Customer Reviews

Spartacus: Bolshoi Ballet - Aram Khachaturian, Vasiliev, Bessmertnova, [VHS]

5 star:		(11)
4 star:		(2)
3 star:		(4)
2 star:		(0)
1 star:		(0)

 

 

Aram Khachaturian wrote the melodious score to the Spartacus ballet between 1950 and '54. The first choreographer was Leonid Jacobson. His version, which premiered at the Kirov on December 27, 1956, was not a real success. The problem was that the choreography contained too much mime and not enough actual dancing. Two years later, Igor Moiseyev staged a version for the Bolshoi, which had a similar fate; that one received only nine performances. Later there was a revision by Jacobson, which also didn't find favor with the public. Incidentally, excerpts from one of Jacobson's versions (it is not clear which--maybe both) can be seen in "The Glory of the Kirov" DVD; I don't think his choreography was all that bad, really, but you be the judge.

It wasn't till April 9, 1968 did Spartacus achieve its definitive form in a performance given at the Bolshoi, this time, with choreography by Yuri Grigorovich. His version is a three-act ballet divided into two main categories. There are the major soldier/crowd scenes and also the monologues in which one of the four principal dancers is the only one onstage, and he or she dances against a dark background. At the premiere, the four principals were: Vladimir Vasiliev as Spartacus, Ekaterina Maximova as Phrygia, Maris Liepa as Crassus, and Nina Timofeyeva as Aegina. So, with the exception of Maximova, who was replaced by Bessmertnova as Phrygia, these were the dancers in this famous 1977 film, not 1979 as Amazon indicates.

But that's where the good news ends and the problems begin. First, as others have already pointed out, they used some dated cinematic techniques that are downright irritating. For example, they superimposed images (double exposure) to make a battle scene look bigger than it is. Elsewhere, they slowed down the motion of one of Spartacus' leap sequences; I'm sorry, that format just doesn't suit ballet--dance movements should correspond with the music. Furthermore, the picture itself is sometimes very dark, which makes it hard to see the corps de ballet. And the sound quality is only passable.

Even if you can overlook all this, there remains the ultimate sacrilege. Here we have three-quarters of the original principal cast, along with Bessmertnova and a superb corps de ballet dancing their hearts out, and the producer decides to cut forty-odd minutes of dance and music out of the film, which makes the work much less coherent. Notable moments are the beginning of Act II, Scene 1; the Aegina monologue in Act II, Scene 2 (danced to some hauntingly beautiful music); and a series of leaps, performed by Spartacus near the end of Act II, Scene 1.

Now, lest you think I was just carping without actually presenting a solution, I'll let you in on a secret. As far as I'm aware of, there are at least three COMPLETE videos of the Grigorovich/Bolshoi-production Spartacus in existence.

The most recent is the one starring Irek Mukhamedov and Lyudmila Semenyaka, shot live in 1990 (Arthaus Musik DVD). This is by far the best overall video of the ballet. It boasts the best picture and sound quality--with exemplary dancing to boot! Plus Mukhamedov does a version of the Act II, Scene 1, leap sequence, missing in the present film, in which the final leap looks like a spinning flying-roundhouse-kick--AMAZING!

There is another video of Mukhamedov in the role (Kultur DVD), and this time, he partners Bessmertnova in a 1984 live performance. Picture and sound are of good quality. This otherwise solid performance was marred by Mikhail Gabovich's tepid portrayal of Crassus.

A third video (Via Classic DVD) was shot live in 1979. This one is marred by even worse picture and sound quality than the '77. And some of the principals made a couple of mistakes. However, you have the benefit of, again, seeing Vasiliev as Spartacus and, this time, Ekaterina Maximova as (the original) Phrygia in a COMPLETE performance. Sadly, Vasiliev does a less technically-demanding version of the Act II, Scene 1, leap sequence--no roundhouse-kick.

Of the three COMPLETE videos, my #1 choice would be the '90 version, starring Muhamedov, for the very reasons I stated earlier.

