Customer Reviews

The Sleeping Beauty [Blu-ray]

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This release of "Sleeping Beauty," a filmed performance by the Royal Ballet, was eagerly anticipated by myself after I watched the telecast. I think, all things considered, that this is the best Sleeping Beauty DVD on the market. Other videos might have finer individual performances (Margot Fonteyn, Yuri Soloviev, Alla Sizova) but those videos are all severely abridged versions of the ballet, and the video quality is not high. This "Sleeping Beauty" has a fine cast, great video quality, and an excellent production.

I'll go over several aspects of this video:

1. The production - The Royal Ballet has always prided itself on its production of Sleeping Beauty. The famous 1946 Oliver Messel production made Margot Fonteyn an international star. Over the years, replacements for the Messel production were never very successful. In the early 1990s a production by Anthony Dowell was released on video. Viviana Durante was an excellent Aurora, but the sets and costumes were terrible and much criticized. This video is a replica of sorts of the Messel production, although the costumes have not been replicated, and the Garland Dance was choreographed by the up and coming Christopher Wheeldon. I don't like the overly pastelish, glittery costumes of the fairies, but these criticisms are mainly for the Prologue, and the sets have a grand simplicity.

2. The choreography of the Royal Ballet's production has always been its strong point. I remember an interview with the formidable Ninette di Valois when she took care to explain the difference between "production," which she says is wont to change a lot, with "choreography," which is much more constant. The Royal Ballet's choreography is was heavily based on Diaghilev's 1921 production for the Ballet Russes and Petipa assistant Sergeyev's original notations, and it preserves much of the crucial mime of the Lilac Fairy and Carabosse. Unlike Nureyev's production for the Paris Opera Ballet, the Royal Ballet's choreography has no gratuitous interpolated solos for the Prince. The famous fishdives in the Grand pas de deux that Diaghilev added to the 1921 Ballet Russes production are here as well.

3. The dancers - Alina Cojocaru in the title role gives a performance for the ages. Cojocaru is not a stereotypical ballerina. Her face makes her look eternally girlish rather than conventionally beautiful. She lacks the large eyes and high cheekbones of most ballerinas. She is extremely thin, but has short, extremely wide feet without much of an arch. Her strength is in her technique and her personality. Her feet look weak, but she is incredibly strong as a dancer. In Act 1 it's hard to expect anything more from an Aurora. Her jump is airy and light, her turns fast and secure, and she zips through the Rose Adagio with long-held balances and barely a wobble. In the Vision Scene she transforms herself effortlessly into a wispy, otherworldy creature. She has a bubbly, sweet stage presence that's apparent even in the Regal Act 3 wedding scene. Cojocaru was born in Romania and trained in the Russian style at the Kiev Ballet before she joined the Royal Ballet. Her dancing style combines the best of both worlds, having the crisp solidity usually associated with the British style along with the soft Romantic port te bras, expansiveness, and delicacy of the Russian school.

Her partner was supposed to be her offstage boyfriend Johan Kobborg, but Kobborg was injured, and Frederico Bonelli danced in his place. But the last-minute substitution is not reflected in the performance. Bonelli is princely and handsome, and he partners Cojocaru very well, especially in the Wedding grand pas de deux. They are much better matched than the tiny Viviana Durante and the extremely tall Zoltan Solymosi in the 1993 video.

Marianela Nunez is herself an acclaimed Aurora, but she gives the Lilac Fairy a sweetness and graciousness that is most welcome. This fairy is never remote, always benevolent. I agree that at times she seems a little too human, but I can't complain. Her variation in the Prologue is much superior to Benazir Hussein, in the Dowell production video.

It's a sign of the top-down quality of the video's cast that the Florine (Sarah Lamb) is also a principal dancer and acclaimed Aurora. The divertissements in Act 3 are very well-danced.

4. The video quality - very high. The sound is well balanced, the close-ups are well placed so as not to distract from the overall dancing.

Overall, Opus Arte has released yet another treasurable video from the Royal Ballet. (Fille Mal Gardee and Sylvia are also highly recommended.)

