September 29, 2010

Review: A Franco-Russian Apocalypse Now

Another review from the Lyon Biennale in today’s Financial Times!

Suivront mille ans de calme (And then, a thousand years’ peace)
Ballet Preljocaj/Bolshoi Ballet
Amphithéâtre/Cité Internationale, Lyon
September 24, 2010

Fresh from its summer triumph in London, the Bolshoi Ballet opened its new season with an intriguing project: the creation, for the France-Russia Year, of a contemporary work performed in collaboration with a French company. Ten (mostly corps de ballet) dancers from Moscow, 11 from the multicultural Ballet Preljocaj – the recipe for a beautiful intercultural adventure, no doubt, but not necessarily for great art, as the French premiere of Suivront mille ans de calme at the Biennale de Lyon showed.

Choreographer Angelin Preljocaj is a household name in France, elevated to the position of lavishly funded establishment artist. His dance vocabulary has always been limited, but at his best he achieves a balance of pared-down movement and classical music, bringing out the vulnerability of his dancers. At his worst, his choreography unfolds in a vacuum or, in the case of Suivront mille ans de calme, dissolves into incoherent theatre. (…)

» Read the full article in the Financial Times

Ballet Preljocaj/Bolshoi Ballet - Suivront mille ans de calme © Michel Cavalca

Ballet Preljocaj/Bolshoi Ballet - Suivront mille ans de calme © Michel Cavalca

Ballet Preljocaj/Bolshoi Ballet - Suivront mille ans de calme © Michel Cavalca

Ballet Preljocaj/Bolshoi Ballet - Suivront mille ans de calme © Michel Cavalca





September 14, 2010

Live Festival – Biennale de la Danse de Lyon

I am currently attending this year’s Biennale de la Danse in Lyon – one of France’s mighty dance festivals, with no less than 57 works being performed in the city until October 10. Created in 1984, the Biennale has always leaned strongly towards contemporary dance, but it knows how to juggle between old masters and young creators – bringing the likes of Pina Bausch to the Lyon Opera House and featuring up-and-coming French choreographers in an array of smaller venues scattered around the city. This edition is also the last for long-time artistic director Guy Darmet, and he chose to go out on a jolly note with the following title, printed in bright pink everywhere: “Encore!” (More!) But how cheerful should we be about the program?

I’ll be tweeting live from a number of shows and press conferences at @bellafigural – look out for the #BiennaleLyon tag!

IMG00069-20100912-1548

A snapshot from the festival's Défilé (scroll down for more)

Bella Figura’s early picks

Neo-Classical Riots

  • Les Ballets de Monte-Carlo: Rite of Spring / Altro Canto Part I, Maison de la Danse, until September 14
    The landmark Hodson/Archer reconstruction of the 1910 Rite of Spring, rarely seen in France, combined with a neo-classical masterpiece: artistic director Jean-Christophe Maillot’s Altro Canto Part I, choreographed in 2006, a stunning, androgynous take on Monteverdi featuring Maillot’s sculptural muse, Bernice Coppieters.
  • Lyon Opera Ballet: Forsythe evening: Quintett/Workwithinwork, Lyon Opera, September 24-28
    The only other classically-trained company to take part in the festival, the Lyon Opera Ballet, is a Forsythe believer. The two works in this bill, both company premieres, are seldom performed in France, and should serve the company’s modern edge well.
Ballets de Monte-Carlo - Altro Canto Part I © Christian Ganet

