I used mostly my ears

a blog about music by Marc Haegeman


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Aurora in Bananastan

Piotr Ilyitch Tchaikovsky: The Sleeping Beauty, Op. 66
Iana Salenko (Princess Aurora)
Marian Walter (Prince Désiré)
Rishat Yulbarisov (Carabosse)
Sarah Mestrovic (Lilac Fairy)
Michael Banzhaf (King Florestan)
Beatrice Knop (The Queen)
Soloists and Corps De Ballet of the Berlin State Ballet
Orchestra of the German Opera, Berlin / Robert Reimer

BelAir Classiques BAC 131; 1080i HD, 16/9; PCM Stereo, DTS Master Audio 5.1

The Sleeping Beauty

The Sleeping Beauty

We know what the ballet The Sleeping Beauty looks like and above all what it’s worth. We know it since 1890. In case the historical productions performed by Russian and English companies to this very day aren’t proof enough, then there are still the recent reconstructions of Sergei Vikharev and Alexei Ratmansky to remind the sceptics this is a timeless creation which needs very little upgrading, least of all by the wrong hands. Why on earth contemporary dance-maker Nacho Duato was asked to make a new version of the ballet will undoubtedly puzzle future generations – provided, of course, it survives the test of time. There have been contemporary adaptations and reworkings of Beauty before, but unless they headed on a radically original course, none ever came close, let alone surpassed the original as it was conceived within the Imperial Theatres in St. Petersburg by the combined talents of director Ivan Vsevolozhsky, choreographer Marius Petipa and composer Piotr Tchaikovsky.

Neither does Duato’s version. Duato created his Sleeping Beauty in 2011 during his brief stint as director of the Mikhailovsky Ballet in St. Petersburg. The brave idea allegedly was to produce a Sleeping Beauty for the 21st century. Yet that turned out to be more of a fairytale than the ballet’s subject itself. If anything the production was proof that money cannot buy everything. Duato’s Beauty still presents itself as a classical ballet, albeit one that is scuttled by a basic mistrust of text, spirit and music. The result is by and large a very unhappy wedding between classical and contemporary styles. Pointework in convulsion mode; Martha Graham as princess Aurora. Forget the multilayered complexity of the original, the fairytale atmosphere, or the enchantment.

With its truncated narrative, botched choreography and mutilated score, Duato’s staging doesn’t stand much of a chance. Tottering between hilarious (the Prologue variations, the nervous courtiers) and properly embarrassing (the scenes with that fearful Carabosse in drag), it doesn’t matter that echoes of Petipa ring through the key moments, Duato never finds his own voice. Worst of all, while this is one of the richest and most profound dance scores ever made, Duato does nothing with it. In short, a travesty of The Sleeping Beauty rather than the version for the 21st century.

The elegantly fresh sets and pastel-tinted costumes from Angelina Atlagic run away with the honors in this production. The present release from BelAir Classiques documents a performance by the Berlin State Ballet, the company Duato is heading since 2014. By all accounts the production wasn’t well received in the German capital either, which makes its release on HD video rather bizarre. Iana Salenko and Marian Walter are excellent dancers, yet in spite of their fluent partnership they never manage to crack the ice. Neither does the rest of the cast, laboring through it all with blind devotion. They deserve better than this.

Robert Reimer’s conducting is about as undramatic and bland as the activity on stage. The Orchestra of the German Opera sleepwalks through most of the score, unable to avoid some jarringly unbalanced sonorities (as in Aurora’s Variation in Act 2).

For what it’s worth, the performance is agreeably filmed by Andy Sommer. The HD cameras cope well with the sometimes harsh stage lighting of the production. The sonics are impressive and detailed, if somewhat bass heavy in the DTS Master Audio 5.1 format. This release offers no bonus materials – not that we would have been craving for any. To be shelved under forgettable.

