The Royal Ballet has brought back a 60s cult classic ballet called Pierrot Lunaire, which was first performed in 1962 by US choreographer Glen Tetley and features music by Arnold Schoenberg's atonal song cycle of the same name.
In this distinctive, eccentric work, Marcelino Sambé is taking on the role of Pierrot, a childlike clown, who becomes wonderstruck by the sight of the moon. The ballet is set to deliver in sprechstimme – a vocal style halfway between song and speech that sounds like nursery rhymes at times but also like ghostly apparitions.
Sambé has found that he needed to tap into his more vulnerable side to connect with this piece, which can be challenging due to its unique sound. "I was horrified by it!" he says of Schoenberg's music when he first learned about the work, preferring Tetley's earlier string sextet Verklärte Nacht. However, after working with Christopher Bruce, who was a famed interpreter of the role in the 1960s, Sambé has discovered that unlocking this piece allows him to connect with it.
The ballet follows Pierrot as he navigates innocence into adulthood and confronts harsh realities, representing both his inner self through the shadow character Brighella. The performance is an intimate experience with just three people on stage and live music being played.
In this distinctive, eccentric work, Marcelino Sambé is taking on the role of Pierrot, a childlike clown, who becomes wonderstruck by the sight of the moon. The ballet is set to deliver in sprechstimme – a vocal style halfway between song and speech that sounds like nursery rhymes at times but also like ghostly apparitions.
Sambé has found that he needed to tap into his more vulnerable side to connect with this piece, which can be challenging due to its unique sound. "I was horrified by it!" he says of Schoenberg's music when he first learned about the work, preferring Tetley's earlier string sextet Verklärte Nacht. However, after working with Christopher Bruce, who was a famed interpreter of the role in the 1960s, Sambé has discovered that unlocking this piece allows him to connect with it.
The ballet follows Pierrot as he navigates innocence into adulthood and confronts harsh realities, representing both his inner self through the shadow character Brighella. The performance is an intimate experience with just three people on stage and live music being played.
Music is a powerful thing, it can take us to a place where words alone cannot reach us... 
I'm loving this comeback of Pierrot Lunaire! The Royal Ballet's choice to revive a 60s classic is so cool 
. It sounds like Marcelino Sambé has really connected with the piece, which is awesome considering how challenging it must be 
. The idea of tapping into his vulnerable side to play Pierrot is so refreshing - I think we could all learn from that 
. And three people on stage? That's intimacy at its finest 
. Can't wait to see this performance! 
Pierrot Lunaire is back and I gotta say it's kinda creepy how the ballet deals w/ Pierrot goin thru this emotional rollercoaster. It's like, one minute he's all smiles and wonder, next minute he's dealin w/ some dark stuff that'll leave u feelin all uneasy 
. And don't even get me started on that music - it's like Arnold Schoenberg took a bunch of eerie sound effects & mashed 'em together into this atonal mess 
. But hey, Marcelino Sambé seems to be doin alright w/ the role, even if he said it freaked him out when he first heard it 
. Guess that's just part of the charm? 
. The idea of tapping into vulnerability to connect with it is really inspiring, you know? It just goes to show that we can find beauty in the most unexpected places...or in this case, the most atonal music 
. I've heard it's a real challenge for dancers, but Sambé seems like someone who can pull it off 
. Three people on stage and live music too? That sounds so intimate and immersive...can't wait to experience it! 
. I love how this ballet explores innocence turning into adulthood, it's so relatable 
... I mean, who wouldn't want to play Pierrot? 
It's like they're saying this is the ultimate role for Marcelino Sambé. But honestly, I'm still on Team Verklärte Nacht 
that string sextet by Tetley was so beautiful! And now they're reviving an old cult classic from the 60s... it's like they're bringing back a lost era 
but in a good way. The idea of sprechstimme is so trippy... I imagine it's like listening to a weird mashup between nursery rhymes and, like, ghostly whispers 
... I wanna see this ballet ASAP! Can't wait for the night when they bring this enchanting tale to life on stage 
. But hey, if Sambé has worked with Christopher Bruce and come out the other side, that's all the encouragement we need 
!
. I mean, who hasn't felt like they're in over their head when faced with something new and challenging? It's amazing how he was able to overcome his initial horror and find a way to make it work 
) but never really connected with it on a deeper level. This must be a whole new level of connection 
!
60s ballets might seem old-school, but this one still has that weirdly mesmerizing quality to it. 
How far would you take your tolerance for atonal music? 
Would you go see this ballet just to experience the surreal vibe or is it more of a 'let's explore' kind of deal for me?
! I mean, have you seen it? It's all about Pierrot losing his grip on reality as he gets older, and the music by Schoenberg is super unsettling - it's like someone's whispering your name while you're sleeping 
. It's all about Marcelino's vulnerable side and connecting with that haunting music 