<P>Serge Diaghalev<P>from the Diaghalev website,<BR> <A HREF="http://www.dmu.ac.uk/~jafowler/russes.html" TARGET=_blank>http://www.dmu.ac.uk/~jafowler/russes.html</A> <P><BR>Each day this week, David Bintley, Artistic Director of Birmingham Royal Ballet is introducing music from Diaghalev's Ballets Russes on the BBC's classical music programme, Radio3. Actually, there are treats all around at the moment, with a Royal Ballet performing 4 of the key works, a film programme in the National Film Theatre and a couple of concerts in the Royal Festival Hall. In this report on the programme, the comments on the ballet productions are Bintley's and the comments on the music itself are my own thoughts.<P>The Tuesday radio programme featured music by French composers associated with the company, performed by the BBC National Orchestra of Wales, conducted by Barry Wordsworth who has much experience of conducting for ballet. Bintley introduced the works, giving a little background and gossip from each production. The programme started with 'La Tragedie de Salome' by [Florian] Schmidt from 1911. This work was dedicated to Stravinsky, but seemed more reminiscent of Ravel to me. Bintley told us that this is one of only two works for which Schmidt is remembered, but I have to say it is pleasant, but not inspiring. <P>The ballet, choreographed by a dancer in the company, Boris Romanov, was not a great success either. Apparently, it was rather ill conceived, with Diaghalev needing a work to placate Karsavina who was put out by the attention that Nijinski was getting. The piece ended up as primarily a solo for the ballerina, with the 3 other main characters from the Salome story virtually written out. Thus, it's not surprising that the plot lost some of its resonance.<P>The second work performed in the concert was 'Le Train Bleu' (as Bintley told us there's no train and it's not blue) with music by Darius Milhaud. For the ballet, the choreography is by Nijinska, designs by Cocteau, costumes by Coco Chanel with a front drop signed by Picasso, as he was so pleased with it. Milhaud was told that it should be, '..an operetta without words, in the style of Offenbach.' The composer remarked that he knew that what was wanted was a work that did not sound as if it was by him, as Diaghalev was not keen on his usual style. On a first hearing the music does not sound as though a member of Les Six wrote it and does sound like a throwback to a period 20 or 30 years earlier.<P>The chic, ultra-modern ballet was influenced by Cocteau seeing Anton Dolin warm up and the themes of sport and jazz. Diaghalev described it as '..one of the most simple and delightful works imaginable.'<P><BR>
<P><BR> <BR>In the second half of the programme, the music improved greatly, in my view, and featured Satie and Poulenc. Bintley described how the ubiquitous Cocteau rescued Eric Satie from playing piano in a Montmartre nightclub to write 'Parade' and become a focus of attention in fashionabe Paris. The designs by Picasso were a cubist manifesto with the characters of the French and American stage-managers having the most avant-garde costumes, incorporating cubist sculptural depictions of trees and skyscrapers, respectively. The music, with a part for a typewriter (given little prominence in this performance) was similarly radical and playful. 'Parade' means a sample, that is the extracts of acts that circus performers put on, to persuade punters to pay and come inside for the main show. Massine choreographed the work and performed the role of the Chinese juggler. There was such uproar from audience and critics alike at the end of the first performance that Diaghalev, who was behind the scenes, thought that one of the chandeliers had fallen down.<P>Finally we heard Poulenc's music for 'Les Biches', which is one of the works that the Royal will perform. Bintley explained that Diaghalev wanted a ballet with no plot, '..'Les Sylphides' brought up to date.' Perhaps this is just as well, given the ambiguous, risqué nature of Nijinska's piece, with 20 women admiring 3 muscular men. We were told that one can either see nothing or read the worst into the plot. But as one commentator said, 'I doubt if this music knows it hurts. In its concealed sadness, it is a portrait of the composer.' It's a lovely work and I am looking forward to seeing 'Les Biches' for the first time.<P>For those who would like to read more about the Diaghalev events, here is the enthusiastic report by Ann Williams writing for ballet.co.uk about the Royal Ballet Insight Evening focussing on 'Les biches' and 'The Firebird'.<BR> <A HREF="http://www.ballet.co.uk/magazines/yr_00/may00/aw_rev_rb_insight_0400.htm" TARGET=_blank>http://www.ballet.co.uk/magazines/yr_00/<BR>may00/aw_rev_rb_insight_0400.htm</A> <P><p>[This message has been edited by Stuart Sweeney (edited May 14, 2000).]
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<P>Vaslav Nijinski<P><BR>Judith Mackrell is very impressed by the Royal's Diaghalev programme and is pleased to have seen the recreation of Jeux, 'after Nijinski' and values Mukhamedev's portrayal of the Faun. <P> <A HREF="http://www.guardianunlimited.co.uk/reviews/story/0,3604,218891,00.html" TARGET=_blank>http://www.guardianunlimited.co.uk/reviews/story/0,3604,218891,00.html</A> <P><BR>Whereas Ismene Brown hates 'Jeux' with a white-hot intensity, which seems to have spoilt an otherwise good evening. <BR> <A HREF="http://www.telegraph.co.uk:80/et?ac=000148269364269&rtmo=VPjZ1PVx&atmo=99999999&pg=/et/00/5/9/btnij09.html" TARGET=_blank>http://www.telegraph.co.uk:80/et?ac=000148269364269&rtmo=VPjZ1PVx<BR>&atmo=99999999&pg=/et/00/5/9/btnij09.html</A> <p>[This message has been edited by Stuart Sweeney (edited May 09, 2000).]