His '84 is also recommendable, but it's been surpassed by the version above.

Because of the overall (poor) quality of the '79 Vasiliev, I will recommend it to true aficionados ONLY for its completeness. Alas, if only it were better shot...
NOTE: This DVD is not in NTSC format. Rather, it is in PAL format, which means most DVD players sold in North America will not be able to play it. You can purchase a multi-format compatible DVD player at your local specialty electronics store.

The '77 Vasiliev has long been regarded as the ultimate Spartacus ballet video, because most fans have neither had the opportunity to sample, nor, indeed, even had been aware of the existence of the other Grigorovich/Bolshoi Spartacus videos. The present version is neither fish nor flesh. Buy it for its "cult" status. But if you're looking to experience the ballet in its full glory, I suggest you look elsewhere.

For further recommendations...I've created a Listmania List, called "Spartacus Ballet Videos, CDs, and More", for those interested. To locate it, check out my Listmania Lists section by clicking my name.

Happy viewing!



FOOTNOTE:

Khachaturian's original score was NOT used in any of the aforementioned versions of the ballet. Everybody from Jacobson to Grigorovich had used modified versions of the score.

Much has already been written about this, so I will add only a few points. It would be impossible to find a better cast of dancers for this ballet. This is a legendary performance and I have never seen an entire ensemble as up for a performance as this one. This performance is on movie stock, not video stock, sort of like the Russian version of cinemascope. It is technically very well done, especially considering that at this time in history the Soviets didn't participate much in the latest Hollywood technology. The dvd quality is perfect. The lighting is exactly as it is supposed to be. So stop complaining about nonsense and enjoy the perfection! (The dvd includes a nice little extra feature with Vasiliev and Plisetskaya.)

When the Bolshoi performed in New York in 1959 the dance critic Edwin Denby was unstinting in his praise of Vladimir Vasilev who was then just nineteen. "One or two other men leapt as high as he, but none as they leapt and danced had his power of sculptural contour in motion, or his power of upbeat in rhythm. None as actors had his lion-hearted magnanimity toward the heroine, the entire company, the whole world...His style is plain: his poetic gift - no simple one- is as radiant as that of the fabulous Russian dancers of the past." But Denby was not as impressed with the company as a whole, "The company has formalized its style...It covers up with care the brilliantly unreasonable resources of expression which are the glory of ballet dancing. It does so to stress instead an acted mime meaning. Four or five in the company can do this convincingly; the rest haven't a gift for vivid acting....the company's mime of deep feeling and psychological motivation isn't absorbing....The Bolshoi means to uncover its dance power in the next few years. When it does it will add to the literal meaning of pantomime the metaphorical meaning of dancing."

In Grigorovich's 1977 film of Spartacus this goal has been magnificently realized. This is a ballet of conflict and contrasts; the conflict between the oppressive power of the state and the inherent urge for individual freedom, the contrast between cold sensuality and the warmth of abiding love. Spartacus and his lover, Friggia, enslaved by the Roman State are separated and she is paraded for the pleasure of the Roman General Crassus. He is captivated by her beauty and is about to satisfy his lust when his chief courtesan, Eghina, jealously intervenes and diverts him to her with her sensual dancing. Spartacus, forced to become a gladiator, is brought into the scene and in blind combat kills his friend for the "pleasure" of the assembly. Filled with remorse and anger Spartacus determines to lead the slaves in revolt. In the ensuing combat Crassus is captured and forced to duel with Spartacus who defeats him and then contemptuously frees him. Enraged Crassus determines to defeat Spartacus and the slaves, and as the armies gather their forces Eghina spies on Spartacus and then introduces her courtesans into a bacchanal with his soldiers. Spartacus's forces are depleted in the orgy and defeated, he is captured and fights valiantly until he is hoist on the spears of the legionnaires. Crassus slinks away into triumphal obscurity as Eghina is ironically incorporated into the standards of the Roman Legions. Friggia mourns Spartacus' death and in the final ensemble he is held triumphantly aloft in the immortal cause of freedom.

