Nelsons and Thibaudet play Gershwin.

Subtlety in the Shed: an Oxymoron? Nelsons and the BSO play Stravinsky’s Petrushka and Gershwin, with Jean-Yves Thibaudet

After the sparkling performance of George Gershwin’s little gem of variations on one of his most popular songs, an audience member asked her husband “Do you want to stay after intermission?” Certainly the atmosphere had been more that of a Pops concert with hearty applause after the first movement of the concerto as well as an ovation at the end; but at that moment it struck me that the ears that savored the pleasures of Gershwin might not relish the kaleidoscopic astringencies of Stravinsky. The much less enthusiastic audience reception for the ballet score affirmed this, despite a performance that capably revealed the colors and shapes of this astonishing breakthrough work.

Aleksandr Yakovlevich Golovin Kashchei's stuffy kingdom. Sketch of scenery for the ballet by I.F.Stravinsky "Firebird" 1910 Paper, gouache, water-colour, bronze paint 82,5 х 102

Matthias Pintscher, Guest Conductor of the Sydney Symphony Play Stravinsky, Ravel and Pintscher

Before Diaghilev decided to bring Russian art to the west, starting with his exhibition of Russian art in Paris in 1906, in 1908 bringing Chaliapin to Paris to sing Boris Godinov, and then his formation of the Ballets Russes, first performing in Paris in 1909, unadulterated, purely Russian art was little known or appreciated outside asia. Vast Russia, except for its toe in Europe was perhaps considered something of a cultural backwater in Europe. Diaghilev didn’t hold back in bringing this unadulterated Russian art, also discovering and hiring young or little known artists — like Stravinsky — and this was part of his art’s huge appeal in west to this day. So when Stravinsky visited the far, far East — Australia — in 1961, it was perhaps not so far from his roots nor so incongruous. Traditional indigenous Russian or central asian art was often an influence in the set designs and style of Bakst, Benois, Golovin, Roerich and the others, costumes sometimes used original traditional textiles (like the ikat fabrics bought from nomadic traders at St Petersburg markets for the costumes for the Polostvian dances from Borodin’s Prince Igor), the choreography was sometimes classical in the best Petipan Franco-russian tradition preserved in the imperial Maryinksy school, but was often entirely new in style, especially Vaslav Nijinsky’s for the Rite of Spring, though often borrowing from traditional, indigenous Russian dance, as in Firebird and Petroushka. Western audiences seemed unconsciously to understand this bizarre new art and went crazy for it, famously starting riots and booing, also becoming most fashionable tickets to have.

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