Dance evaluation Tero Saarinen’s Company’s Third Practice work also captures the intangible reflections of longing

Thomas Freundlich’s direction of a performance that combines dance and baroque music is a handsome, independent work of art.

Contemporary dance

Third Practice. Streaming recording by Tero Saarinen Company and Helsinki Baroque Orchestra, premiere 19. 3. Music Claudio Monteverdi, choreography Tero Saarinen, music director Aapo Häkkinen, vocal soloists Núria Rial and Topi Lehtipuu, costume design Erika Turunen and video director Thomas Freundlich.

Now is available as a gentle remedy for Corona Anxiety.

Co-production by Tero Saarinen Company and the Helsinki Baroque Orchestra Third Practice has been modified to digital format, which will be available in Finland until April 6. Claudio Monteverdin timeless music and eye-catching recording of the performance move to another reality.

The work history is multi-generational.

Premiere Third Practice received the Cremona Monteverdi Festival in Italy in the spring of 2019. The Finnish premiere, which I judged at Kuopio Dancing and Soi, was in June of the same year.

Helsinki’s premiere was supposed to be already last summer, but because of the corona, it has always had to be postponed.

The time allotted from Alminsali for March was now used exceptionally to record the work. The end result is great.

Recording it is, of course, difficult to compare with a live performance, but the interpretation I have seen in Kuopio has condensed. Erika Turunen has harmonized its clothing, and Tero Saarisen the choreography seems to be further structured.

Third Practice is the most complex multidisciplinary entity. Accompanied by the Helsinki Baroque Orchestra on stage, the Monteverdi madriga dictates its longing-filled basic atmosphere. The main character is a tenor who naturally blends into the dance group Topi Hardwood as a kind of heirloom of the eternal dreamer.

The object of his longing, the soprano Núria Hilal reflected as video projections, sometimes in the background, at times even in thinner gauze floating in the air by the force of the breath.

The fusion of different art forms and the intertwining of bodily live performers and intangible imagery were characteristic of the stage performance I had already seen.

Seamless layering is emphasized in multi-camera recording, which still allows for close-ups and cuts.

The recording Has directed Thomas Freundlich, which also served as its main photographer. Moving from a dancer and choreographer background to film, Freundlich has made dozens of music, dance and documentary films.

He is also responsible for the video reflections of the stage performance, so he has been on the work team since the beginning. That might explain why the recording seems to capture the spirit of the work nicely.

It can also be experienced as an independent work of art for which I dare to be a wider success – if and when it goes on international distribution.

Third Practice -gives a good picture of the stages of the work and the process of rehearsal, which was published last year as well, Hannele Jyrkän from a book he wrote Finder – Tero Saarinen’s path to the top of contemporary dance.

The work can be viewed until 6. 4. via TikettiStream (

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