La Fille mal gardée is the only classic ballet from the 18th century that continues to be performed in international repertoire. Choreographed here by Heinz Spoerli, this comic tale of two lovers features guest star Valentina Kozlova and the Basle Ballet with John Lanchbery conducting the Wiener Symphoniker.
I had never heard of Hérold before I came across this disc, but I'm sure glad I found him. I won't pretend these works are just as worthy as Beethoven or Mozart (I'm definitely not qualified to make such an assessment), but they are extremely enjoyable and deserve to be heard. The style is, as described on the back cover, somewhere between Mozart and the young Chopin (like Hummel maybe?). The works included are Piano Concertos Nos. 2-4; No. 1, according to the notes, is both a bit amateurish and almost impossible to read/reconstruct…….Cory Nowosiadly @ Amazon.com
Louis Ferdinand Herold was born to write for the theatre. This much is obvious from these present recordings. Herold's many theatrical works these days are rarely performed, but the brilliant orchestration, easy-to-remember motives, and a touch of amiable exoticism are the main ingredients that make these performances a "classic" of early 19th-century French instrumental music.
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A classic of The Royal Ballet, La Fille mal gardée was an immediate hit with the British public. Choreographed by Frederick Ashton in 1960, it is a highly lyrical and technically demanding take on the simple tale of ‘love prevailing’ which underpins this charming story. It was created by French ballet master Jean Dauberval and was first danced in 1789. This 2015 revival is a ‘company triumph’ (Independent), with principals Natalia Osipova and Steven McRae creating terrific onstage chemistry and delivering outstanding solo performances – Osipova as a ‘perky and gamine Lise’ with ‘pin-drop precise’ phrasing (Guardian), and McRae an instantly likeable, playful Colas whose physical articulation is ‘particularly Ashtonian’ in quality (Daily Telegraph). They are joined by Philip Mosley as Widow Simone, who brings ‘music-hall gusto’ (Independent) to the famous clog dance of Act I.