The Aix-en-Provence Festival premiere has exquisite choral music and heart-stopping voices but ends up too polemical
The wonderful thing about work in an art gallery is that you can walk away when you have seen enough of it. As if determined to reproduce for the observer the physical discomfort of its protagonists, William Kentridge’s hyped The Great Yes, The Great No opened in Arles on Sunday as part of the Aix-en-Provence Festival in a hall outfitted with tiny plastic bucket seats bolted together in serried ranks at a distance that would be appropriate for underweight primary-school children.
Performers swap oversized masks of the boat’s real and imagined passengers. There is a Chorus of Seven Women, and there is some exquisite choral music by Nhlanhla Mahlangu. In the past, Kentridge has worked with composer Philip Miller, whose quotidian scores have functioned as an unobtrusive soundtrack. Here, he has clearly set out to collaborate with Mahlangu, music director and percussionist Tlale Makhene and some improvising musicians .
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