By now the annual Ars Ballet Galas at the Coliseo are as much a fixture as the rival Gala of the Colón, which will be seen eight days later. Ars is a society formed by Martín Boschet, Liana Vinacur and Diego Radivoy. From the start they have striven to give a balance between the traditional ballets and the contemporary dances, and have invited for the first time many artists of value coming from widely spread companies and aesthetics. And they have always included some Argentine dancers either living here or abroad.
Each Gala has left some outstanding memories. This year two Momix dancers and a free-lance artist with the pseudonym of Lil Buck were the most stimulating, plus the inventive multimedia choreographies of David Middendorp.
Decades ago our city received visits of a fascinating group called Pilobolus. Its founder and choreographer was Moses Pendleton, and he concocted exhilarating shows of great speed and precision as well as healthy humor. In 1980 he created Momix, a company of illusionist dance (it is thus defined in the hand programme), and it is still going strong.
Apparently Momix holds a special attraction for its dancers, as they tend to stay for many years. Such is the case of the two that came here: Steven Ezra Marshall entered the company at 18 in 2003; and Rebecca Joy Rasmussen is there since 2006. Both are exceptional artists, as they revealed in duets from"Tuu" and "Dream Catcher". Pendleton works with other choreographers: Tin Acito and Solveig Olsen in the first, Craig Berman and Brian Sanders in the second. Pop music accompanies both.
In "Tuu" both bodies are in close contact for several minutes and assume different shapes giving the illusion of abstract forms; the millimetric coordination and physical condition were astonishing. In "Dream Catcher" they mimetize with a geometrically complex sculpture (by Alan Boeding); they constantly interact with it with perilous climbs, at the end throwing it from one end of the stage to another with uncanny exactitude. Beautiful and intriguing.
Lil Buck is really Charles Riley, a 28-year-old Chicagoan who has created a sui generis sort of street dancing. He doesn´t belong to any group. He has an incredible muscular control and his whole body seems to ripple. And he uses big white sneakers with which he performs prodigies of feet elasticity. Naturally he is his own choreographer (no one else does what he does). I don´t know what "Brostjour" means but that´s the name of his solo in the First Part, with completely monotonous cello music by Olafur Arnalds.
In the Second Part we saw a strange hybrid: the famous Saint-Saëns "Death of the Swan" where one sees the (uncredited) Fokin choreography (with some changes) by Carolina Basualdo (from Bahía Blanca´s Ballet del Sur) interspersed with Lil Buck´s own version; the final thirty seconds are danced by both, each with a different choreography. I felt it was more a curiosity than a viable alternative, but it isn´t a parody, like last year´s Trockadero spoof. Good dancing by Basualdo, and in the only live performance of the evening, fine playing by cellist Lucas Caballero, accompanied by pianist Joaquín Panisse.
And now, the Middendorp choreographies, both danced well by Violet Broersma and Antonino Milazzo: on unattractive pop music, the intense duets "Blue Journey" and "Flyland 2" got an extra dimension with admirable multimedia projections combining aerial dancing with imaginative elements from nature or geometrical forms , giving dynamism to the images.
Lucio Vidal is an Argentine dancer who worked with Nacho Duato in Madrid, and now the choreographer has invited him to be a member of Duato´s new post, the Staatsballett Berlin. Vidal´s personality has no affinity with traditional ballet, as he showed in Duato´s "Herrumbre" ("Rust"), a tense duet with Japanese dancer Kayoko Everhart (from the Compañía Nacional de España, run by Duato during a long period, 1990 to 2010). Although I disliked the music (Pedro Alcalde, Sergio Caballero and David Darling), the piece has impact and the dancers responded with solid command and contemporary awareness (though the presumed connexion with the Atocha massacre escaped me).
Vidal is his own choreographer on a solo, "Alien", on grating music by Mikey Woodbridge, with video projections. Unremittingly harsh, the dancer is strongly expressive and reflects the current disconcerted Europe.
Two Colón artists, Gabriela Alberti, danced (in inverted order of what the hand programme said; no one announced it) the adagio Pas de Deux from Tchaikovsky´s "Swan Lake" (the Prince merely assists the Swan, interpreted with excellent technique) and a curious tango by Piazzolla, "Quicho", where the star is the bass (homage to Quicho Díaz); the artists did well in the adequate Julio López choreography.
The "Carmen" Pas de Deux (Bizet arranged by Shchedrin) comes from the famous Alberto Alonso choreography in which Plisetskaya shone; based on the Flower Aria, it isn´t the best fragment and was routinely danced by Adiarys Almeida (from the Cuban Alicia Alonso technique) and Joseph Gatti (from the Orlando Ballet).
Finally, two hoary and celebrated Petipa items: the lovely Second Act Pas de Deux from Adam´s "Giselle", poetically danced by Julieta Paul (of the Teatro Argentino) and Matthew Golding, a tall Canadian of the Royal Ballet. And the spectacular Trio from "The Corsair" (music by Adam and Drigo), where Almeida and Gatti were very good and Golding a bit less.
A Gala with plenty of renovation.
For Buenos Aires Herald