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.
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.
Ever since it’s triumphant premiere in January 1960, Frederick Ashton's La fille mal gardée has been esteemed as one of his happiest creations. This is a charming piece, elegantly performed, a village love affair set in the idyllic Constable landscape of Ashton's imagination. Marianela Nuñez and Carlos Acosta would be show-stoppers in almost any suitable role, but as Lise and Colas they are superb. William Tuckett and Jonathan Howells, in the comic roles of Simone and Alain respectively, are every bit as arresting, both displaying a certain genius for knockabout. The luminously colourful Osbert Lancaster designs, together with the vitality of The Royal Ballet’s dancing and vibrant playing from the Orchestra of the Royal Opera House under the baton of Anthony Twiner, serve to augment the harmless good fun at which Ashton excels.
The name of Henri Dutilleux (1916–2013) is associated above all with orchestral music. His international reputation originated with the Second Symphony, ‘Le Double’ (premièred in 1959) and was confirmed by works such as Métaboles and the cello concerto Tout un monde lointain… But what about before that? In the centennial year of the composer's birth, the Orchestre National des Pays de la Loire and Pascal Rophé present a programme which focusses on works composed before 1954, and offers the opportunity to discover a less familiar but by no means negligible side of Dutilleux's creative activity: songs and music for the theatre and film. Several of the works on this disc are recorded for the first time in these versions, or indeed at all.
This set of 6 CD contains a collection of 100 favorite classical ballet, performed by some of the world's leading artists and orchestras. Among them Tchaikovsky, Sergei Prokofiev, Dmitri Shostakovich, London Symphony Orchestra and many others. Enjoy!
In the late 1940s, the pioneering Decca recording engineers perfected a new set of microphone techniques that allowed the full range of frequencies to be fully heard by listeners for the first time, and the term ‘full frequency range recording’ was launched. It was a major revolution in sound quality, and the beginnings of high fidelity.