LANZA ZAHMAL GILLOT ROMOLI POB ZAHMAL - ANGELIN PRELIJOCAJ: DVD

SKU/Barcode: 809478009818

Angelin Preljocaj, one of the most innovative and significant French choreographers to emerge in the late 20th century, is notable for the range of his work. He has choreographed classic narrative ballets such as La Spectre de la rose, as well as modern classics like Le Sacre du printemps, Les Noces, and Parade, but he is best known for his fiercely individual works on new topics, with scores by composers like Cage, Stockhausen, Scelsi, and Ligeti. He founded his own company in 1985 and has created over 45 works for them, but he has also worked with a variety of international groups. He created the 50-minute MC 14/22 'Ceci est mon corps' (Mark 14:22 This is my body) for his company in 2001 and revised it for this production by the Ballet of the National Opera of Paris in 2004. Although the subject is ostensibly the Last Supper, apart from the use of 12 male dancers, references to the familiar story are opaque, and the work is best appreciated if the viewer lets go of the need to parse out a rational narrative and lets the ballet work on a subliminal, visceral level. The sensuality and aggressive athleticism of the dancers, as individuals and in various groupings, is a literal assertion of the corporeality suggested by the work's title. Preljocaj's edgy movements and tableaux are vividly expressive and memorable, and the level of drama he generates is so compelling that in spite of its length, the work flies by without ever lagging. The ingenious sound design by Tedd Zahmal includes spoken word, collages of found sounds, and a remarkable countertenor solo performed by one of the dancers, Sylvain Groud, which Preljocaj incorporates with unforgettable impact. It's a powerful, multilayered work that rewards multiple viewings. Le Songe de M d e is a more conventionally narrative ballet, based on the legend of Medea. Preljocaj doesn't meddle with the basics of the story, but his emphases bring out revelatory new insights into Medea's tragedy. The bulk of the ballet is devoted to Medea's home life -- her relationship with her children and with Jason -- so that his betrayal and its impact on the family are all the more devastating. The ballet opens with a long sequence for the children alone, performed with extraordinary poise and professionalism by the very young Constance Nicolas and Carl van Gotdsenhoven. Marie-Agn s Gillot is a formidably commanding and charismatic Medea who is also capable of great tenderness. The sinewy strength and fierce integrity of her performance manage to make the character believable and deeply sympathetic. Wilfried Romoli and Eleonora Abbagnato perform powerfully and beautifully as Jason and Cr se, but they are somewhat eclipsed by Medea's ferocious intensity. The music, by Mauro Lanza, is minimal and stark, but exactly right for highlighting the drama on-stage. The striking set by Thierry Leproust and the costumes by Gilles Rosier contribute immeasurably to the impact of the dance. Highly recommended for fans of contemporary dance.