Guest Performance: Béjart Ballet Lausanne
Pictures / Videos
Maurice Béjart (1927 – 2007) / Tempodrom
„Ce que l’amour me dit“
Music by Gustav Mahler (Symphony No 3 d-Minor / 4., 5. and 6. Satz)
Created at the Opéra de Monte Carlo, Monaco, December 1974
„Le Sacre du printemps“ (1959)
Music by Igor Strawinsky
Created at the Théâtre Royal de la Monnaie, Brussels , 8th December 1959
Music by Maurice Ravel
Created at Théâtre Royal de la Monnaie, Brussels, 10th Januar 1961
|Dancer||Béjart Ballet Lausanne|
|Artistic Director||Gil Roman|
|Orchestra||Orchester der Deutschen Oper Berlin|
|Chorus||Chor der Deutschen Oper Berlin|
|Kinderchor der Deutschen Oper Berlin|
|Title||„Ce que l’amour me dit“|
|Light design and lightning||Roger Bernard|
|Costume design||Judith Gombar|
|Costume making||Henri Davila|
|Lighting director||Dominique Roman|
Ce que l’Amour me dit
“It is around 1895 that Mahler composed his brilliant Third Symphony. At the time, he was much inspired by Nietzsche’s ideas and works, and this was very clear in his music.
Although never a fan of “labeled” music, Mahler fancied literary titles to his works. He first named this Symphony The Gay Science, after Nietzsche’s book, before renaming it A Midsummer’s Day Dream.
The same is true for each movement of the symphony, with names that he frequently changed before reaching a definitive version. This ballet uses the three last movements: the 4th, What Man tells me, is sung on a poem of “Zarathustra”. The 5th, What the Angels tell me, is from a children song cycle, the “Knaben Wunderhorn”. And the last movement, the great Adagio that tops the symphony was named by the composer: What love tells me.
Strange as it may seem, at the same time Richard Strauss was composing his symphonic poem
“Also sprach Zarathustra”. (Maurice Béjart, 1974)
Le Sacre du Printemps
“What is spring but this immense primitive force long slumbering under the coat of winter that suddenly breaks forth and lights up the world of plants, animals and humans?
Human love, in its physical aspect, symbolizes the very act by which the divinity created the Cosmos and the joy that it drew from this. At a moment in which the anecdotal borders of the human mind are gradually falling apart, we must reject all folklore that is not universal and only remember the essential forces of man, which are the same on all continents, under all latitudes, in all eras.
Let this ballet, stripped of all artifices of the picturesque, be the Hymn of this union of Man and Woman deep within their flesh, the union of sky and earth, the dance of life or death, as eternal as spring!” (Maurice Béjart)
“My Boléro,” commented Ravel, “has to stick in one’s head!” More seriously, he explained: “In 1928, upon request by Madame Rubinstein (Ida Rubinstein, the famous Russian actress and dancer), I composed a Bolero for an orchestra. This is a dance with a very moderate and continuously even movement, both due to its melody and to its harmony and rhythm. The rhythm is continuously marked by the drum. The element of diversity is added by the orchestral crescendo.”
Maurice Béjart describes the creation of Ravel’s work in these terms: “Music that is too well-known and yet still fresh due to its simplicity. A melody (originally oriental and not Spanish) winds slowly around itself, increasing in volume and intensity, devouring the sound space and swallowing it up at the end of the melody.”
Without further describing a ballet that needs no introduction, let us simply point out that Maurice Béjart returns to the spirit of the Rite of Spring in a very different style. In this sense, unlike most artists who have illustrated Boléro choreographically before him, he spurns the easy choices of a picturesque exterior to simply – but so forcefully – express the essential.
Maurice Béjart gives the central role (La Mélodie) to a female and then a male dancer. The Rhythm is interpreted by a group of dancers.
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