Tempestuous lust for Liszt that led to an all-consuming passion
TO most people, a full-length classical ballet still represents the real and truly great beauty of dance.
Contemporary dance has a beauty all its own, however, as this four-part programme proved.
It is 20 years since Richard Alston set up his modern dance company and it has grown into one of Britain’s finest contemporary dance outfits.
The highlight was Burning, by Alston’s associate choreographer Martin Lawrance. Set to Franz Liszt’s Dante Sonata, it explores the composer’s tempestuous affair with the married Countess Marie D’Agoult.
As Liszt, Liam Riddick gave a bravura performance, defining the template of the great Romantic artist. Good as he was, though, he found himself overshadowed by Nancy Nerantzi as Marie. She was immense; a magnificent creature who drained herself of emotion through her allconsuming passion for the maestro.
Aside from the towering performances of the principals, Burning is a very fine piece of modern dance. Taut, emotive and highly physical, it shows exactly why Lawrance has developed an enviable reputation as one of the finest choreographers working in Britain today.
It was also good to see live music accompanying a contemporary work, with Jason Ridgway having a more than decent stab at the wild romantic persona himself while playing Liszt’s music on a grand piano at the corner of the stage.
The programme was completed by three pieces by Alston. Rejoice in the Lamb is danced to Benjamin Britten’s setting of the work of 18th century poet Christopher Smart.
Holderlin Fragments, a 2013 work, is based on the work of a mentally disturbed poet, in this case, Friedrich Holderlin. Alston has created a visually ravishing work for six dancers.
Overdrive, Alston’s 2003 celebration of the music of Californian composer Terry Riley, is a joyous work full of high-octane energy that showed the company (of ten) off to best effect.