Bach Suite III
Creation by the Ballet du Capitole on January 30, 2014
Music Johann Sebastian Bach Music, Suite No. 3 for cello in C major BWV 1009
Choreography Francine Lancelot and Kader Belarbi
Adaptation of the choreography Françoise Denieau
Sets and lights Rémi Nicolas
Costumes Olivier Bériot
Cello Christophe Coin
In 1984, Francine Lancelot choreographies Bach-Suite, on the Suite No. 3 for Cello by Johann Sebastian Bach, for Rudolf Nureyev. In 2004, Kader Belarbi, Etoile of the Paris Opera, assisted by Françoise Denieau, from Francine Lancelot Company, creates Bach-Suite II. Bach Suite III, created on the 30th of January 2014 by four dancers of the Ballet du Capitole, resumes the same principles of these two works. It’s a border-piece which binds baroque tradition and free writing, on the Johann Sebastian Bach’s Suite No. 3 for cello.
Bach Suite III is dedicated to Francine Lancelot
Bach Suite III is a continuation of what has already been made with the two previous versions, that of Rudolf Nureyev (Bach-Suite) and mine (Bach-Suite II). It is no longer a solo but a quartet consisting of two couples. Françoise Denieau, interpreter and assistant of Francine Lancelot, transmits to the dancers baroque concepts and scores. I extend her work with a new proposal as a variation on baroque parts. The Suite No. 3 for cello is a sort of walk, alternatively moderate and fast, with the colours of six danced moods.
Premiere by the Ballet du Capitole on February 21, 2013
Music Arvo Pärt, Iannis Xenakis
Choreography Kader Belarbi
Stage design and lighting Rémi Nicolas
Costumes Joop Stokvis
The body becomes a paintbrush under the choreographer’s hand, moved by a rhythmic breath, which is the beginning of everything. Shapes are outlined and drawn like so many metamorphoses. Through the “spatial harmonies” of
Arvo Pärt and the “graphic rhythms” of Iannis Xenakis, poetry of interweaving is revealed.
Eternally dissatis ed characters, heroes pursuing chimeras, love stronger than death, plethora of fantastic creatures, contrast between dream and reality, scene of madness: all themes that make Giselle the undisputed masterpiece of romantic ballet.
As director of the Ballet du Capitole, Kader Belarbi wanted to give his company with a production of Giselle, which would state what has been transmitted to him by the French school tradition: «I created this version of Giselle respecting the letter and spirit, but with my own words, my own language.
In the rst act, I have transformed the farmers into wine growers and made the vein of popular dances more rooted and rural. In opposition, the lords of the hunting with hounds are more dancing. In the second act, I have given special care to the Wilis, vaporous «Filles de l’air» to quote Gautier, in order to emphasize the duality between earthly and immaterial world.
I like the idea of a musical companion and for Giselle, I have called Philippe Béran, Swiss conductor, to return to the sources of what Adolphe Adam composed. Together we have resituated the original score and re-arranged it when it was necessary, in correspondence with my new vision. »
Ballet in two acts
Version by Kader Belarbi
from Jules Perrot and Jean Coralli (1841)
Creation by the Ballet du Capitole on 20th december 2015
Music Adolphe Adam
Choréography and staging Kader Belarbi
Sets Thierry Bosquet
Costumes Olivier Bériot
Architect-jeweler Marc Deloche
Light Sylvain Chevallot