BEETHOVEN - BRUCKNER: UWE SCHOLZ AND THE LEIPZIG BALLET
PARIS, 12 February 2001
___ The work of Uwe Scholz, the German choreographer
too rarely seen in France, possesses every quality that one can dream
a classical contemporary choreography should. His ballets contain an
unsought for spontaneous originality, great visual beauty and emotion,
the stamp of his own freshness and generosity, and above all, an exceptional
musicality, hallmark of the orchestra conductor he wanted to be as a
child. Moreover, he has managed to imprint this very special quality
on all his dancers who give significance to each note and nuance of
the music. ___
___ BY PATRICIA BOCCADORO ___
___ In the works presented at the Theatre of Saint-Quentin-en-Yvelines recently, Scholz visualises the score, treating dance as though it was one of the instruments within the partition, so much so, that if the sound had been turned off you would still to a degree, have had it in front of your eyes. Unlike other choreographers who use music as a support for their ideas Uwe Scholz has the tremendous gift of enabling the spectator to see into the composer's mind, adding to a greater understanding of the orchestral score. ___
___ The
two well-contrasted ballets presented by the Leipzig company were both
masterpieces. ___
___ The
evening began with Beethoven's Symphony N° 7, an abstract, grandiose
work first created for the Ballet of Stuttgart in 1991, revised and
danced by his own troupe two years later, and yet again modified by
the passage of time today. ___
Leipzig Ballet in Beethoven
Photo: Andreas Birkigt, Oper Leipzig
___ Scholz' profound knowledge of the score was apparent the moment the curtain rose on thirty-two dancers in pearl-grey, for a few seconds immobile, but who were then pushed by the music into constantly moving groups of three, their arms uplifted with the grace and precision of giant birds. They then seemed to erupt from the stage in a rapid, complex, but fluid choreography in perfect harmony with the rhythm and melodies of the music, described by Wagner as, "the apotheosis of dance". ___
___ The first movement was interpreted by Roser Munoz, bursting with youth and vitality, partnered by Sven Köhler, while the second movement was danced by the splendid couple formed by Sibylle Naundorf and Christoph Böhm. ___
___ The
second work, more intimate and dramatic, inspired by the third movement
of Bruckner's Symphony N° 8, was an excruciatingly beautiful thirty-five
minute pas de deux, which left the audience drained and breathless.
At the end there was a stunned silence before the thunderous ovation
broke out. ___
___ The
Japanese ballerina Kiyoko Kimura and the magnificent Christoph Böhm,
who has danced in all Scholz' creations since 1990, illuminated the
music which had never, ever seemed so full of meaning. Dressed in blue,
against a back-cloth first of darkness, then of endless sky, they were
refined and elegant; yet always tender and lyrical. In the final sublime
moments, when darkness descended again, Böhm lifted his partner
by her arms alone, sliding her slowly away into another world where
beauty, purity and goodness prevailed. Death, resignation, transfiguration?
However one chose to interpret the work, the heights of emotion reached
brought tears to more than one, interpreters and audience included.
___
Kiyoko Kimura and Christoph Böhm in
Bruckner's 8th Symphony, Adagio
Photo: Andreas Birkigt, Oper Leipzig
___ Lighting, decor and costumes, in each case, so right for the work, were also by Uwe Scholz. ___
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