With The Legendary William Forsythe, Boston Ballet Links To Ballet’s Past, Present And Future
Boston Ballet’s artistic director, Mikko Nissinen, traces a straight line over the centuries depicting the history of ballet, a line that begins in Paris and ends up in Boston.
“Everything starts with Louis XIV,” Nissinen says. “His school becomes the ballet at Paris Opera. Then comes the golden age of Russia — which is Diaghilev. And then comes the 20th century, the eras of Nijinsky and then George Balanchine. And today, in our times? It’s William Forsythe.”
American ballet lovers might be forgiven, for now, if they don’t recognize Forsythe’s name, but before long, they’ll see where he fits in the great chain of ballet going back to 17th century France.
Forsythe is a household name in Europe, both for his legendary choreography and also for his modern art. The Kunsthalle, one of the leading museums in Frankfurt, Germany, recently presented a four-floor exhibition dedicated exclusively to his work.
Forsythe spent 30 years in Frankfurt, developing a reputation as the leading exponent of ballet in our times as well as gaining respect as an artist. Now he has moved back to the United States, where he’s entered into a long-term partnership with Boston Ballet.
“If you’re a basketball coach,” Nissinen says, “working with Forsythe is like having Michael Jordan or Steph Curry on your team. It doesn’t get any better than that.”
Nissinen says that while Forsythe is still getting known here in the United States, ballet lovers in large numbers from New York and even as far away as Europe have attended prior Forsythe performances here in Boston.
“It’s the dream of dreams come true,” Nissinen says, “to have this exclusive relationship with Forsythe here at Boston Ballet. I never dreamt I’d get a gift like this in my lifetime.”
Boston Ballet is about to premiere a totally re-choreographed Forsythe piece, Pas/Parts 2018, as part of an evening entitled Parts In Suite.
The ballet is part of an evening of three pieces by choreographers who are living legends: Forsythe; Boston Ballet Resident Choreographer Jorma Elo; and New York City Ballet Resident Choreographer Justin Peck.
Forsythe actually created the piece in 1999 to be performed in Paris, and re-choreographed 80 percent of it for San Francisco Ballet in 2016.
Forsythe has since revisited the entire work, the new version of which is what Boston Ballet audience members will witness next month.
“Artists, when they create something, feel a sense of time pressure,” Nissinen explains. “You’ve only got so much time and so many hours of rehearsal before the performances begin. So as time goes on, you think to yourself, ‘You know what, I wish I could revisit this section.’”
And that’s exactly what Forsythe did, revising the ballet for its San Francisco incarnation, and yet again for the thoroughly new version here in Boston.
This is great news for ballet lovers, and it means extra work for the dancers, because there’s nothing easy about dancing Forsythe’s pieces.
“The dancers love the challenge,” Nissinen says. “Part of the reason we’re able to attract the best dancers in the world is because they know they will be dancing for Forsythe. It’s so demanding and hard, and his dances push them to the edge.”
“For example, let’s say you’re standing straight under total control. Now tilt your body 20 percent and execute some moves. It’s not easy! It’s a playful way to work with counterbalance, and it’s a unique challenge for our dancers. They love it, and the audience loves it.”
Nissinen says that it’s impossible to decide which of Forsythe’s works he likes the best.
“It’s a little like deciding which of your children is your favorite,” he says. “You love them all.”
Parts In Suite will be performed in rotation with the classic ballet Romeo & Juliet, giving ballet audiences a chance to witness Boston Ballet’s versatility.
And Nissinen will be in the audience every night.
“I seldom miss a performance of our company,” Nissinen says, “With Onegin, or Romeo & Juliet, I might miss one or two shows, but typically I’m in the audience.”
“I come to every performance because I need to see what the company is doing, but it’s never the same experience for me. I’m in a different emotional state each time I attend, so I have a different experience every night.”
Nissinen says his record for attending performances of The Nutcracker is 34 in one month.
“That’s a record I hope I never break!” he laughs. “But watching Forsythe? I’ll never miss a night!”
Parts In Suite, Boston Ballet, Boston Opera House, March 9 — April 7.
Tickets and information, www.BostonBallet.org.
