The piano in dialogue with the power of movement at the “Chopin Piano Fest”

In addition to another concert on the festival program, the event was also on the agenda of the Liberation Day celebrations. The concert program titled “Piano & Dance” with the renowned pianist from Vienna, Maria Radutu, the internationally renowned Albanian dancer, Eno Peçi, and the dancer from Kosovo, Mërgime Morina brought a concept that took the piano recital beyond the traditional form and transformed it into a stage event, where sound and movement complemented each other.

In a festival where everything usually revolves around the sound of the piano, Sunday evening at the “Chopin Piano Fest” brought a different experience. The piano remained in the spotlight, but this time it was in communication with ballet. It entered into dialogue with the body, movement and theater, creating an artistic universe where music and ballet merged into a common language.

In addition to another concert in the festival program, an event was also on the agenda for the Liberation Day celebrations. The concert program titled “Piano & Dance” with the renowned pianist from Vienna, Maria Radutu, the internationally renowned Albanian dancer, Eno Peçi, and the dancer from Kosovo, Mërgime Morina, brought a concept that took the piano recital beyond the traditional form and transformed it into a stage event, where sound and movement complemented each other.

The evening began with one of the masterpieces of the piano repertoire – the complete cycle of “24 Preludes, op. 28” by Fryderyk Chopin. 

Performed by Maria Radutu, the preludes unfolded a mosaic of emotions and characters, summing up an entire musical world in a few minutes each. She said that the first part was built on the romantic world of Chopin, while the second part of the concert brought a direct relationship between dance and music. 

"The first part was the entire cycle of Chopin's preludes, which all together bring us the entire history of romantic music. In this context, dance is more theatrical than ballet, while in the second part we had a connection between music and dance. All the time I am performing, while Eno dances with works that are not intended for this, and together we balance the entire program," said pianist Maria Radutu. 

also Culture 2 months ago Harmony in dialogue with the “Chopin Piano Fest” of the holiday and the bridges

In the second part, the program has moved into the universe of other composers. Igor Stravinsky's “Tango”, George Gershwin's “Three Preludes”, Mikael Karlsson's “Finale from Blanc”, Christoph Willibald Gluck's “Dance of the Blessed Spirits”, Paul Constantinescu's “Ninni”, “Toccata” and Sergei Rachmaninoff's “Prelude G-mol, Op.23, no.5” have created a diverse stylistic journey, where dance and music have constantly communicated with each other.

Against this backdrop, Eno Peçi constructed a stage narrative that moved between ballet and theatrical dance, giving body to sound and turning music into image.

For Eno Peçi, part of the Vienna State Opera Ballet troupe and one of the most successful Albanian names on the international ballet scene, this collaboration has offered new opportunities for expression. 

"It's a slightly different format, because in the art world you only hear piano or only ballet. It's a format that brings everything together, both piano, and theater dance, but also ballet, crossed, because music, interpreted through movements, perhaps makes even more sense. There are several forms of communication with the piano, with music, and through it a completely different expression emerges. There are many different dimensions through which we can go with art, not only with ballet, but there are many different components that are interconnected and in the end create something magical," he said.  

According to Peçi, solo performance adds even more artistic responsibility.

"It's more challenging because I'm alone, but the interactions are numerous, like with the chair, with the pianist, with the music, with the atmosphere and with the place where we are. Through these interactions we can create different stories so that the audience can open their imagination a little and think about what I intend to express through these movements. Of course, when you're alone, you'll think more, while when you have someone it's easier. But the structure is the same," he said.  

also Culture 1 months ago Alexandra Balog on the inner landscapes of pianistic music

The festival's managing director, Besa Luzha, described the concert as one of the most special events of this edition.

"It was among the events on the list of celebrations for Liberation Day. It is a modern concept. The piano was in the center, in focus, as if it were a recital, but the accompaniment with movement, with Eno's choreography and the whole concept, was very interesting, because it was the first time we had such a program with ballet. We have had it before, but not like this with the concept of a piano recital. I believe it was very interesting for the audience as well," she said.

At the center of the project was pianist Maria Radutu, known for her innovative approach to classical music. Born in Romania and artistically trained in Austria, she has become known on European stages for concerts that transcend the boundaries of traditional recitals, combining music with theater and performance. Radutu said that her collaboration with Peçi has a history of ten years.
"They were very much in combination from the beginning. When music and dance come together, music creates magic in a way. We tried to bring a mix to the program and its dramaturgy, so that the music and dance are on the same level," she said.

A special place in the program has also been occupied by the work of the Swedish composer, Mikael Karlsson, originally created for ballet.

"The work by Mikael was written for ballet and I was invited as a soloist at the Vienna State Opera," the pianist said.

also Culture 1 months ago The brilliant performer of musical drama who weighs every note

In the second part of the evening, the dialogue between music and movement was joined by ballerina Mërgime Morina, one of the most renowned names in ballet in the country. Her presence further enriched the stage dimension of the concert, being an equal partner in the narrative with Peçi.

For about two hours, the audience watched the performance where the boundaries between piano and ballet were constantly blurred. For the audience, it was a complete stage experience, not just for listening.