I used mostly my ears

a blog about music by Marc Haegeman


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Grigorovich’s Golden Age revived

Dmitri Shostakovich: The Golden Age
Nina Kaptsova – Rita, a young girl
Ruslan Skvortsov – Boris, a young fisherman
Mikhail Lobukhin – Yashka, a gang leader
Ekaterina Krysanova – Lyushka, Yashka’s accomplice
Vyacheslav Lopatin – Variety show compere
Artists of the Bolshoi Ballet

The Bolshoi Theatre Orchestra, Pavel Klinichev
Choreography by Yuri Grigorovich.
Filmed live at the Bolshoi Theatre in Moscow, October 2016
BelAir Classiques Blu-ray BAC443, 103 min, PCM 2.0, DTS-HD Master Audio 5.1

The Bolshoi in The Golden Age

The Bolshoi in The Golden Age

After a two year break the successful “Bolshoi Ballet HD Collection”, released by the Paris-based video label BelAir Classiques, is back on track again with Dmitri Shostakovich’s The Golden Age, the last ballet from long-time Bolshoi director Yuri Grigorovich. “Last” may be somewhat misleading here, since The Golden Age – or The Age of Gold, as may be more common – was premiered as long ago as 1982, but turned out to be the final original creation of the Bolshoi master. And come to think of it, the age wasn’t particularly golden at the time of the ballet’s premiere, as criticism against Grigorovich’s authoritative rule and artistic output was gradually mounting and would eventually lead to his eviction some ten years later – but that’s another story.

Fact is, most of Grigorovich’s ballets remained in the Bolshoi repertory, often resurfacing after several years in a more or less updated guise. The Golden Age is performed only by the Bolshoi and has unlike other Grigorovich’s ballets never been staged elsewhere. In Moscow it was last danced ten years ago and recently revived again in the lead-up to the 90th anniversary celebrations of the choreographer earlier this year. While undoubtedly not a masterpiece, this is the first official release of the ballet on Blu-ray and DVD and will be most welcome to all devotees of the Bolshoi and Russian ballet.

Grigorovich’s The Golden Age is itself an adaptation of the 1930 production, which like all evening-length ballets composed by Dmitri Shostakovich fell out of grace and was banned soon after the premiere. The blatant Communist rejection of so-called bourgeois decadence of the original plot, culminating in a soccer match between soviet youths and bourgeois fascists, was recycled into a love story set against the conflict between pure white-clad fishermen and a depraved black-shirted gang of thugs in some 1920’s Russian seaport. It’s the same naive black and white opposition, but the luggage is far less heavy this time. The inclusion of references to Lenin’s New Economic Policy in the rework however will be lost on most viewers today.

Seeing the ballet again, for all its simplicity, I still feel it is confusingly told, while much of Grigorovich’s stylized choreography is too crude and repetitive to survive the 100 or so minutes running time. As for the Bolshoi’s current take on it, I guess it helps if you haven’t seen the original casts in the 1980s. Today’s Ruslan Skvortsov, Nina Kaptsova, Mikhail Lobukhin and Ekaterina Krysanova are excellent dancers, yet none will ever erase memories of an Irek Mukhamedov or a Gediminas Taranda, who could transform cardboard into intensely potent characters. But that’s just how it goes with revivals: different times, different dancers, same ballets. Surprisingly perhaps for the Bolshoi, it are the quieter moments, like the love adagio’s between Kaptsova and Skvortsov, that work best here.

This new installment in the “Bolshoi Ballet HD Collection”, filmed live in October 2016 on the smaller New Stage of the Bolshoi Theatre, is visually and soundwise a real treat. As we have come to expect from the Vincent Bataillon/François Duplat team The Golden Age offers a first-rate ballet-at-home experience. Thankfully gone are the days of shoddy Soviet filming, unable to master the frequent changes from bright to dark in these productions. The full HD transfer on Blu-ray looks particularly impressive with a wealth of detail and lovely, natural colors. Camerawork is as good as it gets with a well-judged mix between longshots and close-ups.

