Combining the silky sinuous movements of Cuban dance with what we recognise today as Baroque music seems to be a challenging task, melding two ostensibly contrasting styles to create one harmonious piece might prove to be over ambitious. When one digs a little deeper though, things start to fall into place – the word Baroque comes from the Portuguese ‘barroco’ meaning irregularly shaped pearl and a recognised form of Baroque music is the dance suite although these dance suites were originally intended to be listened to rather than danced to. One of the most celebrated Baroque composers J.S. Bach composed dance suites which are called partitas, so here are the origins for tonight’s engrossing show, the first half being Pearls choreographed by Andonis Foniadakis, the second half is named Chacona choreographed by Goyo Montero and set to Bach’s Partita no.2 also called Chaconne.
The first half of the performance is unabashedly modern, the flowing movements of the dancers bring to mind the Brazilian dance/martial art of Capoeira, almost fighting but most definitely dancing as they flow rhythmically across the stage sometimes all of the company at once, other times in pairs or small groups, but always with extraordinary control, flexibility and seemingly boundless reserves of strength and energy. On a plain stage, lit only by projections of mostly white lines forming regular shapes on the boards, the combination of the two contrasting inspirations for the piece become apparent. The regular lines hinting at the mathematical patterns prominent in Baroque music, the fluid, controlled contortions of the faultless cast reflecting the wilder, free spirited elements of Cuban dance. Sometimes the rapid movements of the performers seems too fast for the music but the exacting choreography ensures that the link between the music and the movement is always beautifully observed. Centred on Esteban Sallas’ Salve Regina, the piece gradually diverts from its Baroque roots and reaches a crescendo of bass and drum beats matched by the fervour of the dancers. Rapturous applause greeted the finale of the first half leaving the second half with a lot to live up to.
For the second half the company are joined on stage by a pianist, violinist and guitarist as they deliver a somewhat more sedate, but no less demanding routine to the strains of Bach’s Partita no.2 arranged here for the three instruments. This half is much more classical in style with an increase of balletic movements including some very impressive pointe work. As before the company performs en-masse as well as breaking up into smaller groups, Performing again on a bare set drawing all attention on to the performers, there is no place to hide here and the cast certainly don’t shy away from the challenge. The repetitive refrains in the music are mirrored by pairs of dancers performing the same routines in sequence not at the same time as each other, then all returning to the same theme. The same graceful control as the first half is again evident but given more prominence as the movements are more languorous as befits the tempo of the music. Each instrument is given its own space here with only the finale involving all three playing together. The score is arranged for the three instruments but not reimagined, sticking closely to the original pace and feel giving each instrument a place to shine, each of the performers delivering a perfect performance, most notably some very impressive violin playing of the work often described by Yehudi Menuhin as ‘the greatest structure for solo violin that exists’. After the energy of Pearls the measured sophistication of Chacona delivers a beautiful counterpoint and is equally well received by tonight’s packed house affording the performers many well deserved curtain calls.
An absolute treat for lovers of dance and Baroque music, this hugely inventive and accomplished show comes highly recommended
Runs until October 21st returning in spring 2027
