Israeli choreographer Itzik Galili choreographs Les Quatre Saisons


Israeli choreographer Itzik Galili, a former dancer with Batsheva and Bat-Dor, moved to the Netherlands three decades ago and founded his first dance company there. He quickly flourished and became recognized as a talented artist with a prestigious international career.

The four Seasons The production he initiated is a joint effort organized by the Opera, accompanied by the Israel Symphony Orchestra Rishon LeZion and an ad hoc cadre of 10 dancers, assembled by Galili as he was stranded here for the coronavirus pandemic.

This crucial year which touched and marked most of us plays a major role in the artistic fabric of his latest creation created this week. It seems that Galili decided to challenge Vivaldi’s most beloved creation for four violin concertos known as The Four Seasons, and in doing so, has rejuvenated himself.

It was a bold move; some will call it chutzpah, to intertwine its own verbal phrases, which sometimes supplant music with cogitative and political texts, between musical phrases.

It turned out to be a fascinating controlled friction between early 18th century music and contemporary dance, a confrontation between the subtext of music derived from the written sonnets about nature that Vivaldi was striving to express, and Galili’s attempt to reveal another layer of dance, beyond more traditional bodily means.

In doing so, Galili followed Vivaldi’s raison d’être. He draws on music, being well aware of his cultural roots, and has used contemporary dance as the main artistic genre in his work, and manipulated it for his needs. The cultural subtext erupted into small manifestations – some barely noticed – of split-second court dance gestures of prostrating oneself, or several movements referencing folk dance steps such as circles that recall the hora, where rhythmic steps with acceleration of energy in line or circle formations.

Galili, chose well, knowing that he can trust his accumulated knowledge of practicing his art. With a steady hand, he controlled well the fluidity with which his group compositions assemble, flip, disintegrate and reassemble the fragments into new formations, shifting the focal points without losing the main artistic core of the dance.

The use of text in dance is not new. The challenge is not the verbal component, but its content, quite provocative, dealing with the fear, pain and frustration that reflect our current time and our fragile future. The arrival of our allotted time was verbalized: “more seasons! “,” In the future time will stretch, a moment will be like an hour … people will amputate their limbs … in the end, suicide will become a popular choice of death.

Morbid messages couldn’t erase many attractive dancing moments. These were brilliantly illuminated by talented designer Nadav Barnea and succeeded in revealing, for Galili, that the perception of time is personal. For Vivaldi, the perpetual passage of time is divine poetry.


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