©Julien Benhamou
The performance today is a wee reward for myself after finally finishing my seminar presentation for the end of the semester.
The performance includes three short choreographies by Maurice Béjart: The Firebird (L’Oiseau de feu), Songs of Wayfarers (Le Chant du Compagnon Errant), and Boléro. In classical ballet, such as Swan Lake, Manon, or Giselle, the fantasy is typically created through the combination of costume design, choreography, music, stage decoration, and lighting. However, in Béjart’s creations, it is the shifting of the group of dancers, body movements, particularly the arms, and the lighting design that establish the illusion of animality and the wildness within humans.
The Firebird
©Julien Benhamou
Without a story centered around a Prince, a magician, and a mythical personified firebird woman, Béjart’s rendition of The Firebird diverges from the original Ballet Russe performance. Instead, what the audience witnesses is a portrayal of the fauna.
©Julien Benhamou
As the mysterious first part of the music unfolds, Mathieu Ganio takes the stage as the firebird. Observing the fluidity of his muscles, joints, and back, it becomes apparent that Mathieu transcends his human form and embodies the majestic essence of a mythical bird.
The most enchanting moment occurs during the final segment of the choreography. Mathieu dances in perfect harmony with Grégory Dominiak, who portrays the phoenix, generating an illusion within the auditorium. It feels as though a genuine phoenix is striving to break free from the confines of the firebird. Grégory’s movements flawlessly mimic a phoenix undergoing the liberation of its ancient body, preparing for rebirth.
No longer are there two dancers on stage; they cease to exist as separate entities and instead undergo a profound fusion, transcending mere union.
Songs of Wayfarers
This lied by Mahler portrays two young men who are consumed by heartbreak and make the decision to leave their familiar surroundings and embark on a journey of wandering. The choreographic interpretation by Germain Louvet and Marc Moreau is truly delightful: their dances exhibit similarities, yet each dancer embodies a distinct personality of a young man.
©Julien Benhamou
The contrast between Germain and Marc’s styles is exceptional. One dancer’s graceful and airy movements juxtapose with the other dancer’s robust and energetic motions, akin to the interplay of water and fire, all dancing with a profound sense of musicality. The harmony between these two performers is reminiscent of the natural elements, where each dancer possesses individuality, yet they are inseparable in their connection.
Boléro
I would say that the choreography of Boléro is the epitome of Béjart’s style amongst all his works. It emphasizes the stability of the body and the precise moments of stillness between each movement.
©Julien Benhamou
At first glance, the choreography may appear simple, without complicated movements. However, it is this minimalistic style that allows us to fully appreciate and admire the incredible body control exhibited by Amandine Albisson. With her beige leotard, every detail of Amandine’s muscular and skeletal structure becomes remarkably visible. With each perfectly controlled dance step, following the unwavering tempo, it feels as though every part of Amandine’s body has transformed into the primary instrument of Boléro—the snare drum.
©Julien Benhamou
With her body becoming an extension of the music itself, her performance embodies the essence of the composition. The mastery of her movements and the clarity with which she executes each gesture demonstrate a deep understanding of Béjart’s vision for Boléro. It is a testament to Amandine’s exceptional skill and artistry that she can convey the power and intensity of the piece through the subtle nuances of her body language.
Perhaps because I myself have performed a ballet based on Béjart’s choreography, I feel a strong attachment to today’s performance more than ever. At first, I hadn’t planned to attend the Opéra Bastille tonight, considering the end of the semester and the remaining academic work to be done. However, I’m glad that I changed my mind because Béjart’s choreography is an event one should never miss – a true feast for the senses.