The sonics are equally superb in the 5.1 DTS HD Master Audio mix, enhancing the impact of Shostakovich’s brilliant music. His ballet scores remain largely unknown to the general public, except perhaps in the form of suites. This is the young composer at his most confidently satirical, exemplifying in his music the capitalist depravity with a series of parodied western dance forms like polka, tango and foxtrot. Grigorovich interpolated the slow movements from Shostakovich’s Piano Concertos for the lyrical moments in his adaptation. Interestingly, they give the score which can at times sound relentless a rounder appearance. It all comes vividly alive by the Bolshoi Orchestra under Pavel Klinichev.

This release comes without any extras. Bolshoi fans won’t hesitate to purchase this title, of course, and BelAir Classiques serves them well with splendid video and audio quality. Yet the older ones won’t be entirely convinced by the Bolshoi’s current way with The Golden Age.

© 2017 Marc Haegeman. All rights reserved


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Bohemia in Paris

Bedřich Smetana: Má Vlast (My Country), 6 symphonic poems
Vienna Philharmonic Orchestra/Daniel Barenboim
Paris, Théâtre des Champs-Elysées, 20 December 2016

Má Vlast, the cycle of six symphonic poems composed by Smetana between 1874 and 1879, makes for highly attractive concert programming. It forms the perfect antidote for those who think that the traditional three-part concert offering has had its day. While not as long as most concerts, one still doesn’t feel short-changed by the 75 or so minutes, because when heard in one sitting without a break, the rich and diverse microcosm of Má Vlast turns out to be quite an engrossing musical experience. Forget the famous Moldau too often heard as a single evergreen. Only when placed within the cycle the river flows with a purpose and Smetana’s thematic structure and vivid imagination can be appreciated better than ever.

Daniel Barenboim (© Riky Davila Klein)

Daniel Barenboim (© Riky Davila Klein)

Daniel Barenboim and the Vienna Philharmonic Orchestra are touring Europe with Má Vlast in preparation of the opening concert of next year’s prestigious Prague Spring International Festival. This is undoubtedly a daunting task as much as a great honor, but the concert in a packed Paris Champs-Elysées Theatre showed both conductor and orchestra in tremendous doing and left a powerful impression. And even if the most chauvinistic music critics in Prague next May will probably tell you differently, the Viennese seem to connect naturally with the lyricism and rhythms of Bohemia. In this respect it’s good to remember the orchestra recorded Má Vlast at least three times in the last 60 years – with conductors as different as Rafael Kubelik, James Levine and Nikolaus Harnoncourt.

Strongly dramatic, often darkly colored, but also grand and festive when required, this performance of Má Vlast under Barenboim was fascinating from start to end. Not the call-to-arms as exemplified by Kubelik and the Czech Philharmonic at their most patriotic, but nonetheless a stirring exploration full of contrasting sonorities and carried by very flexible but never disagreeable tempi and dynamics, which (Barenboim hasn’t been conducting at Bayreuth for almost two decades for nothing) also frequently reminded us of Smetana’s predilection for the music of Liszt and Wagner. Barenboim, who conducted from memory, demonstrated a firm grip on the structure of each poem, but equally kept the bigger picture in mind. He appreciated the affinity of the Viennese players with this music and knew exactly how to balance a certain amount of freedom with exacting precision. The consistency of his approach enhanced the impact of the cycle as a whole just as much as it displayed the ingenuity of Smetana’s vision. The final appearance of the Vyšehrad theme at the end of Blanik sounded like a homecoming after a long and emotional voyage that had started with the simple harps in Vyšehrad. The two final poems Tábor and Blanik, strongly linked, appeared like a suspenseful quest from darkness to light, allying often mysterious sonorities with telling silences and well-judged releases of tension to balance the drama.

