It is the first of Stravinsky does and at first, only the idea of picking up a sheet music of the Russian composer, made him terrified. Today, the work of what is considered one of the largest and most revolutionary musicians of the twentieth century still leave you uncomfortable, uneasy, but the barrier of fear has been overcome, “Now I know her better, and maybe it is able to accept otherwise, although it has not been easy dealing with the breakneck pace, sometimes even euphoric, with overlapping melodies and constant surprises. “Fernando Duarte, the ballet master who signs the choreography of The Firebird the National Ballet Company (BNC) just premiered at the Teatro Camões in Lisbon, was cautious, he explains, because Stravinsky intimidating, certainly, but above all because the original proposal already is, itself, profoundly innovative: “This is a historic piece that taught the dance show as a condensed classic, which created a new style from a running score without breaks.”
The Bird original, which rose for the first time on stage in June 1910 in Paris, is a milestone in the history of dance and a paradigm of production and of the mythical company working method of the entrepreneur Sergei Diaghilev, the Ballets Russes. It is the piece that marks the beginning of a collaboration that would give rise to two other reference works of balético heritage – Petrushka and The Rite of Spring – and that would make Stravinky then a composer who had not done 30 years, famous. The new production of the CNB closely follows the original – Michel Fokine choreography that joins two Russian folk tales, served by Aleksandr Golovin and set design by Léon Bakst’s costumes, both painters – but seeks to push it away from the princes of the universe and princesses without removing what is fable to this story of a bird with supernatural powers (the dancer Filipa de Castro), which helps Ivan Tsarevich (Carlos Pinillos) and symbol, to rescue from the hands of Köstchei, the magic, the evil face, the beautiful Tsarevna (Yurina Miura). Simple.
Fernando Duarte also company dancer, he never danced The Firebird and is the score of Stravinsky with reverence. Ranks to often as “vigorous” and “sublime” and ensures that never would dare to impose cuts. The script of Fokine, presented here in a scenography in video mapping Nuno Maya and costumes by Jose Antonio Lieutenant nothing due to the Russian folk tradition, unlike the original Bakst, the young choreographer also did not change. “When I work I always try to respect the way the composer imagined the piece from beginning to end,” he says, referring to the other two works that signed for the company, especially the Swan Lake , its debut. “And here, as the work of the musician and choreographer, joining the two stories in one, you’re glued to the score, because it was developed about the same time, it does not make sense to change it too much.”
What Fernando Duarte and Carlos Pimenta (dramaturgy) do is put the action in an indistinct time. “Our Bird live in a time to come because we did not want to close the tale, did not want people to feel that it has a shelf life,” explains the director, for whom the immersive setting of Maya ( the projection of the images is made to 270 degrees) works as a book of live stories. “We do not want the scenario is the star, because in a ballet star should be dancing. But here it works mainly as a tool to drag the audience into the show, an audience that, because of the number of musicians required for the score, is too far away from the stage. “In this new part of the CNB, which involves 34 dancers, the Portuguese Symphony Orchestra, conducted by Joana Carneiro, acts with a formation of 86 elements.
With a heavy structure like this, “it was important that the ballet was more intimate, more human,” he adds choreographer. “This our magical bird never stops being also a woman. With all its fragility and beauty. I could not hold her to mere esbracejar of the bird that wants to get away. “She has, after all, the strength of those who resist and” an immense grace. ” That’s why, says Fernando Duarte, the Bird is able to secure eternal life and this is why, too, that Ivan never have throughout this choreography broad gestures: “It is often very focused inside, as if shook it very carefully. “Exactly what we do when we have a bird in his hands and closed shell, so you do not run away.
The CNB dance The Firebird to 28 June.
No comments:
Post a Comment