Ma Cong Prepares for Carmina Burana
Feb 11, 2010 in General 
By Judy Langdon & Anne Brockman
Tulsa People Magazine – December 2009
This spring, Tulsa Ballet will present the classic Carmina Burana. For the first time, Ma Cong, principal dancer for Tulsa Ballet, has choreographed the work. Here, he discusses his creative process and expectations for the production, which also features Tulsa Oratorio Chorus and Tulsa Symphony Orchestra.
How long does it take to choreograph such a massive work, and when do you plan to begin rehearsals?
I have spent over two months doing all the research about the music, background, history, lyrics, etc. For creating the movement and steps, I only used about two and a half weeks in total; it was the fastest working process I have ever done for almost an hour ballet. To be (ready) again in May 2010, we have had about two weeks in total for reviewing in the beginning of this season, which is in August, and mostly just for the new dancers … to learn the steps and movement. And then, we are planning on starting rehearsals by the end of April; it will take us probably about two to three weeks to put everything together.
Approximately how many dancers are needed for Carmina Burana?
I am using two lead couples (two females and two males) and eight corps couples (eight females and eight males). Of course, there will be some second cast and covers will be needed.
How will Carmina Burana be staged, since Tulsa Ballet will be sharing the billing with Tulsa Oratorio Chorus and Tulsa Symphony Orchestra?
We (Tulsa Ballet) will rehearse and get the ballet in great shape, and Tulsa Oratorio Chorus and Tulsa Symphony Orchestra will rehearse themselves. Then we are all going to merge together in the theater week at PAC … It probably will take at least two or three times for final rehearsal with all, but it’s truly magic when everything goes together, and it becomes this beautiful, massive, powerful Carmina Burana.
Have you danced in Carmina Burana before, and if so, how will this affect your choreography?
Yes, I have danced another version of Carmina Burana. Because I have danced this ballet before, it made me extremely clear about the music. I always get inspired by music, especially this powerful one. Choreographic-wise, I wasn’t affected by another version of Carmina at all. Because I always have a very close “conversation” with music before I start a new work … it speaks to me and leads me to the feeling I need to be discovered, and to the passion I need to be reached, and to the soul I have to be found, and to the message I need to be sent ... with all those materials, I come (up) with my own movement and steps, and it worked perfect just like how I imagined in my mind.
What types of ballet, or modern dance, are needed for the pieces “O Fortuna,” “Uf dem Anger” and “Court of Love”?
As for this typical work I created, dancing-wise they are all based on classical ballet techniques, but with (the) upper body, I have used a lot of contemporary movement, so I would say this Carmina Burana belongs to neo-classical ballet.
Do you have a favorite piece in the work?
Every section is very interesting and has different elements; it’s very hard for me to pick a favorite one. I guess all of them are.