Color was also elemental in Vltava and From Bohemia’s Woods and Fields highlighting beautiful solo work from the Viennese woodwinds (clarinet and flute, especially), and the sometimes rugged horns adding extra spice. The brass practically covered the whole width of the stage and while Smetana uses them frequently to great effect, Barenboim avoided all bombast. It was however more than anything the magnificent strings ensemble, homogenous and precise to delight, that brought the whole picture to life and gave this Má Vlast a beating heart – whether in the romantic flowing of Vltava, the passionate events electrifying Šárka, the superb fugal passage in From Bohemia’s Woods and Fields or the high-octane drive in Tábor. Antiphonally placed, Barenboim dosed them carefully, now as leading sections, then again in a supporting role.

Concerning the orchestral balance, here and there I missed some weight in the lower strings sound, although that might have been caused by the placement of the orchestra in this venue. The Champs-Elysées Theatre doesn’t have a very wide stage and the double-basses, placed at the far left, were partly hidden behind the proscenium arch. In the heat of the action the woodwinds also tended at times to be a tad too prominent, while on the other hand the timpani, placed towards the left side, didn’t always produce the same impact. Yet these are minor quibbles about what was by all means a wonderful concert that should, eventually, do the Vienna Philharmonic and Daniel Barenboim in Prague proud.

Copyright © 2016 Marc Haegeman


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Deadpan Rachmaninoff and magical Tchaikovsky

Dmitry Shostakovich: Festive Overture in A Major, Op. 96
Sergei Rachmaninoff: Piano Concerto #3 in d Minor, Op. 30
Pyotr Ilyitch Tchaikovsky: Swan Lake, Op. 20 – Excerpts (arr. M. Pletnev)

Seong-Jin Cho, piano
Russian National Orchestra / Mikhail Pletnev
Concertgebouw, Bruges, 14 December 2016

The Russian music season at the Bruges Concertgebouw continued with a visit of Mikhail Pletnev and his Russian National Orchestra (RNO). They brought a solid program of Shostakovich, Rachmaninoff and Tchaikovsky, and although the organizers billed primarily on Rachmaninoff’s famous Third Piano Concerto, highlighting the young Korean Seong-Jin Cho as soloist, it was by and large Tchaikovsky’s Swan Lake that became the most memorable event of the evening.

Seong-Ji Cho pianist

Seong-Ji Cho (© Bartek Sadowski)

Winner of the latest International Chopin Piano Competition, championed by the almighty Valery Gergiev, and a contract with the famous yellow record label fresh in his pocket, Seoul-born Seong-Jin Cho (22) seems firmly set on the tracks of an international career, come what may. His debut Chopin disc is a multiple platinum seller in his home country and, as we are told, like many of his talented young colleagues he brings flocks of newcomers to classical music. His performance of the Rachmaninoff Third was nonetheless underwhelming. Once the pleasant discovery of his excellent technique and crystal-clear articulation gone, we were left with a soloist who was musically mostly at a loss with Rachmaninoff’s lyrical outpourings. Cho played his Rachmaninoff hard and loud, invariably so, and without much sense of direction or imagination. He wasn’t drowned out by the orchestra, yet his habit to attack loudly backfired soon when he reached the limits of his piano before the climaxes. There was little or no trace of individual coloring or emotional engagement. Mindful of the composer’s predilection for color, this was gray, deadpan Rachmaninoff. All the notes (well, most of them) were there. But there was nothing behind them.

