Alonzo King's Art Songs
November 03, 2016
* Notes *
Alonzo King Lines Ballet opened a new season at Yerba Buena Center for the Arts last night. Though I enjoy contemporary dance and have walked past the Lines Ballet space countless times on 7th Street, I had not seen this company until now. It took an opera singer, of course, to get me to this performance. Despite the "ballet" in the name, there was not a tutu in sight, and the dancing eschewed mere prettiness, and it was well worth the effort to experience.
The opening piece, Art Songs, is a world premiere and features live music sung by mezzo-soprano Maya Lahyani (pictured left with Yujin Kim and Michael Montgomery, photograph by Quinn B. Wharton) with accompaniment from pianist Efrat Levy and violinist Lisa Lee. The songs include three Baroque pieces -- a Bach cantata and arias by Handel and Purcell -- plus Schumann's "Stille Tränen." It isn't rep I associate with Lahyani, who was an Adler at San Francisco Opera in 2010 and 2011 and is a regular at the Met these days. But she sounded fine, especially in the Dido's Lament that ends the piece. There were a few tiny froggy moments in a low note or two, but Lahyani was ill, and did remarkably well considering.
The choreography has a raw, exposed quality to it that works really nicely with the singer on stage. I loved that there were no supertitles and there was no escaping the music or the dancing. The dancers are alive in the movement, even if they are only standing or walking. The piece was even disturbing, particularly the fourth part with soloists Yujin Kim and Michael Montgomery, there was much falling, and the pair looked more like an awkwardly beautiful many-limbed creature than ballet dancers engaged in a duet.
The second piece was Meyer, with recorded music from bassist/composer Edgar Meyer, and again the dancing had a wonderful brutality at odds with classical ballet. The female dancers wore pointe shoes, yet there were many times when they were not en pointe, or flexed their feet when their legs were aloft. The piece features an elaborate water machine with streaming jets in the background which was used to great effect. It was hard to look away from this one, even when images turned dark, as with the fifth part "Cards," in which a rather frantic dancer piles and moves pieces of paper, at times licking one or two.
* Tattling *
The audience was quiet. Some of my opera fanatic friends left at intermission after hearing Maya, as they were much more interesting in the music rather than the dancing.