At the end, Alba Pérez González is sent to her sacrificial death — by a random generator or an AI? — via a projected name. Any member of the remarkable Ulm ensemble could have been the victim. The dancer's robe is torn from her body and she is smeared with blue paint. The stage backdrop moves forward. Stone slabs break out. The wall crumbles. The victim is hoisted up by a belt around her waist.
In her profound Stravinsky premiere of Le Sacre du printemps, ballet director Annett Göhre invites the audience to reflect. Göhre's approach is sociocritical. The nudge out of their comfort zone begins in the foyer: "Vote! What are you personally willing to sacrifice for the greater good?" is the invitation. Five possible options, such as "success/career", are available. A prologue to music by ...