Some passages were brilliantly executed (the Più mosso section in the first movement), yet others suffered from ill-judged rubato or misplaced and banged accents (the first movement cadenza). At times it sounded like a Prokofiev concerto, but in the end, the most satisfying passages were the orchestral ones, transparent, detailed and often beautifully shaped by Pletnev – as the introduction of the Intermezzo, or the remarkable espressivo played by horn, bassoons and clarinet that closes that movement. The audience clearly weren’t averse to cold fish and gave Cho a standing ovation. So much for reputations.

pletnev

Mikhail Pletnev (© Artom Makeyev)

The concert opened with Shostakovich’s Festive Overture, Op. 96, always an irresistible curtain-raiser. However, after the break the Mikhail Pletnev enigma fully took shape again with a stunning rendering of a handpicked selection of Tchaikovsky’s ballet music for Swan Lake. Not the usual 6-part suite, but a different and more elaborate survey arranged by Pletnev himself. And while his complete studio recording of Swan Lake on disc is to my mind one of the dullest, inane versions from recent years, in concert the Pletnev magic worked again. It’s not just the recording engineers who seem to disadvantage him on many of his discs, it’s also his way with the score which turns out to be so much more fascinating in concert. With an outstanding RNO he galvanized Swan Lake into a compelling cocktail of color and atmosphere, beautifully poetic and full of fairytale magic, with that typical Tchaikovsky mix of theatrical drama and aristocratic elegance always in perfect balance. The pure dance sections were particularly well characterized: light-footed in the Pas de trois variations, grand and stately in the Pas des coupes from Act I. The dramatic narrative scenes (the extensive symphonic finale of the ballet) thrilled with tremendous power and impact.

The RNO appeared totally responsive and without a weak spot in the ensemble. The orchestral balance was even in the wildest scenes superb, the dynamic range impressive. The vivid string playing always a joy to behold. Woodwind solos, so important in this work, were astonishing, especially the oboe from Olga Tomilova, leading all the great themes, and the flute from Maxim Rubtsov. Brass and percussion knocked you out of your seat. Orchestra leader Alexei Bruni and principal cello Alexander Gottgelf performed ravishing solos in the Pas d’action (the White Swan pas de deux for the ballet fans). One regret perhaps. This Swan Lake selection begged for more and I would rather have had the ballet music in full than Seong-Jin Cho’s tryout in the Rachmaninoff. But other than that pure Russian concert magic.

Copyright © 2016 Marc Haegeman


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Gergiev versus Gergiev

Piotr Ilyitch Tchaikovsky: The Nutcracker, Op. 71 – Symphony No. 4 in F Minor, Op. 36
Valery Gergiev, Orchestra and Choir of the Mariinsky Theatre
Mariinsky MAR0593, 2 SACD (Includes multi-channel 5.0 and stereo mixes), 129 min.

Valery Gergiev frequently returns to music he recorded earlier. Nothing wrong with that, of course, but curiously I still haven’t heard a refill of his that actually betters the older attempt. And this isn’t happening either in this new release on the Mariinsky label, coupling his 2015 re-recording of Tchaikovsky’s Nutcracker and Fourth Symphony.

Tchaikovsky, The Nutcracker and Symphony No. 4

Tchaikovsky, The Nutcracker and Symphony No. 4

Gergiev and his Mariinsky Theatre forces gave us a magnificent Nutcracker back in 1998. After the marketing hype for being “the first complete Nutcracker on a single CD” had settled, this not only turned out to be a tremendously exciting high-voltage traversal, a riot of color, but also a visionary piece of fantasy-theatre with a dark undercurrent that dumped most other recordings of the ballet in the candy store kids department. Most of all, it had a clarity of purpose and the sparkle of discovery.

