PERFORMANCE DETAIL

Carmina burana by Bavarian composer Carl Orff is one of the most frequently played pieces of 20^th century. Orff used anonymous German, French and Latin texts from the end of 13^th century depicting sad and cheerful forms of love, and complaints about the corruption of world and morals. Fate and fortune are impersonated by Roman goddess Fortuna, the goddess of coincidence, the personification of hope for victory of the good and an image of unpredictability of life. The happiness wheel is a symbol of ups and downs in life of people and in relationships between men and women. Through this wheel we can be witnesses of the love hymn in the choreography by Youri Vámos.

With the opera ensemble of the NMST.


  Review:

„One evening and two choreographers, two distinct principles, two absolutely different ways of approaching two diverse music scores which give rise to many contrasts on stage – however, the NMST ballet dramaturgy managed to merge the two contrastive pieces into a balanced and strong performance which resonated with unusual force in Ostrava’s audience. In other words, Ostrava’s ballet lovers have much to enjoy and look forward to.”

Barocco:
„There is hardly any straight, simple line, everything is curving and ramping, or, on the contrary, breaking down in a decorative tissue of genuinely baroque forms, resonating in the bodies of male and female dancers, in sinuous lines of force - centres of movement that is masterfully built around them with true fluidity and invention.”

Carmina Burana:
„It’s the dancers who contribute a great deal to the authenticity and liveness of the individual characters. And it was a masterstroke to cast Chiara Lo Piparo to perform the principle role of Virgin. With her incredibly fragile and delicate physique, she impersonates perfectly the young girl, almost a child. With her startled-doe-like eyes she seems to observe and discover in herself the first voices of wakening womanhood. She is surrounded by lurking predators waiting for her slightest mistake to get hold of her.” 

Tomáš Valníček, 28. 1. 2015, tanecniaktuality.cz