{"id":11466,"date":"2025-12-11T02:38:33","date_gmt":"2025-12-11T01:38:33","guid":{"rendered":"https:\/\/www.hessisches-staatsballett.de\/aktuelles\/cantos-ein-hypnotischer-sog-aus-klang-koerper-und-maskenspielurauffuehrung-von-maciej-kuzminskis-cantos\/"},"modified":"2025-12-11T02:44:54","modified_gmt":"2025-12-11T01:44:54","slug":"cantos-ein-hypnotischer-sog-aus-klang-koerper-und-maskenspielurauffuehrung-von-maciej-kuzminskis-cantos","status":"publish","type":"post","link":"https:\/\/www.hessisches-staatsballett.de\/en\/aktuelles\/cantos-ein-hypnotischer-sog-aus-klang-koerper-und-maskenspielurauffuehrung-von-maciej-kuzminskis-cantos\/","title":{"rendered":"Premiere of Cantos: A Hypnotic Pull of Sound, Body, and Mask Play"},"content":{"rendered":"
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With frenetic applause, the world premiere of Cantos<\/em>, the new work by Polish choreographer Maciej Ku\u017ami\u0144ski<\/strong>, was celebrated on 5 December 2025 in the Kleines Haus of the Staatstheater Wiesbaden. The Hessian State Ballet presented an evening in which movement, music, and visual worlds were woven into a densely atmospheric whole. Ku\u017ami\u0144ski was substantially supported by dramaturg Paul Bargetto<\/strong>, who has collaborated with him on previous works exploring the intersections of philosophy, imagery, and choreographic structure.<\/p>\n

The starting point for the choreography is Simeon ten Holt\u2019s legendary minimalist composition Canto Ostinato<\/em>, performed live in Wiesbaden by Waldemar Martynel<\/strong> and Igor Palmov<\/strong>. The score prescribes neither fixed duration nor dynamics\u2014an openness that Ku\u017ami\u0144ski and Bargetto translate into a choreographic language that oscillates between recurrence and departure, impulse and suspension, trance and playful rupture.<\/p>\n

\"\"The stage designed by Gabriela Neubauer<\/strong>\u2014a marbled, almost surreal playing field\u2014opens associative spaces between experiment, human study, and dreamscape. Again and again, masks and exaggerated costumes appear: overly long ties, hybrid animal figures, or the image of an exhausted collective. They shift perspectives and raise the question of who is truly acting\u2014an individual, a group, or mere reflex. Press reviews highlight the poetic power of these mask-like figures, which oscillate between humor, irony, and existential symbolism.<\/p>\n

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Working closely with Bargetto, Ku\u017ami\u0144ski develops a precise, controlled movement vocabulary shaped by impulses, floor work, and constant shifts. Time and again, individual dancers break away from the collective, seeking moments of escape before becoming entangled once more in the group\u2019s rhythm\u2014a tension that critics have described as \u201ctrance-like,\u201d \u201ceerily beautiful,\u201d and \u201ccaptivatingly virtuosic.\u201d<\/p>\n

Particularly striking is the diversity of scenes, ranging from humorous and ironic interludes to images of almost mythical quality. Animal masks meet filigree formations, grotesque miniatures encounter clearly defined lines\u2014a choreographic cosmos that allows for multiple interpretations and increasingly draws the audience into its pull. Reviewers also praised this richness, acknowledging both the conceptual depth of Ku\u017ami\u0144ski and Bargetto\u2019s collaboration and the ensemble\u2019s precision and stamina.<\/p>\n

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After just over an hour, Cantos<\/em> ends as abruptly as it begins: as if a perfectly calibrated machine were suddenly brought to a halt\u2014a moment that resonated audibly throughout the audience.<\/p>\n

With Cantos<\/em>, the Hessian State Ballet expands its repertoire with a work that moves powerfully between philosophy, grotesque imagery, and hypnotic musicality\u2014a performance that lingers long after the final note.<\/p>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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