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Editorial Reviews
Ever since its triumphant premiere in 1960, Frederick
Ashton's La fille mal gardée has been treasured as one of his
happiest creations his artistic tribute to nature, and an
expression of his feelings for his beloved Suffolk countryside.
Marianela Nuñez and Carlos Acosta perfectly portray the
young lovers Lise and Colas, determined to thwart the plans
of Widow Simone to marry off her wayward daughter to
Alain, the simple son of wealthy Farmer Thomas. Osbert
Lancaster's colourful, picture-book designs, along with
Ferdinand Hérold's tuneful score, arranged by John
Lanchbery, provide the perfect setting for Ashton's blissfully
bucolic ballet, complete with haywain, pony, maypole and
ribbons, a cockrel and his chickens and, of course, the famous
clog dance, here wonderfully led by William Tuckett as the
irascible but lovable Widow Simone.
Ashton's La fille mal gardée has been treasured as one of his
happiest creations his artistic tribute to nature, and an
expression of his feelings for his beloved Suffolk countryside.
Marianela Nuñez and Carlos Acosta perfectly portray the
young lovers Lise and Colas, determined to thwart the plans
of Widow Simone to marry off her wayward daughter to
Alain, the simple son of wealthy Farmer Thomas. Osbert
Lancaster's colourful, picture-book designs, along with
Ferdinand Hérold's tuneful score, arranged by John
Lanchbery, provide the perfect setting for Ashton's blissfully
bucolic ballet, complete with haywain, pony, maypole and
ribbons, a cockrel and his chickens and, of course, the famous
clog dance, here wonderfully led by William Tuckett as the
irascible but lovable Widow Simone.
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Most Helpful Customer Reviews
3 of 3 people found the following review helpful:
5.0 out of 5 stars
A bucolic frolic, wit and whimsy----sheer bliss of a disc !,
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Amazon Verified Purchase(What's this?)
This review is from: La Fille Mal Gardee [Blu-ray] (Blu-ray)
When was the last time you saw a ballet at the end of which you had that warm fuzzy feeling of being utterly entertained and happy ( like the first time you saw the Wizard of Oz?). If they gave out Oscars for the most enjoyable ballet production of this decade this La Fille Mal Gardee should win hands down.This has to be Ashton at his most whimsical and artistic best, a brilliant and idiomatic piece of choreography of a simple village love affair set in the perpetual sunshine of his beloved Suffolk countryside. Herold's music is unpretentious but melodic and memorable, the costumes colourful and strongly evocative of the rustic setting and the dancers bring the house down with their vigorous and wonderful performances. They appear as if they were all having a gay old time at it. Firstly, Nunez gives a great characterization of the willful,wayward daughter Lise, and Carlos Acosta impresses with his graceful and athletic dancing as her admirer and suitor. The pas de deux are beautifully done, with whirling pirouettes and energetic lifts, both stars are in top form. But this ballet is more than just perfection of the dance, it is wit and frothy humour that makes makes this champagne bubble. And here it is William Tuckett as the widow Simone who almost steals the show. With a wry face and Chaplinesque mime, she provokes more than a few chuckles as the rascally mother hell bent on marrying Lise to Alain, the rich farmer's son. And her famous 'clog dance' is well, hilarious. As for Alain, was there ever a more lovable simpleton in all of ballet ? The set pieces are wonderfully choreographed and eye-catching, notably the Maypole dance and the storm scene which ends Act 1 where the dancers really appear to be blown like leaves in the wind. And of course the rousing finale with the expected happy ending. Mere words fall short of the delight this ballet has given me. I watched it with an eleven year old ballet student who had just the week before scandalized her mother by falling asleep watching a performance of Swan Lake . No danger of that here. Yelps of delight, giggles and even hand clapping at the end of each engaging scene. And after the finale, she beamed at me and asked if we could play it again the next evening. Five stars ? That request alone made it worth a sixth !
1 of 1 people found the following review helpful:
5.0 out of 5 stars
The Collyer/Coleman production has the edge,
By
This review is from: La Fille Mal Gardee [Blu-ray] (Blu-ray)
Despite the obvious technical superiority of Blue-ray, I found myself torn between the 2005 production and that of 1981, which I have on LaserDisc. On indepth comparison, I had to keep them both. In my mind, Lesley Collyer and Michael Coleman have the edge over Marianela Nunez and Carlos Acosta in their dancing and mime. Heart-rending, more believable, these are two youngsters very much in love, while Nunez and Acosta are simply putting on a brilliant show. Notice also that in the cat cradle, Acosta fumbles, almost loses it, while Coleman completes a brilliant move - to an audience ovation. Both Brian Shaw and Garry Grant are also much funnier as the Widow Simone and Alain, and the chicken dances are hilarious - their mime incredibly realistic. I recall they caused quite a stir in the media of the day. On the other hand, despite poor editing, you have the advantages of vastly superior audio/video in the 2005 recording, including a highly dramatic storm scene.
1 of 1 people found the following review helpful:
3.0 out of 5 stars
Spoiled by the editing.,
By
Amazon Verified Purchase(What's this?)
This review is from: La Fille Mal Gardee [Blu-ray] (Blu-ray)
I agree with other reviewers that this is a charming work with wonderful choreography by Frederick Ashton and superb dancing by all principals. All the more pity that it is spoiled by poor camerawork and excessive cutting! I had trouble viewing because I was continually recoiling from excessive zooms and cuts to close ups, framing of tops of dancers, not seeing legs, cutting away from the action I wanted to see. Especially with blu-ray where there is enough definition to see details without close ups, this continual need by the director, Ross MacGibbon, to emphasize what he thought was worth emphasis, was annoying. I much prefer the version with Lesley Collier and Michael Coleman, conducted by John Lanchbery, which allowed me to view and enjoy without intrusive camerawork and editing!
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