After decades of being hidden in a box, away from public view, thousands of theatregoers around the world have had the chance to see a massive 9x15-metre painting by the Spanish surrealist Salvador Dalí, which takes centre stage in La Verità, a production by the Switzerland-based Compagnia Finzi Pasca.
Dalí created the scrim, or fabric stage backdrop, for the ballet Mad Tristan at New York's Metropolitan Opera in 1944. Boxed up soon after, it was rediscovered and finally returned to the stage last year.
Now, Abu Dhabi audiences have a chance see the masterpiece while 13 acrobats and dancers perform La Verità (The Truth) – a stage show inspired by the painting that brings to life figments of the artist's imagination. The show runs from today until August 31 at Adnec.
The big picture
The Mad Tristan painting by Dalí was inspired by the German composer and theatre director Richard Wagner's three-act, 1850s musical drama Tristan & Isolde. The backdrop depicts Tristan, a Cornish knight, and Isolde (also known as Iseult), an Irish princess, from a 12th-century Celtic legend. Dalí, who was known to stand on his head for long hours to induce hallucinatory images, portrays their story through symbolism.
Two obscure figures are presented in a desert, one robed and with a wheelbarrow extending from its back and the other is a figure with a dandelion on its head and ants crawling on its body.
The ants represent death and decay in Dalí’s paintings. It is believed that the artist used the imagery in several paintings because he once saw a wounded bat being devoured by ants and he impulsively bit into the creature.
Expressing Dalí
For Daniele Finzi Pasca, La Verità's director, the scrim was a starting point to delve deeper into Dalí's psyche. When his team started working on portraying Dalí's work on stage, they wanted to show a side of the artist that was not known to many.
“We undertook extensive research on his life,” says Pasca, who is best known for his work with Cirque du Soleil, Cirque Éloize and for directing the closing ceremony of the 2006 Winter Olympics in Turin, Italy.
Pasca says his team wanted details of Dalí’s life. “Where he grew up, what he studied – trying to find small details we could incorporate into our production. We wanted to match his level of eccentricity in our show.”
Pasca says their story aims to touch upon moments from the years when Dalí was approaching his death.
“At the time he was more fragile, delusional and was affected by the loss of his wife Gala,” says Pasca. “We have tried to describe and understand the end of his life, that was the more secretive part.
“But at the same time, we have tried to create something emotional that people would be able to relate to, even if they don’t know Salvador Dalí.”
Depicted in a non-linear fashion, the production will include multiple acts, aerial stunts, a pianist in a rhinoceros costume, a performer dancing on a piano and clown acts during transitions.
Touring the world
Since the show’s premiere in Montreal, Dalí’s backdrop has travelled all over Latin America, Europe, Taiwan and China. It will be transported by air to the capital under the watchful eyes of two trained technicians. “It isn’t complicated as it was made to be used extensively in such productions,” says Pasca.
The theatre company holds a special unveiling ceremony in every city, where the backdrop is put on display and its history explained.
Pasca says they will use a copy of the painting during the show in Abu Dhabi and unveil the original to the audience right at the end.
• La Verità runs from today until August 31 at Adnec. Tickets, priced from Dh200, are available from www.alchemy-project.com
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Eintracht Frankfurt v Borussia Monchengladbach (7.30pm)
Sunday, May 17
Cologne v Mainz (4.30pm),
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Werder Bremen v Bayer Leverkusen (9.30pm)
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It then dropped to an estimated 111,000 in the year to June 2020 when restrictions introduced during the pandemic limited travel and movement.
The total rose to 254,000 in the year to June 2021, followed by steep jumps to 634,000 in the year to June 2022 and 906,000 in the year to June 2023.
The latest available figure of 728,000 for the 12 months to June 2024 suggests levels are starting to decrease.
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Killing of Qassem Suleimani
Mercer, the investment consulting arm of US services company Marsh & McLennan, expects its wealth division to at least double its assets under management (AUM) in the Middle East as wealth in the region continues to grow despite economic headwinds, a company official said.
Mercer Wealth, which globally has $160 billion in AUM, plans to boost its AUM in the region to $2-$3bn in the next 2-3 years from the present $1bn, said Yasir AbuShaban, a Dubai-based principal with Mercer Wealth.
“Within the next two to three years, we are looking at reaching $2 to $3 billion as a conservative estimate and we do see an opportunity to do so,” said Mr AbuShaban.
Mercer does not directly make investments, but allocates clients’ money they have discretion to, to professional asset managers. They also provide advice to clients.
“We have buying power. We can negotiate on their (client’s) behalf with asset managers to provide them lower fees than they otherwise would have to get on their own,” he added.
Mercer Wealth’s clients include sovereign wealth funds, family offices, and insurance companies among others.
From its office in Dubai, Mercer also looks after Africa, India and Turkey, where they also see opportunity for growth.
Wealth creation in Middle East and Africa (MEA) grew 8.5 per cent to $8.1 trillion last year from $7.5tn in 2015, higher than last year’s global average of 6 per cent and the second-highest growth in a region after Asia-Pacific which grew 9.9 per cent, according to consultancy Boston Consulting Group (BCG). In the region, where wealth grew just 1.9 per cent in 2015 compared with 2014, a pickup in oil prices has helped in wealth generation.
BCG is forecasting MEA wealth will rise to $12tn by 2021, growing at an annual average of 8 per cent.
Drivers of wealth generation in the region will be split evenly between new wealth creation and growth of performance of existing assets, according to BCG.
Another general trend in the region is clients’ looking for a comprehensive approach to investing, according to Mr AbuShaban.
“Institutional investors or some of the families are seeing a slowdown in the available capital they have to invest and in that sense they are looking at optimizing the way they manage their portfolios and making sure they are not investing haphazardly and different parts of their investment are working together,” said Mr AbuShaban.
Some clients also have a higher appetite for risk, given the low interest-rate environment that does not provide enough yield for some institutional investors. These clients are keen to invest in illiquid assets, such as private equity and infrastructure.
“What we have seen is a desire for higher returns in what has been a low-return environment specifically in various fixed income or bonds,” he said.
“In this environment, we have seen a de facto increase in the risk that clients are taking in things like illiquid investments, private equity investments, infrastructure and private debt, those kind of investments were higher illiquidity results in incrementally higher returns.”
The Abu Dhabi Investment Authority, one of the largest sovereign wealth funds, said in its 2016 report that has gradually increased its exposure in direct private equity and private credit transactions, mainly in Asian markets and especially in China and India. The authority’s private equity department focused on structured equities owing to “their defensive characteristics.”