Choreography continues to write itself – through music, through bodies, through time. A thread runs from one work to the next, connecting people and places and weaving itself into the DNA of a company.

Anne Jung’s choreography to Sibelius’s Second Symphony draws on the mythological motif of the underworld. At its centre lie threshold experiences: transformation, cyclical recurrence, the tension between destiny and autonomy. Jung works with mythological structures as associative spaces and poses questions that remain relevant across time and societies: What is predetermined? Which patterns do we inherit, which do we break with?

Uwe Scholz’s pas de deux from Anton Bruckner’s Eighth Symphony stands as a response – a thread already firmly woven into this city. The third movement – Bruckner’s Adagio, his meditation on transience and transcendence – reveals 30 minutes of concentrated togetherness. We see love in all its breadth: vulnerable and powerful, dissolved and precise, earthly and sublime. The choreographic precision with which he translates musical monumentalism into human intimacy is unparalleled. His legacy in Leipzig represents an artistic ethos: Truthfulness in music and dance, uncompromising form.