Alina Cojocaru is one of the truly great dancers of our time, and, as one would expect, she is a brilliant Princess Aurora. She is finely partnered by Federico Bonelli, whose solos are excellent as well. Marianela Nunez would be a splendid Lilac Fairy if she could only stop smiling; surely her character must have more than one expression. The production begins tamely, as it almost always does, as it necessarily lacks the two principals. Things perk up with the entrance of Aurora in Act 1, and Cojacaru is especially splendid in her unsupported attitudes, fully turned out in the
last one. Florimund's trip, led by the Lilac Fairly, to the castle becomes a bit tedious, bordering on the absurd when they get into some kind of baroque vehicle. Doesn't anyone have the courage to excise this? No choreography would be lost.). Once arrived, however, the prince wakes the princess on cue, and the dancing that follows is wonderfully exhilarating. In the Bluebird pas-de-deux Sarah Lamb shows flashes of greatness to come.

Tchaikovsky is one of the few composers who has ballets, operas, symphonies, concertos for piano and violin in the repertoire of major theaters in the world. His specialty is the melody, a descendant of the Russian tradition folk vein makes it special to Western ears.

Stand out in his work the 6 symphonies that reach their peak on Friday, known as the Pathetique, the operas Eugene Onegin and Queen of Spades staged today in the great houses of the lyrical world and a unique musical beauty. The delicacy of the Concerto for Violin and Orchestra and the 3 ballets, The Nutcracker Christmas ballet tradition, the Swan Lake with its catchy tune and Sleeping Beauty.

Ballet immediate success showed the supremacy of Tsarist Russia in the dance. Just so that they mimicked the French culture, to speak French was fashionable in the Russian nobility of the nineteenth century, the cultural imitators surpassed the masters. But enough talk and let the video in question.

Covent Garden presents us with a new production of this ballet, dated 2006. Luxury and refinement are essential in this work, let us not forget that the story takes place in court where nobles parade with all the pomp and circumstance. The London stage follows this rule, the fancy costumes and the scenery is perceptible in every detail, but without exaggeration, it is easy to create excesses that tend to geekiness. Soft pastels give charm and show the good taste of the producers. The choreography follows the Petipa produced by the small changes that give more impetus to work.

The music of the ballet is simple, sweet, sometimes naive, that does not mean easy to be touched. The orchestra of Covent Garden makes the score look easy such is the dexterity with which they implement the work. The conductor Valery Ovsyanikov captures the essence of the melody of Tchaikovsky, right time and in tune with the dance.

Alina Cojocaru lends ingenuity and beauty Princess Aurora, her dancing is safe, strong and delicate at the same time. Sutil in the first act, virtuous in the third, performs the difficult variations with good control. But lack the thrill of the great dancers (remember many actors of the network world) you can compare your views with Margot Fonteyn in 1955. Frederico Bonelli is a noble prince in the prime of youth, just right. The Lilac Fairy of Marianela Nuñez has technique, grace and sweetness that excited about their pirouettes.

The main focus is for the Evil Fairy, Carabosse. In other versions a dancer interprets it, but who takes that role is our friend Genesia Rosato. It makes a villain the height of the Fairy of Evil, also overcomes this with their dark expressions, his stride and his cynical smile. A villain to fall in love.

DVDs of the Opus Arte label are exquisite quality, image and sound quality, easy to use menu with a choice of scenes. Booklet in English, French and German (not in Portuguese). Who likes ballet and wants to have a modern version of the work I recommend the DVD. Who cares more about the dance and give up sound quality and visual recommend the version with the Kirov Irina Kolpakova, Sergei Berezhnoi. This complete and very well choreographed and danced with all the weight of the tradition of Russian ballet. Too bad for modern technology of today is a little vencida.Mas this is a topic for another DVD.




PRIMEIRO BALÉ DE TCHAIKOVSKY DE SUCESSO.

Tchaikovsky é um dos poucos compositores que tem balés, óperas, sinfonias, concertos para piano e para violino no repertório dos grandes teatros do mundo. Sua especialidade é a melodia, descendente da tradição russa sua veia folclórica faz dela especial aos ouvidos ocidentais.

