Mitten wir im Leben sind / Bach6Cellosuiten
Sadler’s Wells Theatre
Reviewed – 24th April 2019
★★★★★
“a world of stimulation and inspiration which is enriching to discover”
Translating as “In the midst of life…” the ellipsis of the title immediately arouses curiosity. As the antiphon goes on – “Who shall help us in the strife/lest the foe confound us? Thou only, Lord, thou only” – the structure of this uniquely captivating piece takes the shape of ‘life-death-salvation’. Given this narrative contour, we are lead through the music by a choreography embedded in the rhythms and harmonies where, in both cases, the structure is the channel of expression. Bach’s six unaccompanied suites are, at the same time, staple nourishment and soul food for any cellist but seldom are they performed continuously. Jean-Guihen Queyras’ playing is exquisite, flowing with precision and freedom through the moods of the chapters. Anne Teresa De Keersmaeker interprets the individual suites and links them together with sensitive articulation. Searching for the roots of Bach’s composition, Queyras points to the hidden bass line which underpins the melody and the musical illusion of harmony conjured up by a single line. This is embodied with simple steps echoing the court dances of the suites, like the running ‘courantes’ and lively ‘gigues’, and the stillness of the ‘sarabandes’.
Framed by Luc Schatlin’s sublimely atmospheric lighting, Queyras changes position on stage to define the tone and humour of the pieces, opening forward in the major keys and turning inwards for the minor ones. The four dancers take one suite each, creating a self-contained ambience within the greater work – the lightness of the first, the melancholy second and a joyous third in which the cello pauses and the dance continues, the music soundlessly present. In the solemn fourth suite he leaves the stage, the bourée is interpreted elegantly in silence and the cello returns for the fifth, the most dramatic, swathed in darkness; the A string is tuned down to G, intensifying the mournful timbre. De Keersmaeker drifts in and out of the dim stage light until the cellist is left alone for the doleful Sarabande. Lights come on abruptly for the exultant sixth suite, written for a five-stringed instrument and therefore with higher, lighter colours. The five dancers come together, bringing a harmonious yet personal energy and style. De Keersmaeker doesn’t dance her own suite but joins the solo dancers briefly as a refraction of their movement. She announces each one by physically portraying the number and, almost as a refrain between them, traces shapes on the floor with coloured tape, uncovering the geometry of the work.
Behind ‘Mitten wir im Leben’ is a world of stimulation and inspiration which is enriching to discover; there is the mathematical framework, numerical patterns, the idea of vertical and horizontal axes coming together and the abstract emotions which emerge. But, alone, the beautiful cello playing and the controlled, entrancing dynamics of the dancers is a rare and moving experience; the afterthoughts make it more compelling.
Reviewed by Joanna Hethertington
Photography by Anne Van Aerschot
Mitten wir im Leben sind / Bach6Cellosuiten
Sadler’s Wells Theatre
Previously reviewed at this venue:
Medusa | ★★★½ | October 2018
The Emperor and the Concubine | ★★★★ | October 2018
Dystopian Dream | ★★★★★ | November 2018
Layla and Majnun | ★★★½ | November 2018
Tom | ★★★★ | November 2018
Swan Lake | ★★★★★ | December 2018
Bon Voyage, Bob | ★★½ | February 2019
The Thread | ★★½ | March 2019
Click here to see more of our latest reviews on thespyinthestalls.com
