Ballet in HD: Matthew Bourne’s Swan Lake

Ballet in HD: Matthew Bourne’s Swan Lake

Tchaikovsky’s celebrated music combined with the reimagined dark fairy-tale in the powerful performance by Matthew Bourne’s New Adventures company; stream from anywhere 

Tchaikovsky, Swan Lake, Act II by Bourne New Adventures company
SWAN LAKE by Bourne, 2018, Plymouth, Royal Theatre Plymouth/ Photo Credit: Johan Persson

Director Matthew Bourne’s reimagined centuries-old fairy-tale set to the timeless music by Tchaikovsky dazzles, entertains, and shocks with the audience eagerly responding to each cue extended by the dancers. Created for the New Adventure company in 1995, Bourne’s libretto combines recognizable classical themes with not so subtle references to the public obsession with Windsor royals and the old-society members’ struggle with finding their place in the modern life. From the vantage point of 2020 viewer, the story turns from an entertaining account into a complex psychological drama of mother/son relations, suppressed self-realization, and the burden of traditions.

However, there is an interesting twist to the narrative. The original tale put to music by Tchaikovsky and Swan Lake ballet’s first choreographer J. Reisigner believed to reference the life of Bavarian King Ludwig II. When visiting Schwansee in his childhood, Ludwig II was preoccupied with the swans, was emotionally weak and deemed insane later in life. He was renowned for building bigger than life castles such as Neuschwanstein. It is conceivable that King’s life inspired Prince Siegfried’s character in Swan Lake. Watching Bourne’s interpretation, it is easy to find several parallels to Ludwig’s story in the libretto.

The production is universally known for its replacement of the gentle and tense female swan ensemble with the muscular, forceful, and vindictive flock of all-male dancers. Accentuated by the strong wings and loud hissing sound, their power and domination over feeble and thickly prince is in full swing in Act II and III. Yet, with all their wild freedom, even the swans are unable to accept and accommodate the outsider in their ranks. It’s a grim reminder of the stronghold of prejudice and a drive to preserve the homogeny.

The ballet has everything from puns and jokes to the touching despair and frightening indifference of those around us. For this run, the production was skillfully updated with a rather streamlined soundtrack in place of the live orchestra among other changes. Recognized as the longest-running dance show, the plot still has its potency and bitterness. The cast delivers its lines with the grace and power expected from the renown company.

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Ballet in NYC: Matthew Bourne’s Swan Lake at New York City Center

Ballet in NYC: Matthew Bourne’s Swan Lake at New York City Center

Tchaikovsky’s celebrated music combined with the reimagined dark fairy-tale in the powerful performance by Matthew Bourne’s New Adventures company is playing until February 9, 2020 at New York City Center 

Tchaikovsky, Swan Lake, Act II by Bourne New Adventures company
SWAN LAKE by Bourne, 2018, Plymouth, Royal Theatre Plymouth/ Photo Credit: Johan Persson

Director Matthew Bourne’s reimagined centuries-old fairy-tale set to the timeless music by Tchaikovsky dazzles, entertains, and shocks with the audience eagerly responding to each cue extended by the dancers. Created for the New Adventure company in 1995, Bourne’s libretto combines recognizable classical themes with not so subtle references to the public obsession with Windsor royals and the old-society members’ struggle with finding their place in the modern life. From the vantage point of 2020 viewer, the story turns from an entertaining account into a complex psychological drama of mother/son relations, suppressed self-realization, and the burden of traditions.

However, there is an interesting twist to the narrative. The original tale put to music by Tchaikovsky and Swan Lake ballet’s first choreographer J. Reisigner believed to reference the life of Bavarian King Ludwig II. When visiting Schwansee in his childhood, Ludwig II was preoccupied with the swans, was emotionally weak and deemed insane later in life. He was renowned for building bigger than life castles such as Neuschwanstein. It is conceivable that King’s life inspired Prince Siegfried’s character in Swan Lake. Watching Bourne’s interpretation, it is easy to find several parallels to Ludwig’s story in the libretto.

The production is universally known for its replacement of the gentle and tense female swan ensemble with the muscular, forceful, and vindictive flock of all-male dancers. Accentuated by the strong wings and loud hissing sound, their power and domination over feeble and thickly prince is in full swing in Act II and III. Yet, with all their wild freedom, even the swans are unable to accept and accommodate the outsider in their ranks. It’s a grim reminder of the stronghold of prejudice and a drive to preserve the homogeny.

