This is the second recent release of a Kader Belarbi production
on the Opus Arte label that has come my way. It follows his sparely but imaginatively
conceived and well executed account of the mid-19th century warhorse Le
M. Belarbi's approach to Le corsaire
was comparatively conventional.
He utilised the traditional mongrel score, basically the one by Adolphe Adam
but with extra material from other 19th century composers bolted on. He then
added even more music - by Massenet, Arensky, Sibelius, Lalo and his conductor
David Coleman. The resulting musical hybrid was tuneful and, at its core,
relatively conventional. The choreography too, while imaginative, was recognisably
well within the bounds of traditional ballet. There was a great deal to admire
in Belarbi's Le corsaire
and many will also find much to enjoy
in this new La bÍte et la belle
Almost all versions of this story, from the original and rather convoluted
1756 fairy tale by Jeanne-Marie Leprince de Beaumont to a Franco-German feature
film that appeared only last year, have adopted the familiar title La
belle et la bÍte
("Beauty and the Beast"). M. Belarbi's
ballet reverses that order of precedence. It would be reasonable to conclude,
therefore, that the story will have been tweaked so as to change its perspective
and make the Beast its narrative focus. That certainly wasn't my own
perception, however. If I'm asked to pick out this version's
central character, I'd still choose the young girl "Beauty".
She both opens and closes the ballet on her own and, as you'd expect,
is a major presence throughout the rest of the story. In that way, this production
is just as much the traditionally-focused tale as any of its predecessors.
In the booklet notes, however, Belarbi offers another explanation for the
title change. He suggests that, although the Beast isn't the main focus
of the story, the dilemma that confronts him makes him the more psychologically
interesting character. "We inverted the title", he explains, "...
so as to present the story in a new light, as a symbol of the rejection or
acceptance of difference ... [and] how it might feel to be shunned or rejected
That's certainly an intriguing approach - as well as one that can easily
be justified - and it's one of La BÍte et la Belle
positive features. Another is the Toulouse dancers. They are clearly both
skilled and enthusiastic, even if the choreography here is too individual
to allow us to compare them with other companies in the way that we could
if this were classical ballet. A further plus is the intelligently conceived
production, once again presented somewhat sparely so as to keep one's
visual focus on the characters on stage.
What some will certainly struggle with, however, as I did, is the musical
score. The credits on the packaging might be read as suggesting that the oddly
matched composers Daquin, Haydn, Ligeti and Ravel share equal responsibility
for it. In fact the billing simply reflects their alphabetical order and disguises
the fact that one of them predominates. In the booklet notes, Belarbi tells
us that "The aim of the choreography ... was to find movements to suit
the unusual atmosphere exuded by the unique music of Ligeti, a composer I
see as a painter in sound. I explored all his works, and the powerful emotional
responses his sound-world aroused in me also conjured up a series of images
and visions in my imagination."
Those "images and visions" are, in many instances, appropriately
matched to the pre-existing Ligeti scores. The latter itself may well be an
element that more traditionally-minded ballet fans find something of a challenge.
While not as great a shock to the system as the hip-hop and break-dancing
music that characterises many other contemporary dance productions, Ligeti's
rhythmically complex and sometimes pretty astringent scores are certainly
not easy listening or even foot-tapping material. As a result, this La
bÍte et la belle
lacks an immediate appeal for a general audience and,
though well directed and presented on this new release, will, I think, primarily
attract aficionados of contemporary dance, as well as fans of the undoubtedly
talented M. Belarbi and his Ballet du Capitole forces.