Just as the seasons in nature shift and return, new interpretations can transform classical works. In this concert choreography, the boundaries between dance and music dissolve. BRYGGEN and choreographer Michiel Vandevelde add a further layer to the rich texture Max Richter introduced in his 2012 reimagining of Antonio Vivaldi’s The Four Seasons. Richter’s score is performed from memory by the musicians of BRYGGEN, led by violinist Jolente De Maeyer, who move across the stage in continuous patterns. A solitary dancer weaves among them, at times contradicting the music, at others intensifying it.

The choreography follows the same compositional logic that underpins Richter’s reinterpretation of Vivaldi. Across earlier works such as Ends of Worlds (2019), Neuer Neuer Neuer Tanz (2019), The Goldberg Variations (2020) and Dances of Death (2021), Vandevelde has examined dance history as a living archive. This interest meets Richter’s own dialogue with Vivaldi. Each season is linked to a distinct choreographic lineage: spring draws on Isadora Duncan, summer on Anna Halprin, autumn on Pina Bausch, and winter on Trisha Brown.

The electronic music for the prologue and epilogue is composed by Didem Coskunseven. Together, these moments frame the cycle of birth and death, and the passage in between. The performance reflects on time itself: on how styles and forms, discourses and vocabularies constantly change, yet remain deeply interconnected. 

By rethinking stage presence, by moving freely through the space and performing from memory, both the dancer and musicians challenge the conventions of the concert format. What emerges is a shared inquiry into how classical works can be lived, embodied and reimagined, not as fixed monuments, but as a living practice shaped by movement, adaptation and the pleasure of continual reinvention.