Paul McCartney not only composed the music but also wrote the scenario for his ballet Ocean’s Kingdom, which tells the story of forbidden love–à la Romeo and Juliet–between Princess Honorata and Prince Stone. Although McCartney has previously worked in other “classical” media (symphonic and oratorio among them), this is his first ballet score. He clearly has done his homework in studying various dance forms, yet there’s faint evidence of the Paul McCartney known for the beguiling tunes of his best work for the Beatles and later bands.
The first of the ballet’s four movements borrows from the opening of Ravel’s Daphnis et Chloé to evoke the underwater setting. A simple yet sombre theme plays repeatedly before a dramatic interlude (vaguely reminiscent of Live and Let Die–without the guitar riffs) injects some welcome energy into the otherwise tepid atmosphere. The following Hall of Dance movement uses schmaltzy jazz to clever effect, while the pensive third movement (Imprisonment) forms the emotional core of the piece. At least for its first half the music becomes rather generalized and bland, qualities that also describe the Moonrise finale, until the uplifting closing peroration built on an anthem-like tune.
So, while there’s nothing really wrong with Ocean’s Kingdom–it is quite effectively orchestrated by McCartney’s collaborator Andrew Cottee, and ably performed by the London Classical Orchestra under conductor John Wilson–there’s little that’s compelling, or even memorable. That it was written by a famous former Beatle for the New York City Ballet is why it’s received so much media attention (replace the name “Paul McCartney” with some unknown British composer and it’s highly likely no one would care, much less make a recording).
McCartney fans and the very curious will want this disc, regardless. Everyone else’s time will be better spent with ballets by Prokofiev, Stravinsky, Ravel, Tchaikovsky, Britten, et al.
