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 Post subject: Lyon Opera Ballet in North America
PostPosted: Sat Apr 18, 2015 2:49 pm 
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Location: Seattle, WA, USA
In the Seattle Times, Alice Kaderlan reviews the Thursday, April 16, 2015 performance at Seattle's Meany Hall. The program included William Forsythe's Steptext, Benjamin Millepied's Sarabande and Emanuel Gat's Sunshine.

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 Post subject: Re: Lyon Opera Ballet in North America
PostPosted: Thu Apr 23, 2015 12:12 pm 
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Natasha Gauthier reviews the Wednesday, April 22, 2015 performance for the Ottawa Citizen.

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 Post subject: Re: Lyon Opera Ballet in North America
PostPosted: Mon May 04, 2015 11:35 am 
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Rose Marija reviews the Wednesday, April 29, 2015 performance at the Joyce Theatre in New York. The program included Benjamin Millepied's Sarabande, Emanuel Gat's Sunshine and William Forsythe's Steptext for Broadway World.

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 Post subject: Re: Lyon Opera Ballet in North America
PostPosted: Mon May 04, 2015 12:02 pm 
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Lyon Opera Ballet
The Joyce Theater
New York, New York

April 29, 2015
Sarabande, Sunshine, Steptext

-- by Jerry Hochman

The Lyon Opera Ballet was founded in 1969, but at least since 1984 its focus has been on contemporary choreographers. That’s admirable, but it also runs the risk of presenting dances that are of little enduring significance. In its program last week at The Joyce Theater, the company presented three works which ran the gamut from ok, to awful, to fabulous.

The concluding piece was the one that was fabulous. William Forsythe’s ballets have never reached the level of appreciation in this country as they have in Europe, where his work is revered. Those pieces of his that I’ve seen have been iconoclastic, to be sure, but to me – and except for In the Middle, Somewhat Elevated, which is tame enough that many ballet companies perform it here – they’re nihilism overwhelms their creativity. Steptext, however, is not only different from classical or neo classical ballet, and includes the angularity, staccato phrasing, and other qualities that together characterize Forsythe’s work, but it’s also coherent, relatively accessible, and thoroughly exhilarating to watch.

In the program notes, Forsythe describes Steptext, which uses the chaccone from J.S. Bach’s Partita No. 2 for Solo Violin in D Minor as its musical foundation, as a “fugue of the mechanics of theatrical ritual,” and that it “suspends the major and incidental procedural mechanism of performance that have traditionally determined the structure of theatrical representation. The resulting series of dislocated musical, scenographic and danced suspensions creates a mood of charged narrative; for one woman and three men.” To me, that’s an unnecessarily highfalutin mystification of what comes across as a series of pas de deux with differing narrative and emotional gloss provided in part by the choreography and in part by utilizing the same ballerina for the three distinct, but related, pas de deux, which is preceded by a relatively generic introduction in which the dancers are introduced and move on and off stage in varying combinations.

Essentially, Steptext, which premiered in 1985, is a choreographic examination of a ballerina and her different approaches to duets involving three different male dancers, and three different scenarios – perhaps texts for the steps. She’s the one in charge, as she accepts, rejects, or encourages her partners. But notwithstanding any narrative construction, Steptext works as a piece of abstract contemporary dance as well, because the movement quality is dynamic even in those rare moments when there’s little of it, and it has a structure and direction that makes sense. Led by Raul Serrano Nunez, Marco Merenda, Roylan Ramos, and Ashley Wright (substituting for Dorothee Delable), the piece merges dramatic visual images and an aura of severity and stark contrasts (a product of the choreography itself and its counterpoint with the music, but also by the costumes – black tights for the men and a bright red leotard for the ballerina – which Forsythe designed) with a touch of comedy for balance. And although the men were uniformly excellent, the lady in red was superb.

The ovation that greeted the four dancers upon the ballet’s conclusion was in stark contrast to the reaction that followed the two pieces that preceded it on the program.

The evening began with Benjamin Millepied’s Sarabande, which originally premiered in 2009 and entered the Lyon repertoire two years later. Also choreographed to music by J.S. Bach (extracts from Partita for Solo Flute in A Minor and from two Sonatas and Partitas for Solo Violin), the piece purportedly is inspired by A Suite of Dances, which Jerome Robbins choreographed for Mikhail Baryshnikov in 1994. That piece, to my recollection created for Baryshnikov’s White Oak Project, was a solo. Perhaps Millepied’s piece combines some sort of homage to that with one to Robbins’s 2 & 3 Part Inventions which he created the same year for the School of American Ballet, and in which Millepied danced. Regardless, although it has some merit, it lacks Robbins’s soul.

As A Suite of Dances had its solo dancer inspired by the concurrent playing of an on-stage cello, Sarabande begins with a solo dancer, Julian Nicosia, inspired by the concurrent playing of an on-stage flute. Nicosia swings his body to the music of the flute (to the Sarabande from the flute partita), swings his arms around while holding his hands together, and punctuates the sashaying with episodes that include what appear to be random ballet steps, and by simply walking. To a second segment from the same partita, the Allemanda, the choreography has Nicosia use more of his arms and torso, as if propelled by his arms. These excerpts look disconnected (which is not surprising since they’re choreographed to musical excerpts), and to me had little of interest.

The dance picked up when the flute was replaced on stage by a violin, and Nicosia was joined on stage by three other men: Alexis Bourbeau, Adrien Delepine, and Matthieu Rouviere. To five excerpts from the violin pieces, these dancers initially seem to move in tandem, like the strings of a violin. Eventually, as the tempo of the music increases, the four separate into pairs and solos, run into the wings and come back out, and the piece becomes more choreographically interesting and varied. In its structure (particularly in the last few violin excerpts) and playfulness, and even though it’s all male and lacks any semblance of passion, the choreography is remindful of Millepied’s Without, which he created the previous year on a student ensemble, and which was performed by the Mariinsky Ballet at BAM three months ago.

In between Sarabandeand Steptext was a 2014 piece called Sunshine, choreographed on the company by Emanuel Gat with the support of a Rudolf Nureyev Prize for New Choreography. Created ‘parallel’ to the score (snippets, mostly from rehearsals, of Handel’s Water Music, it’s source of inspiration, according to Gat, was solely the people he worked with and the creation process itself. In other words, it was inspired by how he created it. If that sounds incoherent, it is. There may be the occasional lingering image or movement that relates to the ‘music’ (much of the piece is performed in silence), but that seems to have been accidental, as if positions were thrown together randomly and by happenstance a few images looked good. Nothing makes visual sense – though perhaps that’s the point. Perhaps to others it’s the essence of avant garde; but to me it’s simply a waste of time and talent, and too insubstantial to even get angry about (although there were a smattering of boos that penetrated the polite applause), or writing about. It might have been better had Sunshine never seen the light of day.

Lyon Opera Ballet has a solid international reputation, and in previous appearances in New York (which I did not see) has received accolades. Except for Steptext, however, and although the dancers were all of high quality and capability, this program was apparently not representative of the best new choreography that Lyon has in its repertoire.


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