ALBERT VOORSANGER (Violin) (By permission of the Folkestone Corporation)
THE B.B.C. ORCHESTRA
(Led by LAURANCE TURNER )
Conducted by VICTOR HELY-HUTCHINSON
William Tell was the last of Rossini's operas, but he lived long enough after completing it to have written a dozen more had he chosen to. The loss is ours, for the William Tell music is that of a genius in his prime. It has been often remarked how much of scene-painting, of nature, there is in this opera, and the overture is typical of the whole. No more brilliant picture of a storm, nor a more serene study of a pastoral landscape than here occur, can easily bo im
* agined, nor, indeed, have been for almost exactly one hundred and four years-the age of the opera, which was first produced inParis in 1829. ALBERT VOORSANGER and Orchestra
Algerian Suite, the fantasy entitled Africa, and this happy little orchestral impression, A Night in Lisbon.
Tchaikovsky wrote the music to a number of ballets for performance at the Petersburg Opera House. The Sleeping Beauty is one of the most famous of these. It has been performed in London several times by the Russian Ballet. The version of the tale to which Tchaikovsky set his music is in essentials the same as the one we know, but differs in detail. For example, Aurora, the name by which the beautiful princess is here known, is put under a spell of perpetual slumber from the day of her christening, and it would appear that she grows up during her long spell of sleep, for it can scarcely be expected of a prince to fall violently in love with a sleeping baby. It is interesting to note that the Sleeping Beauty Suite was first introduced into London by Sir Henry Wood at a Promenade Concert in 1898, at a time when Tchaikovsky was very little known in this country.
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