Brahms-Schönberg Quartet © ZsaZsa Bellagio |
This
autumn, the Paris Opera Ballet pay tribute to Balanchine, as well as his
muse Violette Verdy, who sadly passed away earlier this year. The three abstract
ballets - Mozartiana, Brahms-Schönberg Quartet and Violin
Concerto demonstrate the diversity of his choreography.
Mozartiana is a
pleasant, pretty start to the evening. Students of the Ballet School join the
principals on stage seamlessly - a sure sign that they're not short of future
talent. Probably the most traditional of the night's ballets, it is not without
its Balanchine signatures. A beautiful, clean piece.
The curtain
fell and rose again on an empty stage, a screen suspended above. A video
tribute to Violette Verdy was shown - her energy and bright spirit clear.
Mathias Heyman and Myriam Ould Braham then danced Sonatine, a treat for
the first five performances of the run, and a piece that was danced by Verdy at
its premiere in 1975. Two dancers and a pianist on stage create an enchanting
trio. Balanchine always placed emphasis on the important relationship between
music and dance, and the presence of the piano on stage makes this explicitly a
conversation between the two dancers and the music. They dance as though
responding to each other's movements rather than following strict choreography.
It feels a connected, intimate piece.
Following
the interval we were treated to the Brahms-Schönberg Quartet, an addition
to Paris Opera Ballet's repertoire earlier this year. Designs by Karl Lagerfeld
evoke the grandeur of historic royalty, an impressive achievement without a heavy
set - a simple backdrop and gorgeous costumes more than fulfilling the brief.
The four movements are distinct yet all fit together with their romance,
lyricism, and clean lines. It exudes the rosy, carefree lifestyle of the
privileged in ages past and has a celebratory air to it. A joy to behold.
The final
piece of the evening, Violin Concerto, is a stark contrast - gone are
the flowing romantic tutus, replaced by plain leotards that would not look out
of place in an RAD exam. The movement however, is the most experimental of the
night. It is symmetrical and at times almost acrobatic, and once again
Balanchine's focus on the music is apparent - his choreography clearly showing
his personal response.
All in all
a stunningly beautiful evening that pays homage to the diversity and skill of a
truly great choreographer.
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