Tchaikovsky’s Nutcracker at the Mariinsky

We often overlook the Russianness of one of our most beloved Christmas traditions.  It is Tchaikovsky’s Nutcracker, after all.  Almost one hundred twenty years ago, to the day, The Nutcracker premiered at the Mariinsky Theatre in St. Petersburg (known as the Kirov during darker Soviet days).  At the time, reviews were rather mixed, but it caught on eventually.  The Mariinsky Theatre Ballet Company and the Mariinsky Theatre Symphony Orchestra, under the direction of Valery Gergiev, once again perform the holiday favorite where it all began.  The Sugar Plum Fairy will indeed dance when The Nutcracker screens in 3D nationwide, for one day and one day only, this coming Monday, via Fathom Events (trailer here).

As everyone should know, young Masha’s eccentric godfather, Councilor Drosselmeyer, brings some remarkable toys to her family’s Christmas Eve festivities.  However, only she has eyes for his wooden Nutcracker.  Waking just before midnight, Masha witnesses an epic clash between the Mouse King’s rodent army and the gingerbread soldiers led by the Nutcracker.  Thanks to her intervention, the Nutcracker prevails.  Shortly thereafter, they are transformed into fully grown lead dancers and whisked off to a fantasy land.  Much dancing ensues.

Directed for the screen by Andreas Morrell, the Mariinsky Nutcracker does not skimp on pageantry.  The sets and costumes are as lavish and elegant as viewers would expect, except the mice soldiers, who are deliberately cartoony enough not to upset even the most sensitive of young viewers.  Of course, the dancers are world class, particularly the striking Alina Somova as Princess Masha.  Evidently though, Mariinsky patrons are tough audience.  They do not show much love until the principles reach the Land of Sweets.  That must be a Russian thing.

Incorporating Vasily Vainonen’s acclaimed choreography, the Mariinsky Nutcracker should satisfy experienced ballet connoisseurs and first-time viewers.  While only available in 2D for review attention, it should lend itself quite nicely to 3D, especially the whirling dances in the Land of Sweets, performed in long, flowing exotic garb.  Indeed, Wim Wenders’ Pina proved the utility of 3D cinematography in conveying the spatial dynamics of dance.

There is a reason The Nutcracker has become a Christmas tradition.  Tchaikovsky’s music and the fantastically bittersweet story, sort of adapted from E.T.A. Hoffman’s story, just always seem to work.  With dancers of the Mariinsky’s caliber performing in such a storied venue, it can’t miss.  Recommended for festive families and the cultured elite alike, the Mariinsky’s Nutcracker screens twice this coming Monday (12/3) at theaters throughout the country, including the AMC Empire and Regal Union Square here in New York.

Accent on the Offbeat

Accent on the Offbeat
Featuring Wynton Marsalis and Peter Martins
Kultur

Wynton Marsalis has been criticized for bringing a classical oriented repertory conception to jazz as artistic director of Jazz @ Lincoln Center. His ambitious commissions from major cultural institutions have fueled that perception of elitism and most likely not a small degree of professional envy. Accent on the Offbeat chronicles the making of one such commission, Jazz (Six Syncopated Movements) a collaboration between Marsalis and chorographer Peter Martins of the New York City ballet.

Marsalis is heard early in the film explaining the original conception:

“When we first met he said he wanted the ballet to be about American life, and that’s very easy for jazz musicians because that’s what our music is about. And the jazz musicians have never had to try to escape being American by genuflecting to deeply towards Europe or any of that. Our music is constructed from the American vernacular musics.”

Marsalis and Martins are seen as vastly different personalities. Of the two, Marsalis clearly comes off better. At first, Martins cannot seem to decide if he can deal with Marsalis’ music, or if he even likes it. When he finally starts working with it, Martins comes off as a demanding high art type, with a sizeable ego. Later, seeing Martins schmooze with Henry Kissinger in the makeup room before he and Marsalis appear on Charlie Rose will probably set a lot of teeth on edge, across a wide political spectrum.

For his part, Marsalis appears to be the one trying to make it work, well served by his laid back jazzman’s persona. When copyist Ron Carbo asks about a change Martins wanted, Marsalis slyly replies: “I’ll just play the first phrase and do a lot of smiling just giving him the impression that I’m doing what he wants me to do.” Marsalis later puts things in perspective for Carbo saying: “like my daddy always told me, learn how to work a job.”

Marsalis had a tremendous ensemble for the project, including J@LC stalwarts Herlin Riley, Victor Goines, Wessell “Warmdaddy” Anderson, as well as Wycliffe Gordon and Todd Williams, who have since left the Marsalis/J@LC band. Accent focuses on the rehearsals, so not all of the music is heard in its final, polished form. However, enough of the movements are heard to give viewers a good taste. Accent concludes with performances of two movements, starting with “‘D’ in the Key of ‘F’ (Now the Blues),” a beautiful feature for Anderson’s alto and Williams’ tenor. The jaunty “Ragtime” is also seen with its final choreography (and heard over the menu screen), showcasing Goines on clarinet and Eric Reed on piano, before Marsalis and the brass come in for some rollicking ensemble passages.

Martins’ publicist might not be happy with Accent, but give the New York City ballet its proper due. The dancers are very talented, and sound quite enthusiastic in interview segments. Accent is a consistently interesting behind-the scenes look at a major cultural production. It also very well photographed, looking great for a so-called “vérité” film. The music is available in its entirety on Marsalis’ Jump Start and Jazz.

Marsalis is frequently caricatured as argumentative and opinionated. Accent presents a different, nuanced perspective on a very public artist.