Stravinsky: Firebird, Rite Of Spring / Mariinsky

Mariinsky Orchestra and Ballet, conducted by Valery Gergiev

Igor Stravinsky (1882-1971): The Firebird / The Rite of Spring

Wholenote Discoveries - September 2009
This is an outstanding and important document of an historic event. The celebrated riot that occurred on the 6th of May, 1913 during the first performance of the new ballet, Le Sacre du Printemps was the expression by the outraged audience at being assaulted visually and aurally by Sergei Diaghilev and his Ballets Russes. A year earlier Diaghilev had delighted them with a work commissioned from Ravel, Daphnis et Chloë, choreographed by Michel Fokine. Earlier Vaslav Nijinsky had caused a minor riot with his languid, homo-erotic vision of Debussy’s Prelude à l’apres-midi d’un faune, which he was obliged to secretly choreograph in his room. But Le Sacre was something new, unheard of and unexpected in every respect. Pounding and brutal rhythms with rapid time changes drove the dancers to unrefined movements and inelegant poses. In a complete reversal of the usual order of things, Le Sacre began with the music for which a storyline had to be devised. It became the rites of an ancient Slavic tribe attempting to alter their destiny. The night of May 6, 1913 was the beginning of the end of Le Belle Epoch. WW1 didn’t help. If you buy this DVD, as you really should, be sure to watch and absorb the bonus features, including an interview with art historian Kenneth Archer and Millicent Dodson whose re-construction of Nijinsky’s undocumented choreography was certainly a labour of love. This is a fascinating account as Dodson outlines and particularises on the search for documents, evidence, and people to illuminate this seemingly impossible task. Along with that, the costumes, their colors and the scenery presented further enigma. We also witness Dodson and Archer supervising the 120 hours of rehearsals in St. Petersburg. Now, one can grasp what is happening on the stage featuring up to 47 dancers, often with individual choreographic roles. The huge Kirov Orchestra under Gergiev plays with extraordinary vehemence and savagery, the like of which one would never hear in an orchestral concert. It certainly works here. Also included is The Firebird, presented as originally staged with the choreography of Michel Fokine and the sets designed by Fokine, Alexander Golovin and Leon Bakst. These live performances were captured in high definition, wide screen video. The extraordinarily wide dynamic range is thrilling in 5.1 audio. Bruce Surtees
Today it is difficult to imagine the impact on audiences at the beginning of the 20th century of Serge Diaghilev (1872-1929) and his Ballets Russes. Diaghilev, a genius impresario surrounded himself with the greatest avant-garde talents of his time. Wonderstruck, sometimes shocked, audiences discovered performances that brought together the best choreographers, dancers, composers, painters and decorators. Truly authors of an aesthetic revolution, the Ballets Russes had an enduring impact on theatre arts and dance.
The two works presented here are performed by the lead dancers and Ballet Company of the Saint Petersburg’s Mariinsky Theatre which in the 19th century was the temple of classical dance. It was also in Saint Petersburg that Serge Diaghilev created Ballets Russes that he brought to international renown. The Mariinsky Orchestra is conducted by Valery Geriev, known the world over for his interpretation of Stravinsky’work.

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