This is a ballet that is meant to be viewed many times to savor the way Grigorovich's film reveals the story and fills the action with the "metaphorical meaning of dancing". Vasiliev as Spartacus is everything Denby described, and the pas-de-deux with Bessmertnova as Friggia are filled with tenderness, support, giving, trust, and passion. In contrast Liepa as Crassus and Timofeyeva as Eghina bring to their pas-de-deux arrogance,languorous sensuality, and the lust for power, while the company as a whole brings to the climaxes of the performance "the power of radiance ballet can achieve", and also the ample strength and weight of movement so characteristic of the Bolshoi.

While this film has some of the technical limitations of VHS recording and Kultur filming the performance easily outweighs them and belongs in every ballet lover's collection.

Before i watched this movie,i thought that ballet men were essentially effeminate,weak and basically `forklifts` for the women.the athletecism of the dancing,combined with the artistry and musicality was stupendous,and changed my mind completely about ballet.i have watched many ballets since then,but none have captured the vigour,vitality and beauty of male dancing to the same degree.Vasiliev was truly the best dancer ever ,and it is a pity that so little is avaiable to view of his work. notwithstanding,the women also put up a tremendous performance

The biggest problem you face when watching this video is that by paying attention to the stars you will miss the corps of ballet, which is as good or better, I dare to say, than the latter.Try watching it several times, each focused on a particular item: the music, the costumes, the coreography, etc... And commit yourself to never watching "Spartacus" presented by any other company. Where on earth will you find an oustanding male corps to give you a full vision of Hollywood old Roman movies?

I won't write too many descriptive words; it would be dull to describe THIS. For those of you who are not lucky enough to be Russian and have a chance to get really acquainted with the ballet ART, I'll just point out some things. Vladimir Vasiliev is THE BEST male dancer ever performed. Don't even try to compare him with Nuriev or Baryshnikov. Vasiliev is the best, most talented, genius, handsome, and all other superlative words you can imagine. Don't believe me? Try to believe Asaf Messerer, Galina Ulanova, Kasian Goleyzovsky, Struchkova, and the list is endless. He is also very good choreofrapher, director, artist (he paints), and recently (1995-2000) he was the head of the Bolshoi Theater. Natalya Bessmertnova is not only Grigorovich's wife, she is very beautiful technically, plastically, and, simply as a woman. She was the true star of the Bolshoi Theater. In this case, she is a beautiful match to Vasiliev. Maris Liepa is also one of the ballet's legends. This role in Spartacus opened him his career and revealed one new star to the ballet world. As for Grigorovich. What to say. He is certainly head and shoulders above the croud (yes, much better than Balanchine - Georgiy Balanchivadze), he brought on stage new ballet - Ballet-Symphony. "Spartacus" is pure example of it. As well as the Stone Flower. I love his "Stone Flower", I have it with Nina Semizorova as Mistress of Copper Mountain (The Bolshoi Theater production) -it's breathtaking! She takes all your attention and doesn't let your eyes look at other dancers. If you can get The Bolshoi's Theater "Stone Flower" with Semizorova, get it! Returning to Grigorovich. Unfortunately, back in 60's he supplanted the genius Kasian Goleyzovskiy from Bolshoi Theater. It's a long story. Goleyzovskiy was one of the most innovative (if not THE most) choreographers of the 20th century. He in Bolshoi in Moscow, and Lopukhov in Petrograd (Leningrad) brought about a revolution in ballet. Goleyzovskiy was a pupil of Gorskiy, and after Gorskiy's death he became chief choreographer of the Bolshoi Theater in 1920s. He not only continued his teacher's tradition of making choreography more emotive; he went way further, through bringing dramatic theater implements into ballet to Meyerhold and Vakhtangov-like phantasmagories with superfine understanding and expression of human's emotions and states of mind. In 20s, he got kicked out of Bolshoi for his modernism, with ban against choreographic practice. Then, in 1960, Bolshoi Theater invited him and he created the legendary "Leili and Medjnun". Vasiliev and Struchkova danced in it - for only 4 years, and then the ballet was taken away from repertoire, dismissed. As Goleyzovskiy was too. There is an opinion among professional crytics and dancers (and I think this opinion has a good reasons) that Georgiy Balanchivadze, being mediocre dancer, before emigrating from Russia, switching his occupation and changing his name (to George Balanchine) fell greatly in love with Lopukhov and Goleyzovskiy's new approach and adopted it for his future career as a choreograph. He even gave his own name to this approach. The difference is that original authors are always better, and, they change and evolve with years and experience. My advice to you is to not read Balanchine's book.