Fast-forward to 2016 and here is Gergiev again with the same orchestra. Gone is the sparkle of discovery and so is the vision that electrified the older recording. It’s not exactly a bad Nutcracker (actually it’s pretty good one when compared to other recent attempts by Rattle, Järvi and Pletnev), but it’s simply not as compelling or revelatory as the previous one. That Gergiev is marginally less fast (84 against 81 min), is not the main issue (although the Chinese Dance is now bizarrely heavy-footed and the Andante maestoso of the Pas de deux suffers from several drops of tension – for example from 2 min. 20). More important is that this Nutcracker has lost its edge and momentum. Gergiev still reveals a detailed, often dark palette of color and it’s always a delight to hear the superb Mariinsky Theatre Orchestra in their repertoire, but the fact remains that overall this is a less focused, much cozier, play safe reading, taking its place among the many. It suffices to listen to the long dramatic passage starting with the Departure of the Guests through the Waltz of the Snowflakes. The Battle is now a whole lot less eventful and fierce, and Gergiev’s pacing in the ensuing Pine forest and the Waltz no longer grabs you by the hand (or the throat) as he did so brilliantly in his older disc. The Mariinsky recording is warm and detailed, emphasizing the lower brass to good effect, although the timpani could ideally have been balanced more forwardly.

What prevents me from giving this release a wholehearted recommendation however is the recording of the Fourth Symphony. Tchaikovsky’s Fourth has to my ears always been the least successful of the six in Gergiev’s hands and this recent take seems to have gone even further south. The flaws and mannerisms of the earlier live recording filmed in Paris in 2011 (available on DVD and Blu-ray), or noted in the concerts I attended that year, are now a major letdown. Gergiev seems bent on underplaying the anguish of this symphony with an ultra-refined treatment and extra careful tempi. Yet the result is a first movement that sounds hesitant, almost timid, with climaxes that make no impact whatsoever. Gergiev’s tempo fluctuations are often gratuitous, and nowhere more so than in the development section just before the return of the fate theme. Worse, the Andantino is no longer in modo di canzona but resembles a sluggish religious procession which turns in circles. The Scherzo makes a better impression, while the Finale kicks off with plenty of drive and brilliant orchestral playing, only to return to dragging mode when the main theme is heard in the strings only (at 3 min. 45). Again, there is so much to admire in the playing of the Mariinsky Orchestra (what beautiful woodwinds), but it all feels like a huge waste.

For the Fourth Symphony the old (now historic) favorites Mravinsky, Svetlanov, Fricsay, Karajan, and others still hold their ground, while for the full-length Nutcracker one can safely stick with Dorati, Jansons, Rozhdestvensky, and… Gergiev 1998.

Copyright © 2016, Marc Haegeman


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Superb Tchaikovsky in French manner

Piotr Ilyitch Tchaikovsky: The Nutcracker, Op. 71
La Maîtrise des Hauts-de-Seine, Les Musiciens du Louvre Grenoble/Marc Minkowski
Brussels, Centre for Fine Arts, 13 November 2016

Marc Minkowski

Marc Minkowski © Marco Borggreve

Marc Minkowski and his Musiciens du Louvre, on tour in Europe, brought a pleasant surprise by performing Tchaikovsky’s The Nutcracker full-length in concert. The surprise was not so much to hear Tchaikovsky on period instruments (that has been done before by Jos van Immerseel and Anima Eterna, among others), neither that an ensemble steeped in the baroque and early classical repertoire ventures into late 19th-century music. No, this was purely and simply one of the finest readings of the ballet I have ever heard, in or out of the theater. Played by the French orchestra this Nutcracker sounded extraordinary, often thrilling, at times revelatory, yet it was above all Minkowski’s way with the score which made this concert such a standout.

Part of the success stems from the fact that Minkowski conducts The Nutcracker for what it is: music for the theater. While much of the score can sound like an orchestral spectacular (and is often interpreted that way), this seemed like the last thing Minkowski had in mind. He rather was looking for refinement and character, and preferred to dig deep into Tchaikovsky’s sound-world. It didn’t matter either there was no stage action. When conducted with so much understanding and passion as here the score easily stands on its own and evokes a whole world of imagery and emotions. As a seasoned opera conductor Minkowski clearly knows how to tell a story and captured the changing climates of the score with total conviction. A French take on Russian music, but one that removed layers of dust and familiarity.

