Reinhold Glière: The Red Poppy Suite, Op. 70
In order to secure the survival of the Russian ballet tradition, repertoire needed to radically reflect the spirit of the revolution. In 1925, the Bolshoi was holding a contest for the best modern ballet, and Reinhold Glière—inspired by Geltzer’s phenomenal performances—decided to join the competition. He initially searched hard and wide for a suitable subject, but nothing came to mind. By pure chance, he stumbled across a story published in Pravda, telling the saga about a Soviet ship with food supplies impounded in China. Glière engaged the librettist Mikhail Kurilko to write a scenario within the aesthetic constraints of socialist realism. Set in a port in Kuomintang China in the 1920’s, The Red Poppy eventually became the first truly Soviet ballet. The story tells of the love between a Soviet sailor and a Chinese girl, who is eventually killed by the sailor’s capitalist rival. The tyrannical British imperialist commander of the port sanctions her murder, as Tao-Hoa tries to escape her homeland on board a Soviet ship. As she falls dying, she gives her compatriots a red poppy as an emblem in their fight for freedom. (She had previously given a red poppy to the Soviet Captain as a symbol of her love). Tellingly, the Soviet authorities changed the name of the ballet to The Red Flower” in 1949, hoping to avoid any mistaken association with the opium trade.
The ballet premiered at the Bolshoi on 14 June 1927 and was an overwhelming success. Geltzer’s performance as the Chinese girl Tao-Hoa was judged to have been extraordinary, and she was eventually awarded the Stalin Prize, the Order of Lenin and the Order of the Red Banner of Labor. Glière was named a People’s Artist of the Soviet Union and never had problems with Soviet authorities. Politically neutral, his conservative style of music, often based on folk styles of the various Soviet republics, was perfectly in keeping with Soviet aesthetics. Glière eventually extracted an orchestral suite, and the concluding “Russian Sailors Dance” is probably his best-know musical composition. This robust and satisfying dance is based on a Russian folk-tune and provides a number of variations, ranging from serious to frantic!
Yekaterina Gletzer and Vasiliy Tokhomirov
Muses and Musings
Joseph Haydn and Marianne Genzinger Joseph Haydn was highly successful in his musical profession and the business aspects surrounding it. Yet, his personal life was somewhat of a mess.
- Reinhold Gliére (1875-1956): Heir to Russian Romantic Music Considered the heir of the Russian Romantic musical tradition, Reinhold Moritzevich Gliére (1875-1956) primarily composed on a grand scale and in large forms.
Muses and Musings
That American Woman! Robert Schumann and Mary Potts-Perkins On 14 October 1850, Robert and Clara Schumann played host to Mary Potts and her husband John Perkins in Düsseldorf.
Muses and Musings
Anna and the Red Priest: Anna Girò and Antonio Vivaldi Amid anguish and torment, Lives the contented soul, Chaste love, its only hope!
Gabriel Fauré (1845-1924)
“I’m Not in the Habit of Attracting Crowds” Song cycles composed by the “greatest master of French song”
Lieder ohne Worte II
Composer’s Fancy and Player’s Delight Enjoy more lieder by Fanny Mendelssohn, Gounod and more
Lieder ohne Worte
Composer’s Fancy and Player’s Delight A genre embraced by Mendelssohn, Fauré, Saint-Saëns and many more!
- Dining with Ravel – The Ceramics of Clarice Cliff Appreciate Cliff’s creative pottery series Ravel