Hanţiu, Călin Eugen

Ballet dancer (b. 16 July 1957, Năsăud/Bistriţa). ChoreographyHigh School in Cluj-Napoca, graduation 1976, teacher Adrian Mureşan. Romanian Opera House in Cluj-Napoca (1976-1979). Soloist, ODBT* in Constanţa (1979-1988), Opera House in Gera and Opera House in Dresden-GDR (1987-1989). Prime soloist, ODBT in Constanţa (1990-1996). Prime soloist, educator, choreograph and head of division, Opera House in Constanţa (1996-1997). Soloist, educator and choreograph, Company Rendano and Dance Academy I. Sisca (1997-1999). Prime soloist and choreographer, ODBT in Constanţa (from 1999). International Ballet Contest, Vercelli, 1982, 2nd Prize; National Ballet Contest, Dessau, Germany, 1987, 1st Prize; Festival of Choreographic Creation, Iaşi, 1997, Prize for the graphic qualities of his neoclassic language. He has worked with the National Opera House in Bucharest, the Romanian Opera House in Cluj-Napoca, the Opera House in Constanţa – in the performance The Jungle Book, in the role of the Tiger; the Fantasio Theatre in Constanţa – soloist in the performance Nobody Wants Me! Performances, roles, reviews: The Chopinianne, The Privateer: pas de deux; The H Hour: main part; The 2nd Rhapsody; The Miraculous Mandarin: Robber. ("…Without an identity of his own, functioning complementarily like a triangle of meanness, of instinctive aggressiveness, the killer is deftly outlined by C. H., a character without a face, with reoccurring effect, murder." – Ana Maria MUNTEANU, Tomis, no. 11/1995); Swan Lake: Siegfried, Rotbard, the Buffoon ("Remarkable is the fact that the role of the Buffoon was allowed to develop, as the appropriate dancing space was given to C. H.'s special qualities, an excellent binding element between the ball atmosphere at the royal court and the jokes of the peasant feast." – Die Woche, Gütersloch, Germany, 1982); Mioriţa: the second oil-monger ("…C. H.'s creation stays in our memory, thanks to the expressiveness of his dancing moves and above all to his intense identification with the role." – Viorel COSMA, Tribuna României, 1 October 1981); "C. H. surpassed himself in doing the role." – Petre CODREANU, Contemporanul, 11 September 1981; Carmen: Don Jose, Escamillo ("…he demonstrates secure ballet and at the same time dramatic qualities, with the best hopes for the future." – Gheorghe STĂNESCU, Tomis, no. 4/1981); Giselle: Albert, pas de deux ("…in excellent form, paying attention to every detail." – Carmen KEHIAIAN, Tomis, no. 3/1983); Symphony no. 3: Hylarion; The Nutcracker: Spanish dance; Sleeping Beauty: the Prince ("A vigorous dancer, his moves are harmonic and secure and when he wants to impress at any costs, his virtuoso technique appears pure and fit to the requirements of this academic role." – Nicolae SPIRESCU, Tomis, no. 3/1986); The Carnival: Waltz; Coppelia: Franz; Romeo and Juliet: Romeo, Tybalt; Puss in Boots: the Miller's Son ("…he interprets his role with self-assurance and spontaneity, capitalizing on his comic structure and his expressiveness, using both choreographic and dramatic means." – Aurelia LĂPUŞAN, Free Spirit, 11 November 1993); The Snow Queen: The Gnome, The Stag; Pinocchio: The Tomcat. Choreographies: Turandot; "The dance – so well prepared by C. H., prime dancer of the ODBT in Constanţa, who appears as choreographer for the first time, helped by his own stage experience – reaches a perfect form of syncretism." Aurelia LĂPUŞAN, Free Spirit, 5 January 1993 (at the Fantasio Theatre); The Blue Rhapsody; Biographies ("For reviving the neoclassic language used in Biographies, a special prize at the International Festival of Choreographic Creation, 7th edition, Iaşi, 1997, was awarded to Călin Hanţiu, a mature ballet dancer and at the same time young choreographer and director of the Romanian Opera House in Constanţa. Born out of the empathy between Smetana's symphonic poem From my Life and the personal experience of the performing couple, Delia-Călin Hanţiu, the work is permeated by an authentic emotional approach, which glosses over the technical or staging imperfections, foregrounding a choreographer with valuable potential in a section which in our country is more on the deprecating side: the neoclassic." Vivia SĂNDULESCU, România literară, no. 47/1997); "Choreographer C. H. was awarded the prize for the graphic qualities of his neoclassic language for the work Biographies. Using the neoclassic language, the choreographer succeeds in conveying an autobiographical slice of life." – Nataşa TRIFAN, Cotidianul, 22 October 1997); Sylphs (at the Opera House in Constanţa); The Marriage; Voluptuousness – Tuesday at Midnight; An Opera for Future Dictators; The Women's Gathering ("The performance also has a lot of choreographic movement, intelligently conceived by C. H." – Aurelia LĂPUŞAN, Free Spirit, 29 March 2001; "The staging benefits from C. H.'s expressive choreography, which compels the women's choir to move in a varied, suggestive, natural and convincing manner." – Virgil MOCANU, Tomis, no. 4/2001) – at the Ovid Theatre in Constanţa; Pinocchio ("…creates his first long-spanning choreography. The discourse is constantly supported by means of a fairy evocation and even by enhancing the receptivity with fabulous elements, for instance the highly inventive approach to the episode in the whale's stomach, when the huge fangs are the ballerinas' feet themselves. […] C. H.'s subjective intentions gain shape and are perfected when they appear in precisely reckoned performance formulas." – Magdalena VLĂDILĂ, Telegraf, 10 October 2000; "C. H. was undoubtedly the premiere's hero. An old prime soloist of the company, shortly won over to creation again, this is nevertheless C. H.'s first production of a complete ballet. His makes Pinocchio a delightful show, without any drops, funny and poetical, and the style he uses, neo-classically adapted to choreographic narrations, is so familiar to him that his creation becomes a natural sequel of his interpreter's career. From master Danovski he has learned how to obtain a maximum of visual effects with a minimum of virtuosity, how to fill up the stage with a numerous ensemble perfectly visible in its movements, how to leave the story when it does not fit him anymore, or how to close con tutti in a musical and dynamic crescendo. Although he is faithful to the recipe of romantic ballets, where he inserts moments of pure dance as a pretext for ensemble picturesque scenes or for solo performances, his contribution is rather one of actual choreographic expression featuring a combinatorial inventiveness, especially in the register of big jumps, revolutions and grips." – Vivia SĂNDULESCU, Scena, no. 11/2000) – at the ODBT in Constanţa. In the same theatre he has been a choreographer-assistant in the performances Swan Lake (Simona Noja's scene version); Giselle (Judith Turos's stage version) and The Snow Queen.
* The Oleg Danovski Ballet Theatre 

by Plural magazine