The period instruments proved a tremendous asset to Tchaikovsky’s brilliant orchestration. As usual with Les Musiciens du Louvre the focus was essentially on the music, without a trace of sterile stylistic exercises in authentic performance. Textural transparency and refined orchestral balance, harmonic color and rhythmic flexibility all contributed to recreate this uniquely enchanting atmosphere that saves The Nutcracker from dreaded yuletide dirge and secures it a place as genuine masterpiece. Tender evocations of a child’s imagination contrasted with at times creepy passages of darkness. Even the opening numbers which are in the hands of many conductors merely to mark time, became small gems – none more than the Presto of No. 4 and the Grossvater Tanz in No. 5, theatrically heavy-footed and full of benign humor.

No detail in the orchestration was left untouched and Minkowski wasn’t afraid to enhance the dramatic contrasts, yet without losing track of the musical flow. The long section opening with the Departure of the Guests, featuring the Battle with the mice and the Waltz of the Snowflakes was stunningly rendered. Minkowski knew exactly when and how to slow down. The orchestra bloomed in the Christmas Tree sequence, wonderfully paced, reminding that it doesn’t take modern strings to play in a passionate manner. Twenty girls from La Maîtrise des Hauts-de-Seine chorus provided beautiful vocal support in the Snowflakes – even when pressed rather hard by the slow tempo in the final section. I was never before so much aware that snow is gently falling down. Pure magic.

In this respect it was regrettable that in the second part Minkowski somewhat changed the order of the score. As he announced during the short tuning break between acts, he preferred to open with the Pas de deux followed by the Divertissement and ending with the Waltz of the Flowers. The opening numbers of Act II – which offer some ravishing music – were dropped, as well as the first variation in the Pas de deux. Minkowski didn’t fail to stress the French influence on The Nutcracker and noted in passing that the celesta played by his orchestra was a French Mustel from the late 19th century, an instrument undoubtedly quite close to the one Tchaikovsky knew and introduced in Russia with this ballet.

As it was, the Divertissement became a truly festive moment, totally apt as a brilliant culmination of the story. Very few conductors I heard in concert capture the character of the different dances with such accuracy. The Spanish dance was sparkling and colorful, the Arabian variation exuded the exquisite perfume of the Orient, and in the Trepak one could easily imagine boots stomping in the snow. Woodwinds and percussion were exquisite.

Les Musiciens du Louvre are a superb formation indeed. They played like possessed and evidently had a great time performing this music. Solos were magnificent throughout, most notably from flutes, oboe and harp. The hard-working violins were divided left/right, with the four basses at the back center. A smaller than usual orchestra for Tchaikovsky when it comes to the strings, although judging from the balance and weight that Minkowski obtained, all it takes.

Minkowski offered two encores from Georges Bizet’s L’Arlésienne, the Prélude and the introspective Adagietto, which he dedicated to the victims of terrorist attacks in France and Belgium from the last year. The solo saxophone was heard to great effect, but it was undoubtedly the link between the music of Tchaikovsky and Bizet, both great melodists and orchestrators, which was most exposed here.

The Brussels Centre for Fine Arts was sadly half empty for this concert. The Nutcracker as a ballet is normally box-office safe. Yet many are probably still convinced that ballet music doesn’t stand much of a chance in a concert-hall. Minkowski and Les Musiciens du Louvre have disproven that, once again, completely. A superb concert.

Copyright © 2016, Marc Haegeman

First published on Classical Net: http://www.classical.net/music/recs/reviews/haegeman/20161113-minkowski-tchaikovsky.php


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Mata Hari revived in Amsterdam

Tarik O’Regan: Mata Hari

  • Anna Tsygankova – Mata Hari / Margarethe
  • Casey Herd – Rudolph McLeod
  • Jozef Varga – General Kiepert
  • Artur Shesterikov – Vadim de Masloff
  • Young Gyu Choi – Shiva
  • Wen Ting Guan – Temple Dancer
  • Dancers of Dutch National Ballet, Students and pupils of Dutch National Ballet Academy

