The Australian Ballet presents three short recent ballets which would seem at the surface to have nothing in common. In At the Edge of Night, first performed in 1997, but last performed 11 years ago, Stephen Baynes sets an impressionist ballet to seven preludes by Rachmaninov. The choreography, set design and costumes share the sensibility of the music, rolling subtly between nostalgia, longing, pining, contemplation, mild remorse, occasionally melancholy, ambivalence, poignant joy and other emotions only the piano can give a name. The brand new ballet, Halcyon by Tim Harbour, sets the Greek myth of Halcyon and Ceyx to dance with original music by Gerard Brophy. It is a particularly relevant myth about love oppressed by religion. The last ballet is Molto Vivace again by Stephen Baynes, first performed in 2003, but completely different in tone. It sets a light-hearted rococo comedy to Handel. All three are liminal, either touching, delving or diving into where phases change. We meet frontiers either as precise as the sea's surface, or as blurred as half conscious memories, or as completely black and mysterious as that between life and death and the other.
This week's concerts at Davies Hall marked a welcome return to the podium of Semyon Bychkov, who has become a favorite with San Francisco audiences in recent seasons. Mr. Bychkov has entered the admirable ranks of unattached guest conductors who travel the world conducting only the music they love, and the happy results are palpable. This year, his passion is the Walton First Symphony, and our audience is all the richer for what his advocacy has found in the music.
This week, the touring Mariinsky Orchestra, led by the ubiquitous Valery Gergiev, performed two evenings at Davies Hall in San Francisco. The first program, which I did not hear, was devoted to Prokofiev ballets and Tchaikovsky's Fifth Symphony. The second, more intriguing to me, presented Shostakovich's enigmatic final symphony, as well as an opportunity to assess the Rachmaninoff artistry of Denis Matsuev, who is being hailed these days as a pianist in the Horowitz tradition.