The Ankara State Opera and Ballet brings together a new ballet production titled Tango Passion, which blends the music of Argentine composer Astor Piazzolla and Mexican composer Arturo Marquez. Presented as a synthesis of neoclassical and contemporary dance, the piece immerses the audience in the spirit of tango, both emotionally and visually.
M. Ferhat YÜKSEL
The production consists of two separate choreographies. The first part features Tangata by German choreographer Ricardo Fernando. In the second part, Crossroads, choreographed by Can Arslan, takes the stage. With Crossroads, Arslan leads the audience through inner human conflicts, emotional swings, and the moments of choice people face throughout life. Arslan, noting that the dancers were open to trying a different technique, said:
“I metaphorically approached love.”
“My technique leans more toward neoclassical. It was a new experience for them, but they adapted well. The ballet explores the contradictions within a person, their emotional relationships, and how those are reflected outward, leading to intersecting paths with others. At its core, it’s about a man, or a person, facing two choices. I treated love more metaphorically, but everyone has such moments; it could be about love or work. I symbolized this on stage with a man caught between two women. Of course, there are other dancers. You’ll see their emotions, contradictions, and how their paths cross as well.”
Tangata, based on the music of Astor Piazzolla, is made up of six distinct sections rather than a traditional narrative. Each section reflects a different emotion. Choreographer Ricardo Fernando described the project as “a major step for Ankara State Ballet and all dance companies in Türkiye.” Fernandeo added: “We’re not telling big stories, but through the feelings inspired by the music, the dancers bring in their interpretations. There is a duet between a man and a woman. It is more like a competition. The finale builds to a grand chord that gives off a Don Quixote-like atmosphere. Then comes a solo for a female dancer; the men around her lift her like a diva. In the section we call the quartet, a woman and three men take the stage; the woman is almost constantly in the air. This part ends with a high-energy duet, offering the audience a strong sense of contrast.”
