Up, down and far away

 A friend of mine informed me that the Ten Tenors concert on September 22 was a peak of this year’s festival. Standing ovations are rare in this country, and the Australian music sensations certainly earned theirs. Sadly, the pendulum had swung back in the opposite direction just one evening later, when I returned to the Thailand Cultural Centre after a short break.

Supported by the Embassy of India, the New Delhi-based Shriram Bharatiya Kala Kendra company attempted the impossible – the telling of almost the entire story of Indian epic “Ramayana” in two hours – and failed miserably. With brief episodic scenes and pedestrian movements, it was as if they were performing for European and American tourists and had forgotten the fact that the mainly Thai audience had also studied the Ramakien, as it’s known here, at primary school. 

The programme book says that the company’s renowned for another performance “Ram Lila” and focusing on one main character would have certainly have been a better choice for Bangkok. Another mishap was the use of video images in which the word “Getty Images” could clearly be seen.

The Festival was back on the right track two evenings later when the Quorum Ballet performed “Correr o Fado”. Supported by the Portuguese embassy, the performance not only demonstrated a perfect example of bridging traditional music and contemporary dance but, thanks to the fascinating set and lighting designs, also showed how the tireless energy of eight skilful dancers in a tightly knit ensemble could fill the stage and move the audience in the hall. The first part tended to be repetitive at times, but the second part, which saw the dancers play with water, was much more vivacious. 

On Saturday, supported by the Embassy of Argentina, the Inaki Urlezaga Ballet Concierto proved that South America is home to at least one strong classical ballet company. 

The dancers, both male and female, had the physique perfect for classical ballet and their movements were almost faultless. But Alonso’s “Carmen Suite” was so by-the-book that the Spanish passion didn’t fill the stage, let alone the auditorium. 

Celia Mellan’s “Aires de Tango”, staged after the intermission, had much more room for experimental interaction but the company was still bound by the rules of western classical ballet and the performance failed to reach its full aesthetic potential.

Interestingly enough, the artistic directors of both companies also performed. While Quorum’s Daniel Cardoso blended into the ensemble, the latter’s Inaki Urlezaga appeared to have forgotten the fact that he has already passed his prime as a dancer.

 

This week at the Festival