Trois Grandes Fugues
Lucinda Childs, Maguy Marin, Anne Teresa De Keersmaeker
© Jaime Roque de la Cruz
The Lyon Opera Ballet will bring to life three works in its repertoire, all based on Beethoven’s Great Fugue op.133, and featuring three major choreographers of our time: Anne Teresa De Keersmaeker, Maguy Marin and Lucinda Childs. How does each artist assert control over this maelstrom of chords, in which Beethoven pushes the art of counterpoint to maximum intensity? Through the same musical score, the same notes, each one of these choreographers reveals their intimate signature – through physical structures; relations between bodies; unity and divergence in rhythm and melody. Anne Teresa De Keersmaeker was the first, in 1992, to tackle this monument of instrumental music. De Keersmaeker austerely directs the performance to Beethoven’s music, wishing “to construct a vocabulary that is masculine, non-classical and gendered”, marked by the motif of falling. Maguy Marin’s relationship to “great music” is suffused with freedom and fantasy. Marin responds to the dark tones of the Great Fugue with her characteristically offbeat approach: a quartet of women in red, in a seething turmoil, whose bodies keep time, leap, collapse, straighten or dislocate. In a kind of reverse chronology, Lucinda Childs closes this procession with a last Great Fugue for twelve dancers in six couples, created especially for the Lyon Opera Ballet. A pioneer of the relationship between dance and music (her minimalist rigor influenced De Keersmaeker’s early works on the music of Steve Reich), and 36 years after Dance, Lucinda Childs has lost nothing of her creative force.