Two years ago, when Charles Dutoit led the Philadealphia Orchestra in Strainvksy’s “Apollo,” it was played differently than I’d ever heard it when seeing Balanchine’s ballet performed. It was fascinating to compare interpretative decisions, the way that any musical reading makes different accommodations and adjustments without the inevitable dictates of human limbs and sinews.
In the adagio, phrase endings were clipped–no leg was onstage stretching to utmost breadth. There were fewer syncopated accents–Balanchine’s choreography was not there to underscore them.
The score itself seemed rather pleased at being released from the obligations of accompaniment or even partnership!
Last week at the NY Philharmonic, Alan Gilbert led Prokofiev’s Violin Concerto No. 1, featuring violinist Lisa Batiashvili. I’ve heard it so many times as I watched Opus 19: The Dreamer, the ballet that Jerome Robbins made to this music for New York City Ballet in 1979.
Now, the entire score seemed to be less plangent, less manifestly embedded by the dancer’s steps on the ground. The rubatos were freer and more liberty was allowed in extremes of tempi.