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Most notable about Elvis Costello's latest CD, Il Sogno is that there is nothing particularly noteworthy there.
It's about ballet, commissioned by the Italian dance company Aterballetto, to something as conventional as a feature-length version of Shakespeare's "A Midsummer Night's Dream." It has been done before, and why not again, Costello can always argue for the project. At least it gave him the opportunity to practice the craft. "Il Sogno" is actually Costello's first completed orchestral score, written in old-fashioned way, with a pencil and eraser.
But one thing is Costello's finger exercises, otherwise the artistic idémakeriet we expect when we are invited to a new, full-length ballet music. And there should be expect with little, if Costello's tone occasionally go home. Michael Tilson Thomas conducts the London Symphony Orchestra, having made a critical revision to what apparently did not work in the original dance music.
What's left, bearing not the reason. Costello has put aside whatever he can as a songwriter. Instead, we decorate tone all times, based on impressionistic orchestral conventions from the beginning of the last century. It shines only where Costello has invited such prominent musicians as saxophonist John Harle, percussionist Peter Erskine and bassist Chris Laurence, and given them free rein to improvise. Then we perceive a stride in music, which in totality only reminds us of what we miss in the rest of the score.
No, the music should not be boring, even when it is signed Elvis Costello.
Two stars
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