Crystal Pite considers herself to be on the contemporary end of the dance spectrum, but she’s playing in the major league of ballet companies this season. In September, the Canadian choreographer debuted The Seasons’ Canon, a large-scale work for 54 dancers at the Paris Opéra Ballet; in March, she will follow up with her first work for The Royal Ballet.
For POB, The Seasons’ Canon turned out to be a powerful collective experience at a time of transition. The French institution was left in turmoil by former director Benjamin Millepied’s resignation announcement last February, but Pite channeled their strengths into a rare creation using a third of the company’s impressive roster. In just four weeks—“a sprint” according to the choreographer—she took the dancers on a creative ride. “They’re open, willing, generous, patient and delightfully hungry,” she says.
Pite, an alum of William Forsythe’s Ballet Frankfurt, reconnected with her ballet roots for the occasion. “As a dancer, it was always a real battle for me to fit into ballet,” she says. “But I love working with classical dancers, because I get access to all that articulation, their sense of line and shape. The kind of architecture they have in their bodies is so ecstatic and beautiful.”
And you could have heard a pin drop at times in the POB’s studios, with the dancers also eager to stretch themselves in Pite’s grounded style, built in part using improvisation. Paired with works by Forsythe and Justin Peck, The Seasons’ Canon brought a bold new female voice to the fore in European ballet. Pite will go big again in London, with another group work set to Górecki’s harrowing Symphony of Sorrowful Songs.
All photos by Julien Benhamou