The ballet has everything from puns and jokes to the touching despair and frightening indifference of those around us. For this run, the production was skillfully updated with a rather streamlined soundtrack in place of the live orchestra among other changes. Recognized as the longest-running dance show, the plot still has its potency and bitterness. The cast delivers its lines with the grace and power expected from the renown company. The thought-provoking spectacle is playing at New York City Center until February 9, 2020.

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Music in NYC: Orpheus Chamber Orchestra & Vadim Gluzman, Violin at Carnegie Hall

Music in NYC: Orpheus Chamber Orchestra & Vadim Gluzman, Violin at Carnegie Hall

World premiere arrangement for chamber orchestra of Tchaikovsky’s beloved collection of piano vignettes The Seasons and Vivaldi’s The Four Seasons will be performed at Carnegie Hall on Saturday, January 25, 7PM

Orpheus Chamber Orchestra; Violinist Vadim Gluzman
Orpheus Chamber Orchestra, photo credit Neda Navaee; Violinist Vadim Gluzman, photo credit Marco Borggreve

Jessie Montgomery and Jannina Norpoth’s world premiere arrangement of Tchaikovsky’s endearing collection of piano miniatures The Seasons is paired with Vivaldi’s The Four Seasons, performed by violinist Vadim Gluzman with the insight and warmth that make him one of Orpheus’ favorite collaborators.

Program:

TCHAIKOVSKY arr. Jessie Montgomery and Jannina Norpoth: The Seasons, Op. 37a

VIVALDI: The Four Seasons

 

Tickets start at $25 | Student tickets are $15 | Groups of 8 or more save 25%

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Opera in NYC: The Queen of Spades at The MetOpera

Opera in NYC: The Queen of Spades at The MetOpera

Pyotr Ilyich Tchaikovsky’s opera about the vices of gambling and greed is performed at The MetOpera by the impressive international cast

Larissa Diadkova as the Countess, Lise Davidsen as Lisa, Yusif Eyvazov as Hermann, and Igor Golovatenko as Prince Yeletsky in Tchaikovsky's "The Queen of Spades" at the MetOpera
Larissa Diadkova as the Countess, Lise Davidsen as Lisa, Yusif Eyvazov as Hermann, and Igor Golovatenko as Prince Yeletsky in Tchaikovsky’s “The Queen of Spades.” Photo: Ken Howard / Met Opera

Mysterious and alluring, the Imperial Russia of Catherine the Great’s time takes the stage of the Met Opera this December. The critics call The Quees of Spades, a masterpiece created by Pyotr Tchaikovsky, the highlight of the season so far. The splendid and imperially rich set and costume design by Mark Thompson recreates the times of extreme fashion, endless balls, and futile gambling and drinking nights. Premiered in 1995, Elijah Moshinsky’s production of The Queen of Spades is also memorable to the opera fans for Dmitriy Hvorostovky’s debut at the Met Opera.

This year’s production features a superb cast of international stars with a radiant soprano Lise Davidsen as Lisa, an expressive tenor Yusif Eyoavazov as Hermann, impeccable baritones Igor Golovanenko and Aleksey Markov as  Tomsk and Yeletsky, and a moody mezzo-soprano Larisa Diadkova as the countess. The conductor Vasily Petrenko makes his debut on the Met stage and takes full control of the splendid music score, leading the musicians in perfect alignment with the singing and acting.

Alexey Markov as Count Tomsky in Tchaikovsky's "The Queen of Spades."
Alexey Markov as Count Tomsky in Tchaikovsky’s “The Queen of Spades.” Photo: Ken Howard / Met Opera

Davidsen’s stormy entry into the opera world can only be fully appreciated when her powerful performance is observed on stage. With an understatement so suitable for Lisa, a young Russian lady of modest means, Davidsen uses her vocal strength to deliver the angst and desperation because of her lover’s betrayal in the name of material possessions. The colorful and exquisitely designed chorus scenes contrast with the gloomy mood and greedy aspirations of the high society. But the gorgeous music and the impressive signing save the day to the elation of the audience.

The opera is sung in Russian with subtitles; run time 3 hours and 35 minutes with one intermission. Performances are from December 5 – 21, 2019. 

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