A Collision of Sound Worlds

Angelin Preljocaj on Helikopter and Licht

Two works that couldn’t be more different, yet are deeply connected. In Helikopter, French choreographer Angelin Preljocaj engages with the radical music of Karlheinz Stockhausen. With Licht, his latest creation, he responds with a choreographic vision of energy, transformation, and hope. A conversation about artistic risk, utopias, and the legacy of one of the most uncompromising composers of the 20th century.

Interview by Agnès Izrine

What inspired you to choreograph Helikopter to Stockhausen’s string quartet?

In 2001, I was looking for something that would challenge my usual creative approach. While browsing the contemporary music section, I came across the Helicopter String Quartet. I was immediately intrigued, bought the recording—and was completely blown away. The score was utterly mad, seemingly impossible to choreograph. And that was exactly the point: that night, I realized that if something feels impossible, I have to try it.

Why are you presenting the revival of Helikopter alongside your new piece Licht in the same evening?

I wanted to pay a personal tribute to Karlheinz Stockhausen—almost as if I were trying to communicate with him one last time, through some telepathic or spiritual channel. He passed away shortly after our last collaboration. At the time, we presented Eldorado together at the Paris Opera, also as part of a program that included Helikopter. Our conversations about art, language, and composition left a lasting impression on me.

Did that encounter influence your choreographic work?

What struck me most was his radical vision—so deeply embedded in his personality, almost like a genetic code. Helikopter is an incredibly daring piece, and he composed it at over 80 years old. Stockhausen constantly took risks, reinvented himself, and wanted to leave a message to humanity: never settle for what you already know—always seek out new paths. That message continues to resonate with me. His music allows for freedom, because it welcomes the unexpected.

How are Helikopter and Licht connected?

I always try to create an inner logic within each evening’s program. Helikopter requires enormous intensity, so the work that follows needs to hold its own. Licht offers a contrast: bright, luminous—almost like an eruption from storm clouds. It’s a metaphor for our times: charged, full of contradictions, yet still infused with hope.

Would you describe Licht as a futuristic utopia?

We’re living through a rather dark chapter, but I also see signs of awakening. Despite the fear, there are growing processes of awareness that can’t be undone. Even if conservative forces push back, they won’t dictate the outcome of this shift. We are at a turning point. That tension is what I wanted to convey in Licht.

Which composer did you choose for Licht, in contrast to Stockhausen?

Stockhausen is, to me, the grandfather of electronic music. So I looked among his “spiritual grandchildren”—and immediately thought of Laurent Garnier, with whom I’ve already collaborated. To me, he’s a direct heir: his music carries energy, vision, and a promise of freedom—combined with values like respect, inclusion, and tolerance. These are qualities I associate with a new generation.

Learn more:

Helikopter and Licht by Angelin Preljocaj open the Bolzano Danza 2025 festival.

For details on performances and tickets, click here.