American choreographer Robert North originally created this one-ace dance show in 1974 for the male dancers of the London Contemporary Dance Theatre to show, with an ironic slant, the expression in dance of masculinity and the "macho spirit". Its uniqueness arises from the fact that, in the second half of the 20th century, a ballet performance solely by males was a great rarity. Today it is a modern classical and ahas entered into the repertoire of a number of the world's major companies.
The Hungarian National Ballet, however, has put a twist on the work: departing from tradition, certain of our performances will feature, in place of the men, "amazons" performing sequences of movement of masculine difficulty.
The first time the female version of this work was performed in September 2014 by the Hungarian National Ballet, which was also its European premiere.
Although the works of American ballet dancer and choreographer William Forsythe use classical technique as their starting point, he is capable of thinking them through further, often taking them to the extreme. An example of this is his 11-minute piece The Vertiginous Thrill of Exactitude, created for three female and two male dancers. In it, solos, pas de deux, pas de trois and ensembles alternate, with no plot, to the virtuosic and sublime final movement of Schubert's (“Great”) Ninth Symphony.
The work, which today is already considered one of the most challenging short ballets to perform, pays tribute to classical technique. Joining In the Middle, Somewhat Elevated, it is the second of Forsythe's pieces to make it into the Hungarian National Ballet's repertoire.
"Agile, ethereal and precise."
(Krisztina Horeczky, Tánckritika.hu)