I think that this is music that will be very different from what we are accustomed to seeing in traditional ballet. While at the same time still having that beauty and power of the symphonic orchestra and that tradition behind it. I’m absolutely thrilled to be part of this project. It’s a wonderful experience working
with Guillaume Côté, a second time. But I’m also incredibly honoured to have been
chosen by the National Arts Centre to partake in one of these collaborations. I’ve seen the work of some of the other collaborations and I’ve been incredibly moved and impressed. Again, it’s an honour to be a part of something that I think will be a huge contribution to to Canadian culture. Guillaume and I have a relationship that dates
back to Le Petit Prince. Initially, my idea with writing music for ballet was that the music had to fall within a certain genre, with very strict parameters as to how it could behave. And I found, perhaps because of my relationship with Guillaume, that, in fact, I was virtually able to write anything, and he could set it beautifully to dance. In some sense the music has to inform
what the dance is going to be like. I know that Guillaume wanted to explore something
a little bit darker and a little bit edgier. Now what that means is kind of up to my own
imagination and up to his own imagination. And it may not turn out that way. We brainstormed a lot of different concepts. We looked at the world around us just to see what was happening. Those ideas eventually solidified and incubated and they became the engine that really drove this music forward. We are hoping to expose audiences to
new facets of ballet while also reminding people of why it’s such a great art form in the first place.