Brace yourself for an evening of surprises and riveting unpredictability, where the boundaries of music, movement, and dance are redefined.
Dance and music are deeply intertwined, but this symphonic programme takes a bold departure from classics like Swan Lake and The Nutcracker. Nowhere is this more evident than in Ravel’s La valse. Spinning through the shadowy corners of Viennese waltzes, the piece unfolds into a dark commentary on the chaos of post-World War I Europe and the remnants of a 19th century imperial society once obsessed with the waltz dance. Don’t be deceived by its elegant opening though; this journey was always destined to end in a tumultuous crash.
Speaking of the unexpected, the groundbreaking Parade broke free from ballet’s traditional escapism when it first premièred, placing the realities of life centre stage. In his music, Satie uses unconventional instruments like typewriters, sirens, and even airplane propellers to create a soundscape as jarring and innovative as the ballet itself.
Then there’s Dancing to an Orange Drummer, which reflects Vanessa Lann’s personal challenges adapting to life in The Netherlands, capturing the distinct rhythms and energies of her new surroundings; Larry Goves’ hollow yellow willow weaves a tapestry of patterns and sadness, with themes moving through the orchestra; and Paul Stanhope’s Piccolo Concerto contrasts lyrical melodies with jagged, dance-like figures and culminates in a ‘Funky and Fleet-Footed‘ scherzo
Photo credit: Robin Clewley
Book RNCM Symphony Orchestra: La valse at RNCM
