The Creatures of Prometheus

This performance presents Beethoven’s full score for The Creatures of Prometheus, his only major work written specifically for ballet. You will hear how the composer uses his characteristic symphonic vigour to tell the story of the titan who stole fire from the gods to give life to humans. The evening is shaped by a collaboration between period instrumentalists and physical performers, bringing a staged element to what is usually heard only in concert form. You should listen for the varied orchestral colours Beethoven employs, including a notable solo for the harp and the prominent woodwind lines that depict the emerging emotions of the two clay statues. The finale is particularly significant, as it features a theme that Beethoven admired so much he later reused it as the foundation for the final movement of his Eroica Symphony. The music moves from the initial storm of the overture through a series of dances that shift between formal elegance and high-spirited energy.

The Academy of Ancient Music is a period-instrument ensemble based in the United Kingdom, renowned for its dedication to historically informed performance. Under the direction of conductor Laurence Cummings, they explore the textures and timbres of the eighteenth and nineteenth centuries. For this production, they are joined by the circus ensemble Circa and director Yaron Lifschitz. Circa is known for blending acrobatics and contemporary dance to create visual narratives. By combining the ensemble's focus on historical sound with Lifschitz's modern physical language, the performance bridges the gap between orchestral tradition and contemporary movement.

The performance takes place at the Barbican Hall in London and has a total duration of 120 minutes. As this is a staged production involving both an orchestra and circus performers, it offers a visual experience that may suit those who enjoy physical theatre alongside classical music. The Barbican is a large modern venue where smart-casual dress is the common convention, though there is no formal requirement. Because the work is a ballet score, there is no singing or text, making it accessible to international audiences without the need for surtitles.