Edward Clug’s Hora has been hailed by critics as “raw energy that is both achingly sad and beautiful, torn from life, soaked in sweat, and brought back to a new life”. In his new piece Hora (Circle Dance), originally created for the Dortmund Ballet, Edward Clug has, for the very first time in his career, intensely looked into the musical legacy of his native Romania, especially the sophisticated and meticulously reworked rhythmic and melodic motifs of the legendary string quartet Balanescu. During his extensive choreographic research, Clug re-examined the relationship between certain crucial events in our lives and the power of rituals that are being handed down to us by the society in a more or less discerning manner.
Since its premiere in 2001 by Lisbon-based Gulbenkian Ballet Mauro Bigonzetti’s Cantata has been elevated to cult status. Flavoured by irresistible eroticism, Bigonzetti’s unique choreographic language has unlocked the full potential of Mediterranean dance expression. An entirely instinctive and vital dance form, Cantata explores the myriad psychological nuances inherent in the intimate relationship between a man and a woman: seduction, passion, quarrelling and jealousy. Choreographed to original compositions by the musical group Assurd, Bigonzetti’s sensual dance conveys the untameable nature, wild beauty and vital instinct of bodily movement. To the accompaniment of traditional “cantabile” Italian ethnic music, the small cast of dancers explores the diverse facets and flavours of a love affair between a man and a woman.
…raw energy that is both achingly sad and beautiful…”
Ballet of the Slovenian National Theatre Maribor: Hora-Cantata
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Choreography: Edward Clug
Music: Balanescu Quartet
Choreography: Mauro Bigonzzeti
Music: musical group Assurd