William Kentridge's film challenges the legacy of Shostakovich's 10th symphony
- William Kentridge's film accompanied the New York Philharmonic's performance of Shostakovich's 10th Symphony, conducted by Keri-Lynn Wilson.
- The film, titled 'Oh to Believe in Another World,' employed collaged animations that explored themes of nostalgia and political ideologies from the Soviet era.
- Despite the visual spectacle, the performance faced challenges in integrating the film's energy with the orchestral music.
In a recent performance at the New York Philharmonic, South African artist William Kentridge showcased his film as a visual companion to Dmitri Shostakovich's 10th Symphony. The concert, led by conductor Keri-Lynn Wilson, featured Kentridge's film entitled 'Oh to Believe in Another World.' The film creatively used collaged animations with Constructivist puppets in a playful yet politically charged narrative reflecting on the Soviet era that influenced Shostakovich's work. This integration of film and orchestra generated a vibrant emotional backdrop, although it at times appeared disconnected from the live performance. Kentridge's film weaved through themes of nostalgia and political ideology, offering an exploration of the complexities faced by artists under Soviet rule. A notable scene presented Joseph Stalin actively pursuing Leon Trotsky, cleverly synchronized with the contrasting motifs of Shostakovich's third movement. In this case, the multimedia elements successfully highlighted the tension between art and state governance, ultimately focusing on the tragic consequences for those entangled in these narratives. However, the film's overall effect was somewhat paradoxical; while the visuals were invigorating, they often drew attention away from the symphonic music. Keri-Lynn Wilson's conducting showcased various sections of the orchestra, especially highlighting the emotional nuances of the individual wind instruments. Despite engaging performances, elements of the concerto seemed less impactful against the backdrop of the hyperanimated visuals. This collaboration intended to reflect the historical complexities and emotional undercurrents of Shostakovich's music, yet posed challenges in maintaining a coherent unity between film and symphony. The specific dynamics of the performance brought to light the inherent struggle of merging visual arts with classical music, underscoring the need for balance in future presentations of such ambitious multidisciplinary works.