Ballets de Monte-Carlo - Altro Canto Part I © Christian Ganet

Modern Dance History Lesson

  • Trisha Brown Dance Company: You Can See Us/Foray Forêt/Opal Loop – Cloud Installation #72503/L’amour au théâtre, Le Transbordeur (Villeurbanne), September 14-15
    The American choreographer is celebrating the 40th anniversary of her company, and the works shown in Lyon offers a glimpse of her range and evolution. A complete “Parcours Trisha Brown” is even in place, with an exhibition at macLYON and a selection of Early Works shown outdoors, at the Parc de la Tête d’Or.
  • Pina Bausch/Tanztheater Wuppertal: Nelken, Lyon Opera, September 15-20
    Now is the time to celebrate the legendary Pina Bausch, who passed away just a year ago, amid concerns about the long-term survival of her historical company. Dominique Mercy sensitively discussed the “mourning” state of the Tanztheater Wuppertal during the press conference, and the company is to continue exploring Pina Bausch’s large repertoire.
    » Watch: A trailer for Nelken
Tanztheater Wuppertal - Nelken © Ulli Weiss

Tanztheater Wuppertal - Nelken © Ulli Weiss

American Success Stories

  • Ailey II: Ailey Highlights / Splendid Isolation II / The Hunt / Revelations / Echoes, Théâtre des Célestins, September 15-26
    Alvin Ailey’s school is now a landmark in the American dance world, and the young Ailey II company, comprised of advanced students, is an eager advocate of the choreographer’s wide repertoire. With a series of Ailey highlights and Revelations, they are taking historical North American works to France. 3 recent creations by Jessica Lang, Robert Battle and Thang Dao complete what is set to be 2 beautiful mixed bills.
  • Bill T. Jones/Arnie Zane Dance Company: Fondly Do We Hope… Fervently Do We Pray, Maison de la Danse, September 18-22
    Wondering about the current political and racial turmoil in the USA? Bill T. Jones, one of America’s most cherished Black choreographers, comes to Lyon with a full-length dance work about Abraham Lincoln, the White president who ended the Civil War, and seems bound to provide us with much food for thought.
    » Watch: Bill T. Jones discussing Fondly do we Hope… Fervently do we Pray
Ailey II in The Hunt © Eduardo Patino

Ailey II in The Hunt © Eduardo Patino

Local Talents

  • Compagnie Käfig/CCN de Créteil: Boxe Boxe, Maison de la Danse, September 25-October 9
    A hip-hop company from Lyon recently offered the direction of one of France’s CCN (regional Choreographic Centers), Käfig produces eclectic works with a clear urban feel.
  • Compagnie Maguy Marin/CCN de Rilleux-la-Pape: Salves, Petit Théâtre du TNP, September 13-19
    Maguy Marin’s highly theatrical and sometimes practically dance-less works have found their audience in Lyon ever since she became director of the local CCN. Her strange sense of poetry can be compelling, and this small-scale new work will hopefully be a worthwhile addition to the company’s repertoire.
Maguy Marin's Salves © Christian Ganet

Maguy Marin's Salves © Christian Ganet

Special Mention: Unlikely Collaboration of the Year

  • Ballet Preljocaj/Bolshoi Ballet: And then, a thousand years’ peace, Maison de la Danse, September 24-27
    Angelin Preljocaj and the Bolshoi: these are two names I never thought I would combine in the same sentence. And yet here they are, suddenly brought together for the France-Russia Year. Lyon’s Maison de la Danse is the first touring venue for this work, to be created in Moscow on September 14, and with half the dancers from Ballet Preljocaj and half from the Bolshoi, it could turn out to be weird, compelling, or anything in between. If anyone can rekindle Preljocaj’s dwindling creativity, however, it may just be today’s Bolshoi.
Ballet Preljocaj/Bolshoi Ballet - Rehearsal image © JC Carbonne

Ballet Preljocaj/Bolshoi Ballet - Rehearsal image © JC Carbonne

Outsiders: Nasser Martin-Gousset, Olivier Dubois, Catherine Diverrès and Michel Kelemenis in the “French choreographers” category; Les Indes dansantes, a Baroque dance performance; local ventures such as Compagnie Propos and Compagnie Acte; flamenco dancers Andrés Marin and Angeles Gabaldon; Balé de Rua, Deborah Colker and Focus Cia de Dança for some South American energy.

