The ballet Valmont premiered on 26 June 2014 in the Estates Theatre. Its author, Libor Vaculík, says there is just one rule in the game full of schemes – never fall in love.
Vaculík has been inspired to create the ballet after reading the epistolary novel – Les Liaisonsdangereuses – written by French novelist Choderlos de Laclos; translated into Czech as “nebezpečné vztahy” (dangerous relations) but more widely known under the title “Nebezpečné známosti “ (Dangerous Liaisons). The novel has been adapted several times for the cinema, among the most famous film versions we can name the American DangerousLiaisons, starring John Malkovich, and Miloš Forman’s Valmont.Vaculík opted for Forman’s title and did not let his adaptation divert much from the literary original. It is an emotive story of two French aristocrats - libertines, who do not adhere to the political ideology but rather a kind of perverted free-thought. In the spirit of their philosophy, the Vicomte de Valmont and the Marquise de Merteuil coldly manipulate other people’s feelings and lives. Amorally, they seduce innocent victims for their own amusement or for revenge. Envisioning love affair with the Marquise, Valmont changes the destinies of several characters: Madame de Tourvel, chaste Cecile de Volanges, the Chevalier Danceny and others. Yet both the Marquise and the Vicomte get trapped in the loops of their intrigues and are ruined eventually. Valmont dies in a duel with the Chevalier Danceny. The Paris society finds out that Madame de Merteuil is a jade and plotter and that she caused the Vicomte’s death. The final part of the ballet takes place at Valmont’s funeral. All the main characters attend the last farewell, including the Marquise de Merteuil, who is “stoned” by letters instead of pieces of rock. After the correspondence is burnt, Merteuil gets engulfed in flames herself.The dramaturgic conception of the ballet is very good, with the plot pacing fast and offering a lot of twists. The piece owes its strong effect to its director, choreographer and author of the libretto Libor Vaculík, who collaborated with Zdeněk Prokeš. It is not easy to bring an epistolary novel to stage as dance theatre, but Vaculík managed to do it with dignity. Through movement and acting, he perfectly depicted the circles of intrigues and emotions. Every scene breathes evocative atmosphere that is transmitted to the audience - be it the atmosphere of a Paris drawing-room, bedchamber or the country.The dance performance is accompanied by letters read aloud by the actors of the National Theatre. Still, this element is not redundant, on the contrary, it makes the piece even more interesting and comprehensible. Obviously, the choreography is in a great harmony with the music score which follows the plot. In the first part of the ballet, we can hear mainly symphonic music by Franz Schubert, melodic and romanticizing. The second act is dominated by Pēteris Vasks’ compositions – they are much more emotive and their disharmony anticipates the upcoming tragedy. The sets designed by Martin Černý and costumes by Roman Šolc emphasise the dramatic character of the piece; black and white elegance prevails on costumes of Valmont and Merteuil, on a black and white carriage, fan and the stage resembling a chess board.The first act offers a play of colours, in innovative sets and period costumes - pastel-coloured spectacular dresses for the ladies and velvet trousers and brocaded doublets for men, all with matching white rococo wigs. The second act is more gloomy, wigs and costumes become dark, only Madame de Tourvel distinguishes herself from the rest by her fair hair, symbolizing her innocence. The use of the revolving stage enables swift shifts of scenes and unattended transformations. The atmosphere is completed by a play of light and shade and a dream-like projection designed by Vladislav Plecitý.Vaculík’s conception challenges the dancers in principal roles, especially their acting skills. The movements of his neoclassical dance vocabulary look light and highly professional when executed by the best dancers of the National Theatre Prague. The most salient choreographic element is constituted by difficult duets with original lifts but solo parts are also interesting.The central roles belong to the excellent principal dancers of the National Theatre ballet company Tereza Podařilová and Alexander Katsapov. The Marquise de Merteuil is a true femme fatale, no man can resist her, she is not just seductive but mainly sly and cunning. She moves the chessmen in a fatal game and also manipulates Valmont who discovers her real nature too late. The role of Valmont has been tailor-made for Alexander Katsapov. His acting is very colourful, he can portray a frivolous womaniser as well as love-struck man, torn between ruthless behaviour and love, between gentle manners and cruelty. With Tereza Podařilová, they create a passionate couple on stage. Passion can also be felt in duets of Valmont and Madame de Tourvel, danced by Marta Drastíková. First, she seems very reserved and cold, but step by step the Vicomte awakes emotions inside her and she becomes a passionate woman, eventually broken by Valmont’s refusal.Another principal character is Cecile de Volanges, embodied by the ballet soloist AndreaKramešová. The experienced ballerina seems very convincing as a fifteen-year-old girl. Her turns are light and sprightly as she wants to show off for her suitor Danceny, portrayed by talented soloist Ondřej Vinklát. His artistry is evident not only in his solo variations, with pure technique and high jumps, but also in playing the lover and skilled fencer. Other personages are more character than dance roles, for example Nelly Danko as Madame de Volanges or Luboš Hajna as M. de Gercourt, but their presence in the piece proves indispensable. Vaculík works with ten characters, does not use any chorus, the ballet is small-scale but exquisitely staged.The National Theatre Ballet presented a high-quality work at the end of the season, coherent due to emotive music, spoken word and almost film-like staging. In Valmont, Vaculík created a truly impressive chess game on the stage of the Estates Theatre.Written from the premiere on 26 June 2014, The Estates Theatre.Valmont
Music: Franz Schubert a Pēteris Vasks
Choreography: Libor Vaculík
Direction: Libor Vaculík
Authors of libretto: Zdeněk Prokeš a Libor Vaculík
Music arrangement: Petr Malásek
Sets: Martin Černý
Costumes: Roman Šolc
Translation: Tereza Cigánková
Vaculík has been inspired to create the ballet after reading the epistolary novel – Les Liaisons dangereuses – written by French novelist Choderlos de Laclos; translated into Czech as “nebezpečné vztahy” (dangerous relations) but more widely known under the title “Nebezpečné známosti “ (Dangerous Liaisons). The novel has been adapted several times for the cinema, among the most famous film versions we can name the American Dangerous Liaisons, starring John Malkovich, and Miloš Forman’s Valmont.
