27 March 2026. Glasshouse Theatre, Brisbane
’I don’t say we’re doing a ballet. I say we’re doing a production.’ Ivan Gil-Ortega giving his thoughts on Messa da Requiem
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Messa da Requiem was created by Giuseppe Verdi in 1874. It was, as program notes tell us, a work that ‘transforms the traditional Catholic funeral mass into a gripping human drama’. The current production, with choreography by German-born and trained artist, Christian Spuck, was Queensland Ballet’s first production for 2026 as part of its annual season of (usually) four strongly balletic productions.
Having Messa da Requiem as part of the annual season repertoire was something of an error of judgement, I thought, since for me Messa da Requiem was an operatic production with a bit of dancing added. Even the choreographer, Christian Spuck, says in his program notes, ‘The structure and the emotions are led and set by the music and singers.’ I would much prefer that such a production had been included as a special extra on the Queensland Ballet repertoire list rather than as part of the regular annual season format. This was even more of an issue since, for me, the highlight of the production was certainly not the choreography itself.
I was especially impressed with the way the artists (over 100 dancers and singers—mostly singers) were arranged onstage throughout the work. I’m not sure exactly who was responsible for the structural arrangement of bodies. Perhaps it was Spuck? Perhaps it was the stagers, of which there were three? Perhaps it was the set designer Christian Schmidt (although probably not)? At times when all or most of the performers were onstage together, they were grouped in two sections with one group on each side of the stage, or sometimes in a semi-circle around the whole stage area. Apart from those arrangements and depending on the music and the ideas being presented, there were moments when one singer might be seated on a chair or standing centre stage.
There was always something of interest to see in these structures. In one early moment the performers, who were grouped on either side of the stage at this point, suddenly changed sides by running from one side to the other. It was always a pleasure, and sometimes a surprise, to see a new arrangement appear.
As for the choreography, there were one or two moments that were instantly eye catching, especially when the dancers appeared on stage without the singers, sometimes in quite small groups.
There were also two dancers whose roles were something of a mystery to me but whose performance was exceptional and in which the choreography was dramatic. Perhaps they had some connection to Judgment Day, which is one of the messages in Verdi’s music?
But mostly the choreography was expressing the notion of death and dying with the women being lifted or lowered in a prone position. Some were already dead it seemed. While this was clearly an area that related to the fact that Mess da Requiem is/was a Catholic funeral mass, it became a little tiresome, even though the dancers performed beautifully. The dancers on opening night were led by Lucy Green, Libby-Rose Niederer, Ines Hargreaves, Vito Bernasconi, and Joshua Ostermman.
Messa da Requiem generated strong and excited audience involvement. The singers were members of the Brisbane Chorale and Canticum Chamber Choir and the music was played by Queensland Symphony Orchestra. But going back to Ivan Gil-Ortega’s remark about the work not being a ballet but a production, all I can say is that there is such a thing as a ballet production with strong collaborative elements. I am thinking especially of Derek Deane’s Strictly Gershwin, and of course there have been others over recent years.
Looking at the printed program (and thankfully there was one) it was a surprise to see that the composition of Queensland Ballet, in terms of its dancers, has changed somewhat. I got the feeling that many dancers from an earlier period are no longer part of the company. I wondered why!
Michelle Potter, 29 March 2026
Featured image: A moment from Messa da Requiem, Queensland Ballet, 2026. Photo: © David Kelly
I was a guest of Queensland Ballet at this performance.