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By Patricia Boccadoro
two well-contrasted ballets presented by the Leipzig company were both
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 Japanese ballerina Kiyoko Kimura and the magnificent Christopher Bohm, who has danced in all Scholtz' 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, Bohm 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.
and costumes, in each case, so right for the work, were also by Uwe
Related articles: An Interview with Uwe Scholtz
Patricia Boccadoro writes on dance in Europe. She contributes to The Guardian, The Observer and Dancing Times and was dance consultant to the BBC Omnibus documentary on Rudolf Nureyev. Ms. Boccadoro is the dance editor for Culturekiosque.com.
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