Maurice Béjart (1927-2007) was a French-born
dancer, choreographer and opera director. He began his career
in 1945 with the corps de ballet at the Opéra de Marseille. He later
studied in Paris and amongst his many associations and influences were those
of Janine Charrat, Roland Petit and Vera Volkova. He founded the
Ballet
de l’Étoile in 1954 in Paris then went on to Brussels in 1960 to found
the
Ballet du XXe Siècle. Then in 1987, in Lausanne, he founded the
renowned
Béjart Ballet Lausanne. His choreography was modern and
much of his work controversial especially his take on
The
Nutcracker which scrapped the original family enchantment and replaced
it with darker and sexually explicit imagery. Béjart also imposed his
choreographic views on scores like
Boléro and the
Rite of
Spring.
The Béjart balletic view of the spirit of Beethoven’s Ninth Symphony based
on Schiller’s
Ode to Joy, is, to my mind, an interesting but not
always convincing cross between ballet and gymnastics. At this point I
thoroughly recommend the learned article about this ballet in
Dance Tabs.
Perhaps Béjart, himself, best described his creation: “This choreographic
interpretation of Beethoven’s masterpiece has no concept, goal or theme
other than the music it encompasses … (the dancers follow the composer’s
moods) from dread to joy from shadow to light … this is not a ballet in the
general sense but a profound human participation in a masterpiece that
belongs to the whole of mankind, and is not only played and sung here but is
danced as were the Greek tragedies of Antiquity and primitive religious
rites.”
This DVD recording was made in the vast NHK Hall, Tokyo that is able to
accommodate an orchestra and choir both raised on platforms in the
background with the dancers performing on the marked out foreground
space.
Gil Roman, who had been associated with the Béjart from the days of the
Ballet du XXe Siècle in Brussels and is now Artistic Director of
the
Béjart Ballet Lausanne, creates new choreographies and is keen
to preserve Béjart’s heritage. He has grafted his own prize-winning
choreographic creativity onto Béjart’s original Ninth Symphony dance
concept. In celebration of his career, influence and creative spirit, Gil
Roman was awarded the insignia of Knight of the National Order of Merit by
France’s ambassador to Switzerland. It is Roman who opens the whole
programme of the Ninth Symphony with a relaxed reading of a text by
Nietzsche that has many references to “God”, “man” and “dance”. Set against
this text and in pauses between the reading, the two percussionists (first
the African percussionist) add their exhilarating commentary.
The performance of the Symphony by the Israel Philharmonic and choir is
intense and joyous. The opening movement is danced by the Tokyo Ballet their
movements suggesting primeval beings coming to life. Here is classical
ballet technique blended with strong, some might suggest gymnastic,
contemporary movements. The mood becomes stronger, with military overtones,
and builds though an increasing sense of drama to a climax. The second and
third movements are danced by the Béjart Ballet Lausanne. The second
movement is one of supple, joyful high spirits with ring-dances and
statuesque athlete–like poses. The Adagio, third movement, is more
classically balletic. It’s more intimate with love and harmony predominant
through the steps of the two principal dancers. For the Finale both ballet
companies dance through intricate choreography to underline the overall
spirit of Schiller’s
Ode to Joy and the harmony of human sympathy
and understanding.
The booklet notes could have been more informative about the ballet and
Béjart’s concept and how he saw it supporting both text and music. It would
have been useful if the principal dancers of each movement were identified
instead of leaving just one block paragraph with all principal dancers
listed.
An interesting ballet to be applauded or consigned to the curiosity
drawer.
Ian Lace
