The Bolero

Fontaine gives us a gorgeously designed evocation of 1920s Paris...And it probably sticks more closely to the truth, as far as the truth is known. But Ravel’s workaholic nature does dilute the drama.

With the [Henry] Cavill-esque Personnaz serving up a charismatic, yet complex character, this is a fascinating tale that is well worth seeking out.

Bólero lacks a strong through line to get to know the composer Maurice Ravel as if he were not to be known. Anne Fontaine doesn’t give focus to the interesting and accomplished women featured. The production falls flat.

Now I can't really blame this documentary for this, but as Rubin Mehta himself says in the preamble, he never wants to hear this piece of music again - and neither did I. His reason is days of practice for this performance, mine is less worthy and more to do with Torvill and Dean's Free Ice Dance routines in 1984. Anyway, to begin with we spend a little time with some of the soloists as they explain the difficulties of playing this piece and of synchronising it within the larger arrangement that Mehta himself is putting together. The flautist, bassoonist and conductor himself give us some interesting insight into just how this piece gently but firmly accumulates to an orchestral crescendo fit to accompany one of the most visceral of Spanish dances. Put in that context and using some intimately crafted direction here, I found myself realising that though I still find this a repetitive piece, I was aware of just how complex the production of such a beautifully rich sound is, and with the conductor lit to look more akin to Rasputin than a musician, I found myself ever so slightly captivated. It's played in it's entirety here and is well worth just letting wash over you for twenty minutes.