The Australian Ballet

5 Reasons to see Vitesse

Three ballets, three of the world’s greatest choreographers, and just five of many reasons audiences adored our contemporary bill Vitesse in 2016.

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The Choreographers

The fast-paced yet lyrical abstractions of Christopher Wheeldon (who wrung the hearts of our audiences with his After the Rain© pas de deux); the fluid, organic movement of Jiří Kylián (whose Petite Mort and Sechs Tänze proved their timeless appeal in our 2014 Chroma triple bill); and the groundbreaking, art-form-shaking William Forsythe.

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Forgotten Land

Inspired by the Munch painting The Dance of Life, Jiří Kylián’s Forgotten Land has an unsettling, yearning, striving feeling: the uneasy atmosphere of a storm brewing. Britten’s melancholy Sinfonia da Requiem drives the movement along in tidal surges.

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In the Middle, Somewhat Elevated

William Forsythe’s thrilling ballet has the haughty semi-contemptuous style of catwalk models. A pack of dancers stalk around the stage, pulling out sharp bursts of pyrotechnic dancing and then wandering off insouciantly to the visceral collisions of the electronic score.


DGV©: Danse À Grande Vitesse

Christopher Wheeldon’s ode to France’s Very Fast Train, DGV©: Danse à grande vitesse is an abstract work that evokes velocity, technology and the romance of travel, set against a backdrop of fragmented, twisted metal and rocketing along to Michael Nyman’s compelling score.

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The Music

The relentless, restless, jubilant Nyman score for Wheeldon’s DGV©; the tidal, melancholy strangeness of Britten in Forgotten Land; the exciting assault of Thom Willems’ electronic score for In the Middle Somewhat Elevated.

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