A Month in the Country (ballet)
A Month in the Country is a narrative ballet created in 1976 with choreography by Frederick Ashton, to the music of Frédéric Chopin (three works for piano and orchestra) arranged by John Lanchbery. It is based on the play by Ivan Turgenev of the same name, and lasts for about 40 minutes.[1]
History
Ashton had the idea of a ballet based on A Month in the Country since seeing the play in the 1930s at the Westminster Theatre, but a meeting with Isaiah Berlin in the late 1960s helped him decide on the subject, and he took up Berlin’s suggestion of using the music of Chopin. During the preparation of the ballet, Ashton encouraged the dancers to see the play in London with Dorothy Tutin as Natalia. [2]
The ballet was first performed on Thursday, 12 February 1976, by The Royal Ballet at the Royal Opera House, Covent Garden, with Lynn Seymour and Anthony Dowell in the leading roles; later interpreters have included Merle Park and Sylvie Guillem as Natalia and Michael Coleman, Mikhail Baryshnikov, and Ivan Putrov as Belaiev. The work was performed by the Royal Ballet every season from 1976 to 1979 and is regularly revived at Covent Garden.[3]
It has also been seen on tour in New York and Havana. In 1995, Dowell mounted the ballet for the National Ballet of Canada, the first time it had been performed by any other company.
The ballet was filmed for television in a performance at the Royal Opera House in 1978 with the original principals, and broadcast with an interview of Ashton by Robin Ray.[4]
Peggy Ashcroft — after seeing a performance — told Ashton that she thought his adaptation was better than the original.[2]
Story
The story concerns the emotional disturbance caused by the presence of a tutor in the home of a country Russian family. Natalia Petrovna, a bored wife, falls for the young tutor of Kolia, Belaiev. The ballet contains a series of pas de deux which carry the action forward: Natalia and her admirer Rakitin, Belaiev and Vera, Natalia’s ward, Belaiev and the maid Katia, and Belaiev and Natalia. In the finale, Vera summons the household to witness the embraces of Natalia and Belaiev; Rakitin tells Belaiev that both of them should leave the house. Alone on stage, Natalia despairs at the young man’s departure, but he returns unseen and unheard and leaves her the rose she had given him.
Music
The music is by Chopin:
- Variations on "Là ci darem la mano" in B-flat major
- Fantaisie brillante on Polish Airs in A major
- Andante spianato et grande polonaise brillante[5]
The work is dedicated to Sophie Fedorovitch and Bronislava Nijinska.
Original cast
| Role | Dancer |
|---|---|
| Natalia Petrovna | Lynn Seymour |
| Yslaev | Alexander Grant |
| Kolia | Wayne Sleep |
| Vera | Denise Nunn |
| Rakitin | Derek Rencher |
| Katia | Marguerite Porter |
| Matvei | Anthony Conway |
| Beliaev | Anthony Dowell |
References
- ↑ Vaughan D. Frederick Ashton and his Ballets. A & C Black Ltd, London, 1977.
- 1 2 Kavanagh J. Secret Muses: The Life of Frederick Ashton. Faber & Faber Ltd, London, 1996.
- ↑ Bland A. The Royal Ballet – the first 50 years. Threshold Books, London, 1981.
- ↑ British Film Institute website: http://www.bfi.org.uk/filmtvinfo/ftvdb/, accessed 16 October 2009.
- ↑ Lanchbery J. Programme note for Royal Ballet, 9 August 1984.