To compensate for Sidi Larbi Cherkaoui's departure, Jan Vandenhouwe, artistic director of Opera Ballet Vlaanderen, brought in 3 'associated artists': Jan Martens, Anne Teresa De Keersmaeker and Jermaine Spivey. They committed themselves for a period of four years.
Consolidation
The Flemish dance scene has been among the absolute world elite since the end of the last century with Alain Platel, Wim Vandekeybus, Jan Fabre, Sidi Larbi Cherkaoui and Anne Teresa De Keersmaeker. They created a breathtaking and diverse repertoire that is considered unique within the international ballet world and that has become part of the artistic DNA of our region. But gradually the question arises: how can we nurture this rich living heritage for future generations. Opera Ballet Vlaanderen set itself the task of providing a safe home within its repertoire for the great contemporary classics of Flemish dance and is certainly not letting any grass grow under its feet.
Mozart / Concert Arias
This sparkling work premiered on July 30, 1992 at the prestigious Cour d'honneur of the Festival van Avignon. Opera Ballet Vlaanderen is, after the Ballet de l'Opera de Paris, only the second company to have the honor of dancing De Keersmaeker's large-scale work. Mozart / Concert Arias is a first step in the revival of iconic moments from Flemish dance history. A sensually stimulating spectacle, both visually and aurally. In dance and design constantly hovering between classical and contemporary, sadness and joy.
A production that balances between a vocal recital and a ballet performance. Soprano Emma Posman, coloratura soprano Annelies Van Gramberen and mezzo-soprano Raphaëlla Green are conceptually part of the staging and occasionally join in with a dance step. The dancers of OBV once again prove with technical refinement their stylistic versatility, expressivity and flexibility with verve. What an engagement and interpretation. Fireworks indeed!
The whole has an elegant cadence and comes across visually stunning. The various arias follow each other like a story carousel with different energies: springing happiness, sultry eroticism, coquetry, bravura, drama. The movements follow the score note by note. De Keersmaeker has managed brilliantly to capture the spirit of the music, its lightness and playfulness alongside drama. The dance is rich and diversified. Her dance vocabulary speaks to the imagination. There is much groundwork to be seen: fall and recovery. The dancers roll and tumble across the stage. Love is yearning. This is portrayed very suggestively. The girls lie on their stomachs on the ground, their upper bodies lifted. Crawling backwards, forwards again… It has something of yearning, curious, alert animals. De Keersmaeker leaves nothing unused in her choreographies. The loose hair of the girls provides extra dynamism, sweeping around. Just like the tails of the men's jackets. With their artistic embroideries, they are an ode to the craftsmanship of yesteryear.
With youthful bravura and an exhilarating joy, the men try to impress but they are also seen in vulnerable clumsiness, or challenging like a frisky, playful dog. In the costume design of the dancers there is tremendous versatility and contrasts, from richly decorated vests, tight-fitting trousers and shirts with jabots to a simple shirt while the girls perform in contemporary vests with short skirts. Their beautiful slender legs receive full attention in a slow movement pattern. There are many changes in costume, a feast for the eyes. Theater as one big costume party. The whole is an intertwining of classical ballet and contemporary dance mixed with a sensual disco queen, a fleeting Chippendale, Irish stepdance, the Russell or Swich-Swich move (quite recent and will have been newly added).
The live accompaniment of the Symfonisch Orkest Opera Ballet Vlaanderen conducted by Francesco Corti, pianoforte: Pedro Beriso and the sublime singing of soprano Emma Posman, coloratura soprano Annelies Van Gramberen and mezzo-soprano Raphaëlla Green help the dancers of Ballet Vlaanderen impress the audience.
It was good to stay in the Opera. Choreographer Anne Teresa De Keersmaeker proves that she understands Mozart's grammatical language, both in the bouncy dance rhythms and in hushed passages. She knows how to maintain wonder in a variety of ensembles, duets and solos. The subtle power radiated from every pore of the dancers. Their energy has a stimulating force and leaves the audience, as the subtitle suggests, with 'Un moto di gioia' a beneficial sense of joy. Across the board: beauty that touches.
International Recognition
The internationally leading magazine Dance Europe reflects this month, as is its annual tradition, on the most remarkable dance productions, choreographers and dancers.The production Mozart / Concert Arias is mentioned in the 'best premiere' category of season 21/22. A beautiful and well-deserved recognition of the production by artist in residence Anne Teresa De Keersmaeker. According to Dance Europe, the dancers of Ballet Vlaanderen bring the work "to life in a brilliant way" and the evening is described as "accessible, clever, well-made and - may we say - entertaining."
This production can be seen until December.
WHO: Anne Teresa De Keersmaeker [choreography], Herman Sorgeloos [scenography], Ulises Maino & Francesco Corti [musical direction], Annelies Van Gramberen [vocals], Emma Posman [vocals], Raphaële Green [vocals], Pedro Beriso [piano]
WHERE: Opera Antwerpen
WHEN: 9 October 2022
visible until December
© Filip Van Roe / OBV
© Filip Van Roe / OBV
© Filip Van Roe / OBV
© Filip Van Roe / OBV