Destacam-se na sua obra as 6 sinfonias que atingem o auge na sexta, conhecida como Patética, as óperas Eugene Onegin e a Dama de Espadas encenadas até hoje nas grandes casas líricas do mundo e de uma beleza musical ímpar. A delicadeza do Concerto para Violino e Orquestra e os 3 balés, Quebra Nozes balé de tradição natalina, o Lago dos Cisnes com sua música envolvente e a Bela Adormecida.

Balé de sucesso imediato mostrou a supremacia da Rússia Czarista na dança. Justamente eles que tanto imitavam a cultura francesa, falar francês era elegante na nobreza russa do século XIX , os imitadores culturais superaram os mestres. Mas chega de conversa e vamos ao vídeo em questão.

O Covent Garden nos apresenta uma nova produção desse balé, datada de 2006. Luxo e requinte são imprescindíveis nessa obra, não nos esqueçamos que a história se passa na corte onde desfilam nobres com toda a pompa e circunstância. O teatro londrino segue essa regra, o capricho no cenário e figurinos é perceptível em cada detalhe, mas sem exagero, é fácil criar excessos que tendem para a cafonice. Tons pastéis leves dão charme e demonstram o bom gosto dos produtores. A coreografia segue a elaborada por Petipa com pequenas modificações que dão melhor dinâmica a obra.

A música do balé é simples, adocicada ,as vezes ingênua, o que não quer dizer fácil de ser tocada. A orquestra do Covent Garden faz a partitura parecer fácil tamanha é a destreza com que executam a obra. O regente Valeriy Ovsyanikov capta a essência da melodia de Tchaikovsky ,tempos corretos e em sintonia com a dança.

Alina Cojocaru empresta ingenuidade e beleza a Princesa Aurora, sua dança é segura, firme e ao mesmo tempo delicada. Sutil no primeiro ato, virtuosa no terceiro, executa as difíceis variações com bom controle. Mas falta a emoção das grandes bailarinas (lembra muitos atores da rede globo) basta compararmos sua exibição com a de Margot Fonteyn em 1955. Frederico Bonelli faz um príncipe nobre no auge da juventude, correto apenas. A Fada Lilás de Marianela Nuñez tem técnica segura, graça e doçura que empolga com suas piruetas.

O principal destaque fica para a Fada do Mal, Carabosse. Em outras versões um bailarino a interpreta, mas nessa quem assume o papel é nossa amiga Genesia Rosato. Faz uma vilã a altura da Fada do Mal, aliás supera isso com suas expressões tenebrosas, seus passos largos e seu sorriso cínico. Uma vilã para se apaixonar.

Os DVDs do selo Opus Arte são de qualidade primorosa, imagem e som excelentes, menu da fácil manuseio com a escolha de cenas. Encarte em inglês, francês e alemão (nunca em português) . Quem gosta de balé e quer ter uma versão moderna da obra recomendo o DVD. Quem se importa mais com a dança e abre mão da qualidade sonora e visual recomendo a versão do Kirov com Irina Kolpakova, Sergei Berezhnoi. Essa completa , muito bem dançada e coreografada e com todo o peso da tradição do balé russo. Pena que para as modernidades tecnológicas de hoje fica um pouco vencida.Mas isso é assunto para outro DVD.

Ali Hassan Ayache

The old dancers are retired and the Russians are mostly gone. In this production at least there was obviously a lot of bad taste choosing the cast. Costumes were a bit too shiny, especially the wolf and the cat costumes which looked made of pasted paper. The male dancers jackets looked two sizes too big :III act pas de trois and Florimund the Prince who looked like Aurora's son because Miss Cojocaru owns an old lady's face(good dancer though). Forget about Carabosse; one could hardly notice her with her inappropiate divided in the middle spanish comb on her head (Who thought of this? bad,bad taste!!) I rather see Dowell. And for dessert, the male dancer as the Blue Bird: chunky heavy tuna without feet;too fat and no grace at all. Thank you for small favors: the King and Queen and the Lilac Fairy were great
and the fairies danced very nicely. The video and sound on the disc were excellent.Production,performance and cast were very unsatisfactory for a ballet company of this caliber. Miss Mason you could do better than this!