I used mostly my ears

a blog about music by Marc Haegeman


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Osipova in Swan Lake

Piotr Ilyitch Tchaikovsky: Swan Lake
Natalia Osipova – Odette/Odile
Matthew Golding – Prince Siegfried
Elizabeth McGorian – The Princess
Gary Avis – An Evil Spirit (Von Rothbart)
Alastair Marriot – The Tutor
Francesca Hayward, Yuhio Choe,
Alexander Campbell – Pas de trois

Artists of the Royal Ballet
Orchestra of the Royal Opera House/Boris Gruzin
Choreography by Marius Petipa & Lev Ivanov
Additional choreography by Frederick Ashton & David Bintley
Production by Anthony Dowell
Opus Arte Blu-ray OABD7174D 133m (+18m features), LPCM Stereo DTS-HD Master Audio

Osipova and Golding in Swan Lake

Osipova and Golding in Swan Lake

London’s Royal Ballet continues to capitalize on the appeal of Natalia Osipova. This is the second video release of their production of Tchaikovsky’s Swan Lake in less than six years. The performance was recorded at the Royal Opera House, Covent Garden on 17 March 2015 and live screened in cinemas across the world before being rushed to home video by Opus Arte. Yet, while this will undoubtedly be treasured by the legions of Osipova fans, and Swan Lake always sells, there is no denying it’s far from being her defining moment.

As will be remembered, the Russian star ballerina Natalia Osipova joined the Royal Ballet in 2013. She has been cast in a wide range of roles, some utterly successful, others less so. As for this Swan Lake, it seems the filming came far too early in her career, or perhaps the role is just not her thing. While there are undeniably moments of greatness, overall her reading remains too studied and predictable. It may be that her energy in the theatre was striking, on film it doesn’t project. And, once again, as with her Giselle with the Royal Ballet (Opus Arte Blu-ray OABD7151D), you end up with the feeling she is essentially in the wrong production. If anything, more suitable productions of Swan Lake for her might be found on the banks of the Neva or the Moskva, but then again there is little chance she will ever dance this role in her homeland.

This being the 21st century wherein lasting partnerships in ballet are no longer valued, Osipova has been paired with various dancers. Here she is partnered by Matthew Golding, freshly arrived in the company from Amsterdam’s Dutch National. He is a magnificent dancer, but in this performance there is as yet, except for the standard expressions, very little chemistry between him and Osipova. There are moments of bad timing, as when Osipova almost knocks Golding off his feet at the beginning of the Pas de trois in the last Act, which should be avoided on video. In this respect, too, the filming came too soon.

The Royal Ballet performs Swan Lake in Anthony Dowell’s 1987 production, which incidentally is running its last season. While the choreographic text is first-rate, this version is disappointing by its lack of formal clarity. It is Swan Lake flattened beneath the fussy, overelaborate, Fabergé-eggs-inspired designs from Yolanda Sonnabend. Most scenes are overcrowded, anecdotal, while the dance looks, especially in the palace acts, stifled. The lakeside scenes have plenty of atmosphere – well rendered by the HD cameras – but unfortunately the swans’ tutus look like white hula dancers skirts. The decision to place the action in Tchaikovsky’s Russia instead of the traditional medieval setting doesn’t really help either.

Boris Gruzin conducts the Orchestra of the Royal Opera House in an unadventurous account of this beautiful score. This is mostly warm and cozy Tchaikovsky, polite and reserved, without any rough edges and very little heartfelt drama. For a theatrical performance it is actually quite bland.

All the more a shame, because visuals and sonics are, as we came to expect from this source, outstanding. It’s amazing what progress has been made in a few years. The 2009 Swan Lake was already pretty good but this new one wins on all fronts – contrast, dynamic range, color definition, detail, and sound fidelity. The barely lit lakeside scenes look absolutely stunning. Costumes reveal a marvel of detail. Ross MacGibbon directs with his usual skill, although he couldn’t avoid the claustrophobic feel of much of this production. The longshots reduce the stage and dancing space even more on film than in the theatre.

The sound mix, either in PCM 2.0 or DTS-HD Master Audio, is very impressive – warm, natural, detailed and with a very powerful bass.

Bonus features include some 18 minutes of studio rehearsal shots, chats with dancers Osipova, Golding, and ballet master Jonathan Cope, as well as an amusing tea with scones interview with producer Anthony Dowell by former Royal Ballet principal Darcey Bussell. Having extras on a ballet video is a great idea in itself, but then they should really become more substantial than what we are offered here, before we start to suspect that video producers think ballet audiences swallow nothing but the plain obvious.

In short, not a first choice for a Swan Lake video, but well worth trying for its superb image and sound quality.

Copyright © 2015, Marc Haegeman
First published on Classical Net (http://www.classical.net/music/recs/reviews/o/opu07174blua.php)

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Notre-Dame de Paris in Milan

Esmeralda – Natalia Osipova
Quasimodo – Roberto Bolle
Frollo – Mick Zeni
Phoebus – Eris Nezha

Ballet Company & Orchestra of Teatro alla Scala/Paul Connelly
Choreography and libretto: Roland Petit
Recorded live at La Scala, February 2013
Opus Arte Blu-ray OABD7146D LPCM Stereo DTS-HD Master Audio 95m+15m

Notre-Dame de Paris blu-ray

Notre-Dame de Paris from La Scala

A cabaret-style ballet may not exactly be the first thing that comes to mind when considering Victor Hugo’s famous Romantic novel The Hunchback of Notre Dame, but as this is coming from Roland Petit (1924-2011), high priest of French choreography who obviously could do no wrong, very few will question the necessity to keep it in the running. Last year, the ballet troupe of Milan’s Teatro alla Scala revived Petit’s 1965 creation Notre-Dame de Paris with a stellar leading duo and a seriousness of purpose that would have done the late French master proud. The performance released on home video by Opus Arte is one of La Scala’s live HD cinema screenings.
Read the full review on Classical Net