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Hessischer Staatstheater Wiesbaden


Hessisches Staatstheater Wiesbaden


15 February 2014


Ezio Bosso, Alexander Balanescu, Steve Reich, Vittorio Monti


Giuseppe Spota

Giuseppe Spota, dancer of the company, and FAUST theatre prize-winner, choreographs – in the wake of ABI/TIAMO (2012) – with “/TRE”, his second major piece for the ballet of the State Theatre of Hesse.

In “/TRE”, fragrance is the symbol of the meeting of two people, who experience very different images from the same scent.

For the premiere, Spota has put together chamber music for strings and piano: alongside “Aria” from Alexander Balanescu are included works from the Italian composer Ezio Bosso (1971), played by the Hesse State Orchestra in Germany for the first time.

Press conferences.



Giuseppe Spota, who has been part of the Thoss Ensemble since 2010, evokes the ghosts of memory. (...) When curtain rises, one sees the full audience mirrored on the stage backdrop. All together, there are many images of Wiesbaden: the theatre, the Wilhelmstraße – Spota has composed a farewell piece and a love letter to his colleagues, as fluent as the chamber music of Ezio Bosso premiered on the evening (...)



To the music of Ezio Bosso, that is played live by the Hesse State Orchestra in its German premiere, Giuseppe Spota inveigles us to take a journey into known and unknown territories. Dancers rebel, spin their pirouettes, as if propelled by the wind. Giuseppe Spota, himself a brilliant dancer of the Wiesbaden company, composes the bodies into individual movements or puts together the dancers like pieces of a puzzle. In this way ever-new forms originate, as if folding an Origami figure.

“/ Tre” is an atmospherically dense choreography, with ravishing transitions, filmically interesting solutions and sophisticated dance ideas.

All together in its also exceptional lightness, a successful choreography by Giuseppe Spota.


Neue Presse

After a mute prelude in white tie and tails in front of the curtain, Spota confronts us with a mirror in the form of a video (The Room and its Double), brackets the forty-minute long event with the charitable gift of an Origami crane, and sets startling effects: first through Gérard Naziris’ organically flowing video (clouds, a freeze-frame water-wall, a tree-lined avenue), and then through a projection that mutates into three-dimensional stage design.

(...) How the dancers (a Csárdas sweetly cries on the violin, Steve Reich claps hands, and Ezio Bosso bewitches) follow the scent and absorb it to the music, how deliberately floppy they jump, or how the dancers’ heads choir-like follow an imaginary sun – all this has something vibrantly elegiac about it and illustrates the transition from memory to a sensual present.

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