Achterland is a seminal choreography in Anne Teresa De Keersmaeker’s oeuvre. In this 1990 performance, for the first time, the choreographer gave the musicians a central position on stage and let them play an active role in the overall dynamic—an approach she would repeat in many subsequent projects. The unusual combination of György Ligeti’s and Eugène Ysaÿe’s music inspired De Keersmaeker and her dancers to create an original dance score with a delicate balance between energetic virtuosity and deceleration. This also was the choreographer’s first time writing dancing material specifically for men; she added three male dancers to what until that point had been a predominantly female company. In Achterland, the prevalent femininity and minimalism of several of Rosas’s earlier works gave way to an ambiguous no-man’s-land characterized by a blurring of boundaries and symbols.
Achterland - © Herman Sorgeloos Achterland
Haïm – à la lumière d’un violon (Haïm – under the light of a violin) narrates the true life story of Haïm Lipsky, a Polish Jew born in Lodz in 1922 in a poor working family, who became a violinist by sheer force of will and whom music rescued from the horror of the camps. After leaving Auschwitz, Haïm rejected the Polish language and completely abandoned music – his passion, his vocation, his survival – to speak only two languages: Yiddish and silence. Today, at 90, he speaks Hebrew and almost all of his children and grand-children have become international musicians.
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Les Dits du Fou are the utterances of a crazy monarch, George III, set to music by British composer Randolph Stow. The work is intended for a small instrumental ensemble accompanying a baritone in a performance that is both vocal (and one has to take vocal in its widest acceptance) and theatrical – a show that is overall difficult to describe because of its sheer craziness.
Les Dits du Fou were created in 2014 at the Péniche Opéra.
Beethoven, the Immortal Beloved
“I am sorry I was so rough with you the other day. It’s very early in the morning and I am lying in bed. My thoughts are already rushing towards you, my immortal beloved, thoughts that are sometimes happy and then again sad. I am asking destiny to…”
The passionate relationship between Beethoven and his student, the Countess Joséphine Von Brunswick, was an impossible and
tormented love story that hurt them both tremendously. Based on historical documents, the play alternates between text and music to depict the concerns of Beethoven, the anxiety linked to the progress of his deafness, his failures with aristocratic society, but also his vital strength, his confidence in his genius and his love of nature.
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