Seldom in the history of classical music has a name been linked so thoroughly in people’s minds with a particular style of music than the way Pyotr Ilyich Tchaikovsky’s name has been linked with ballet. Ask any layperson to name a ballet and the odds are fairly good that their answer will be one of Tchaikovsky’s most famous compositions – ‘Swan Lake’ (this link is to ‘The Dance of the Little Swans’, which is amazing) or ‘The Nutcracker’. Continue reading “Composer Profile: Pyotr Ilyich Tchaikovsky (1840-1893)”→
Based on two chapters from the 17th century Spanish novel of the same name by Miguel de Cervantes, Don Quixote was first performed in Moscow by the Ballet of the Imperial Bolshoi Theatre in December 1869. It was choreographed by Marius Petipa (1818-1910) to a score by Ludwig Minkus (1826-1917), but subsequently heavily revised and is now performed along the same lines as a version staged by Alexander Gorsky (1871-1924) in 1900. Continue reading “Ballet on the Sofa: Don Quixote”→
Bright, brief, and action-packed, Stravinsky’s ‘Firebird’ was the perfect antidote to my underwhelming response to Wagner’s ‘Tristian and Isolde’. Stravinsky composed the score for Firebird in 1910, and the music is so appealing and enjoyable that it continues to be performed regularly even without the accompanying ballet as ‘The Firebird Suite’.
Because, why not? The version I watched was a 2011 performance by the Opera National de Bordeaux, and it seems from the comments that it wasn’t very good. I guess the advantage of being someone who has watched precisely two other professional ballets in my life (‘Swan Lake’ while I was at university, and ‘Sleeping Beauty’ about this time last year) is that my complete lack of experience and preconceptions leaves me free to be delighted, which I was. Continue reading “Ballet on the Sofa: Giselle”→