I give 10 stars out of five to Vladimir Vasiliev, Maris Liepa, Natalya Bessmertnova, Kasian Goleyzovskiy, Yuriy Grigorovich and all those from Golden Era of Soviet Ballet (which means Golden Era of world ballet).

Every thing in the ballet is supreme as others said. Also the photographing of the ballet film is first class. However, the video is made as holding a VHS camcorder to record the film screen. The pictures are dark and jumping, have no colors and details. If you believe the picture quality of the zoomed-in view of the signature pose of the ballet with Bessmertnova and Vasiliev on the video box is representative of the video quality, you would be cheated like me. Buyers from Europe and other regions may have better luck, because Warner Classics released a different video edition for the same ballet film. Unfortunately, Warner does not release the same video for the U.S. region. Kultuk is the distributor of this ballet film in the U.S., who did many poor works for videos on supreme foreign movies.

As other reviewers have noted, this is a tribute to the art of Maris Liepa (as Crassus, the Roman general), who displays a genius for integrating the right gesture, facial expression and superbly executed dance moves to the character he is portraying. Regrettably, it is the only full-length ballet of Liepa on video, even though he achieved renown in Russia for his Giselle.

Vladimir Vasiliev's Spartacus is compelling for other reasons, as he focuses on presenting his character almost entirely through the choreography. His is a flawless, vigorous display of male dancing and one of the reasons Vasiliev was known as the greatest dancer in the world.

The complaints by other reviewers about white dots and jump cuts are superficial and only affect a small portion of the movie. Yes, this is a movie and not a videotaped live performance, and the result is a more coherent presentation of the story. A ballet movie not to be missed.

This film is definitely he greatest monument to Maris Liepa (1936-1989), one of the greatest ballet dancers of all time.

Shortly after his film was shot, Liepa was kicked out of the Bolshoi Theatre by its head, a mediocre ballet master Yuri Grigorovich (who also later kicked out the famous Maya Plisetskaya).

From his very first appearance, all the viewers will begin to realize, that Crassus is the Champion here, not Spartacus (Spartacus is the champion! is the favorite motto of thr Spartacus soccer tam in Russia).

This footage is definietly one of the greatest monuments to the immortal Russian-Latvian ballet dancer.

The phonogram is also praiseworthy: the Bolhoi Theatre here sounds at is very best under the baton of its great leader Algis Zhuraitis.

As always, in the Soviet Union art always had to fight both with the State and with the Technology.

I saw this version of Spartacus first in 1979 at a movie theater. I was a young teenager then. I remember I liked it very much, but I thought the cinematography was rather dated even then and the picture quality was poor, full of blemishes and annoying white dots, even back then. It's also sad that Aegina's parts were severely cut. All that said, it's still an amazing ballet movie. Of course, it is heavily cut (only 90 minutes). But the longest existing version which seems to be the 1990 Bolshoi version with Irek Mokhamedoff is only about 135 minutes long. Grigoryevich did not use the entire score for his choreography, nor did any other choreographer before him. The original score is 3.5 hrs. My recommendation to Spartacus fans is to buy the 1977 as well as the 1990 versions (the latter version's sound quality is unbelievable) plus a CD recording of the full score.