Music by Tarik O’Regan
Dutch Ballet Orchestra/Matthew Rowe
Choreography by Ted Brandsen
EuroArts Blu-ray 2061624 Widescreen / PCM Stereo and DTS-HD Master Audio / 95m + 26m bonus

Mata Hari by the Dutch National Ballet

Mata Hari by the Dutch National Ballet

A brand new evening-length narrative ballet with a newly commissioned score, eye-catching designs, and a rather unusual subject is a rarity today. Mata Hari is an extraordinary ballet, a real tour de force, created this year in Amsterdam for Dutch National Ballet and now available on video courtesy of EuroArts.

Women spies – or spies in general, for that matter – don’t make an obvious subject for a ballet. Yet, the Dutch Margaretha Zelle (1876-1917) aka Mata Hari, suspected of being a double agent and shot by a French army firing squad, had also been an infamous dancer in her time. On the crest of the Belle Epoque’s fascination with exoticism she became an international sensation overnight when she performed a daring Javanese temple dance in 1905 Paris. She later wanted to join Diaghilev and the Ballet Russes, but was unsuccessful. In any case, her unusual and very turbulent life from small-town petty bourgeois girl to worldly-wise femme fatale enclosed enough drama for Ted Brandsen, artistic director of Dutch National Ballet, to turn it into a remarkable ballet.

It’s remarkable that in these lean times for the arts no expenses and efforts were spared for bringing Mata Hari to the stage. Ted Brandsen took care of the choreography and assembled an international artistic team – the Dutch dramaturge and author Janine Brogt gave shape to Mata Hari’s life in the libretto, the British composer Tarik O’Regan set it to music in a 90-minute score for large orchestra, the Dutch designers duoClement & Sanôu conceived the framework of decors and lights, and the French designer François-Noël Cherpin created more than 300 costumes from key episodes in Mata Hari’s life – including late 19th-century Friesland, Dutch colonial life on Java, and Paris in the Belle Epoque.

Involving a cast of 60 dancers and an orchestra of 76 musicians, Mata Hari opened in Amsterdam’s Muziektheater on 6 February 2016, quickly becoming a box-office success. It is ballet on an epic scale and of a superhuman sweep we hardly ever see any more. Brandsen’s choreography is firmly rooted in the classical idiom, but adds formal freedom for expressive purposes. The title role was created on Dutch National’s first soloist Anna Tsygankova who gives a performance of a lifetime. She is joined by several leading dancers, including Casey Herd as Margarethe’s husband Rudolph McLeod, Jozef Varga as the German general Kiepert, and Artur Shesterikov as her final Russian lover Vadim de Masloff. With its almost continuous succession of ensembles, duets and solos, as a ballet Mata Hari is company work at its most inspired.

Filmed in the opening run by the independent Amsterdam-based production company 3 Minutes West, Mata Hari was initially broadcast live on worldwide Mezzo TV and is now available on Blu-ray and DVD, looking and sounding pretty stunning. Attractively directed by Jeff Tudor, the visuals of this release are a treat. The high-definition cameras reveal Cherpin’s brilliantly colorful costumes with startling detail. Tarik O’Regan composed in his first effort for ballet a compelling score, which shares influences of American minimalism and Benjamin Britten (his music for the ballet Prince of the Pagodas comes to mind), but finds his own voice in its complex rhythmic layering and memorable lyrical passages. It offers the ideal accompaniment for the narrative and is performed with great impact by the Dutch Ballet Orchestra. Beautifully recorded in surround sound and PCM stereo, the Blu-ray offers a highly enjoyable evening at the ballet in your home.

