Richard Bratby

If Ravel’s Boléro makes you yawn, you’re not really listening

John Wilson and Simon Rattle understand that there should never be any such thing as a routine concert

John Wilson and the Sinfonia of London were determined to make us listen. Image: Chris Christodoulou 
issue 10 December 2022

Only boring people are bored by Ravel’s Boléro. True, the composer – the slyest of wits – left his share of booby traps for the uncomprehending; take his comment, in a letter to Paul Dukas, that ‘I have written only one masterpiece, Boléro. Unfortunately there is no music in it.’ Yet Ravel was a sublime colourist; a master of the instrumental palette who makes Stravinsky’s orchestration sound coarse by comparison, and Boléro is one long twist of a fabulous kaleidoscope. Even its notorious repetitions are a red herring. Take the full score as a whole and you’ll struggle to find two bars that are identical (there are a couple at the start and a couple near the very end, but that’s basically it). If Boléro makes you yawn, you’re either tired of orchestral sound tout court, or you’re not really listening.

John Wilson and the Sinfonia of London were determined to make us listen.

Comments

Join the debate for just $5 for 3 months

Be part of the conversation with other Spectator readers by getting your first three months for $5.

Already a subscriber? Log in