At La Scala, the Goldberg Variations According to Spoerli
#Music

An intense dialogue between piano and physical movement rises towards an architecture made up of mathematical schemes and symmetry to reach the audience, charged with dynamism and energy. For Heinz Spoerli, the Swiss ballerino who, from 25 January to 22 March, will bring his celebrated choreography to La Scala on the notes of Johann Sebastian Bach, the Goldberg-Variations seems just like life passing by: creating connections, couples form, only to slide towards indifference, changing, with experience, values and certainties. The choreographer offers a highly personal reflection, drawing a choreographic arc from start to finish, one of incessant fluidity, charm, free of temporal connotations, as it runs along, through light and dark, music and movement. “Every time I listen to Bach, I feel my heart jump. For me, his music is an inexorable source of inspiration and it has been since I was in my twenties, even before the time, in Germany, in Düsseldorf, that I created a choreography on the Goldberg Variations, by many critics considered, at the start of the Nineties, to be one of the more important choreographic creations of that period.” That’s how Heinz Spoerli presented Cello Suites, entered into the repertoire of La Scala in 2015, inaugurating the productions of chamber music. At the time, it was only the cello to dialogue with the bodies of the dancers of La Scala on the notes of Bach. Now, for this ballet, created in 1993, for its debut at La Scala, it will be the piano of Alexey Botvinova - who boasts over 290 live performances of the Goldberg Variations - to interact with the movement. Solos, duets, group moments, all alternating in a rich production, rich with dynamism, energy and moments of intent lyricism.
amantha De Martin - © 2018 ARTE.it for Bulgari Hotel Milano