Mata Hari includes a useful “The Making Of” documentary (26 min.) which could well serve as a model for future new ballet releases. It accompanies the viewer through the three-year-long creative process with short but well-chosen interviews and rehearsal clips. Brandsen describes Zelle’s life as “a raging torrent” and emphasizes her uncanny talent for transformation and reinvention. In his ballet, scenes flash by in cinematographic manner, but no matter the intensity, the image of an extraordinary woman shines through, a willful character in a male dominated society, but eventually victim of her own mythomania. Her execution following her involvement with high-ranking army officers can be read as the ultimate statement of disapproval by a society not ready yet for women of her caliber. Mata Hari may be more timeless than we expect.

If ever a contemporary ballet deserved to be captured on film it had to be Dutch National’s Mata Hari. Warmly recommended.

Copyright © 2016, Marc Haegeman

First published on Classical Net: http://www.classical.net/music/recs/reviews/o/opu61624blua.php
Photography from the production: http://www.for-ballet-lovers-only.com/matahari-hnb/index.html

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The Royal Ballet’s “La fille mal gardée”

Ferdinand Hérold: La fille mal gardée (The Wayward Daughter)

  • Natalia Osipova – Lise
  • Steven McRae – Colas
  • Philip Mosley – Widow Simone
  • Christopher Saunders – Thomas
  • Paul Kay – Alain

Artists of the Royal Ballet
Orchestra of the Royal Opera House/Barry Wordsworth
Choreography by Frederick Ashton
Music by Ferdinand Hérold arranged and orchestrated by John Lanchbery
Opus Arte Blu-ray OABD7187D 110m (+features 14m) LPCM Stereo DTS-HD Master Audio

fillemalgardeeThis is the third video release from the Royal Ballet in less than two years featuring Natalia Osipova. Following Giselle (Opus Arte Blu-ray OABD7151D) and Swan Lake (Opus Arte Blu-ray OABD7174D), the Russian ballerina now heads a fine cast in Frederick Ashton’s La Fille mal gardée and this is by far the most successful of the three titles. Incidentally, as was the case with Swan Lake, the Royal Ballet’s La Fille mal gardée performed by Marianela Nunez and Carlos Acosta was released on video by Opus Arte not even ten years ago. The company clearly believes in the drawing power of their Russian star and suggests box-office successes are transferrable to home video.

Ashton’s 1960 La Fille mal gardée (or The Wayward Daughter ) is of course one of the evergreen gems from the Royal Ballet repertoire. Based on a much older French comedy ballet by Jean Dauberval which dated from the French Revolution, with Fille mal gardée Ashton delivered not only an irresistibly charming and jolly essay on beginning love, he also gave English ballet a face.

The current revival of the original production, with the lovely designs from Osbert Lancaster, is wholly respectful and appropriate. The ballet clearly ages well and it’s a delight to see how the company continues to enjoy and illuminate every step and action. Principals Natalia Osipova and Steven McRae are terrific and attractive dancers, relishing Ashton’s technical challenges just as much as the manifold comical situations. Temperamentally and stylistically they come from a different stock, and some scenes look just a tad too studied, but don’t let this spoil your pleasure: this is classical ballet at its most enchanting. Ballet lovers who already own the previous Fille ma gardée needn’t worry, the dancers are so much different one can easily have both.

Barry Wordsworth proves a reliable guide for the Orchestra of the Royal Opera House in Ferdinand Hérold’s score, arranged and orchestrated by John Lanchbery. To make the feast complete, and another reason to own this new video, image and sound quality are topnotch in this Opus Arte release. Filmed live at the Royal Opera House, Covent Garden in May 2015, Ross MacGibbon delivers another expertly filmed ballet.

As has become a good habit in the Royal Opera House series from Opus Arte, some fifteen min of extras are included on the Blu-ray. The main dancers are seen chatting about their roles, and more interestingly, Lesley Collier, one of the best interpreters of the ballet of recent times and now coaching Osipova, reminisces about her own work with Frederick Ashton in the 1970’s.

Highly recommended for all old, and young, ballet lovers.

Copyright © 2016, Marc Haegeman

First published on Classical Net: http://www.classical.net/music/recs/reviews/o/opu07187blua.php