Given its premiere by The Royal Ballet in 1965 with Rudolf Nureyev and Margot Fonteyn dancing the title roles, Kenneth MacMillan's first full-evening ballet has become a signature work for the Company, enjoying great popularity around the world. From the outset, the production teems with life and colour as the townspeople, market traders and servants of the rival Montagues and Capulets go about their daily business in vibrant crowd scenes. But Romeo and Juliet take centre stage for those great pas de deux: the meeting in the ballroom, the balcony scene, the morning after the wedding and the final devastating tomb scene. Although The Royal Ballet has performed Romeo and Juliet over 400 times, each performance and pairing is subtly different and Lauren Cuthbertson and Federico Bonelli are utterly captivating in the title roles.
Cuban Superstar Carlos Acosta dances Romeo in Kenneth Macmillan’s timeless version of the Shakespeare/Prokofiev Classic Ballet ‘Romeo & Juliet.’ In this perennial favourite, Carlos Acosta dances alongside his regular partner, the Spanish ballerina, Tamara Rojo – a celebrated stage partnership which currently has no equal. The drama of the doomed lovers is set against the ravishing sets and costumes designs of Nicholas Georgiadis.
Combined, Prokofiev’s three suites from Romeo include about half of the score. Still, most conductors who want to give us a full CD (or even a full LP) of Romeo pick their own extracts from the complete ballet instead of stringing together the suites. That’s probably at least partly because they don’t share Prokofiev’s preferences when it comes to favorite moments—but it’s also because, as written, the suites are organized for musical rather than narrative coherence, and thus provide little sense of the play’s dramatic trajectory. One way around the second of these issues, of course, is to reorder the suites: that’s, for instance, what Mitropoulos does with selections from the more popular First and Second. Here Andrew Litton pushes that idea to its limit, giving us all 20 movements of the three suites “in the order the music appears in the ballet score.”
Considering that Thomas' arrangement contains virtually all the main thematic material from the ballet (minus Prokofiev's many repetitions), for many listeners this hugely enjoyable disc will be the one Romeo & Juliet to have and hold. - Victor Carr Jr, Classicstoday.com
In the summer of 1917, Chicago businessman Cyrus McCormick, Jr., the farm machine magnate, met ̀the 26-year-old composer Sergei Prokofiev while on a business trip to Russia. Prokofiev was unknown to McCormick, but the composer recognised the distinguished American’s name at once, because the estate his father had managed owned several impressive International Harvester machines. McCormick expressed an interest in the composer’s new music, and he eventually agreed to pay for the printing of his unpublished 'Scythian Suite'. He also encouraged Prokofiev to come to the United States, and asked him to send some of his scores to Chicago Symphony Orchestra music director Frederick Stock. Prokofiev made his debut with the Chicago Symphony the following season, playing his First Piano Concerto and conducting the orchestra in his Scythian Suite in December 1918, both U.S. premieres and returned to Chicago four more times.
Ernest Ansermet was in the peak of his directorial power in this decade. The real effort to guide and elevate the Suisse Romande to the most famous swiss orchestra ever was made for this admirable and not yet recognized conductor. Ansermet had a special rapport for the Russian composers. In this recording we have the presence of the virtuosi violinist Ruggiero Ricci characterized with a cold temperament but gifted with a steel sound extremely adequate for this works, giving his best musical achievement of his brilliant career with both Prokoviev violin concertos.