Written for Mstislav Rostropovich, Britten’s Cello Suites fit the instrument like a glove. Recalling the Bach Cello Suites – a staple of any cellist’s repertoire – in their poise and textural clarity, the apparent simplicity of the compositions is the key to their profound affect. Britten’s masterstroke is the harmonic dimension of the works, exploring a wide range of keys and characters. The Second Suite looks back to Henry Purcell, with vivacious rhythms and a ground bass finale, while the Third Suite is a nod to the artist who prompted Britten to write these works: this set of Russian folk songs culminates in the Russian Hymn for the Departed.
Best known for her confessional poetry, Sylvia Plath’s works express her own feelings of rage, grief, desire, fear and love with startling directness. Writing from the depths of depression, Plath’s imagery and diction is nightmarish. Yet playful rhythms and an ear for rhyme mean that, read aloud, the poems are unmistakably musical; fine companions for Britten's suites. Charlotte Rampling seems the perfect match for Plath’s poetry: her leonine ferocity, sharpened over six decades but bruised with melancholy, is the stuff of legend.
|What||Sylvia Plath and the Britten Cello Suites, with Charlotte Rampling, Sam Wanamaker Theatre|
Sam Wanamaker Theatre
21 New Globe Walk, London, SE1 9DT | MAP
|Nearest tube||Waterloo (underground)|
On 15 Dec 14, 7:30 PM – 10:00 PM
|Website||Click here to book via the Globe's website.|