RNCM Symphony Orchestra with Gergely Madaras and Syuzanna Kaszo

RNCM Symphony Orchestra

RNCM Concert Hall, 18 May 2012

A concert can be a celestial show, though rarely as here a case of twin stars shining.

Our first star was Prokofiev’s Piano Concerto No 2 In G minor, a work which the composer dedicated to a best friend who’d taken his own life.  If violence lay hidden within the complexity and difficulty of the piano part, Syuzanna Kaszo’s quicksilver fingers soon quelled it, no worries.  To say she played a blinder is simply to be accurate, sometimes literally so.  Her fingers would often move so fast the naked eye faltered.

The next star, an amazing sighting this, was the complete score of Stravinsky’s The Firebird, played by a full symphony orchestra.  It turned out to be an exciting, bold and dramatic work, at times as tumultuous as a raging tide, but the conductor Gergely Madaras ably steered it to shore.

Stravinsky’s first work for the Ballets Russes, The Firebird pretty much made his reputation.  For anyone wishing to learn more about how the ballet came into being, I’d recommend reading chapter 2 of Charles M. Joseph’s recent ( 2011) Stravinsky’s Ballets.

Moscow City Ballet’s Romeo and Juliet

Romeo and Juliet

Music by Prokofiev

Moscow City Ballet

Opera House, Manchester

15 March 2012

This vibrant production brings out all the edge-of-the-seat drama and colourful spectacle of the classic Shakespearean story.

At its centre, there is Prokofiev’s supple score: a dangerous and tremulous beast, lithe yet soulful.  The courtship is delightful, of course, and Daniil Orlov (as Romeo) and Liliya Orekhova (Juliet)  make a fetching couple.  Even so, the thrilling swordplay and jousting slyly trumps it in this production, such is the power of these scenes.  Talgat Kozhabaev (Tybalt) is a most impressive villain.

And then, overarching all, there is the shadowy spectre of death, the ballet is virtually framed by it, and the suggestion and insinuation of an existence beyond the threshold of the perceptible world.  It is all in present in Prokofiev’s score, naturally, and it’s perfectly realised on stage.

Moscow City Ballet are touring the UK until the end of March, future tour dates are here (click and scroll all the way down).

 

 

Matthew Bourne’s Cinderella

Matthew Bourne’s Cinderella
Music by Prokofiev
New Adventures
The Lowry, 23 November 2010

Set during the London blitz, when death could fall from the sky as easily as song, this is a dark reimagining of the classic fairytale.

It begins with a pre-COI film which warns that the greatest danger of falling victim to a bomb is simply to stand, staring into the sky.  But if an angel puts an hand on your shoulder, perhaps that’s what you are most wont to do.

Everything about this production enchants and delights: the set, the lighting, the costumes, the sound effects (bomb blasts and anti-air raid sirens, etc.) and above all, of course, the dancing.  The middle section, set in a swish dive as bombs rain down overhead, is especially compelling.  As a counterpoint to the dancing, we have a new character: a serviceman – apparently an airman – in a wheelchair.

There’s as well here a smidgeon of foot fetishism (with those slippers, what would you expect?) and a gay coupling (due no doubt to the plentiful supply of oversexed Yanks that Quentin Crisp raved about), alongside the main love story.  Oh, and some fearsome men in gas masks.

This is a terrific production of Cinderella which delivers a strikingly new interpretation of Prokofiev’s score.  However, it’s probably not suitable for children.  So be warned.

Matthew Bourne’s Cinderella is appearing at The Lowry until 27 November.  Further details are here.

And  some UK tour dates are here.

Romeo and Juliet

Romeo and Juliet
Music by Prokofiev
Birmingham Royal Ballet
The Lowry, 30 June 2010

Chi Cao as Romeo. Photo: Bill Cooper

This is a positively spiffing production of one of the most beautiful ballets.

Nao Sakuma as Juliet was quite enchanting.  She showed a girlish charm and a telling, tragic vulnerability.  What a wonderfully elegant dancer she is!  Chi Cao as her beloved Romeo was as gallant and noble as you could wish.  Let us not forget also Robert Parker’s Tybalt, played as a subtly sinister personage rather than an out-and-out baddie.

Between them, the assembled troupe and the orchestra realised Prokofiev’s sublime score and MacMillan’s classic choreography with some considerable aplomb.  And the sumptuous sets and costumes played their part, too, in transporting you to a magical time and place.

Theatrically, this was pretty much a paradisal experience: an inspiring and moving production.  It’s a pity how it all turns out for the lovely couple, mind.  But, then again, it wasn’t all apple pie with cream for Adam and Eve either.

Romeo and Juliet is at The Lowry until 3 July and then touring throughout the UK.  Details here.