Tag Archive: Eno Henze

Superficies

February 22, 2019

“Requiem” (“Citizen Nowhere” / “Requiem”)
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
February 16, 2019

by Ilona Landgraf
Copyright © 2019 by Ilona Landgraf

1. E.Wijnen, “Citizen Nowhere” by D.Dawson, Dutch National Ballet 2019 © H.GerritsenDavid Dawson’s “Requiem” premiered in early February as the second half of an all-Dawson bill from the Dutch National Ballet. The first half was “Citizen Nowhere”, a twenty-or-so minute solo, also created for the Dutch company and first performed in the “Made in Amsterdam 2”-program in 2017.

That “Citizen Nowhere” was inspired by Antoine de Saint-Exupéry’s novella “The Little Prince” only becomes clear when a selection of signaling words and quotations are projected onto the gray backdrop: “Fox: anything essential is invisible to the eyes; one can only see clearly with the heart”; and “SNAKE: The Tears” (Tears is subsequently replaced with EYE and HEART). Instead, Dawson’s reading of the novella is a political one that tackles nationalism, displacement, and – highly topical – the building of walls. (more…)

Stunning Emotions

February 23, 2015

“Tristan + Isolde”
Semperoper Ballet
Semperoper
Dresden, Germany
February 17, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

1. C.Richardson and F.Voranger, “Tristan + Isolde” by D.Dawson, Semperoper Ballet Dresden © I.Whalen 2015Reportedly a few of the audience had expected to see the opera, while others, having had a slightly closer look at Semperoper Dresden’s program, were anticipating hearing Richard Wagner’s famous music. Both parties must have been surprised. “Tristan + Isolde” is a ballet by David Dawson to new music by Szymon Brzóska.
Dawson wisely abstained from using Wagner’s well-known opera music. Instead Brzóska, a Pole, composed a tailor-made score for the Dresden company. Both had already collaborated on Dawson’s ballet “Overture” for Dutch National Ballet in 2013. Generally speaking, his music, Brzóska told in an interview, would range between contemporary avant garde and extended tonality that inclined towards minimalism. The new composition reminds one of film music. It’s emotional music, conveying love’s bliss but also dramatic, fragile and threatening moments. Though expressive, Dawson never left it to the music to bring forth the action but always backed it with choreographic substance. Paul Connelly and the Sächsische Staatskapelle Dresden highly focused playing captivated one from the first tone on. Laurels to them! (more…)