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Prague, debut of "Timeless", between 19th and 20th centuries
Triple aesthetic itinerary
19 October, 16:07
(by Marco Patricelli, journalist and history professor)
PRAGUE - ''Timeless'', but oscillating between the nineteenth
and twentieth centuries. A double debut is scheduled for
October 20 at the National Theater in Prague, because
''Timeless'' opens the new season and the debut is signed by the
new artistic director Filip Barankiewicz.
Born in Poland, German for professional training and experience (among other things, he was the first ballet dancer at Stuttgarter Ballet), Barankiewicz strongly wanted a show that could mix a classic choreography by George Balanchine for Ciajkovsky's ''Sérénade'' for strings op. 48, a work signed by Israeli Emanuel Gatt on two times (I and IV) of the 3rd Sonata op. 58 by Fryderyk Chopin, entitled ''Separate Knots'', and Igor Stravinsky's ''Sacre du printemps'', in the version signed by Glen Tetley (his coregraphy was a ''forte'' at the Theater of Stuttgart and neo-director Barankiewicz danced as a soloist).
The orchestral ''machine'' which is necessary to perform Stravinskij's rich and complicated musical score is entrusted to the State Opera and two directors: David Svec and Vaclav Zahradnik.
Three pianists perform Chopin's scores: along with Svec, Martin Levicky and Marcel Javorcek. ''Timeless'' is made up of a triple aesthetic itinerary, ranging from Polish romanticism to post-Romanism and Russian anti-romance. ''Separate Knots'' (and two movements of the Chopin Sonata) have an emotional atmosphere and the choreographer designed it for dancing duo (man-woman, man-man and woman-woman). On the other hand, there is a feminine predominance in the ''Sérénade'' for Ciajkovsky's strings, which is linked to the purest classical shapes and colours.
The ''Sacred'', with its polyrhythms and polyarmonies, becomes the paradigm of conflicts and fractures in the twentieth century, and not just on the eve of the First World War (the musical score was completed in 1913).
The third ballet, belonging to Stravinsky's ''Russian period'', was the last true and huge scandal in the history of music. At the debut in Paris, the public's screams covered the sound of the orchestra, sealing a colossal fiasco. The author's language was considered too audacious and overwhelming, whereas he intended to represent a pagan rite of earth's fertility and rebirth, sweeping away every bucolic and sweet-hearted vision of spring. Pure energy that springs up between the orchestra's ''mystical gulf'' and the stage with the whole Dance company of the National Theater. Soloists are Ondrej Vinklat-Michal Stipa -Nikola Marova, Youn Sik Kim-Aya Watanabe-Giovanni Rotolo, Francesco Scarpato-Radka Prihodova-Marek Svobodnik. A peculiarity of this work is that the ''chosen'' female protagonist of the sacred dance that is going to lead her to a regenerating death, imagined by Stravinsky (and by most choreographers, including Vaclav Nijinskij and Pina Bausch), in the version signed by Tetley is instead a man.
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Born in Poland, German for professional training and experience (among other things, he was the first ballet dancer at Stuttgarter Ballet), Barankiewicz strongly wanted a show that could mix a classic choreography by George Balanchine for Ciajkovsky's ''Sérénade'' for strings op. 48, a work signed by Israeli Emanuel Gatt on two times (I and IV) of the 3rd Sonata op. 58 by Fryderyk Chopin, entitled ''Separate Knots'', and Igor Stravinsky's ''Sacre du printemps'', in the version signed by Glen Tetley (his coregraphy was a ''forte'' at the Theater of Stuttgart and neo-director Barankiewicz danced as a soloist).
The orchestral ''machine'' which is necessary to perform Stravinskij's rich and complicated musical score is entrusted to the State Opera and two directors: David Svec and Vaclav Zahradnik.
Three pianists perform Chopin's scores: along with Svec, Martin Levicky and Marcel Javorcek. ''Timeless'' is made up of a triple aesthetic itinerary, ranging from Polish romanticism to post-Romanism and Russian anti-romance. ''Separate Knots'' (and two movements of the Chopin Sonata) have an emotional atmosphere and the choreographer designed it for dancing duo (man-woman, man-man and woman-woman). On the other hand, there is a feminine predominance in the ''Sérénade'' for Ciajkovsky's strings, which is linked to the purest classical shapes and colours.
The ''Sacred'', with its polyrhythms and polyarmonies, becomes the paradigm of conflicts and fractures in the twentieth century, and not just on the eve of the First World War (the musical score was completed in 1913).
The third ballet, belonging to Stravinsky's ''Russian period'', was the last true and huge scandal in the history of music. At the debut in Paris, the public's screams covered the sound of the orchestra, sealing a colossal fiasco. The author's language was considered too audacious and overwhelming, whereas he intended to represent a pagan rite of earth's fertility and rebirth, sweeping away every bucolic and sweet-hearted vision of spring. Pure energy that springs up between the orchestra's ''mystical gulf'' and the stage with the whole Dance company of the National Theater. Soloists are Ondrej Vinklat-Michal Stipa -Nikola Marova, Youn Sik Kim-Aya Watanabe-Giovanni Rotolo, Francesco Scarpato-Radka Prihodova-Marek Svobodnik. A peculiarity of this work is that the ''chosen'' female protagonist of the sacred dance that is going to lead her to a regenerating death, imagined by Stravinsky (and by most choreographers, including Vaclav Nijinskij and Pina Bausch), in the version signed by Tetley is instead a man.
