Customer Reviews

Prokofiev - The Stone Flower / Terekhova, Gulyaev, Polikarpova, Christyakova, Viliumanis, Kirov Ballet

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I have always enjoyed Prokofiev's `The Stone Flower" ballet; in fact I now have two copies of it. The First is on VHS from the Bolshoi Theatre (Playing Time: 106 Minutes) and the second on DVD is from the Kirov Ballet (Playing Time: 110 Minutes). Strangely both productions were choreographed by Yuri Grigorovich and both designed by Simon Virsaladze.
Some people try to compare the music of this ballet with that of Prokofiev's "Romeo & Juliet" ballet. You CAN NOT, as this is completely different. It has been composed in the true Prokofiev style. For his final ballet score I find it just as riveting as his previous scores. Lovely melodies and that rich and colourful scoring, so typical of Prokofiev. Scored for: 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (triangle, castanets, wood blocks, tambourine, snare drum, cymbals, bass drum, tam-tam, tubular bells, xylophone), harp, piano, and strings. This production from the Kirov Ballet has been recorded void of any audience sound what-so-ever. So there are no applauses to hold up the production, although, I did find it a bit disconcerting not having the applause after such spectacular dance sequences as is with the Bolshoi's production. The dancers are on a par in both productions, for me a non dancer; the finer point work seems lost. I know what I like and can appreciate a good performance when I see it. I have in my youth worked back-stage on ballet production & had an occasional walk on acting/mime part in a few ballets.
If I had to choose one over the other it would have to be this one; even though the Bolshoi's is just as precise. If you do not have a copy of "The Stone Flower", you will really enjoy this version. On the other hand if you have the Bolshoi version, you can not go wrong with that either. So the only deciding factor in this case, is whether you prefer the audience or not. Either way, do not let this rarely performed ballet pass without seeing it. To my knowledge, and I could be wrong; I do not think it has been performed outside of Russia. You may correct me on that, if someone does know.
The Bolshoi only lists four soloists whilst the Kirov lists Five:

Danila: Nikolai Dorokhov (Bolshoi) & Aleksandr Gulyaev (Kirov)
Katerina: Lyudmilla Semenyaka (Bolshoi) & Anna Polikarpova (Kirov)
Mistress of the Copper Mountain: Nina Semizorova (Bolshoi)
Queen of the Copper Mountain: Tatiana Terekhova (Kirov)
Severyan: Yuri vetrov (Bolshoi) & Genady Babanin (Kirov)
Fire-Fairy: Irina Chistyakova (Kirov)

This is truly a stunning performance of a little known ballet outside of Russia. In fact, it is not listed in many books on ballet, including Balanchine's "101 Stories of the Great Ballets." It does require a corps, such as the Kirov, with a mastery of classic and Russian folk dance. It's difficult to imagine a non-Russian company performing this Ural fairy tale. Few ballets require such a rich variety of dance styles, including classical, folk, gypsy, cossack knee slapping, and clowning routines.

The three lead dancers, Aleksandr Gulyaev (Danila), Anna Polikarpova (Katerina), and Tatiana Terekhova (Queen of the Copper Mountain) are excellent. Gulyaev demonstrates his bravura skills with graceful leaps that appear frozen in time like his stone flower. Polikarpova performs very touching adagio and lyrical sequences with wonderful line and delicacy. Terekhova exhibits remarkable gymnastic ability with her allegro routines--a worthy rival for Danila's affection.

The lovers are very attractive and expressive (Polikarpova has a lovely face for close-ups and, unlike many ballerinas, doesn't look undernourished). They perform several languorous pas de deuxs, including lovely arabesques (one leg raised and extended behind) and flowing lifts. They convey their affection with gestures and expressions that speak more convincingly than words. Note their charming joy dance by striking the ground with one leg bent behind them.

The choreography of Yuri Grigorovich is mesmerizing with a constant flow of movement before an empty theater. The rapid succession of festive village dances adds great variety, gaiety, and humor to the more serious story of the two separated and reunited lovers. It's a marvelous demonstration of Grigorovich's choreography and the versatility of the Kirov corps de ballet. For example, the corps of fairy stone flowers is very stylized and in near perfect synch. They perform tall lifts to symbolize Danila's stone flower.

There is a rich variety of colorful costumes, ranging from elaborate and colorful to simple and elegant. My wife, a professional graphic designer, was impressed by the stylized, symbolic, and colorful sets. The sets richly complement the folk idioms and tonal melodies in Prokofiev's score. Does any house have a more elegant curtain than the Mariinsky Theater? To add to this list of superlatives, the technical crew is to be applauded for its excellent camera work, lighting, sound and visual (both clarity and depth of field) quality. In conclusion, this production is a gem to add to your collection, and it's very likely to become one of your favorite ballets.

I have just watched The Stone Flower. It is the traditional love story of a boy and girl who are separated by villains and circumstances. They are happily united in the end. What made this ballet enjoyable for me was its recent rendition, but keeping to the classical ballet style. The stage is well lighted, except when dimmed or darkened for effect, and even then I knew what was going on. The background scenery is just enough to set the mood, and it is in the background. The costumes are traditional, as well. They are typical of my idea of a rural Russian countryside. The dancing while not spectacular, nevertheless is superbly classical ballet. You won't be disappointed. I'll have to watch it again, soon.

