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  • Archive Nacho Duato Repertoire 90-11

Cor Perdut. Nacho Duato

CND ARCHIVE NACHO DUATO REPERTOIRE 90/10

Cor Perdut. Nacho Duato
  • Choreography: Nacho Duato
  • Music: María del Mar Bonet
  • Costumes and Light Design: Nacho Duato
  • World premiered by the Nederlands Dans Theater at the Nederlands Dans Theater, The Hague, April 27th, 1989.
  • Premiered by Compañía  Nacional de Danza at the Centro Cultural de la Villa,  Madrid, June 30th, 1990.

Cor perdut is a pas de deux inspired by the Catalan version of the song Bir Demet Ysemen  by Mª del Mar Bonet. This particular interpretation is based upon a theme with traditional nuances composed by the Armenian M.J. Berberian. “It's no use crying/it’s no use dying/desire is stronger/it goes its own way”, laments the impressive voice of Mª del Mar Bonet. Her hypnotic power over Duato - who created Cor Perdut as a birthday present for the Majorcan singer - is unquestionable, considering that two of the Valencian’s most brilliant choreographies are Jardí Tancat (1983) and Arenal (1988), both to music by this interpreter. To the syncopatic and hypnotic rhythm of the Tunisian percussion instrument, the two dancers bring to life this choreographer’s dynamic corporal and expressive language with the same anxious fluency transmitted by the voice of Mª del Mar Bonet.

Patricia García Ríos

Diecisiete. Nacho Duato

CND ARCHIVE NACHO DUATO REPERTOIRE 90/10

Diecisiete. Bailarina: Tamako Akiyama
  • Choreography: Nacho Duato
  • Music: Pedro Alcalde / Sergio Caballero (Diecisiete)
  • Sets and Costumes: Nacho Duato
  • Lighting Design: Brad Fields
  • World premiered by Compañía Nacional de Danza at Teatro de la Zarzuela, Madrid January 27th, 2005.

The title refers to the number of syllables of the Japanese haikus. The music has been originally created for the piece by Pedro Alcalde and Sergio Caballero, who collaborated before with Duato in Herrumbre. 

The haiku is probable the briefest poetic structure both in East and West. Most of the Japanese words are polysyllabic, therefore the number of them required by the haiku is relatively small: from five to eight or nine, in total. Haikus do not rhyme. The only formal requisite is to have 17 syllables. Although within a haiku there can be more than one sentence, they always content a sole poetic image. The haiku pretends to say something without saying it. What is not said communicates more than words, but has to count with them. Poetry in haiku propagates in infinite meanings because it frequently reaches that perfect simplicity pursued by philosophy, religion, literature, art and, of course, also pursued by dance.

Duende. Nacho Duato

CND ARCHIVE NACHO DUATO REPERTOIRE 90/10

Duende. Nacho Duato. Bailarines: Catherine Allard y Nacho Duato
  • Choreography:Nacho Duato
  • Music:  Claude Debussy : Pastoral, first part from the Sonata for flute, viola and harp (1916). Syrinx, solo for flute (1912/1913). Final, last part from the Sonata for flute, viola and harp (1916). Danse sacrée et danse profane for harp and string orchestra (1904).
  • Sets:  Walter Nobbe
  • Costumes: Susan Unger
  • Lighting Design: Nicolás Fischtel
  • World premiere by the Nederlands Dans Theater at the AT&T Danstheater, The Hague, November  21st, 1991. Premiere by Compañía Nacional de Danza at the Teatro Lírico Nacional La Zarzuela, December 11th, 1992.

  • Duato's ‘ideas' for choreography are almost always preceded by his choice of music, which characterises his working method. Maybe this applies to Duende in particular, because the music was the only source of inspiration for this ballet. Long ago, Duato fell in love with Debussy, especially with the way the composer makes nature sound in music. When he listens to this music, Duato visualises shapes, not people, relationships or events. This is why he considers Duende as an almost sculptural work: a body, a movement, that goes with the tune.

