Tag Archives: EIF

NEWS: Scottish Ballet presents Coppélia World premiere at Edinburgh International Festival in 2022, before touring

A deliciously dark comedy of mischief and mistaken identity, reinvented for the digital age.

What happens when you fall in love with a machine?
How can we compete with the perfection of the unreal?
What if the technology we create and, obsess over, takes on a life of its own?
What does it mean to be human in a world of artificial intelligence.

Scottish Ballet will test the boundaries of dance, theatre and film in this distinctive new adaptation of the classic ballet, blending location and real-time filming with projection and live performance.

This innovative new production will be choreographed and directed by UK-based duo Jess & Morgs. Building on their previous films for Scottish Ballet (Tremble, The Secret Theatre), Jess & Morgs will explore our relationship with reality through their playful use of the camera, creating a unique experience for a live theatre audience.

The original Delibes score will have a new arrangement, performed live by the Scottish Ballet Orchestra.

Coppélia has been commissioned by the Edinburgh International Festival and will have its world premiere in 2022, followed by a national tour.


REVIEW: Maxim Vengerov & Roustem Saïtkoulov – Usher Hall, Edinburgh

Russian-born superstar violinist Maxim Vengerov showcases his astonishing technical skill and artistry in this one-night only recital as part of the Edinburgh International Festival.

Beginning with Schubert’s Violin Sonata in A Major D547, followed by Beethoven’s Violin Sonata in C Minor Op.30 No.2, Vengerov’s blistering virtuosity is clearly on show from the start and despite the similarity in style and tone of the two pieces there’s much to marvel at and enjoy.

It is in the second part of the programme where things really liven, in Ravel’s Jazz-age Violin Sonata in G Major, Bengerov delivers a real treat for the ears, and in Ernst’s Polyphonic Etude no.6 (based on the traditional Irish tune The Last Rose of Summer) every staggering technical skill Vengerov possesses is on show: multiple stopping, left-handed pizzicatos and quite frankly breathtaking harmonics.

Despite the cavernous size of the Usher Hall stage, Vengerov and pianist Roustem Saïtkoulov, manage to achieve an air of intimacy and connection to their audience and both look genuinely delighted to be in front of this adoring assembly.

Ending on a pair of lively Paganini pieces, we are left wanting more and hoping that it won’t be long before Vengerov graces a British stage again.