Dubai Opera, proudly known as the ‘House of Cultures’, is the definitive destination for performing arts in Dubai, bringing arts and music to life. Since its inauguration in 2016, this architectural masterpiece, inspired by the traditional dhow boats of the Arabian Gulf, has become a symbol of Dubai's rich cultural heritage and its commitment to the global arts scene.
Dubai Opera is a dynamic space that can transform seamlessly from a grand theatre to a concert hall or a flat-floor event space, making it one of the most innovative performing arts venues in the world. With a seating capacity of up to 2,000, Dubai Opera hosts a diverse array of performances – from the grandeur of classical opera and ballet to the dynamic rhythms of contemporary music and theatre.
For this season, one of the most anticipated performances has been the powerful reinterpretation of Carl Orff’s Carmina Burana in a modern ballet, performed by Maribor Ballet of Slovene National Theatre. Visionary choreography Edward Clug, brought this iconic masterpiece to life with stunning contemporary movement, creating an unforgettable experience at Dubai Opera.
Carl Orff’s Carmina Burana is a 20th-century musical masterpiece that delves into timeless themes of hope, love, and destiny, inspired by medieval verse. Its opening movement, O Fortuna, remains one of the most recognizable and evocative pieces of classical music, casting a dramatic spotlight on humanity’s uncertain fate.
Edward Clug’s fresh reinterpretation breathes new life into this work, exploring its dual themes of torment and renewal. His choreography highlights the resilience of the human spirit, weaving together reflections on legacy, connection, and the enduring nature of the human experience.
We joined Paolo Petrocelli, Head of Dubai Opera, for a conversation about the institution’s artistic vision, its role in supporting world-class performances, and the significance of presenting Carl Orff’s Carmina Burana.As part of the conversation, we also asked Edward Clug about his experience at Dubai Opera, his creative process, and what audiences can expect from Carmina Burana as it comes to Dubai.
Saira Malik (S.M.): How do you approach curating the new season at Dubai Opera?
Paolo Petrocelli (P.P.): Our approach is deeply rooted in balance between tradition and innovation, global excellence and local resonance. We strive to curate a season that reflects the richness of the world’s artistic heritage while embracing the creative pulse of the contemporary. At Dubai Opera, we design each season with a deliberate mix of opera, ballet, classical music, musicals, contemporary dance, Arabic and world music, jazz, and family shows. We want every audience member, regardless of background or familiarity with the arts, to feel welcome and inspired.
(S.M.): What does creating a strong cultural scene through Dubai Opera mean to you, and how are you pursuing that vision?
(P.P.): It means building a platform that not only showcases exceptional performances, but also nurtures meaningful dialogue, education, and inspiration. Dubai Opera is becoming a cultural bridge, a place where people from different generations and backgrounds come together through shared artistic experiences. We are actively expanding our collaborations with international institutions, fostering regional talent, and launching new initiatives that bring arts education and engagement into the heart of the community.
(S.M.): How does Dubai Opera balance entertainment with fostering cultural connections and promoting diversity through arts?
(P.P.): By embracing the idea that excellence and accessibility can coexist. Our programming is intentionally diverse, not just in genre, but in origin, perspective, and message. We want our audiences to be entertained, but also challenged, moved, and inspired. Whether we are presenting a major international opera production or hosting emerging regional artists, the goal is always to celebrate cultural richness and create space for connection.
Saira Malik (S.M.):What inspired you to reinterpret Carl Orff’s Carmina Burana in a modern ballet?
Edward Clug (E.C.): At first, I was hesitant. Orff’s Carmina Burana is so iconic, so rich in musical power and symbolism, that the idea of adding choreography felt almost excessive. But when Ivan Cavallari, the artistic director of Les Grands Ballets Canadiens, invited me to take on the project, I looked closer. I realized that beneath the thunderous score lay a raw, primal energy—something deeply human. That was the spark. I was inspired to explore how this music speaks to the cycles of life, the pull of fate, and the emotional gravity of human experience. Dance became my way to navigate those currents.
(S.M.): What was your process to create an original environment that fits in perfectly with the monumental Carmina Burana music and atmosphere?
(E.C.): My first challenge was to avoid simply illustrating what the music already conveys. Instead, I tried to find a choreographic language that would resonate with the structure and spirit of Orff’s composition. I worked closely with my longtime collaborators—set designer Marko Japelj and costume designer Leo Kulaš—to build a minimal yet symbolic visual world. The stage environment revolves around a circular form, echoing the wheel of fortune (Rota Fortunae) and the eternal recurrence of nature and desire. We allowed the dancers' bodies to create emotional landscapes within this space, always guided by the music’s rhythm and dynamic
(S.M.): Your work has been described as bold and visionary and over the years you have created so many innovative shows. How do you keep pushing yourself to continue innovating, pushing boundaries, and exploring new ideas?
(E.C.): I try to stay curious, and I question everything—even my own instincts. Each new piece is an invitation to unlearn something and discover something else. I draw inspiration not only from music or literature, but from conversations, from visual art, from silence. The key is to remain vulnerable. When I feel that I have something to lose—that’s when I know I’m on the right path. Innovation isn’t a goal in itself—it’s a side effect of genuine exploration.
(S.M.): What are your thoughts on bringing the show to Dubai Opera, and how is this different for you compared to other countries you have performed in?
(E.C.): It’s a privilege to bring Carmina Burana to Dubai Opera. This venue has become a beacon of cultural exchange, bridging East and West, tradition and modernity. Performing here means engaging with a diverse and vibrant audience. I find that incredibly motivating. Each location brings its own energy, and in Dubai, there’s a sense of curiosity and openness that I value deeply. It’s not just about showing the work—it’s about sharing an experience.
(S.M.): What do you hope to achieve from your performance at Dubai Opera, both artistically and in terms of its impact on the audience?
(E.C.): Art should move us—not necessarily to tears, but to a deeper awareness of ourselves and each other. I hope the audience in Dubai feels a connection, not just to the dancers on stage, but to the universal questions this work raises: What drives us? What binds us? Where do we find renewal? If the performance lingers in their thoughts after the final bow, then we’ve succeeded.
For more information, visit www.dubaiopera.com