And it all started with a Parade…

Let’s finish off with a few snapshots of the traditional Défilé (Parade) in the streets of Lyon, aptly titled “La Vie en Rose” (Life in Pink). Hundreds of amateur dancers gathered for a display of crazy costumes and silly group dances watched by around 300 000 people last Sunday, according to the Biennale – a bit of dance in the sunshine while companies prepared in dark theatres.

Biennale 1

A new genre of tutu?

Majestic float

A majestic float...

Hip hop parade

Hip hop parade

Lonely pink tutu with bubbles

Lonely pink tutu with bubbles





May 1, 2010

Review: The empty quest of Siddharta

Siddharta
Choreography: Angelin Preljocaj
Paris Opera Ballet
Opéra Bastille, Paris
11 April 2010

If you have been wondering what is wrong with the Paris Opera Ballet these days, don’t miss Siddharta. This lavish creation is the latest and perhaps most obvious symptom of the derailment of a system – a state-funded institution with a budget most other companies can only dream of, but with no artistic control other than that of its long-time director. A lot of money has obviously been thrown at this season’s major premiere, created in the large Opéra Bastille – with a commissioned new score, splendid sets, shiny new costumes and gorgeous promotional images, how could it go wrong? Well, it did, with some of the most blindingly mediocre choreography I have seen in a long time. Is there a captain onboard?

Siddharta is based on the mystical journey of the man about to become the first Buddha. We witness him unhappy at his father’s court and with his wife Yasodhara; an immaterial being, the Awakening, impersonated on stage by a woman, appears and persuades him to leave his material life behind to commit himself to an ascetic existence. In the end, having overcome tentation, he becomes one with the Awakening. Spirituality should shine through in this story, but the production does the opposite: it sacrifices content to form. The commissioned score by Bruno Mantovani, difficult and dark, is not without interest, and yet Preljocaj only ever uses it for cheap effects – the entrance of Siddharta to guitar riffs, for instance. The stunning sets created by Claude Lévêque are another missed opportunity. The enormous sphere hanging over the initial scene of decay, swaying back and forth like a monstrous reminder of time, filling the air with incense-like smoke, is the most striking image of the ballet. Without a choreographic response, however, it is little more than an empty vessel. (…)

» Read the full review in Ballet.co Magazine

Aurélie Dupont & Nicolas Le Riche in Siddharta © Anne Deniau

Aurélie Dupont & Nicolas Le Riche in Siddharta © Anne Deniau

Siddharta
Choreography: Angelin Preljocaj
Paris Opera Ballet
Opéra Bastille, Paris
11 April 2010
If you have been wondering what is wrong with the Paris Opera Ballet these days, don’t miss Siddharta. This lavish creation is the latest and perhaps most obvious symptom of the derailment of a system – a state-funded institution with a budget most other companies can only dream of, but with no artistic control other than that of its long-time director. A lot of money has obviously been thrown at this season’s major premiere, created in the large Opéra Bastille – with a commissioned new score, splendid sets, shiny new costumes and gorgeous promotional images, how could it go wrong? Well, it did, with some of the most blindingly mediocre choreography I have seen in a long time. Is there a captain onboard?

Siddharta is based on the mystical journey of the man about to become the first Buddha. We witness him unhappy at his father’s court and with his wife Yasodhara; an immaterial being, the Awakening, impersonated on stage by a woman, appears and persuades him to leave his material life behind to commit himself to an ascetic existence. In the end, having overcome tentation, he becomes one with the Awakening. Spirituality should shine through in this story, but the production does the opposite: it sacrifices content to form. The commissioned score by Bruno Mantovani, difficult and dark, is not without interest, and yet Preljocaj only ever uses it for cheap effects – the entrance of Siddharta to guitar riffs, for instance. The stunning sets created by Claude Lévêque are another missed opportunity. The enormous sphere hanging over the initial scene of decay, swaying back and forth like a monstrous reminder of time, filling the air with incense-like smoke, is the most striking image of the ballet. Without a choreographic response, however, it is little more than an empty vessel.





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