kovács,
Gabriella Bacsó, Dalma Wéninger
People who livein the detritus of their own pasts dwell side by side together together in a community where their only real aim is to exist, closed off, inside themselves. They themselves have no idea where all of this is going, but the hopelessness is growing more and more unbearable: they have to reach a decision together to rip the shell of permanence so that they can break out into another existence.
It is a painfulrealisation that the creation of this new and better world requires a shared sacrifice. We can now see Stravinsky’s “rite” reconceived from the perspective of the 21st century: what might redemption, sacrifice and being sacrificed mean to people of today? A community that is slowly consuming itself eliminates the past, but with no vision for the future to replace it, there is nothing left for them to do but prove the meaning of their existence and death by sacrificing themselves.
4. Hungarian National Ballet: The Vertiginous Thrill of Exactitude (1996, Frankfurt)
Choreographer: William Forsythe
Composer: Franz Schubert
Set and lighting designer: William Forsythe
Costume designer: Stephen Galloway
Technical supervisor: Sebastian Rietz
Répétiteurs: Amy Raymond, Agnes Noltenius
Cast: Földi Lea - Chamber Artist of the Hungarian National Ballet (2018), Kosyreva Diana, Melnik Tatiana, Timofeev Dmitry - Étoile of the 2018/2019 season, Rónai András
This piece by William Forsythe can easily be confusing for viewers who have taken their seats expecting to watch a light one-act ballet or perhaps a contemporary choreography. This is partly because the “events” on the stage take place fast enough to make one’s head spin, with women and men dancing solos, in pairs, as well as in threesomes and as a fivesome, all in around 11 minutes. And it is also partly because The Vertiginous Thrill of Exactitude isactually a plotless neoclassical piece. In 1996, Forsythe created a ballet for the Frankfurt Ballet that even today presents an enormous challenge to companies’ finest artists. The linking of steps, the increased isolation of body parts (moving them separately, which is not typical of classical ballet), the conscious breaking out from – and coordinated return to – positions of equilibrium combined with the dizzyingly fast music exert an utterly magical effect on the viewers. The Vertiginous Thrill of Exactitude is achoreographic continuation of Forsythe’s 1987 piece In The Middle, Somewhat Elevated, which received its Budapest premiere on 18 March 2000. Or one could look at the work as Forsythe’s tribute to his great predecessors, especially Petipa and Balanchine, as it includes very brief sequences taken from the pieces of the latter. The music is the fourth movement of Schubert’s “Great” Ninth Symphony: extraordinarily energetic in its allegro vivace tempo, this is true finale music that offers the five dancers not a single moment to rest while still establishing a harmonic unity with Forsythe’s ideas throughout.
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