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Renzo Piano and I wanted Compass (a danced recital for piano and orchestra) to be a sort of three parts invention where the music, the visual elements and the choreography, would develop indipendently from each other and could occasionally meet in complete unanimity. But the third “part”, the choreography, was absent : unless you are willing to entrust choreographic dignity to an incoherent exibition of common places prompted by démi tours, by pas de bourrées, coupés, entrechats and pas de deux. It is surprising that in the Zürich Opera House - so exemplary in so many aspects - Renzo Piano’s work and mine had to share the stage with a perfectly useless choreography not even worthy of a Christmas Show.