Review: Esa-Pekka Salonen and Peter Sellars create Stravinsky myths for our time
Renowned theater director and UCLA Department of World Arts & Cultures/Dance professor, Peter Sellars’ production of Stravinsky’s peculiar concoction of dance, song and spoken drama, “Persèphone,” was unveiled Thursday night at Walt Disney Concert Hall as the closing of Esa-Pekka Salonen’s two-week Los Angeles Philharmonic Stravinsky series.
"In times of trouble, when the world seems headed toward disaster, we often turn to mythology to find our moral footing. At the same time, “myth” remains our term for untruths. Welcome to our world.
Cambodian dancers Nam Narim, left, Sam Sathya and Chumvan Sodhachivy perform in Peter Sellars' production of Stravinsky's "Persèphone," with Esa-Pekka Salonen conducting the Los Angeles Philharmonic in Walt Disney Concert Hall on Thursday night. (Dania Maxwell / Los Angeles Times) What would “Star Wars” or “Game of Thrones” be if not laden with ancient mythology? Is it just coincidence that “Hadestown,” updated Greek mythology, is the latest Broadway sensation or that Los Angeles Opera not only will premiere Matthew Aucoin’s “Eurydice” next season but thinks the Orpheus myth is relevant enough to mount a county-wide festival around it?
Given that myths bring us together, and myths as false news tear us apart, we obviously need to get them right.
That’s clearly the mission of Peter Sellars’ production of Stravinsky’s peculiar concoction of dance, song and spoken drama, “Persèphone,” unveiled Thursday night at Walt Disney Concert Hall as the closing of Esa-Pekka Salonen’s two-week Los Angeles Philharmonic Stravinsky series. The program, which runs through Saturday night, begins with the ballet score “Orpheus.”
Both stories concern Hades, the underworld. Orpheus, the musician, goes in search of his love, Eurydice. Persephone (or Persèphone in French), the daughter of Demeter, goddess of bounteous harvest, of Earth’s fertility, is drawn to the underworld to serve its suffering souls and becomes wife of Hades."— Mark Swed, Apr. 19, 2019
This post is an excerpt. Read the full article on the Los Angeles Times website.
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