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MP3-1523500 Beethoven-Marko–Kevehá zi: Human Anthem - Ballet 2007

MP3-1523500 Beethoven-Marko–Kevehá zi: Human Anthem - Ballet 2007
Item# MP3-1523500

Product Description

MP3-1523500 Beethoven-Marko–Kevehá zi: Human Anthem - Ballet 2007

Marko–Keveházi: Human Anthem Dance piece in four movements and one part

1. Earth 2. Fire 3. Water 4. Air Music: Beethoven: Symphony No. 9 Choreography: Iván Marko (movements 3 and 4), Gábor Keveházi (movements 1 and 2) Artistic director: Iván Marko Sets and stage design: Lászlo Szekely Costumes: Márta Pilinyi Soloists: Bence Apáti, Dolores Castillo, István Issovits, Gábor Keveházi, Krisztina Keveházi, Roland Liebich, Krisztina Loosz, Milán Madar, Monika Misáczi, Gábor Nyári, Zsofia Szeregnyi, Tamara Szlízs With the dance artists of the Hungarian Festival Ballet and the Hungarian National Ballet, as well as students of the Hungarian Festival Ballet and Madách Dance School, soloists: Gábor Gellai, Reka Kálmán (Madách Dance School) Featuring: Szilvia Rálik – soprano, Bernadett Wiedemann – alto, Attila Fekete – tenor, Viktor Massányi – bass, Hungarian National Choir (choirmaster: Mátyás Antal), Danubia Symphony Orchestra Conductor: Domonkos Heja

Iván Marko was a lead soloist of Maurice Bejart’s world famous company 20th Century Ballet when he danced the master’s choreography of Beethoven’s Ninth Symphony on several occasions. Marko felt something was missing from this work, so in 2006, he sensed the time was ripe to collaborate with Gábor Keveházi to jointly create a new choreography for a work he would feel in entire harmony with; this way they created a successful dance production for their ensembles and the young artists of the Hungarian Festival Ballet and the Hungarian National Ballet. Iván Marko symbolises the four movements of the symphony with the four ancient elements; the creation of the two choreographers places on stage the battles of human existence, its joys and triumphs. Marko’s language of movement is both uniquely modern and yet reflecting Antique values of beauty, and in its formal language and dance, fuses with elements of classical ballet. Human expressions of humility, respect, tenderness, power, the will to find elemental forces, are all present in the choreography. Marko does not regard Beethoven’s work as “background” but approaches the music with sincere humility which he wishes to serve with his own devises and a 21st century formal language. One can tell lies with words but it is virtually impossible with body movements, he says. This immense project is performed by two hundred and fifty dancers, musicians and singers.

2007, Bela Bartok National Concert Hall

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