Classical vocabulary meets modern movement language: "A dancer dares to try something different. The unknown, the new. But she doesn't say goodbye to what she has learned so far. She wants to continue there. But she is also happy to try something new and to gain undreamt-of experience. It is a bit the story of my life and that of many other dancers.
Delattre Dance Company
Filipe Portugal wants to follow the footsteps from his ballet director Christian Spuck, who also started they choreographer career with "Jungen Choreographers" evenings. Portugal shows a coherente choreography on music by Arvo-Pärt. Heavy Lightness is much more strong than light.
My choreography focuses on the four elements fire, water, earth and air. On the one hand, I am interested in their characteristic properties. But much more I would like to find out what reaction the interaction of the different elements triggers in dance and movement. Starting point of our "investigation" are the birthdays of the dancers of the Junior Ballet.
Portugal’s choreography takes the dancers to the very limits of physical possibility, and often incorporates the “beat” of the Bach in entirely startling ways. Rarely have I seen a dense collection of movements parallel a score so closely. A single note emphatically played, and a foot might strike out like a momentary afterthought, or an arrow-straight body suddenly crumple.
Things take a happier turn in the world premiere of Filipe Portugal’s “Stepping Over,” set to parts of Philip Glass’ “Tirol” Piano Concerto. Women fall or swoon into guys’ arms; couples move through positions that are sensuous and chastely romantic by turns. Bodies stay flexible, pliant, almost melting into place.
Ganz anders Filipe Portugals «Behind the Mirror». Der Pas de deux von Aurore Lissitzky und Cohen Aitchison-Dugas folgt dem zweiten Satz von Dmitri Schostakowitschs Konzert für Klavier, Trompete und Orchester in c-Moll. Und er folgt der Musik nicht einfach nach Noten, sondern in langen Atemzügen, mit weit gedehnten Gliedern und Bewegungen. Hochmusikalisch ist das, und deutlich wird auch hier der Lehrmeister: Heinz Spoerli.
The flow of words describes the Greek word "dialogos". Here a dialogue between music and dance is developed. However, this dialogue can arise from a confrontation. Talking to each other can also mean staying silent, arguing or sometimes simply crossing paths. It does not mean always remaining in harmony, but reaching new insights in the course of dialogue.
Filipe Portugal’s own choreography for the “Liebestod” from Wagner’s Tristan und Isolde, a young and fresh interpretation which premiered on New Year's Eve Gala 2013 at the Opera House of Zürich, and was created especially for the occasion featuring soprano Anja Kampe.
Music from Philip Glass (Orphée Suite: IV. Orphée and the Princess) created for Tanzakademie Zürich. Dancers - Margarida Neto & Alexander Bezuijen
Created for TAZ (Tanz Akademie Zürich under direction of Steffi Scherzer and Oliver Matz ) with premiere in June 2015 Choreographer - Filipe Portugal Music - Astor Piazzolla
This choreography was created in 2014 by Filipe Portugal on occasion of the Jungen Choreografen event in Opernhaus Zürich. We are working on adding more information about this performance. A media gallery of images is already available and we are glad to share them with you in the performance page.
This choreography was created in 2013 by Filipe Portugal on occasion of the Jungen Choreografen event in Opernhaus Zürich. We are working on adding more information about this performance. A media gallery of images is already available and we are glad to share them with you in the performance page.
Under Duress was created in 2019 for the Ballettschule für das Opernhaus Zürich with music from Philip Glass. A Trailer is coming out soon.