La Reine Morte

Those who regret that Tchaikovsky only composed three ballets (much-loved perennials Sleeping Beauty, Swan Lake and The Nutcracker) should enjoy this “new” work, featuring a score cobbled together by choreographer Kader Belarbi, artistic director of the Theâtre du Capitole in Toulouse, from the composer's various orchestral works—mostly the rarely performed Suites but also tone poems (Francesca da Rimini, Romeo and Juliet, Hamlet, and the Capriccio Italien) and even some piano pieces (The Seasons). The libretto, adapted from a play by Henry de Montherlant, centers on Pedro, a 14th-century Portuguese prince whose romance with Inés—one of his wife's ladies-in-waiting—leads his father, King Ferrante, to kill Inés, which causes the prince to rebel and, after seizing the throne, viciously punish his lover's murderers. The story allows for a good deal of dancing by the ensemble in what amount to throne room sequences where jesters take conspicuous parts. The principals—Davit Galstyan (Pedro), Maria Gutierrez (Inés), and Artjom Maksakov (Ferrante) are all excellent, as are the Capitole corps and orchestra, who play Tchaikovsky's music with verve under the baton of Koen Kessels. The sets are fairly plain, with some curious touches such as ladder-like thrones, but the costumes (especially for the women) are flamboyantly distinctive and colorful. La Reine Morte is not likely to become a repertory item internationally, but this 2015 performance from Toulouse—exhibiting an interesting combination of traditional ballet and modern dance—is bound to appeal to balletomanes. Presented in DTS 5.1 (DTS-HD 5.1 on the Blu-ray release) and LPCM stereo, extras include a cast gallery. Recommended. (F. Swietek)