Like Joni Mitchell’s songs meet the classic ballet
There is a moment, in the middle of “Both Sides Now“In which two bodies just touch each other, the arms chase each other in the air and the time stops. It is not a step to two traditional, there are no acrobatic sockets, but a simple walk, a distance that is created and recomposed, a hug that leaves room for nostalgia. This is where Dance meets Joni Mitchell’s voiceand the classic bends to the fragility of a confession.
“The Two of US”, Choreography signed by Christopher Wheeldonwas born for the 2020 edition of the Fall for Dance Festival, presented by the New York City Center in a digital event during the year marked by the pandemic. Within the program, the absolute debut of the ballet created by the 52 -year -old British choreographer – known above all for the magical creation “Alice’s Adventures in Wonderland” – on Four songs by Joni Mitchell. At the debut, “The Two of Us” counted two exceptional interpreters, Sara Mearns and David HallbergStars respectively of the New York City Ballet and the American Ballet Theater, for the first time together on stage.
To build his choreography, Christopher Wheeldon has chosen from the repertoire of the great Canadian singer -songwriter The following pieces: “I Don’t Know Where I Stands”, “Urge for Going”, “You turn me on (I’m on Radio)” and “Both Sides Now”. Each section of the piece reflects the musical and theme structure of the song to which it binds. The opening is entrusted to a female solo, characterized by movements that unfold delicately, as in a silent monologue. On “I Don’t Know Where The stands“, The dance is almost whispered, while the choreography moves between hints of floorwork and detained gestures, suggesting uncertainty and introspection. It follows the male variation on”Urge for Going“: As can be seen in the video below and as noted by Marina Harss on Dancetabs, the second piece introduces small elements of the vocabulary of the classic ballet – an Arabesque, a short series of Chaînés – but the language remains fluid, dominated by an inner musicality.
The interpretation is free, not bound by a precise rhythm, but immersed in the voice of Mitchell, which evokes memories and departures. In this creation, Wheeldon works by subtraction, avoiding virtuosity and technicalities, preferring a thin tension. After “You turn me on (I’m on Radio)“, The highlight arrives for Marina Harss with the Pas de deux designed on the notes and words of”Both Sides Now“.
The conclusion of “The Two of Us” is therefore described as the moment of the true meeting, but also of the separation. The two walk one towards the other, then turn turns, move away. There are no caught or elaborate lifting, but every gesture, in its simplicity, takes on a double weight. The dance thus becomes an extension of Mitchell’s words, a visual transcription of that reflection on what you earn and lose in love.
After the onset in digital version due to the pandemic, “The Two of Us” has finally debuted on physical stages. Currently, Christopher Wheeldon’s creation, together with his three of his three works collected in the title “Ballet to Broadway: Wheeldon Works“It is scheduled at the Royal Ballet and Opera (ex Royal Opera House) in London from 13 to 27 May. The representation of the May 22nd It will be broadcast live from 8.15 pm in cinemas, including Italians.
