Welcome to Queen The Greatest,
where we are celebrating a truly ground-breaking collaboration.
It's Queen and Maurice Bejart's
‘Ballet For Life’.
Inspired by Queen's ‘Made in Heaven’ album,
and driven by the desire to shine a light on the AIDS pandemic
and the tragedy of the people who died too young because of it,
the internationally renowned choreographer, Maurice Bejart,
approached Queen with an extraordinary vision for a new ballet.
[Roger Taylor] “I met Maurice Bejart
at the unveiling of the statue to Freddie.
He was an entrancing man
and his steely blue eyes
lit up and he would carry you along with his enthusiasm.”
[Roger Taylor] “We were delighted that somebody wanted to
do something so creative with the music.
So you know, why not?”
[Brian May] “How could we possibly say ‘no’
to a giant of another discipline in our…,
you know, coming to us and asking us if he can use our music?
What a wonderful thing to happen.
I mean, yeah.”
With Queen's extensive and eclectic catalogue of music to choose from,
Bejart began to create a ballet
that interpreted some of the band's most iconic songs in completely new ways.
Bejart also cleverly added some music from Mozart into the mix,
and as the ballet took shape,
he then turned to Gianni Versace to design the costumes.
[Roger Taylor] “We always had a rule
of wearing either black or white on stage,
and Gianni Versace did the wonderful costumes,
and he stuck to that sort of rule.
And they're very immaculate, and I think they look terrific.”
[Roger Taylor] “Maurice really took on board
some of the aspects of our live performance,
even including colouring, colours
and lighting
It looks very alive. It looks very modern.”
In January 1997,
the ballet had its premiere in Paris
and included a performance by Queen
that would prove to be another milestone in the band's history.
[Brian May] “The first proper public show
was due to be in Paris,
and we talked about being there and we said we'd like to be there.”
[Brian May] “We thought ‘oh dear’,
because it's a strange thing for us to do,
firstly, we haven't played for God knows how long.
We don't have a singer.
It's one song and you have to get a whole production for one song,
one performance.
And then this message came from Elton
saying, ‘Let's play’.”
[Roger Taylor] “And that was John's
last ever performance,
and I could tell he wasn't happy because he was sort of chain smoking
and very, very nervous
and had been severely traumatized by losing Freddie.”
[Brian May] “Deacy,
our dear friend John,
I think he didn't arrive at the same places as we did.
And John is there,
but John is really so desperately uncomfortable with the whole thing.
You can see him kind of his whole body is sort of reacting against it.”
[Brian May] “And at the end of it,
he says, I can never do this again. I can't do this.
And it was true, that’s the last time he ever played with us, John,
in public.”
[Maurice Bejart] “I'm not the judge of my work.
I love my works.
Of course, I love very much the last one.
I love very much the one that people love because it's natural.
But an artist will never turn to watch his past.”
The ballet for life was a key part of the Queen story,
and 25 years later
is still very much alive and continuing to tour,
entertaining and enthralling audiences around the world.
[Roger Taylor] “I was very pleased to have the music allied with
Mozart, Versace
and Maurice Bejart's wonderful ballet.
It took us to another, you know, sphere.”
[Brian May] “It did something very big for us.
It changed the way we felt about
the continuing life of Queen music in the world,
and I'm
very happy, very proud of that moment in time
when Queen Music and Mozart and Maurice Bejart
came together in one place.”