Highly-charged Sibelius

Minna Tervamäki and Kaari Martin at the Savoy Theatre. Costumes Erika Turunen, lighting Mikko Linnavuori

Dance. Dancer étoile Minna Tervamäki and eminent Finnish flamenco dancer Kaari Martin have pooled their different dance backgrounds to create the new, vibrant, visually impressive yet slightly one-dimensional On a String to the Sibelius Violin Concerto.

The first-night audience was in ecstasy over the encounter of the two dynamic stage personalities, and it is, for the most part, easy to go along with this feeling.

Erika Turunen’s dark, flamenco-hued costumes and Mikko Linnavuori’s clear and simple lighting elevated the performers to a breathtaking level of dance expression, but in terms of movement, the work was not quite on a par with Sibelius’s magnificent richly-shaded concerto. The second movement of the concerto, in particular, floated along in the fantastic musical world of the Helsinki Philharmonic Orchestra conducted by Leif Segerstam with Pekka Kuusisto as its soloist, leaving the dancers and movement in their shade.

The choreography and presence of the opening and, especially, the closing sections raised the dance to the level of the music and did full justice to the often-performed Violin Concerto.

The earlier works on the programme, the flirting It Sax frolics of Minna Tervamäki and the superb sax of Timo Lassy, and Kaari Martin’s kinetically extremely interesting Korppi ja kello demonstrated their performers’ virtuosity and exceptional musical precision.

Mika Saarelainen

Helsingin Sanomat 3/12/2010

Dancer divas interpret Sibelius

On a String, Korppi ja kello, It Sax. Choreography and dance: Minna Tervamäki and Kaari Martin, costumes: Erika Turunen, lighting: Mikko Linnavuori, music: Jean Sibelius, conductor Leif Segerstam, violinist: Pekka Kuusisto; Roni Martin (Korppi ja kello); Timo Lassy (It Sax). Savoy Theatre, 3.12.

The first joint work, On a String, by dancer étoile Minna Tervamäki and flamenco virtuoso Kaari Martin is a visual and expressive interpretation of the Sibelius Violin Concerto.

The problem with choosing such a mighty musical maestro as Jean Sibelius is that the music easily overshadows the dance. The choreography is slightly flat and one-dimensional, though it does have some fine visual high points. Though the choreography is by both, each dancer contributes her own finesses. Martin combines flamenco temperament with the sensitivity of contemporary dance, while Tervamäki adds high leg lifts and her classical command of point work. The contrast and interplay are interesting, and the artiste cousins are both dramatic and expressive. But it is Martin who is the eye-catcher and the great interpreter.

The aesthetics are built to a great extent round Erika Turunen’s bata de cola skirts with their long trains and lavish flounces. When the dancers make their entrance onto the dramatically lit stage, and Tervamäki pulls Martin’s train, the lighting creates an optical illusion. For as only the light upper half of the costume is visible, it looks as if Martin is struggling and flying in the air.

The evening begins with a playful, flirting duet, It Sax, between Tervamäki and sovereign saxophonist Timo Lassy. Tervamäki is full of self-irony and charm, drinking in the jazzy notes to the full. She hits on the most cunning ways of attracting the attention of Lassy and the jazz. She nevertheless seems somewhat stiff and might have benefited from making the steps not quite so technical. The work as a whole is, however, fun and both enter into an audacious game in which they test their own limits.

Jointless arms

The highlight was nevertheless Martin’s surrealistic solo Korppi ja kello, in which she features as a cabaret diva of former years with her theatrical radiance and sensual movements. With seemingly jointless arms and her head expressively jerking, she gives a fine imitation of a bird. As the silvery moon shines on the black, glistening raven, as she leans over backwards and allows her ruffled feathers to settle, time seems to stop for one magical moment.

The evening is, as a whole, an impressive co-performance by two mature and musical star dancers with a feel for aesthetics and a strong stage presence.

Jenny Jägerhorn

Hufvudstadsbladet 05/12/2010


Creative Insights into Modern Dance

On a String, SE2, The Raven and a Timepiece
Choreography & Dance by Minna Tervamäki and Kaari Martin

Tampere-talo, 27th of March 2011

Modern art carelessly combines different elements and searches for new models of interpretation. So, why couldn’t the étoile of Finnish National Ballet and the pioneer of Finnish flamenco bravely mix together their own assets?

On a String, which has been plaited into the Violin Concerto of Sibelius, is the first collaboration of Minna Tervamäki and Kaari Martin. The movement of hands makes one realize the similarities of ballet and flamenco. Both the swan princess and the flamenco master use their hands from shoulder blades to the fingertips with an incredible sensitivity. When set next to each other, the fast movement of feet in flamenco and ballet demonstrate coherently, how different the required quick skills need to be.

On a String is a well-thought combination of light spots, shades, fluttering skirts and the adaptation of two different dance forms. There are various creative ideas, but also weird infractions are included. The entirety points out that different expertise can be combined and reach for the wholeness of an art work without getting stuck in a specific genre.

Tervamäki is a calm and strongly confident mover with her long limbs. Delicate Martin does not get an opportunity to show off her explosive flamenco expertise, she occasionally for no reason turns inwards and makes herself smaller than she is. Through choreographic means, the work exploits the dancers separately a great deal. Scenes in unison have problems with timing, but the moment of dancing with one skirt goes seamlessly and attractively. Tervamäki’s solo SE2 is charming and humourous.

Eric Satie’s piano’s relationship with movement is more credible in its sensitivity than the earthy dynamics of drum music, which on its part is highly contradicting to the flying movement of ballet. 

Kaari Martin’s solo The Raven and a Timepiece is based on a musical piece of the same name by Roni Martin. The work is filled with plenty of elements, from world of sounds to singing and the rain of feathers to spots of lights. The visualization of the dancer is reminiscent of 1980’s Cats musical. The moves remain under everything else and get forgotten.

Merja Koskiniemi
Aamulehti 28th of March 2011, Kulttuuri, KULTTUURI, page 17