I am totally unequipped to judge this Kirov performance from a Ballet-Technical viewpoint. In my ignorance dance is dance, whether it is Gulyaev or Astaire. For expert judgment look at the other reviews. Happily this Kultur DVD gives a full measure of pleasure from the dancers, costumers, and, not quite as highly to be praised, the set designers. The cinematography is mostly straight-on from an orchestra (or sometimes, a balcony) seat. There are, however, an adequate percentage of close-ups and partial stage views to highlight soloists and small group efforts. Sometimes it does appear that I have my old seat in the highest balcony at the State Opera house in Lincoln Center; but, in general, I believe, only the more advanced in modern visual electronics will nurse a grievance over this. Almost needless to say, the lead dancers and the corp perform with what appears to be excellence to a score which admirably suits the fairy tale character of the action. Interpretation of the plot is visually effective, although those who have a need to know (as I do in opera--demanding subtitles on DVD's) will have to read the back cover, probably go beyond it. As usual Kultur provides nothing but the meat with neither bonuses nor explanatory booklets. This should not mar your pleasure since such material is easily found on the internet.
I cannot compare with the other performances available on DVD since I have not seen them. I did have joy of this one.
Oh, Yes, there is no audience to cough, applaud or otherwise interfere with the dance and music....and no cell phones, I should add.

A very nice performance by the Kirov Ballet, and of course, a beautiful music by Prokofiev. My heart is divided between Prokofiev and Shostakovich, though I usually prefer the former (always with the permission of Stravinsky, of course).

... and in fact it wasn't premiered in the USSR until 1954, the year after Prokofiev's death and the public drubbing of Stalin's "cult of personality." The score was composed in 1947-48, while Prokofiev was in extremely fragile health, ordered by his doctors to work no more than an hour a day. Performance of it was abruptly scratched by the Kirov Ballet, however, when Prokofiev's wife was convicted of 'espionage' and nearly all of Prokofiev's music was branded as decadent 'formalism' anathematical to the People's revolution.

That ought to be enough to guarantee that I'd be receptive to Prokofiev's last ballet composition. Politics aside, however, The Stone Flower is a remarkably gentle, folkloric, accessible piece of music, certainly not among Prokofiev's most 'awesome' eruptions of originality but quite charming and colorful. It's hard to imagine that its musical character could have offended the 'Man of Steel' or his inquisitorial henchmen. The sad truth is that Prokofiev's 'stature' as a composer, among Western critics, has suffered from the impression that he submitted too easily to the Stalinist inquisition. "Can't win for losing," as my Pappy used to say.

The score, like most ballet scores, doesn't make very satisfactory concert listening, being episodic and meandering in the extreme. Prokofiev was well aware of the limited impact of his ballet music in the concert hall; it seems that he intended to extract instrumental fantasies from The Stone Flower for concert purposes, as he'd done with previous ballets, but he never completed the project. The music needs the dance to assemble its impressions in the mind of the listener. This is the first and only experience I've had of the music and the dance together. I have nothing to compare the choreography to, and honestly I have no claim to special insight into ballet. The most I can say is that I enjoyed this DVD quite a lot. Watching the dancers as pure athletes -- as gymnasts with elegant attitude -- I saw no shortcomings, though I'm sure that hard-nosed ballet aficionados would. They always do.

The story is simple. Danila, a stone carver, is in love with Katerina, a charming village maiden, but their love is in conflict with Danila's artistic urge to create a sculpture as beautiful as a flower. Danila also has an unwelcome competitor, the Bailiff Severyan, a lascivious bully. Danila becomes captivated by the Queen of the Copper Mountains, a powerful sorceress, who lure him to her underground realm. Katerina goes in search of him. Her search brings her to a village festival -- plenty of opportunity for folkloric dancing, of course -- where the Bailiff attempts to 'abuse' her. Unexpectedly, the Queen takes possession of the drunken bully ... That's enough of a start! You won't have any trouble fathoming this narrative ballet.

The two male dancers - Aleksandr Gulyaev as Danila and Genady Babanin as the Bailiff - impress my unsophisticated eyes as superb, both athletically and expressively. Gulyaev/Danila has complete authenticity in his role; he looks and moves his character from his noble nose to his agile toes. A film of a ballet, of course, is something other than a ballet seen from row 50 in a theater; we get to see faces, and the faces of this entire Kirov cast are as superbly choreographed as their limbs. The bully Sereryan, whose beard is curiously reminiscent of Lenin's, is both comical and supercilious, just as he should be. The three principal ballerinas -- including the Fire-Fairy Irina Chistyakova, who dances encouragement to Katerina in one sweet scene -- all likewise impress me as inhumanly lithe and lovely, though this is a ballet dominated by robust masculine affect, both in the choreography and the music.

The filming was done in 1990 or 1991, for St. Petersburg TV. It's not HD or Blu-Ray quality but it's quite good enough, especially if you have an 'upscaling' DVD player. The sets are visually pleasing and the scene-changes are edited masterfully. In short, this is a 'keeper' DVD which I look forward to watch again some day.

I had never heard of this till flipping on Amazon & read reviews. Being a true lover of ballet , with quite a video library I am always looking to add. This is beautiful & a little distant than your swan lake, but if you love the art of dancing like me you'll enjoy.

The principals and other featured dancers are fine but much of the production seems lacking in the kind of energy you might expect of the Kirov. Much of the company dancing seems listless and somewhat indifferent although that may have been keeping in character. Prokofiev's score is merely serviceable, I don't think he was trying for anything more than that. Despite everything it has going for it one can see why the rest of the world hasn't embraced this piece.