Another superb production
from the Bolshoi Theatre. This production
is based upon the choreography of Marius
Petipa and staged by Yuri Grigorovich.
This means that we have an absolute
visual feast. As well as superb dancing
we have the delight of sets based upon
the originals setting the story in the
time of Louis XIV.
This means that we
do not have modern dress, with motor
cars, tanks or rockets or any of the
other rubbish, which is served up by
todays current directors as art. This
production is totally in harmony with
the original ideas which Tchaikovsky
worked with, and indeed, might even
be classified as a "period"
performance.
In addition, the production
has been filmed in such a way that the
noise of feet clumping on the floor
is entirely absent, so making it a pleasure
to listen to, unlike many DVDs of ballet
where the footfall noise is clearly
evident.
Are there any problems
well yes, but they are minor. As the
ballet progresses, some of the dance
numbers get a little monotonous as the
orchestral performance is dampened by
the choreography. This does not happen
often, but is noticeable when it does.
In addition, one of the virtues of this
set, actually works against it. Although
the costumes are traditional and are
realised magnificently, because of the
sheer length of the work, it can be
a little boring watching the same all
the time. I suppose we, in this age
cannot ever be totally satisfied. Any
slight reservations that I might have
are completely nullified by the positive
aspects of this production.
In general, the orchestra
plays superbly, and displays the traditional
rawness in the brass which is very exciting
and sounds exactly right. The sets are
also traditional, presumably being updated
to take advantage of modern technology.
Visually, this production is an absolute
feast. For example, in Act II, Scene
of Panorama, the two principals are
together and the required effect is
that they move through the forest together.
How this is done is that the principals
dance together on the spot whilst the
scenery moves past them, so giving the
sense of the two dancers moving through
the forest. The trees of the forest
appear to be printed on a gauze curtain,
and this moves across the stage from
right to left, giving the impression
of movement. The effect is wonderful.
I have said nothing
so far about the standard of dancing,
and although most of the names were
unknown to me, what I can say is that
ballet training in Russia is still in
a class of its own. This performance
was recorded at the Bolshoi on a public
night, and although at particularly
moving moments, the audience erupts,
it is mainly limited to a few rowdies
who seen determined to be heard. Throughout
the ballet they are generally mercifully
quiet.
There are one or two
moments in this score which I found
particularly exciting. One notable example
is the first appearance of Prince Desire,
danced by Aleksei Fadeyechev. He bounds
onto the stage in a green costume and
the effect is electrifying it is almost
as though the audience has been sitting
waiting for this moment and goodness
me, he delivers in full.
By now you should be
aware that I liked this issue for a
variety of reasons, and I can recommend
it with all enthusiasm.
As far as ballet DVDs
are concerned, I have not enjoyed one
so much for so long, and if traditional
productions are for you, then try this
one you will not be disappointed.
John Phillips
The Bolshoi Ballet 
ARTHAUS
MUSIK 101 113 [145:00] 
