B/olero, set to music by Maurice Ravel, rendered by Japanese synthesizer artist Isao Tomita, spiced-up the familiar tones.
By ORA BRAFMANdance review 88(photo credit: )
Batsheva Dance Company
Project 5
Suzanne Dellal
November 1
Five of Batsheva's female dancers took part in an evening composed of five successive segments, but only the first was a totally new creation: B/olero, set to music by Maurice Ravel, rendered by Japanese synthesizer artist Isao Tomita, who spiced-up the familiar tones.
Besides being a brilliant choreographer, Ohad Naharin is undeniably a true master of remakes. Here, he managed to compose a solid new piece by binding the duet B/olero to a trio segment from Moshe (1999), which oozes with ease into George and Zalman (2006), set to a mesmerizing, pensive piano piece by Arvo Parth.
The first three segments attached in this new context offer a fresh outlook on the two sections we've seen before.
It is almost shocking to see how Naharin's latest work maintains such tight ties with a 10-year-old piece in terms of his approach to movement and body perception. Yet his dance vocabulary expands all the time, and in B/olero there is a refinement of detail and nuance which always gives his intimate dance creations a heartrending essence.
Naharin also remade his ancient Black Milk (1985), which was drastically changed in 1991 when Naharin introduced it to his company as an all-male dance. Here, with an all-female cast, it lost some of its poignancy and weakened the project somewhat.
What makes Batsheva dancers unique (and specifically these five: Iyar Elezra, Bosmat Nosan, Michal Saifan, Bobby Smith and Ariel Freidman) beyond Naharin's evident artistic talents is the substantial, unifying groundwork, a product of their GaGa discipline.
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