SFSymphony+ to Stream Staged “Soldier’s Tale”

Igor Stravinsky’s “L'Histoire du soldat” (the soldier’s tale) may be the perfect example of music theater conceived during hard times. When Stravinsky and Swiss writer Charles Ferdinand Ramuz first conceived the project, Europe was in the throes of both World War I and an influenza epidemic. It was not the best of times for people to think to going out for a night at the theater; so Stravinsky and Ramuz created a performance that would, so to speak, bring the theater to the people. To use a more contemporary (if slightly less accurate) epithet, “L’Histoire du soldat” was conceived as theater that “fell off a truck.”

That truck was real. It carried three actors, a dancer, and a septet of musicians playing violin, bass, clarinet, bassoon, cornet, trombone, and percussion. The narrative involves a solider returning from war who sells his soul to the devil. His metaphysical soul is presented as a physical violin, which he is playing at the very beginning of the narrative when the devil first encounters him. The soldier and the devil account for two of the actors. The third is a narrator, who, when necessary, gives voice to additional minor characters. The dancer depicts a princess, whom the solider first cures of a fatal disease and then marries as a reward for saving her life. However, this is no happily-ever-after tale; and, as one might expect, it ends with the devil having the last word.

Rehearsing for the “digital music theater” performance of “L’Histoire du soldat” (photograph by Kristen Loken, courtesy of the San Francisco Symphony)

Transforming the back of a truck into “digital music theater” was realized through the effort of British director, designer, and video artist Netia Jones. All of the acting responsibilities (performed in English) were assigned to a single performer, film and television start Bruce Davison. The dancer was Adji Cissoko, a member of the Alonzo King LINES Ballet. The San Francisco Symphony (SFS) musicians participating in the performance were Concertmaster Alexander Barantschik, Principal Bass Scott Pingel, Principal Clarinet Carey Bell, Principal Bassoon Stephen Paulson, Associate Principal Trumpet Aaron Schuman, Principal Trombone Timothy Higgins, and Principal Percussion Jacob Nissly. Due to the many rhythmic irregularities in Stravinsky’s score, a conductor is usually necessary; and that conductor was SFS Music Director Esa-Pekka Salonen.

The resulting video will be uploaded to the SFSymphony+ Web site on the morning of Wednesday, June 1. There will be no charge for on-demand viewing. All content released during the 2020–21 season remains available on SFSymphony+. This includes seven SoundBox programs; eight episodes of CURRENTS; Esa-Pekka Salonen’s first digital project as Music Director, Throughline: San Francisco Symphony—From Hall to Home; and Playing Changes, presented in partnership with Post:ballet.