Anne Teresa De Keersmaeker Jean-Guihen Queyras
Mitten wir im Leben sind Bach6Cellosuiten
© Mitten wir im Leben sind / Bach6Cellosuiten © Anne Van Aerschot ©
Choreography, Anne Teresa De Keersmaeker
Music, Jean-Sébastien Bach, Six Suites for Solo Cello, BWV 1007 – 1012
Cello, Jean-Guihen Queyras
With Boštjan Antončič, Anne Teresa De Keersmaeker, Marie Goudot, Julien Monty, Michaël Pomero
Music, Johann Sebastian Bach, Six Suites for Unaccompanied Cello, BWV 1007 - 1012
Lights, Luc Schaltin
Costumes, An D’Huys
Dramaturgy, Jan Vandenhouwe
Sound, Alban Moraud
Artistic assistants, Carlos Garbin, Femke Gyselinck
Rehearsal director, Femke Gyselinck
Artistic coordination and planning, Anne Van Aerschot
Artistic advice, Thierry De Mey
Technical director, Joris Erven
Costumes coordinator, Heide Vanderieck
Technicians, Joris de Bolle, Jonathan Maes, Michael Smets
A Rosas production
In coproduction with La Monnaie / De Munt (Brussels) ; Ruhrtriennale – Festival der Künste ; Concertgebouw Brugge ; Sadler’s Wells Theatre (Londres) ; Les Théâtres de la Ville de Luxembourg ; Opéra de Lille ; Ludwigsburger Schlossfestspiele – Internationale Festspiele Baden-Württemberg ; Elbphilharmonie (Hambourg) ; Montpellier Danse 2018
In association with Philharmonie de Paris ; Théâtre de la Ville-Paris ; Festival d’Automne à Paris
Special thanks to Thomas Hertog, Palle Dyrvall, Anke Loh, Aurianne Skybyk, Mathieu Bonilla, François Deppe, Alain Franco, Kimiko Nishi, Maria Eva Rodriguez
First performed on 26 August 2017 as a part of Ruhrtriennale – Festival der Künste
Mitten wir im Leben sind/Bach6Cellosuiten was realized with the support of the Tax Shelter of the Belgian Federal Government, in collaboration with Casa Kafka Pictures Tax Shelter empowered by Belfius.
Rosas is supported by the Flemish Community and by the BNP Paribas Foundation.
The Fondation d’entreprise Hermès is the patron for the Anne Teresa De Keersmaeker Portrait.
In partnership with France Inter
Bach’s Cello Suites have always been there, lurking in the back of her mind. In order to set about tackling this masterpiece of instrumental music, performed onstage in their entirety by Jean-Guihen Queyras, Anne Teresa De Keersmaeker has composed a solo for each suite - bringing out all their nuances of light and dark, depth and lightness. The resulting blend, in which she herself plays an intercessory role, is a deft one indeed, and provides the perfect complement to the vibrating strings.
Johann Sebastian Bach’s Cello Suites constitute a milestone in the history of Western music. Indeed, the intellectual and structural impetus of this work, driven by its rhythmic vitality and the fluidity of its melodic lines, has never ceased to amaze. Here, Anne Teresa De Keersmaeker, who has already shown us the particular affinity she has with the world of Bach, deepens her search for a form of choreographic writing which captures the very essence of the composer’s language. In this piece, the cellist Jean-Guihen Queyras, three male dancers and two female dancers - one of which is De Keersmaeker herself - bring the score to life. The latter is summoned up in all its various dimensions, and it is either distilled, defied or put into perspective by the choreography. Onstage a geometric schema is traced out either in colours or pentagrams, giving rise to a seemingly infinite array of interwinding circles and spirals. Contrary to standard practice in concerts, the cellist is not sat facing the audience but changes his position on the stage with each new Suite. As the piece progress, the spiral becomes larger and larger, and the pentagrams become wider and wider, each Suite offering a new perspective on the physical presence of the musician and the dancer. Embracing music with dance in this fascinating manner brings to the forefront not just the individual character of the six Suites, but also their cohesion as an ensemble project.
Running time: 2h
See also
Anne Teresa De Keersmaeker, Radouan Mriziga / Rosas, A7LA5 Il Cimento dell’Armonia e dell’Inventione
In collaboration with the choreographer and dancer Radouan Mriziga, the challenge taken up by Anne Teresa De Keersmaeker is to make Vivaldi's Four Seasons heard, using the tools of dance to hone the way we listen to this baroque masterpiece. Under the auspices of abstraction, the resulting alliance reconnects with the imaginary ecological world that is conjured up by this famous concerto.
Rabih Mroué, Anne Teresa De Keersmaeker A little bit of the moon
As part of a special invitation by the Festival d'Automne, choreographer Anne Teresa De Keersmaeker and director Rabih Mroué shared, over the course of ten months, their thoughts, concerns, doubts, and questions regarding politics, art and life. After numerous exchanges by videoconference, the two artists now come together on the site of the former industrial complex, the new home of the Fiminco Foundation. Together, for the duration of a performance, they will be drawing up the plans for a new world for all.
In the same place
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What are the relationships between a spider's growth, the sound experience of radiotherapy and the lights and clicking sounds of old-fashioned slide viewers? The work of Clara Iannotta, of which this concert offers a journey through its recent years, is a mode of self-knowledge, or an autobiography in which sound and body are intimately linked.
Karlheinz Stockhausen Donnerstag aus Licht – Acte 3
Donnerstag (Thursday), the first opera of the Licht (Light) cycle, to which Karlheinz Stockhausen devoted twenty-five years of his life, is the day of Archangel Michael, his youth, journey around the earth and his return. It is also an autobiographical moment in time, overwhelmingly so, in a spiral that leads to the stars and the harmony of the universe.
Heiner Goebbels A House of Call – My Imaginary Notebook
A House of Call, a vast, lavishing, Babylonian imaginary notebook of Heiner Goebbels' travels around the world, is a sum total of sounds, styles, languages, cultures and voices. It brings us the voices of the living and the dead, recorded over the course of just over a century. Its orchestra responds to the grains of these voices, thereby renewing a centuries-old tradition of responsorial art.