Philharmonia Orchestra
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Mozart-Ensemble Luzern
(chorus master Pascal Mayer)
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Esa-Pekka Salonen
conductor
Maurice Ravel (1875-1937)
“Le Tombeau de Couperin”
Claude Debussy (1862-1918)
"Three Nocturnes"
Sergey Prokofiev (1891-1953)
Excerpts from the ballet “Romeo and Juliet”, Op. 64
When Prokofiev was asked to write a ballet for the State Academic Theater in Leningrad in 1934, he initially thought of “Tristan and Isolde” or “Pelleas and Melisande” before deciding on the famous pair of lovers from Verona in his “Romeo and Juliet.” And he chose well: His interpretation of Shakespeare’s tragedy has long since numbered among the most famous orchestral treatments of this material. Yet because the dancers had difficulty with Prokofiev’s tricky meters, both in Leningrad and in Moscow, this ballet’s success story began not on the stage but in the concert hall. And there it has remained a repertory favorite thanks to Prokofiev’s precisely shaped, angular, and inventive music, which bursts with energy. For his part, Debussy invented erotic sounds for his “Three Nocturnes”—in particular in the final one, in which a wordless female chorus suggests the mysterious song of the Sirens: “It is impossible to listen to the Sirens without being destroyed by them.”
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