A cheerful confection | Tchaikovsky: The Sleeping Beauty (The Royal Ballet)

Blame the conductor | Tchaikovsky: The Sleeping Beauty (The Royal Ballet) | Tchaikovsky, Cojocaru

DVDs:


	• Tchaikovsky: The Sleeping Beauty (The Royal Ballet) Tchaikovsky, Cojocaru BBC / Opus Arte, 2008 average customer review:based on 10 reviews view larger image
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highly recommended

Purchased for my 6year old granddaughter

Great dvd...my granddaughter who dances ballet for over 3 years now just loved the show, beautifully packaged and beautifully performed.

A cheerful confection

Seeing this version reminds me of what happens when you buy a new television. One set may look to have all you might want, but put it alongside others in the shop and differences appear which change your mind.My view of this work falls into the first category- to accept it for what it is as a production filmed of a company that has been performing it for a very long time and as a star vehicle for Margot Fonteyn in her heyday.Now it's Alina Cojocaru's turn and she shines in the title role of a performance which hits all the right notes in a cheerful rendition of this old favourite.This is a fairy story well told, well acted,well costumed and well danced with an excellent surround soundtrack. What is also remarkable is that two other dancers could equally have stepped into the lead role and acquitted themselves with distinction- Marianela Nunez (the Lilac Fairy) and Sarah Lamb in the Bluebird divertissement.Both were exceptionally good and Sarah Lamb gave us a brief dynamic glimpse of what she can offer in a major role.Compared to how well Cojocaru carried off the Rose Adagio (beautifully) it can only be a pleasant thought as to how Sarah Lamb would have interpreted it.Other characterisations are also convincing and well presented-Federico Bonelli is a handsome dashing Prince who partners Cojocaru seamlessly, while Genesia Rosato is a suitably manic Carabosse whose rats are a real hit- they are superb and nearly steal the show. The minor roles are carried off well and the whole production has a good look and feel to it so this is a good buy. Caveats ? A few which are of little account as no one is going to return and amend the production because of viewer's opinions, but yes the music has been interfered with (yet again) and there are cuts which irritate the knowledgeable.And again I make the point that close-ups are unnatural by showing perspiration and heaving chests which work against the illusion being created all of a piece onstage.They also tend to miss key events happening elsewhere and I for one prefer to see the whole scene as I would at a live performance.
Family members who saw this at the ROH also mentioned this which reminded them of how much better the live version was (which it always is of course).In a similar way, considering how important dancers' feet are in what they do,showing only threequarter views of the body is criminal and should be a key issue in Camerawork 101.There are not many of these transgressions but one is too many for me. So should you buy it ? Well I say yes if you want an excellent example of the Royal Ballet style shown well in one of their key traditional productions- and on that basis it fits in very well with the other versions I have from the Bolshoi,POB,Kirov et al.And that is not faint praise but be ready for the differences when you make comparisons with the others and join the debate about what is the best overall version.

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Blame the conductor

Not being able to get to London, I was very much looking forward to this DVD. It seems to me that the production is always on the verge of being terrific but never quite gets there, certainly not on this evidence. The text is beautifully presented, the performances are always good, sometimes (Cojocaru, Bonelli, Lamb, Morera)outstanding, the famous sets as seen in so many photographs seem beautifully re-created. So why do I feel disappointed? I think the main reason is in the musical direction - it's often too slow. Where the music should generate excitement, the tempi are often leisurely; in the middle of a good fast tempo, the conductor will suddenly put the brakes on for a gently-shaded sequence, and then pick up speed again. I believe this tendency, In Act 1, goes against Cojocaru creating a sparkling Aurora. The Rose Adagio, ensuing solo and exultant coda are all taken at moderate pace, so much so that the dancer clearly has time on her hands and adds extra pirouettes or little affectations of the head and hands which serve to weaken the general impression. In the diagonal coda, she has time to pose in the jump sequence before taking off again, when the impression should be of a whirlwind of happy movement. The Messel sets look severely underlit, and the costumes by Peter Farmer are a symphony of let's-not-offend-anyone pastels. Can't fault the DVD direction, though, it's beautifully done.

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It's Worth Having

I thought a lot before I bought this production. I actually saw it live at the Kennedy Center during the summer before this was recorded and I was so disappointed. I had waited so long to see the Royal Ballet perform Sleeping Beauty live.
I ought to say here I'm one of probably a few who actually like the Anthony Dowell 1993 production. I think Viviana Durante was amazing and Dowell himself as Carabosse gave the performance of the ages. I wasn't that nuts about the scenery but thought the costumes (especially those in Act 3) were great.
I think the company was just having an off day when I saw the live production. It was a very hot summer day and, to be kind, maybe the heat and humidity was getting to them all. The whole group lacked energy, Sarah Lamb was uninspiring as Aurora. There was nothing between her and her Prince and the Elizabeth McGorian's Carabosse (she normally plays the Queen) looked and acted like she was a little annoyed because she hadn't been invited to a tea party.
Though I suspect Durante with her steely toed performance is much more comparable to Fonteyn, I like this performance and Cojocaru a lot. In fact I like the whole cast a lot and Sarah Lamb is very good as Blue Bird. Cuts in the music don't disturb me too much since almost all the companies take liberties in that area.
Like one of the other reviewers I'm also a fan of the Kirov version with Asylmuratova (and her husband Zaklinsky) but it was recorded at the Bolshoi Theatre and is so dark in places. (Have others noticed that this is often the case with performances recorded at the Bolshoi?) So far it is only on VHS and I've wondered if it will ever come out on DVD because of the quality of the recording.
Anyway, for Sleeping Beauty fans it's well worth having. Since so little of the original production is available today (Act 3 on the "Evening With The Royal Ballet" DVD, a severely cut black and white version filmed for American TV and bits on the Margot DVD) this is the best chance to get an idea of what the original was like.

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TCHAIKOVSKY BALLET OF FIRST SUCCESS.

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

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The Sleeping Beauty has been performed at many key moments in the Royal Ballet's history. To coincide with the Company's 75th Anniversary, Monica Mason and Christopher Newton created a new production based on the Sergeyev/De Valois/Messel production that was first performed by the company in 1946. Peter Farmer recreated and augmented Oliver Messel's designs adn Christopher Wheeldon choreographed a new Garland Dance for this production.

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