At the Deutsche Oper, dance is yet again the protagonist.
This time the Staatballett confronts itself with three of the most important contemporary choreographers: Nacho Duato, Ohad Naharin and Jiří Kylián.
The evening opens with Castrati, the work of the Valencian choreographer from 2002.
A dance performed entirely by men is about a delicate and violent theme.
Eight dancers in corsets and black skirts, move on stage to the notes of Vivaldi releasing brutal energy, softened by the agility of strong and snappy bodies.
The representation of castration is very explicit, but elegantly illustrated.
The dancers move in packs in an attempt to emasculate the young, future, desperate eunuch who, struggling in tight duets or defending himself from animated attacks, tries in vain to escape his fate.
The dance, which is full of virtuosity, becomes contemporary through the use of the floor and the disarticulation of the dancers’ arms.
Through its powerful emotional impact, the choreography is highly addictive.
Kylián’s influence is evident, but despite the excellent result, it’s difficult for the student to surpass the teacher.
The second choreography on stage is Secus by Ohad Naharin.
Created in 2005 for the Batsheva Dance Company in Tel Aviv, Secus is the third part of the broader work Three.
Moving diagonally, or crossing the stage from one fifth to the other, the dancers – with brightly colored costumes – freely explore the surrounding space with lively and vibrant rhythms and different dynamics; a result of the Gaga technique.
Through Gaga (a word that refers to the first sounds emitted by babies) Naharin tries to bring the movement into a state of spontaneity; a state in which we move when we are not aware and not influenced by the body’s coded language. In particular, it seeks to reduce the strains in which the various dance techniques force the body.
The dancers express themselves in a language that connects their articulations with personal feeling, without the <conscious> effort that comes from technique.
Then a brief moment of carefree joy that – in-keeping with the joyful atmosphere felt on stage – closes with a song by the Beach Boys!
The evening ends with Petite Mort by Jiří Kylián.
The title, which heralds a dramatic finale, has a hidden surprise. In French, the expression Petite Mort is synonymous with an ecstasy of the senses, so that the choreography, far from being a reminder of death, is a refined game of seduction.
The choreography is a masterpiece that dates back to 1991.
The sword dance, with music by Mozart, is an incredible test of precision and musicality.
Six female and six male dancers bring to life a perfect picture in which each gesture helps make this piece a real gem, which is aesthetically refined and sensual.
The best conclusion for a gala, where dance was expressed at its highest level.