Copyright © 2017 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)

Bewaren


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Natalia Osipova in Giselle

Adolphe Adam: Giselle
Natalia Osipova – Giselle
Carlos Acosta – Count Albrecht
Thomas Whitehead – Hilarion
Johannes Stepanek – Wilfred
Christopher Saunders – The Duke of Courland
Christina Arestis – Bathilde
Hikaru Kobayashi – Myrthe
Elizabeth Harrod – Moyna
Akane Takada – Zulme
Artists of the Royal Ballet
Orchestra of the Royal Opera House/Boris Gruzin
Music revised by Joseph Horovitz
Choreography by Marius Petipa after Jean Coralli & Jules Perrot
Production & additional choreography by Peter Wright
Opus Arte Blu-ray OABD7151D 113m (+features 10m) LPCM DTS-HD Master Audio

Giselle - Royal Ballet

Giselle – Royal Ballet

This is the second video release of the famous Romantic classic Giselle by the Royal Ballet in less than ten years time. Not that you will hear anybody complain as this new Opus Arte disc features Natalia Osipova in the title role, and her performance is just as treasurable as the earlier one of Alina Cojocaru. Russian Osipova is one of the most significant dancers to emerge in the last decade. She started her career at Moscow’s Bolshoi Ballet and is now firmly established in the international dance circuit. She took many by surprise when she decided to join London’s Royal Ballet in 2013.
Read the full review on Classical Net


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Nureyev’s Swan Lake and Nutcracker in Vienna

The Nutcracker
Liudmilla Konovalova – Clara
Vladimir Shishov – Drosselmeyer/The Prince
Artists of the Vienna State Ballet
Orchestra of the Vienna State Opera/Paul Connelly
Choreography by Rudolf Nureyev
Filmed live at the Vienna State Opera, 7 October 2012
Unitel Classica/C Major Blu-ray 718304, 102 min, LPCM Stereo / DTS-HD Master Audio

Swan Lake
Olga Esina – Odette/Odile
Vladimir Shishov – Prince Siegfried
Eno Peci – Rothbart, the Magician
Artists of the Vienna State Ballet
Orchestra of the Vienna State Opera/Alexander Ingram
Choreography by Rudolf Nureyev after Marius Petipa & Lev Ivanov
Filmed live at the Vienna State Opera, 16 March 2014
Unitel Classica/C Major Blu-ray 717704, 132 min, LPCM Stereo / DTS-HD Master Audio

The Nutcracker

The Nutcracker

C Major released two Tchaikovsky bonbons straight from Vienna – The Nutcracker and Swan Lake. As the main classical ballet company in Austria, the Vienna State Ballet (Wiener Staatsballett) isn’t particularly over-represented on home video, so these recent performances filmed live in high-definition at the Vienna State Opera are definitely welcome. The driving force behind these releases is without doubt former Paris Opera Ballet étoile Manuel Legris, who is leading the Viennese company since 2010 and has by all accounts established himself as a blessed gift for the thus far slumbering Austrian troupe.
Read the full review on Classical Net


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Italian bandits in French style danced by Russians (and an American)

Adolphe Adam: Marco Spada, or The Bandit’s Daughter
David Hallberg – Marco Spada
Evgenia Obraztsova – Angela
Olga Smirnova – Marchesa Sampietri
Semyon Chudin – Prince Federici
Igor Tsvirko – Count Pepinelli
Artists of the Bolshoi Ballet
The Bolshoi Theatre Orchestra/Alexey Bogorad
Choreography by Pierre Lacotte
Filmed live at the Bolshoi Theatre in Moscow, March 2014
BelAir Classiques Blu-ray BAC413 126m+23m (bonus) LPCM DTS-HD Master Audio

Marco Spada

Marco Spada

The “Bolshoi Ballet HD Collection” released by the independent Paris-based video label BelAir Classiques, has thus far been exemplary in producing ballet for home video, offering superb quality in all respects. The latest title in the series, Marco Spada, is unfortunately something of a mixed blessing. For one thing this ballet – a contemporary rewrite by French choreographer Pierre Lacotte of a lost 19th-century creation – is a true rarity. Marco Spada, or The Bandit’s Daughter set to music from Daniel Auber is a sparkling and colorful evening-length dance divertissement, a jolly romp in a sumptuously traditional setting, danced by a tremendous cast that assembles some of the most exciting dancers gracing the Bolshoi company at the moment. Yet all these goodies come with a price, a technical issue. There is some judder noticeable in the Blu-ray resulting in a slight stutter in movements or panning. (The disc was tried on two different players and TVs with the exact same result, while the problem was also mentioned on internet forums as well.) Nothing that would make the disc unwatchable, but still something that should have been avoided.
Read the full review on Classical Net


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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