Malta Arts Festival - Imaginative choreography

Somewhere, choreographed by Julien Lestel, was the opening piece to the Ballet National de Marseille staged as part of the Malta Arts Festival. The first of the three choreographies started with two rows of neatly aligned dancers with their backs to the audience. There was a series of intertwining movement between the two rows but staged against a black backdrop, dressed in dark red velvet costumes, this minimalistic attire helped the audience to focus on the precise movements of the athletic professionals who form part of the corps de ballet. All members of the dance troupe had perfectly sculpted muscular bodies which is no surprise considering they train at least for six hours a day.

The leg raises, precise lines and immense flexibility, together with a total sense of synchrony epitomised the art of contemporary dance. The music was soft and the movements were flowing according to the change in beat. The duet alternated naturally with small groups of dancers perfectly positioned not to overcrowd the stage which once again allowed the focus of the audience to drift solely on the fluidity of the dancers' moves. Their ability to seem so light on the feet, to execute point work and classical technique while at the same time engaging in high lifts, demanding partnering work with intricate sharp movements was breathtaking. They boasted balance, control and a solid basic technique. The dancers shifted easily from slow to upbeat rhythms and never failed to keep up with the acrobatic choreography. This was a truly demanding piece and although the dancers were obviously drained they never faltered, keeping up the high standard for 30 minutes non-stop. What stamina!

Le Pas de Deux d'Herman Schmerman, choreographed by William Forsythe, was a short and sweet duet which mastered the art of contemporary to the full. It was danced to jazzy rhythms and was a playful, light-hearted performance where the couple teased and provoked each other. It started off with the male dancer wearing a black costume and his female counterpart in a black leotard and ended up with both wearing a yellow skirt. There was an intense understanding between the couple and a complicity in the interpretation. The choreography consisted of a series of sharp movements and separate limb movements while keeping the body motionless. The beauty was in the detail of their moves. Little gestures like a head shake or a body wave were what made it original and entertaining.

In Por Vos Muero, choreographed by Nacho Duato, the dance troupe took us through a journey of courtship and history with performances dedicated to the hierarchical social events in the sixth and seventh century where dance played such an important role. The music was typically Spanish and at times very grandiose. The change in musical pieces was marked by the reading of verses from the poems of Spanish poet and soldier Garcilaso de le Vega who himself had lived as a courtesan of the King. Very ideal choice for the type of "story" presented in this piece. As in the earlier dances, technique never failed and the dancers immersed themselves in a series of complicated point work and lifts. There was a contrast between the dancers in skin-coloured dancewear who showed up in the beginning and at the end and those dressed in modernised sixth century costumes. They danced in group, in couples, and in separate duets, mimicking the love stories of the past and the art of courtship at its best.

There were interpretations of all kinds of social practices of the time, masked ball and all. The men emerged wearing red cloaks and carrying incense while a female dancer engaged in a passionate dance in their presence. There was a great sense of culture combined with history but all interpreted in a contemporary fashion. This piece was very much liked by the audience and it probably contributed greatly to the standing ovation at the end of the show.