In the Steps of Petipa/4 Tendances
Ballet de l'Opera de Bordeaux
Grand Theatre, HK Cultural Centre
Reviewed June 6 and 8
The Bordeaux Opera Ballet comes with a good pedigree. Artistic director Charles Jude had a distinguished career as a star dancer at the Paris Opera, one of the world's greatest companies, and the troupe's repertoire is rich and varied. But the proof of the Chateau is in the drinking, and this Bordeaux turned out to be more appellation contr?lee than grand cru.
The company brought two contrasting programmes: In the Steps of Petipa, consisting of classical choreography, and 4 Tendances, made up of modern work. Of the two, the dancers looked far more at home in the contemporary pieces.
Anthony Egea's Forsythe-influenced Tetris with its electronic score and geometric patterns was well-structured and had striking moments. It was danced with clarity, power and sharpness by the whole ensemble, led by Juliane Bubl.
Two fine duets by Claude Brumachon - Etreintes Brisees (for a man and woman) and Les Indomptes (for two men) - showed a choreographer with a distinctive style in swift, abrupt lifts and an ability to combine athleticism with atmosphere. Both were very well performed, as was Itzik Galili's The Sofa, whose comedy drew laughs.
Unfortunately, Jir? Kyli?n's celebrated Petite Mort, intended as the high point of the programme, fared less well. There was some good work by individual dancers - notably Yumi Aizawa - but the piece looked badly under-rehearsed and lacked the precision and coherence the choreography calls for.