Dance Review: The Goteborg Ballet

The program is a triple bill by 3 Swedish choreographers who used the famous score of Bolero by Ravel as a jumping board.

By ORA BRAFMAN
June 6, 2012 22:37
1 minute read.
 ‘EPISODE 17'

‘EPISODE 17' 370. (photo credit: Ingmar Jernberg)

 
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A visit by the Swedish company Goteborg Ballet turned out to be a treat for dance aficionados.

The program is a triple bill by three Swedish choreographers who used the famous score of Bolero by Ravel as a jumping board, and set their imagination free.

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It’s a challenge to offer new renditions and disregard the iconic Bolero by Bejart, one of mid-20th century dance’s milestones.

Bejart had matched the piling up musical modules, compelling a tense emotional buildup that peaks and ends with release, often compared to the act of love.

Johan Inger in his Walking Mad (2001) based his actions around, through and on top of large wooden fence with much imagination. The atmosphere on stage had a familiar Nordic look, evoked by his compatriot Mats Ek’s Solo for Two. Inger added to the music of Ravel, a section from Arvo Part’s For Alina, also used by Ek in his duet. Matching those two scores pronounced acute deviation from Ravel’s musical proposition, but it supplied a beautiful final section in its own right.

Kenneth Kvarnstrom, the company’s artistic director compose Orelob (2008) almost buried Ravel’s score under the electronic music of Jukka Rintamaki, who delicately interwove faint clues to Ravel, particularly in the rhythm layers. Again, the dancers are magnificent and extremely attentive, and were a pleasure to watch throughout the evening. Among them is one of our own, the bright Lea Yanai.

Episode 17 (2008) by Alexander Ekman supplied its own share of excitement with a wild and piquant dance by company’s 21 dancers. He cleverly deconstructs the components of the music and proposes actions that relate to them in unexpected, highly original manners and phrasings. An impressive evening of contemporary Swedish dance.

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