Modern ballet seems to have a dearth of first-rate choreographers the world over. True, we don´t get many visits from abroad nowadays, but it´s been ages since really inspired dance creators have been here: Pina Bausch, the first Béjart, Neumeier, Kylian in his first visit, Nikolais, the Pilobolus group, José Limón, the Martha Graham group. .
The Mozarteum has brought to us recently at the Coliseo the Ballet
The Colón´s Center for Experimentation presented at the Teatro del Globo "La hija del enfermero" ("The male nurse´s daughter"), a choreographic tale by Carlos Trunsky using the extended score that John Cage called "Four Walls" as musical support. The key to this strange mixture is the phrase Trunsky puts as subtitle: "And if Nature were also an invention?" He imagines a homoerotic relationship between a male nurse and a dying man out of which comes the birth of the daughter. It is very much in line with current obsessions about sexual diversity but seen through a fantastic philter. The strong dichotomy between what one sees and one hears bothered me; indeed, Cage composed it for Merce Cunningham in 1944; it was played only once. The hand programme doesn´t specify the content of the Cunningham piece, but that choreographer (recently deceased) was extremely ascetic and believed in pure choreographic lines with no narrative sense; however, he was very young then and his ideas weren´t fully matured, so maybe some dramatic ideas were there. The music is strictly diatonic (only white keys), repetitive, with big silences and ostinatos. It isn´t my cup of tea, but I must admit that Cage almost never is. It was splendidly played by Haydée Schvartz.
Trunsky is discreet in his depiction of the couple´s love; his choreography sometimes is quite expressive, though there are plenty of typical contemporary trademarks. I especially liked the movements of the child (not a baby), with the right ludic, improvisatory and disjointed quality. And I found the scene of the patient´s death tasteful and moving. The dancers were excellent: Leandro Tolosa and María Kuhmichel. The patient was played by Gaby Ferro with adequate introspection, and in the only vocal interlude he sang accurately in an agreeable pop voice. With a spare but well considered stage design and functional costumes, Marta Albertinazzi did a professional job; so did Eli Sirlin in the lighting.
The Colón Institute of Art put on at the Golden Hall of the Casa de
Csarmen Piazzini gave a model recital for Festivales Musicales at the Auditorio de Belgrano, honoring both Haydn and Mendelssohn (respectively two hundred years of his death and his birth). Always a distinguished player, she is now an admirable exponent of both composers: an uncanny precision and a well-ordered mind that phrases unerringly with just the right turn of phrase. From Haydn, Sonatas Nº 40, 42 and 50; from Mendelssohn, seven of his "Songs without words" and those marvelous "Serious Variations".
For Buenos Aires Herald