 |
   |
Royal BalletJune 2007 London, Covent Garden by Paul N |
|||||||
|
As posted on our Postings pages... Well this was a right mixed bag; and what to make of it all? What are the purposes of these works and what, if anything, are they trying to say to me? Dave’s and Lynette’s reviews prompted me to ponder these questions prior to seeing the bill. And now having seen it, I don’t think I’m much the wiser. Seven Deadly Sins didn’t make much impression on me. None of the characters engendered any particularly strong feelings within me, either for or against them. I found that the work followed a predictable pattern, quickly becoming quite monotonous, with an abundance of grappling, groping and legs-a-splaying. The work didn’t seem to know how to tell me anything new about its subject or in any particularly compelling style. I don’t know whether it’s a question of ageing, but the subject matter does not seem to be delivered with anything like the seriousness and depth it requires. In our modern world, we seem to be exposed, whether first-hand, or via our various media facilities, to a regular supply of appalling crimes and tragedies, many of which may create sadness and sometimes shock, though, when the dust has settled and with honest reflection, perhaps not surprise. So this piece of art, pitted against the infinite varieties, complexities and possibilities of the real world, has to speak loudly to be heard, and it didn’t really do that for me. The musical composition and delivery did little for me and it was the sets and staging that take the top credits. What a contrast in Pierrot Lunaire! The Schoenberg was virtually impenetrable for me. I know not a single word of this strange language that seems to come from a different planet to the one on which I and my comprehension reside. Maybe it’s really speaking to a different planet anyway; an elite planet perhaps. But turning from pit to stage and here could be found interpretations of the highest order; happenings and behaviours that I found deeply disturbing, but unavoidably, horribly, compelling. It was impossible to not become caught up, helplessly but intensely, in the increasingly deep and dark events – and in the surprising ending! Putrov, Chapman and Acosta all put in totally outstanding performances, giving absolute and total commitment, their characterisations truly defining the work. Putrov has to take top honours here (and also in the whole bill), truly living, breathing and becoming Pierrot for the whole 40 minutes. It seems almost inconceivable that I might want to see this again, yet I feel strongly compelled to do just that, and, for better or worse, explore further, at some suitably safe point in the future. And I now can’t imagine experiencing this without the Schoenberg, integral as it is to the total package.
La Fin du jour got off to a somewhat striking and, well, unexpected start. But the work progressed, and although there were moments, extended periods even, of interest and beauty, ultimately, it was, on this occasion at least, lacking the substance that my appetite was really looking for. To be honest, I was probably being too distracted by the Ravel, especially as I had a great view of pianist Philip Gammon at work. A short work, but easily the musical highlight for me.
|
||||||||
|
 |
||||||||
|
|
||||||||
|
|
||||||||
|
|
||||||||
|
|
||||||||
