CURTAIN CALL: cheers and applause!
(the little one on the left hand side, wearing glasses is Hilary Summers, beautiful contralto)
Opéra national de Paris - Palais Garnier
Sonate à trois d'après Huit Clos de Jean-Paul Sartre
Chorégraphie de Maurice Béjart, sur la Sonate pour 2 pianos et percussion (1er et 2e mouvements de Béla Bartók
Dialogue de l'ombre double
Chorégraphie de Maurice Béjart, sur le Dialogue de l'ombre double pour clarinette, clarinette enregistrée et piano résonnant de Pierre Boulez
Costumes de Anna de Giorgi
Webern opus V
Chorégraphie de Maurice Béjart, sur les Cinq Mouvements, op. 5 pour quatuor à cordes d'Anton Webern
Le Marteau sans maître d'après le recueil de René Char
Chorégraphie de Maurice Béjart, sur Le Marteau sans maître pour voix d'alto et 6 instruments de Pierre Boulez.
Décors et costumes de Joëlle Roustan, Roger Bernard
Hilary Summers, contralto
Alain Damiens, clarinette
Ensemble intercontemporain
Jonathan Nott, direction
Ensemble Intercontemporain
ENSEMBLE INTERCONTEMPORAIN
Maurice is still here, as Lausanne ballet in this programme is totally in his pure tradition, him who was so fond of the music of his time and mine, being my students days.
Perhaps I was too much swallowed by the music of the Intercontemporain that night, although the young ballet is keeping the spirit I did not find the absolute beauty of my youth memories. I noticed some ungracious details or perhaps the musicians and the fabulous texts behind the choreographies invaded my imagination.
Sartre's Huis clos is the theme of the first piece, 'sonate pour deux pianos et percussion', where it is easy to sink.
Who could be better than the famous couple who created the ballet on "Webern Opus V"?
This piece was extremely well played by the quatuor on stage, I was not captured by the figures, ten minutes of strange beauty, while the couple was performing pas de deux,very stylish though. The music invaded my mind and emotion. And that prevailed even more in the following pieces,'Dialogue de l'ombre double': The clarinetist on stage is challenging the broadcast clarinet and piano. The light focused on the clarinetist was flashing circles on the stage-floor like brilliant shadows of the instrument itself, and moving according to the music played by him! May be during the length of this tune I did not manage to follow the dancers as I was completely subdued by these special effects perhaps seen only by me...from where I was sitting.. . the couple formed by Cateryna Shalkina and Oscar Chacon was magical but the clarinetist was even more fascinating!
'Le marteau sans maître': in the 70's Maurice created the figures on Boulez'scores.
And that has been the great emotion of our student's days.
I was so thrilled to hear it played and sung in the tradition of its creation.
René Char's poem is even more outdated now than 'Huis-clos' or 'le soulier de satin'
I was glad to be able to read fragments of the poem on the web. But still the complete reading needs to be done.
Hilary Summers was singing from the pit, I could see her standing and facing Jonathan Nott.
All was strange and eery, her contralto tones melting in the kind of exotic shades of the instruments. As for what was going on with the ballet, I think I need to see it again and try to understand! But when and where?
Fascination of these black figures holding and doubling each dancer, veiled as well.
I need a translation for all that , I think I was lost.
But fulfilled with music and a kind of amazing supernatural ugliness which could be
called beauty?
Palms under the snow last week when I came back.
The palm, ancient decorative motive, lots of meanings also.
Peace, wisdom, knowledge, victory?
No comments:
Post a Comment