In September 2008, Finnish doom metal legends SWALLOW THE SUN released their EP, “Plague of Butterflies.” The song, which runs about 35 minutes in length, was originally intended as a soundtrack for a ballet performance, but no one ever produced it. That is until 2019 when bass player and production manager Pyry Hanski (known from … AND OCEANS and BEFORE THE DAWN) presented his idea of what it could be to SWALLOW THE SUN. On January 12th and 13th, 2024, the production was finally premiered at Aleksanterin teatteri in Helsinki.
SWALLOW THE SUN‘s piece was juxtaposed next to the legendary modernist piece, “The Rite of Spring,” by Igor Stravinsky. The event was divided into two parts: first, there was “The Rite,” and then there was “Plague of Butterflies.” The production had found me a perfect seat in the 13th row, right in the middle. Unfortunately, there were a few tall people sitting in front of me, but I somehow made it work. Despite being a bit uncomfortable in my seat, I did get a good view of the stage.
One of the many reasons I wanted to attend this event was to witness a choreography set to “The Rite of Spring,” one of the greatest pieces of modernist art. If you’re not familiar with Stravinsky‘s legendary and controversial composition, let me briefly explain. In 1913, the Ballets Russes debuted “Le Sacre du Printemps,” [French for “The Rite of Spring”] a score by Stravinsky, choreographed by Vaslav Nijinsky. It was quite controversial for its time, as both the music and choreography were non-conform with the norms of the back-then perception of what music and dance were supposed to be. The performance caused such a stir that the crowd rioted, though the show continued. The noise became so intense that the dancers couldn’t hear the music’s rhythm anymore.
As a child, I was fascinated by this composition, primarily because I was the kind of geeky kid who loved classical music. My favorite Disney movie wasn’t Cinderella, but Fantasia. Naturally, growing up in the ’90s, I was also captivated by dinosaurs. Needless to say, the combination of “The Rite of Spring” with animation depicting the extinction of dinosaurs made it one of my all-time favorite pieces.
Unfortunately, the original choreography was lost, but in the ’80s, the Joffrey Ballet conducted historical research and presented a reconstruction of the original choreography. I wasn’t sure what to expect when they announced the pairing of SWALLOW THE SUN with “The Rite of Spring,” this version was different from what I had expected; it began with a harp piece featuring one dancer elegantly moving to the music. When the actual “The Rite of Spring” began, the contrast couldn’t have been greater, which, I presume, was the ballet’s intention and very clever at that.
The movements seemed somewhat inspired by Joffrey Ballet‘s interpretation, sharp and fast movements that suited the rhythmic, dissonant nature of Stravinsky‘s music, as the choreography is meant to be. While the original dance involved over ten dancers, the company had only four, giving it a somewhat different and more modern feel. The staging was minimal, with two rocky stalactite structures made from what seemed like aluminum foil emerging from the ceiling. Interestingly, this rock formation had a captivating effect on the lighting, which was beautifully executed at times. I enjoyed this interpretation a lot; they successfully transported “The Rite of Spring” to modern times, and the interplay with the dynamics of the music was beautifully translated into the choreography.
In between performances, there was a 45-minute break during which I was pleased to encounter friendly faces. Unfortunately, a sold-out Aleksanterin teatteri apparently meant that the queues for drinks, food, and various other amenities were extremely long. I had an interest in watching TRIO NOX perform “Moonflowers” upstairs in the cafeteria. However, due to the large crowd, it became next to impossible to catch this performance. Nevertheless, it was a nice addition to the event.
Finally, it was time for SWALLOW THE SUN to present their production. The band was positioned at the back of the stage, most of them wearing their usual hoods. Naturally, the focus wasn’t on them; in front of them was a metal-framed bed with a dancer draped in a blanket. The way the blanket was crinkled reminded me a little of a Pietà statue, evoking the melancholy typical of SWALLOW THE SUN. The dancer was later joined by others on stage. What was interesting at the very beginning, though, is that some of the ballerinas used the balconies as well, which may not have been noticed by those closer to the stage.
The set changed, the bed disappeared, and fabric tubes descended from the ceiling, creating a forest-like atmosphere. The two main characters were searching for each other until the climax, where they eventually connected. It was an intriguing blend of classical ballet and modern dance, altogether the choreography suited the band’s music very well, and the production, in general, was top-notch. The stage was kept minimal in both performances, but the lighting for both was of the best kind—creating a lot of atmosphere and adding extra depth to make the performances even more immersive. It’s not often that I find myself wiping away tears, but this entire event certainly moved me.
Altogether, I really appreciate cross-disciplinary art, and I wish there were more endeavors like this. Certainly, “Plague of Butterflies” was initially composed to be choreographed, but there are so many other pieces of music in the metal genre that could benefit from a full dance production, which doesn’t happen often. One thing that wasn’t entirely clear to me is why these two pieces of music were linked. While I adore Stravinsky‘s “The Rite of Spring,” it remains a somewhat controversial composition that not everyone may enjoy. It might be a bit avant-garde and overwhelming for an event like this, where some listeners might not be acquainted with the piece. Perhaps it’s about the dynamics, but SWALLOW THE SUN‘s music feels much more melancholic and romantic to me. I wonder if there could have been a better composition to pair with “Plague of Butterflies,” although I’m not entirely sure what I would have chosen myself. Setting aside that minor consideration, this was a fantastic production, and it will undoubtedly be challenging for any event to surpass it any time soon.
The Rite
Producer: Amelia Coleman
Choreography: Emrecan Tanis
Music: Lumo Quintet
Light design: Tommi Saviranta
Video capture: Jouka Valkama
Props design: Emrecan Tanis & Tommi Saviranta
Props: Sanna Vartiainen & Peeter Loit
Dancers: Atte Kilpinen, Katariina Luukas, Sofia Ruija, & Anette Toiviainen
Plague of Butterflies
Choreography: Tuomas Hyvönen
Music: Swallow the Sun
Lights design: Tommi Saviranta
FOH: Matti Kynsijärvi
Props: Mirka Aitonurmi
Director: Jouka Valkama
Producer: Pyry Hanski
Dancers: Katerina Torp, Timo Korjus, Johanna Koivumies, Katariina Luukas, Susmita Meyer-Rochow, Tuuli Ezer, & Nasa Abibo Baptista Baldé
Intermission music: Trio NOX performing Moonflowers
Written by Laureline Tilkin
