SIDDHARTA, choreography by Angelin Preljocaj, premiere to night, 18th March 2010, at Opera Bastille, not any news in the choreography, but because of wonderful dancers, leaded by Nicolas Le Riche in the titelrole, the wonderful Stéphane Bullion as his friend, Aurélie Dupont, Wilfried Romoli, Muriel Zusperreguy and Alice Renavand, fantastic neoclassic music by Bruno Mantovani with good musicians conducted by the young Susanna Mälkki, beautiful scenography by Claude Lévéque , costumes by Olivier Beriot and lightning by Dominique Bruguière, in a dramaturgy by Eric Reinhartd , and good use of mr Preljocaj´s choreography it became a success.

Siddharta, Nicolas le Riche and Aurelie Dupont. foto Anne Deniau

That they had build up this history about Siddharta Gautama, the founder of Buddhism, who is thought to have been born during the Iron Age, probloubly around 560 BC, in a small city at the foothills of Himalaya in nordeast of India, is a good background for the ballet. They had made the history in a kind of todays history, in a moderns style, its not disturbing the history. They are building the history on the oral traditions of the first Budhist writings of the 1st century after AD2. Preljocaj visited India during an extended tour, trying to find in a mystical figure over 2.500 years ago. Not trying to find a religious truth or historic precision, even though he likes toconfront the sacred and sun out of great myths of humanity. And not a commentary of Buddhism and its cardinal values, but a history of an interesting man and freely set it in to movement, by the yardstick of his own quest through contemporary dance.

Siddharta. Nicolas Le Riche and Stéphane Bullion, Scenographie: Claude Lévéque, foto Anne Deniau

The history is based on the time when Siddharta was no longer a prince, and not yet Buddha. These years of intense and fragile progression which made him confront extremes and different physical and spiritual suffering as he searched for a benevolent path.

During three premieres before Siddharta with the Ballet of The Opera National de Paris, Preljocaj has been building up his own dancing language, as we have started to learn, and to enjoy. In this performance, Siddharta, I dont find so much new, but he is combining his dancing language in new ways, and to the exciting music of Bruno Mantovani, it is giving life to an exiting evening with contemporary dance, build around an interesting history from Asia.

Siddharta, Nicolas Le Riche and Alice Renavand. foto Anne Deniau

The composition of Bruno Mantovani in neoclasical style is good, he is making a musical language, with details we have heard before, I am specially recognizing details from the world famous Norwegian composer Arne Nordheim, who in his great cooperation ship with the choreographer Glen Tetley in the 1980´s made wonderful ballet music for Glen Tetleys ballets, specially The Tempest, Strender and others. Bruno Mantovani composition has some good details familar, further more I observed with great pleasrue his use of excellent solists in the large orchestra, such as the beautiful played solo Sopranosaxofone, Vincent  David (?). Flute solooist, Frédéric Chatoux (?)  and the Electric Gitar, Didier Aschour (?) the last one in good cooperation with the harp, David Lootvoet (?). These details gave the music an extraordinary lift
. It was all splendid leaded by the young female Finish conductor, Susanna Mälkki who in this premiere is representing the famous Finish conductor tradition, as being student under Jorma Panula and Leif Segerstam, doing a good job.

Siddharta, photo: Anne Deriau

To enjoy such wonderful dancers as mentioned above, but again mentioning the two mens, Nicolas le Riche and Stéphane Bullion is a hit for a choreographer, as their body language is so outstanding, they are so well trained, so it is a great pleasure to enjoy. The costumes by Olivier Beriot was good, specially the white short chiffon dresses were beautiful, and the unik dresses for mens and winems in the corps de ballet in earth colours was good. Furtherone the red dresses for the girls and the red and later the green dress for Alice Renavand by costumier Olivier Beriot
. During the way I didn´t understand about why the car stage was coming down to let the boys having their love affair with the two female soloists, and too the house hanging, but it looked good, and gave an impression of some thing, to give our fantasy something to work with. I liked the flying session with Aurélie Dupont, that was beautiful, and I am sure that not so many observed how she was flying. The opening scene with a not recognized flying object was brilliant.