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Nashville Ballet’s new version of ‘Seasons’ to open virtually this weekend





The Nashville Ballet's newly reinvigorated version of

The Nashville Ballet’s newly reinvigorated version of “Seasons,” by Paul Vasterling, opens this weekend.Karyn Kipley of Karyn Photography, courtesy of the Nashville Ballet

Nashville Ballet offered Main Street Nashville an exclusive preview of its 2021 show “Seasons,” which might provide a welcome springtime work of beauty for some in a freshly flood-soaked city.

Opening virtually this weekend, April 2-4, the troupe’s 2021 production of “Seasons” also comes at a time when the world is slowly preparing its own transition out of pandemic life.

The original work was created by Artistic Director Paul Vasterling in 1997, though this time around he has updated and expanded his choreography, set to Max Richter’s rework of Vivaldi’s “The Four Seasons,” to be more contemporary in style and story-driven.

Nine-year Nashville Ballet veteran Katie Vasilopoulos, who plays Fall, hopes the audience will be captivated by the new elements.

“I think he’s really kind of veered more into that contemporary direction under this new Max Richter version,” she explained. “He’s added in dancers that are all in nude colors. They’re kind of in the background almost like a ghost of the main seasons’ colors.”

The Nashville Ballet’s newly reinvigorated version of “Seasons,” by Paul Vasterling, opens this weekend.Courtesy / Karyn Kipley of Karyn Photography / the Nashville Ballet

The Nashville Ballet’s newly reinvigorated version of “Seasons,” by Paul Vasterling, opens this weekend.Courtesy / Karyn Kipley of Karyn Photography / the Nashville Ballet

Everything, she said, flows together.

“It’s really awesome because you can tell the lead people in the front might be listening to one instrument or melody, and the background people are kind of playing on a different instrument or melody,” Vasilopoulos said. “I feel like it really helps bring all the music to life when you’re watching it. That will be really exciting for anyone, whether you’re new or old to ballet.”

“Seasons” opens with its wild-eyed male lead Owen Thorne featured, before giving way to the swirling violin, which in turn ushers forth a group routine carried out in contemporary dresses styled in the oranges and greens of fall.

“Fall is very feminine,” Vasilopoulos said. “And (Paul) focuses a lot on the image of the leaf falling, so the girls a lot of times do these slow arm movements.”

Early on, the grace, musicality and athleticism of the company’s dancers is on display.

The Nashville Ballet’s newly reinvigorated version of “Seasons,” by Paul Vasterling, opens this weekend.Courtesy / Karyn Kipley of Karyn Photography / the Nashville Ballet

The Nashville Ballet’s newly reinvigorated version of “Seasons,” by Paul Vasterling, opens this weekend.Courtesy / Karyn Kipley of Karyn Photography / the Nashville Ballet

Vasilopoulos’ part features an exquisitely executed solo with abstract elements and a significant floor component. It’s a moment that sees her dancing surrounded by male counterparts, who eventually raise her up in offering, potentially mirroring the harvest.

The long-sought completion of the show itself is an anxiously awaited harvest of its own for all involved.

Due to the time lapse presented by the onset of the COVID-19 pandemic last March, the show has been rehearsed for the better part of a year.

Since returning to the fold, dancers have rehearsed in three separate “pods.” The production has meant much in the way of unusual work.

“Paul choreographed over Zoom only seeing half the stage at one time,” Vasilopoulos said. “He had to really use his imagination to put it together. This was a bit of a different process.”

After the fall follows the jarring throes of the winter movement. In it, the violin returns at warp speed, but finding newfound bold melodic footing in guiding dancers clad in icy blue.

 

 

“In winter the music is a lot faster. We’re like icicles. They’re running around the stage,” Vasilopoulos said of the somewhat more masculine-dominated movement. “(Paul) told them, ‘Think like you’re a superhero as you’re dancing this. You need to be strong and powerful.’”

Still, in its quietest moment, winter features an emotional and intimate male-female duet before Thorne and Vasilopoulos grace the stage showing off their own intimate, complex and athletic display.

The two repeat their encounter on multiple occasions.

“Paul encouraged us to think of it as one man’s journey through time as each season is repeating,” Vasilopoulos said. “I become a figure that repeats to him as the seasons progress and move on.”

And just as the dancers soldier stoically through the winter with passion, the dancers did, too, even as their schedule had shrunk from the typical six yearly main stage shows to just a few virtual performances.

“It’s too hard to not enjoy it every day, with the wear and tear on your body,” Vasilopoulos said. “You have to come to work and want to be there; otherwise it wouldn’t be worth it.”

As “Seasons” progresses, winter eventually fades to the joy of spring, the most fleeting of the seasonal movements.

It’s introduced with a menagerie of bright blues, greens and red-oranges, which blossom together in joyous celebration to the refreshingly lighthearted and minimal sounds of violin.

The scene opens with a man showing two female characters his feats of strength, setting the free-flowing, yet ritualistic, tone of rebirth.

It was a feeling that might have been in the air as dancers gathered together for the first time since March, with precautions in place and just days to spare until filming.

“Zoom has lag time on music, so we’re hoping we’re hearing the music the same, our musicality is the same,” Vasilopoulos remembered. “I think it’s also a testament to the dancers and artistic staff that it came together as easily as it did. That could have easily have been a big struggle.”

Back in the world of “Seasons,” summer finally arrives in pink and blue. A dramatic build slowly rises in melodic tension toward triumph. At first, it’s in all male fashion, dancers moving together in number as if a hunting party.

“Summer has a slow, very lethargic feel that, ‘It’s hot out,’ “ Vasilopoulos said. “There’s a lot of moments where you’re shading the sun.”

In cathartic conclusion, the entire troupe takes the stage for one grandiose finale together as one. Their dance features all manner of color and style in a magnificent and constantly moving display.

“Paul is always really thoughtful and musical in his creations, so it feels good to the dancers,” Vasilopoulos said. “It feels like it goes perfectly to what the music is wanting you to do.”

Tickets can be purchased at nashvilleballet.com

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