‘...Cyrano’s famous love letters to Roxane begin (for the amorous, but uneducated Christian) and Parker shows the qualities of dance strength, comic irony and emotional tenderness which have always been his gift and with which he shapes an unforgettable Cyrano. Add to this Marion Tait’s work in various roles, glorious costumes and Carl Davis’ romantic score and you have something remarkable.’
The Stage (Richard Edmonds), 15 October 2009
‘…luxuriously scored, with sundry solos that even include one for ondes martenot. Davis acknowledges his love of French music, and there are indeed suggestions of Offenbach or Delibes, though Minkus and Glazunov seem even stronger influences. What is especially striking is the quality of the themes for the various characters and situations, among them an especially lovely one for Roxane and a stirring rataplan for Cyrano’s regiment. These themes are developed to considerable dramatic and emotional effect. Paul Murphy and the Royal Ballet Sinfonia give the score a splendidly full-blooded rendition, and the sound is agreeably spacious. It makes even a non-ballet lover such as myself wish to seek out the piece on the Birmingham Royal Ballet’s tour.’
Gramophone (Andrew Lamb), January 2010
The Stage (Richard Edmonds), 15 October 2009
‘…luxuriously scored, with sundry solos that even include one for ondes martenot. Davis acknowledges his love of French music, and there are indeed suggestions of Offenbach or Delibes, though Minkus and Glazunov seem even stronger influences. What is especially striking is the quality of the themes for the various characters and situations, among them an especially lovely one for Roxane and a stirring rataplan for Cyrano’s regiment. These themes are developed to considerable dramatic and emotional effect. Paul Murphy and the Royal Ballet Sinfonia give the score a splendidly full-blooded rendition, and the sound is agreeably spacious. It makes even a non-ballet lover such as myself wish to seek out the piece on the Birmingham Royal Ballet’s tour.’
Gramophone (Andrew Lamb), January 2010