A ballet triple bill composed of three contemporary choreographies created mainly to Polish music. The first will be performed by our youth group, PNB Junior. The other two are taken from the repertoire of the Teatr Wielki’s main stage and will be danced by soloists and the main ensemble of the Polish National Ballet.

Dawid Trzensimiech on Fantaisie polonaise
The music of Fryderyk Chopin has always inspired me, so it seemed obvious that I would create my first choreography to the work of our master. The amazing thing is that Chopin was only 19 years old when he composed the Piano Concerto in E minor, the same age as our juniors. Fantaisie Polonaise is a ballet-abstract strongly based on classical dance technique with neoclassical accents. I wanted the choreography to challenge our young and talented PNB Junior dancers, but at the same time give them more freedom of movement than the pure classical form.

Krzysztof Pastor on Kilar Concerto
Wojciech Kilar’s Concerto for Piano and Orchestra as a ballet was born gradually, at significant time intervals. First, there was the extremely dynamic, almost physical finale of the concerto – the toccata. A year later, the choreography for the first part of the piece was created – preludium, with a reflective, melancholic, and delicate character. Now we present the entire Kilar Concerto, completed with the middle part, the spiritual and full of mystical tension corale. Each of the three parts emanates with completely different energy and emotions, which we will try to share with our viewers through my choreographic language and the skill of our dancers. The music of this concert, although minimalist, is also very expressive and vivid. It turned out to be so inspiring and diverse that its fragments also took part in my other ballet Dracula, where they were placed in a completely different context.

Krzysztof Pastor on Moving Rooms
I have decided to keep my ballet’s original English title under which it was born for the Dutch National Ballet. It refers to moving, changing spaces. In fact, in this case, space has not only physical but also emotional significance. As the choreography progresses, the space keeps changing, legibly defined by light. It affects the relationships between the dancers, creates their emotions. This play of light and movement within a changing space is the essence of my ballet. At times, it creates an atmosphere of intimacy and harmony, at others, it evokes fear and a sense of danger. No less important to me was the music of Alfred Schnittke and Henryk Mikołaj Górecki. Its changing climate and dynamism motivate the dancers to move with extraordinary speed and precision, but also inspire them to individual interpretations. Dance in my ballet does not illustrate anything, though it does contain many inspirations. Rather, it is a pure play of moods and emotions in a dynamic composition of lights. I leave the audience space for their own impressions and experiences.