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 Posted:   May 15, 2017 - 12:02 PM   
 By:   leslie   (Member)

Having just seen Matthew Bourne's splendid ballet production in Edinburgh last week, I can urge all admirers of Bernard Herrmann not to miss it.

The whole production is a loving tribute to the composer, and musical dirctor, Terry Davies, by and large, sticks very closely to Herrmann's orchestrations.

Bourne, himself, has stressed that the glorious Main and End Titles of " The Ghost and Mrs Muir " provide the emotional core of the ballet and he is totally justified in his choice of this music as the centrepiece of the work ( the little cottage motif and the Andante Cantabile are also featured).

A capacity audience was totally hushed into breathless silence by the emotionally overwhelming and stunning use of Antimacassar from Welles Raises Kane ie " Magnificent Ambersons " - an absolute showstopper.

By the end of the show there was much dabbing of moist eyes and, later in the restaurant, I overheard some of the audience wondering why they had never heard all this glorious music before. No wonder, Stephen Sondheim has stressed that, as a young boy, he was not influenced by classical music but by thee dramatic music he heard in the cinema, particularly Hermann and Hangover Square ( also featred in the ballet )

 
 
 Posted:   May 15, 2017 - 4:46 PM   
 By:   TZfan01   (Member)

Sounds like a wonderful idea. Thanks for letting us know about it.

 
 
 Posted:   May 15, 2017 - 4:58 PM   
 By:   RonBurbella   (Member)

Googling around yielded these dates for the North American Tour (so far):
LOS ANGELES: Sept 15 to Oct. 1

Tony Award-winning Center Theatre Group enters its second half-century at The Ahmanson Theatre at The Music Center in downtown Los Angeles with the 2017-18 Season curated by Artistic Director Michael Ritchie. In addition to two Tony-nominated musicals, a Tony-winning play and the world premiere of a Center Theatre Group commission, the season’s programming will present the American premiere of Matthew Bourne’s The Red Shoes.

“For more than 50 years, Center Theatre Group has been working with the world’s greatest artists to present unforgettable experiences for our audiences,” said Ritchie. “As we enter our next 50 years, I am pleased to be able to offer a wide-ranging season for our vibrant and diverse city.”

“We welcome the return of the newly knighted Sir Matthew Bourne with the American premiere of another masterpiece, The Red Shoes,” he added.

Presented by Glorya Kaufman Presents Dance at The Music Center, The Red Shoes will run September 15 through October 1, 2017, with the official opening set for September 20.

********************************************************************
Now, while I haven't seen a ballet in over 20 years, the mix of the best of Bernard Herrmann's film music
and a modern well-done ballet directed by such an award-winning talent as Sir Matthew Bourne seems quite a tantalizing offering, even if it's 3000 miles away. I'm hoping that the North American tour will be offering it on the East Coast for this Jersey Boy to enjoy.

Ron Burbella

 
 Posted:   May 19, 2017 - 8:06 AM   
 By:   Guenther K   (Member)

Herrmann spins in his grave...

 
 
 Posted:   May 19, 2017 - 5:50 PM   
 By:   TerraEpon   (Member)

Herrmann spins in his grave...

Don't see why. It's not as if using previously composed music for a ballet is at all an odd thing. It's really pretty common in fact. I don't see why Herrmann, specifically, would have been against it.

 
 
 Posted:   Oct 10, 2017 - 3:31 PM   
 By:   zeektwerpy   (Member)

Combining music from different works is exactly the same as taking chapters from different books and arbitrarily combining them together. The result can only be incoherence. It's amazing that people like this spend so much time on everything else and then slap music on it in such an amateurish manner.

 
 
 Posted:   Oct 10, 2017 - 3:41 PM   
 By:   Bond1965   (Member)

For all you negative Nellies, I saw the L.A. production and it was one of the most spectacular stage experiences I have ever had.

The use of the Herrmann was inspired and well thought out.

I would love to have a CD of Terry Davies arrangements of the Herrmann score for this.

James

 
 Posted:   Oct 10, 2017 - 3:48 PM   
 By:   msmith   (Member)

I wonder what Herrmann would say about his music being used this way.

 
 
 Posted:   Oct 10, 2017 - 6:28 PM   
 By:   lacoq   (Member)

No doubt the budget didn't allow for a nice size orchestra with a full dept. of strings, but yikes! The arrangements sound like an off broadway roadshow. That pounding piano is a curse! I can't believe I'm saying this, but I've heard recent orchestral cues done with the latest computer software that is close to the real thing that would have sounded better. I re-emphasize that I don't like the computer faux orchestra approach at all, but in this case maybe?

 
 Posted:   Oct 11, 2017 - 3:09 AM   
 By:   Guenther K   (Member)

Herrmann spins in his grave...

Don't see why. It's not as if using previously composed music for a ballet is at all an odd thing. It's really pretty common in fact. I don't see why Herrmann, specifically, would have been against it.


a. He didn't like his music to be used out of context.
b. And if you need to use already existing music, why not use the original Easdale?

 
 Posted:   Oct 11, 2017 - 3:10 AM   
 By:   Guenther K   (Member)

I wonder what Herrmann would say about his music being used this way.



He would have gone ballistic.

 
 Posted:   Oct 11, 2017 - 3:10 AM   
 By:   Guenther K   (Member)

I wonder what Herrmann would say about his music being used this way.



He would have gone ballistic.

 
 Posted:   Oct 11, 2017 - 3:10 AM   
 By:   Guenther K   (Member)

I wonder what Herrmann would say about his music being used this way.



He would have gone ballistic.

 
 
 Posted:   Oct 12, 2017 - 9:36 AM   
 By:   eriknelson   (Member)

Did the ballet producers have to obtain permission from the Herrmann estate?

 
 
 Posted:   Dec 16, 2017 - 2:56 PM   
 By:   Howard L   (Member)

I wonder what Herrmann would say about his music being used this way.

I wondered what the NY Times had to say:

Smooth flow and swirling action are also the strengths of Mr. Bourne’s choreography and direction. This production moves. But besides the set, its chief cleverness lies in its choice of music, a collage clipped from various film scores by Bernard Herrmann. It’s the sound of “The Ghost and Mrs. Muir” and Alfred Hitchcock, of high anxiety and romantic melodrama, with string sections desperately scaling musical cliffs and orchestral waves crashing.

The deftness with which Mr. Bourne (aided by the arranger Terry Davies) makes Herrmann’s musical moods and cues serve his story gives sustained delight. The shoe keeps fitting.


https://www.nytimes.com/2017/10/28/arts/dance/review-the-red-shoes-matthew-bourne.html


 
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