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The Sound of Tango, the Story of Mary

There was no piano in Astor Piazzolla’s vacation home in Parque del Plata, Uruguay, where he spent the summer of 1968 working with the poet Horacio Ferrer on an operita, a “little opera,” so he composed on the bandoneón. The resulting work, “María de Buenos Aires,” is an intense cocktail of poetry, tango music and dance that is performed by a folk contralto, an operatic baritone and one male actor. But it’s the fourth voice — the bandoneón, the soulful South American accordion — that calls the shots and, to borrow Ferrer’s words, “burns in the back of your throat.”

It was appropriate, then — and a sign of the substantial Argentine contingent among the capacity audience in Le Poisson Rouge on Friday evening — that the applause at the end of Opera Hispánica’s production of “María” was loudest for the bandoneónist J P Jofre, who took his bow last. The production, directed by Beth Greenberg, was billed as the first fully staged one to be presented by Opera Hispánica, which is now in its third season. Most of the nightclub’s narrow stage, however, was taken up by the excellent nine-member band, conducted by Jorge Parodi, leaving the singers and dancers to stalk one another on just a few claustrophobic square feet of space.

But then, it’s in the nature of tango to express oversize passions with a rigorous economy of gesture. And despite its limitations, Opera Hispánica’s production was an elegant tribute to Piazzolla’s and Ferrer’s ability to combine music, movement and words of hallucinatory power in a concentrated format that is as pungent and stimulating as a cup of espresso.

The work is more of an oratorio than an opera. Written in the key of “Ay! minor” (Ferrer’s libretto is laced with musical puns), it’s a Passion play in which the central character, María, represents both Jesus and the Virgin. She sleepwalks through scenes of sexual violence, her burial and dreamlike confessions to a chorus of psychoanalysts until, resurrected, she gives birth to a new version of herself.

New York Time

Bio: Dancer Lê Ngọc Văn

Bolero và Suite en Blanc 2

•Education: Conservatoire National Supérieur De Musique et de Danse de Lyon, France. Vietnam Dance College, Hanoi

•1998 – 2003: Permanent dancer at the BALLET NATIONAL DE MARSEILLE. France

•2003 to present : Permanent dancer at the ENGLISH NATIONAL BALLET. London UK


•Dancing “Gold” in Mac Milan ‘s the Sleeping Beauty at the London Coliseum Theatre

•Principal role in Balanchine’s “The four temperaments” and “Who’s Cares?”

•MenYMen by Wayne Eagling launched by Sky’s 3D Channel.

•Creation “the Weight of Love” represent the Great Britain at the Shanghai World Expo 2010 in collaboration with Shanghai Ballet, English National Ballet, British Council and British Embassy in China.

•2010 Won Outstanding performance award from Organising Committee and Executive Committee of World Expo 2010, Shanghai

•2012 Won creative award for creation ” La Danse du Stravinsky” performed by Shanghai Ballet

•Finalist at the 24th International Competition for Choreographer Hannover Germany

•Finalist at the International Ballet Choreography Competition Beijing China 2017


•2017: Suite en Blanc, commissioned by English National Ballet

•2017: Fantaisie Impromptu, commissioned by English National Ballet

•2015 ; Bolero commissioned by Shanghai Ballet

•2012: Four Seasons, commissioned by English National Ballet

•2012: Chase, commissioned by English National Ballet

•2012: Grand pas du Bach, commissioned by Shanghai Ballet

•2011: Vue de l’autre, commissioned by English National Ballet

•2011: Chase, Britten Theatre London

•2011: Black Gold, English National Ballet

•2010: The Weight of Love, commissioned by Shanghai Ballet

•2009: Concerto for five, English National Ballet

•2008: Duo, special creation for Young Jae Jung at Varna Ballet Competition 2007: Les Emotions, English National Ballet

•2006: Without Words, English National Ballet


*Arlésienne by Roland Petit

*Alice in Wonderland by Derek Dean *Aunnis by Jaques Garnier

*Acte by R. seyfried

*Carmen by Roland Petit

*Cinderella by M.Corder

*Concerto violin by G. Balanchine *Coppellia by R.Hynd

*Dove la Luna by J.C.Maillot

 *Esplanade by Paul Taylor

*Études by H.Lander

*Firebird by Maurice Béjart

*Firebird by G.Williamson

*Fleure d’Autaune by M.C.Pietragalla *Flower Festival by A.Bournonville *Giselle by M.Skeaping

*Giselle by Akram

*In the middle by W. Forsyth

*J’ai trouvé idée plaisante by J.P.Aviotte

*La Sylphide by A.Bornonville

*Le Corsaire by Anna Marie Holmes

*Les Émigrants by Claude Brumachon *Melody on the move by M.Corder

*Manon by MacMilan

*MenY Men by Wayne Eagling

*Paquita by M.C.Pietragalla/ Petipa *Perpertum Mobile by Christophe Hampson

*Petrushka by Serge

*Raymonda by M?C.Pietragalla

*Resolution by Wayne Eagling

*Romeo & Juliet by Rudolf Nureyev *Romeo& Juliet by V.Danzig

*Rubbies by G.Balanchine

*Sakountala by M.C.Pietragalla

*Sans Mobile Apparent by Myriam Naisy

*Scheherazade by M.Fokine

*Sinfonietta by Christophe Hampson

 *Snow Queen by M.Corder

*Song of the Earth by MacMilan

*Stelt by R.Wherlock

*Strictly Gershwin by Derek Dean

*Suite en Blanc by Serge Lifar

*Swan Lake by Derek Dean

*The Canterville Ghost by W. Turker

*The Four Temperaments by G.Balanchine

*The Nutcracker by Wayne Eagling

*The Nutcracker by Christophe Hampson

*The Sleeping Beauty by MacMilan

*The Rite of Spring by Pina Bausch

*The Rite of Spring by MacMilan

*Tzigane by George Balanchine

*Vita by M.C.Pietragalla

*Who cares? By George Balanchine

Bui Ngoc Quan

Bio: Quan Bui Ngoc

As a child, Quan Bui Ngoc studies dance at the National School in Vietnam. In 1996, he joins the ballet of the Hanoi Opera House. In 1997, Bernadette Tripier invites him to France where he will stay a year at the school of Istres and discover European contemporary dance. He goes back to Vietnam on a regular basis to work with the opera and to set up his own work. In 2002, he starts working with Alain Platel: Wolf, followed by vsprs (2006),pitié! (2008) and C(H)ŒURS (2012). Today he still functions in the company as an artistic assistant from Alain Platel.

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Tri Minh

Bio: Trí Minh


Tri Minh started his career as a performing artist in the early 1990s when he co-initiated Hanoi’s first jazz band, which performed for years in various venues across Vietnam’s capital. In the late 1990s, Tri Minh started experimenting with electronic music through collaborations with international artists performing as a solo artist and in various forms of collaborations in Vietnam and Europe. The international artists and groups include Mouse on Mars, and Robert Henke (DE), Dfuse (UK), Robin Scanner (UK), Sweet Suzie and Manni Montana (AUS) etc.

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