The Béjart Ballet Lausanne opened the season with two ballets paying homage to Maurice Béjart: t’ M et variations…, a ballet by Gil Roman conceived as an open letter to Maurice Béjart, and Béjart fête Maurice, taken from the repertoire of the company founder. From Switzerland to Germany, the press was present at the event. Press review.
“t’M et variations… progresses in a perfect fusion of music and choreography with broken rhythms à la Tom Waits and on tribal, Japanese and more classical rhythms. This ballet likes to play around with traditions while carrying them on. For example, a solo by Elisabet Ros playfully recalls the use of classical pointe shoes, just like those worn by dancers on their foreheads. There is lightness and humor in this love letter from Gil Roman to his mentor. In a way, it underlines that the heritage is kept alive, that it evolves, but that the joy of dancing and touching the audience remains through this quest for perfection and pure beauty.”
“Boldly mixing its classical roots with traditions from all over, with music ranging from Beethoven to operetta, from Rossini to traditional Indian, Chadian and Jewish tunes, Béjart fête Maurice comes across as a celebration of a work that seeks to embrace the world. In its display of steps of two, solos or bigger formations lies all the aesthetic power of Béjart. Jumps, lifts, entrechats—everything happens with amazing precision and apparent ease. Only sweat on the protruding muscles reminds us of the physical demands of this art form. Captivated by this joyful dance and celebration, the spectator basks in pure pleasure.”
Read the full article from La Gruyère here.
“During each scene [of t’M and variations…], the dancers, with their perfectly maintained and athletic bodies, present their vast range of movements, consciously recalling Béjart and his attention to detail and expression. The dancers come on stage alone, in duet or in group, performing magnificent passages with great virtuosity. The pared down costumes remind us of rehearsal costumes rather than gala costumes. The grace with which they float on stage, as if there was no gravity, is admirable.”
“[In Béjart fête Maurice], the choreographies take us a journey through time, space and styles. The last scene is a classical one, starting with a pas de deux on Beethoven’s The Ninth Symphony adagio, followed by more and more couples entering the stage. At the end, the characters reunite on stage as if a déjà vu had happened. A magnificent performance.”
Read the full article from the General Anzeiger here.
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