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THE WOODEN PRINCE

Through the redefinition of the ballet, Pál Frenák is not only paying hommage to Bartók, and looking at almost unimaginable heights enlivening his music, but he is also concentrating on expanding still valid thoughts present in our world. The performance prompts the question of self-identical existence: who is the true king? Which one is real? The judgement of good and bad, the spatial situation of the below and above, the perspective view and the wider vision are organic parts of the creation, the main issue being the condition in which we hand over to our successors the world we live in.

The intellectual incognito of Bartók’s music is enduring well that even its richest and most flushing harmonies take effect as painful and cathartic utterances of one’s – man and woman, man and man, woman and woman – dependence on love, lack of freedom and inability to communicate. I would venture to say that a congenial work of art has been born.

Andras Renyi

Szinhaz