MOZART & SALIERI. World premiere of this two-act ballet. Concept and Choreography: Marc Goldberg. Music: Mozart & Salieri. Sound: Josh Wynter. Set Co-ordination: Charles Petersen. Lighting: Dennis Hutchinson. Costumes: Kathryn Machlachlan. Wigs: Barry de Bruin. Projection, animation: Pieter Steyn. Presented by Cape Town City Ballet. At Artscape Opera House until 17 February.
SHEILA CHISHOLM reviews
Did envy spur on Italian born Viennese composer Antonio Salieri (1750 – 1825) to poison Wolfgang Amadeus Mozart in 1791? Who knows? But since 1830 when Russian literary giant Alexander Pushkin wrote Mozart and Salieri (M&S), claiming he did, that idea has stuck. True or false the myth does make a good tale. One Rimsky-Korsakov employed for an opera. As did playwright Peter Shaffer for Amadeus. And in 1984 Milos Forman turned Amadeus into an award winning film.
An imaginative ballet
Now Marc Goldberg, Cape Town City Ballet’s (CTCB) soloist, has drawn upon his long dancing experience to choreograph Amadeus into an imaginative ballet. Goldberg claims he’s spent three years conceptualising M&S. A claim confirmed as no idle talk when the lights went up and his stage setting could be seen. He’s split the stage into three. At (audience) floor level stands a fortepiano, tables and chairs where Mozart and Salieri compose. Upstage hangs a superb shimmering “spaghetti string” curtain on which remarkable 3D images are reflected. Behind it the opera stage’s depth reveals a raised space used for exit and entrances through the “spaghetti”.
M&S opens with Mozart’s Allegro con brio from Symphony No 25 in G Minor. Then, while Salieri (Daniel Szybkowski), quill in hand sits studiously composing, Mozart (Martin Milner), bewigged and in period costume, bounds onto the stage to perform Goldberg’s quirky movements. Movements that show Mozart as young, energetic and happy.
Milner’s aesthetic looks, ability to turn like a top, leap soundlessly and his considerable acting skills, make Mozart an ideal role for him – he is an ideal dancer for it.
Choreography was a tour de force
Goldberg doesn’t forget Mozart’s teasing predilection and introduces amusing little moments. Milner’s first sight of Constanze (Laura Bosenberg) changes his demeanour. Yes he still teases, but becomes more adult. For the young couple Goldberg’s first love pas de deux choreography was a tour de force for them both. Almost requiring boneless bodies Goldberg demanded Milner toss Bosenberg, swing her over his shoulders, around his head and body. Sometimes only using one hand. Sometimes both. Yet despite tight rehearsal schedules, these two merged so well it’s hard to believe theirs is not a longstanding partnership. Performed to the Andante of Mozart’s Piano Concerto No 21, the speed and energy behind Goldberg’s choreography didn’t quite match the slow adagio music quality. Perhaps in time Goldberg can rethink this pas de deux.
Bosenberg is a real trooper. Always giving her best. However, she danced Constanze as though rejuvenated, giving Goldberg’s choreography the light and shade he demanded. She too has become a fine actor bringing emotional depth to the scene leaving Mozart.
Wearing black with a white lace cravat, Szybkowski’s Salieri interpretation contrasted sharply with Milner’s light-hearted Mozart.
Goldberg gave to Szybkowski an opportunity to show what a fine actor/dancer he too is. Set to Overture to Armida, as Szybkowski moved between Salieri’s serious, pious and humourless character, his evil intent to poison Mozart came across clearly. Badgering Mozart’s maid Luisa (Claire Spector) to poison Mozart’s drink was chauvinism at its worst. Not surprising an unwilling Luisa gave in.
Another spot that Goldberg could rethink is the duet between Salieri and Mozart just after he’s drunk the poison. They are both dancing similar steps with equal energy. But Mozart is dying, therefore his movements should reflect that, gradually becoming weaker until he dies.
For corps de ballet back up Goldberg uses eight couples. In mock crinolines and black and white for the men, in the ballroom scene to Piano Concerto No 22 in E Flat, Goldberg amusingly treats hands as the piano’s black and white keys.
A distinctive contemporary idiom
Based on the classical technique, Goldberg has paraphrased this step vocabulary into a distinctive contemporary idiom.
There is much more to relate about M&S including Pieter Steyn’s exceptional projection and animation images that bring Mozart’s home, The Vienna Opera House, beautiful countryside images, and the Earth’s creation right into the auditorium; Josh Wynter’s excellent recordings and sound; Charles Petersen’s set co-ordination and Dennis Hutchinson’s exceptional lighting plots, all which added to inspired dancing from CTCB dancers. Sadly space does not permit more detail.
However, Goldberg is to be congratulated on creating this remarkable ballet as is Pieter Toerien for his support. Mozart & Salieri made ballet history at Artscape.
What: Mozart and Salieri
Who: Presented by Cape Town City Ballet.
Where: Artscape Opera House, Cape Town
When: 7 to 17 February, 2018
Ticket price: R170 – R270
Book tickets: www.computicket.co.za
Duration: 1h 50min
WS
