suzanne dellal center 248.88.
(photo credit: Courtesy)
Hot Dance aficionados were invited for an evening of six pieces, performed and
choreographed by a group of dancers of the Paris Opera Ballet at the Suzanne
Dellal Center. First timers’ hopes must have soared, particularly since this is
such a rare opportunity and since the company, considered by many to be the top
ballet company in the world, never toured Israel.
Suzanne Dellal had
hosted the project for the first time last year and invited the group, directed
by Bruno Bouche, for a second visit.
The seven male dancers and a single
female danced really well – at least most of them. But for the most part, the
choreographic pieces had less than exceptional or significant value. Two works
by Nicolas Paul were by far the best of the lot that evening. In Gesualdo
tried to decipher the complex personality of 16th-century Italian nobleman and
composer Carlo Gesualdo, who wrote divine music yet brutally killed his wife and
her lover and later his child and possibly his father-in-law.
use of Christian symbolism as subtext and managed to rely on movement, for the
most part, to carry out his impressions rather than adhering to the verbal
narrative. His high level of esthetic visuals in set, lighting and composition
was delightful. The tasteful phrasing and individualistic wide range of the
movement’s lexicon produced a most satisfying kinesthetic experience.
trio sections and elaborate falls were the highlight of the evening, as was his
second short work – Akathisie
– which was concise, concentrated and accentuated
his singular approach.
The evening closed with Aunis
, a cheerful dance of
folkloric nature set to music from Brittany, France. In its better sections, it
brought to mind the young Mats Ek. Otherwise, it was a lightweight,
unpretentious Yonatan Carmon style of faux folk dance that had charmed us for
years in the past.