The Surprising Twist in John Neumeier's New Opera for the Joffrey
Neumeier's costume rendering for Orphée et Eurydice. Photo courtesy Lyrica Opera of Chicago.
As a student, Milwaukee native John Neumeier appeared in an opera at the Lyric Opera of Chicago. As Hamburg Ballet's artistic director and one of the world's leading choreographers, Neumeier now returns to the Midwest to direct and choreograph a new version of Gluck's Orphée et Eurydice, a co-production of the Lyric Opera, LA Opera and Hamburg State Opera. Set to open in Chicago September 23 with the Joffrey Ballet, the ambitious work will see additional engagements in Los Angeles and Hamburg over the next two years.
How did you come to be involved with this collaboration?
It was initiated by the director of the Lyric Opera, Anthony Freud, but I had already been in contact with Ashley Wheater about a separate project with the Joffrey Ballet. The two things came together—and this was really interesting to me because Chicago was important at the start of my career. I was born in Milwaukee, but most of my training was in or near Chicago.
You've previously created version of Orpheus for Hamburg Ballet. What about this particular production caught your interest?
When I got this offer from Anthony, I just went back to the piece and tried to sense what it meant to me now. Gluck's Orphée was part of a push to reform opera and to make a complete work of art involving music, text and dance. What interests me—particularly in this French version we are doing—is that dance plays such an essential role. When Agnes de Mille choreographed Oklahoma!, it was considered a revolution in musical theater, because dance moved the plot along. In Orphée, we can see that the same idea had been realized several centuries ago: that dance would not be just a divertissement, but a theatrical element, literally "moving" the plot along and expressing in another form the emotion of each situation.
Another idea in Orphée which fascinates me is its directness in projecting profound human emotions—emotions not used as an excuse for vocal virtuosity, but expressed in simple and direct musical terms. In Orphée, we have a mythical subject which is related in an extremely relevant, familiar, human way.
It seems that a lot of your work is characterized by stories and subjects that have existed for a long time being told in a modern way.
Absolutely. It's my main premise. Whether it's a story or a symphonic work, ballet is an art of the present tense. When the curtain goes up, we're interested in and moved by the people we see—not by their literary or historical sources. When watching Romeo and Juliet, we're not interested in the question of whether the lovers really lived in Verona or not—we're moved by the conviction of those dancers who are performing for us "now." So I've always tried to find the essential timeless emotions in each situation and find a human movement language to express them. I've often put historical themes into modern dress—hoping the audience may recognize themselves in the honest emotions inspiring my choreography. I believe this was Gluck's intention when he composed Orphée et Eurydice.
Will you take the same treatment with this work?
It will be set in a modern time. It will, in fact, take place in a ballet studio, because dance is at the very core of it. In the myth Orpheus was a musician, but I interpret "music" in a broader sense. So in my version, Orphée is a choreographer, and his wife, Eurydice, whom he loses, is his ballerina.
Peter Chu's Space, In Perspective took audiences on unmapped tours through the Harris Theater's non-theatrical spaces. Photo by Todd Rosenberg, Courtesy Hubbard Street Dance Chicago
Donning sneakers, 24 dancers performed the rapid, rhythmic contemporary movement of Benjamin Millepied's Counterpoint for Philip Johnson during American Ballet Theatre's fall season. Using members of the ABT Studio Company and Jacqueline Kennedy Onassis School, the commission was an unusual late addition to the program. But even more unusual was its setting: The work was danced not behind the proscenium, but as an intermission interlude on the tiered balconies of the David H. Koch Theater promenade, with the dancers looking down on the patrons from above.
With pieces like Counterpoint at ABT and Peter Chu's Space, In Perspective at Hubbard Street Dance Chicago, and Paris Opéra Ballet looking to set work in the public spaces of the Palais Garnier this spring, in-theater site-specific works are trending among companies whose seasoned patrons are more used to sitting comfortably in the dark.
Hubbard Street's Andrew Murdock teaches repertoire during an HS Pro pilot program. Photo by Todd Rosenberg, Courtesy Hubbard Street.
Hubbard Street Dance Chicago enters its fifth decade with a new training program designed to propel young professionals toward careers in dance. The Hubbard Street Professional Program (nicknamed "HS Pro") provides a two-year postsecondary alternative to university dance programs.
Valdes and Alonso. Photo by Nancy Reyes, courtesy BNC
Alicia Alonso's famed ballet company in Cuba has a new leader: the beloved hometown prima ballerina Viengsay Valdés.
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I'm terrified of performing choreography that changes directions. I messed up last year when the stage lights caused me to become disoriented. What can I do to prevent this from happening again? I can perform the combination just fine in the studio with the mirror.
It's not about what you have, but how you use. Photo by Brooke Cagle/Unsplash
From the angles of your feet to the size of your head, it can sometimes seem like there is no part of a dancer's body that is not under scrutiny. It's easy to get obsessed when you are constantly in front of a mirror, trying to fit a mold.
Yet the traditional ideals seem to be exploding every day. "The days of carbon-copy dancers are over," says BalletX dancer Caili Quan. "Only when you're confident in your own body can you start truly working with what you have."
While the striving may never end, there can be unexpected benefits to what you may think of as your "imperfections."