  • Duende literally means elf or fairy, like the ones who tidy upchildren's toys at night, but it can also mean rascal, a naughty child. One can also possess ‘duende’, when radiating energy and great charm, almost having a magical attraction. In Andalusia flamenco is saidto have duende, which can hardly be translated into another language. Flamenco has a touch of spell, one might say, like the way black music has 'soul'.

  • At the beginning of the twentieth century Debussy was an unknown composer, and the public was suddenly listening to absolutely different sounds. Strange, beautiful and magical, as they must have been, these sounds have identified his complex cultural roots. Debussy’s music reveals classical and romantic origins, apart from connections with lay music, folk songs, Arab, eastern and slave cultures, and even with jazz.

  • Classicism may simply be explained as consecrated to form. In this sense, Romanticism is usually defined as the expression of emotions. However, the relationship between Debussy and these two concepts is not always so simple. Form and emotion are always present in his music, but more as the result of a process of insinuation than one of definition. In one of his rules for composers, Debussy wrote: “Discipline must be looked for in freedom”. This could be considered his first command.

  • Debussy is frequently identified with the impressionist artistic movement: but whereas painters like Monet gave great importance to light, Debussy was mainly interested in the quality and effect of sound. Comments of Debussy about Stravinsky were that “he was widening the borders of what is allowed in the empire of sound”, and this could undoubtedly be applied to his own work.

  • CND- Duende, Nacho Duato

Ecos. Nacho Duato

CND ARCHIVE NACHO DUATO REPERTOIRE 90/10

Ecos. Nacho Duato. Dancer: Clyde Archer

  • Choreography: Nacho Duato
  • Music: Stephan Micus
  • Settings: Walter Nobbe
  • Costumes: Nacho Duato
  • Light Design: Nicolás Fischtel
  • World premiere by Compañía  Nacional de Danza at Teatro de la Zarzuela in Madrid, December 17th, 1994.

For some time, Stephan Micus has been drawn by his fascination for the instruments of other cultures. It is not the creation of exotic sounding effects that interests him, but the challenge to discover new sounds and sound contexts. The process of coasting sounds from Elmar Daucher’s enormous blocks of cut granite and serpentine steels in combination with flute and vocal music represented an entirely new experience, if only because they are not tuned like “normal” instruments, but contain most unusual tonal intervals.

Ecos is built upon this music, playing with different symbolic values of this curious sound material: on the one hand, the huge buildings that were built to immortalize their creators, thus highlighting their own insignificance, the fleetingness and fragility of their existences; those stones, piled uptowards height in order to be closer to God, were in the end extremely attached to earth, and in many cases, became covered by it. It also refers to the power or energy of some megalithic elements worshiped by remote or current religions: man addresses his prayers to a lifeless subject which, in this way, becomes the genesis of his spiritual life. Perishable/timeless, vain/magnificent, lifeless/alive, matter/spirit,… these dialectic binomials constitute the inspiration of the spirit of Ecos.

Empty. Nacho Duato

CND ARCHIVE NACHO DUATO REPERTOIRE 90/10

Empty. Nacho Duato
  • Choreography: Nacho Duato 
  • Music: Izumi Kobayashi, Philip Glass, Jimi Hendrix, Peter Sculthorpe, Ravi Shankar, Istvan Marta, Camille Saint-Saëns 
  • Scenery: Nacho Duato 
  • Costumes: Nacho Duato in collaboration with Ismael Aznar 
  • Light Design: Edward Effron
  • World premiere by Compañía Nacional de Danza at the Teatro Albéniz, Madrid, April 5.

Empty is an empty space full of forms. Against a varied musical collage, the images follow each other without apparent relation between arguments. To achieve this, a mixture of dance resourses is used in an eclectic way with the sole purpose of creating sensations. Thus, the empty space is gradually filled with images and forms, in the same way as a wall is covered with graffitis. In this ballet we become aware, in a spontaneous way, of the impact of the images through sensuality, without getting as far as understanding the reason of things: what appears as significant may well be a mere trifle, whilst small details may be replete with value.

Maria Kochetkova & Alessandro Riga

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      • Por Vos Muero. Nacho Duato

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