Vaculík opted for Forman’s title and did not let his adaptation divert much from the literary original. It is an emotive story of two French aristocrats - libertines, who do not adhere to the political ideology but rather a kind of perverted free-thought. In the spirit of their philosophy, the Vicomte de Valmont and the Marquise de Merteuil coldly manipulate other people’s feelings and lives. Amorally, they seduce innocent victims for their own amusement or for revenge. Envisioning love affair with the Marquise, Valmont changes the destinies of several characters: Madame de Tourvel, chaste Cecile de Volanges, the Chevalier Danceny and others. Yet both the Marquise and the Vicomte get trapped in the loops of their intrigues and are ruined eventually. Valmont dies in a duel with the Chevalier Danceny. The Paris society finds out that Madame de Merteuil is a jade and plotter and that she caused the Vicomte’s death. The final part of the ballet takes place at Valmont’s funeral. All the main characters attend the last farewell, including the Marquise de Merteuil, who is “stoned” by letters instead of pieces of rock. After the correspondence is burnt, Merteuil gets engulfed in flames herself.
The dramaturgic conception of the ballet is very good, with the plot pacing fast and offering a lot of twists. The piece owes its strong effect to its director, choreographer and author of the libretto Libor Vaculík, who collaborated with Zdeněk Prokeš. It is not easy to bring an epistolary novel to stage as dance theatre, but Vaculík managed to do it with dignity. Through movement and acting, he perfectly depicted the circles of intrigues and emotions. Every scene breathes evocative atmosphere that is transmitted to the audience - be it the atmosphere of a Paris drawing-room, bedchamber or the country.
The dance performance is accompanied by letters read aloud by the actors of the National Theatre. Still, this element is not redundant, on the contrary, it makes the piece even more interesting and comprehensible. Obviously, the choreography is in a great harmony with the music score which follows the plot. In the first part of the ballet, we can hear mainly symphonic music by Franz Schubert, melodic and romanticizing. The second act is dominated by Pēteris Vasks’ compositions – they are much more emotive and their disharmony anticipates the upcoming tragedy. The sets designed by Martin Černý and costumes by Roman Šolc emphasise the dramatic character of the piece; black and white elegance prevails on costumes of Valmont and Merteuil, on a black and white carriage, fan and the stage resembling a chess board.
The first act offers a play of colours, in innovative sets and period costumes - pastel-coloured spectacular dresses for the ladies and velvet trousers and brocaded doublets for men, all with matching white rococo wigs. The second act is more gloomy, wigs and costumes become dark, only Madame de Tourvel distinguishes herself from the rest by her fair hair, symbolizing her innocence. The use of the revolving stage enables swift shifts of scenes and unattended transformations. The atmosphere is completed by a play of light and shade and a dream-like projection designed by Vladislav Plecitý.
Vaculík’s conception challenges the dancers in principal roles, especially their acting skills. The movements of his neoclassical dance vocabulary look light and highly professional when executed by the best dancers of the National Theatre Prague. The most salient choreographic element is constituted by difficult duets with original lifts but solo parts are also interesting.
The central roles belong to the excellent principal dancers of the National Theatre ballet company Tereza Podařilová and Alexander Katsapov. The Marquise de Merteuil is a true femme fatale, no man can resist her, she is not just seductive but mainly sly and cunning. She moves the chessmen in a fatal game and also manipulates Valmont who discovers her real nature too late. The role of Valmont has been tailor-made for Alexander Katsapov. His acting is very colourful, he can portray a frivolous womaniser as well as love-struck man, torn between ruthless behaviour and love, between gentle manners and cruelty. With Tereza Podařilová, they create a passionate couple on stage. Passion can also be felt in duets of Valmont and Madame de Tourvel, danced by Marta Drastíková. First, she seems very reserved and cold, but step by step the Vicomte awakes emotions inside her and she becomes a passionate woman, eventually broken by Valmont’s refusal.
Another principal character is Cecile de Volanges, embodied by the ballet soloist Andrea Kramešová. The experienced ballerina seems very convincing as a fifteen-year-old girl. Her turns are light and sprightly as she wants to show off for her suitor Danceny, portrayed by talented soloist Ondřej Vinklát. His artistry is evident not only in his solo variations, with pure technique and high jumps, but also in playing the lover and skilled fencer. Other personages are more character than dance roles, for example Nelly Danko as Madame de Volanges or Luboš Hajna as M. de Gercourt, but their presence in the piece proves indispensable. Vaculík works with ten characters, does not use any chorus, the ballet is small-scale but exquisitely staged.
The National Theatre Ballet presented a high-quality work at the end of the season, coherent due to emotive music, spoken word and almost film-like staging. In Valmont, Vaculík created a truly impressive chess game on the stage of the Estates Theatre.
Written from the premiere on 26 June 2014, The Estates Theatre.
Valmont
Music: Franz Schubert a Pēteris Vasks
Choreography: Libor Vaculík
Direction: Libor Vaculík
Authors of libretto: Zdeněk Prokeš a Libor Vaculík
Music arrangement: Petr Malásek
Sets: Martin Černý
Costumes: Roman Šolc
Translation: Tereza Cigánková
Josef Bartos
Thank you for your thoughts. One got stuck in my mind – that passion makes us different from AI. Just yesterday I read…I am a dance critic. I am a member of an endangered species