Tchaikovsky - The Sleeping Beauty / Aurelie Dupont, Manuel Legris, Vincent Cordier, Nathalie Quernet, Laurent Queval, Paris Opera Ballet
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DVD Cover Information
Actor: Opera Bastille, Petipa, Rudolph Nureyev, TchaikovskyBrand: Kultur
DVD: Region Code 1
Audio: English (Unknown), Dolby Digital 2.0 Stereo; English (Original Language), Dolby Digital 2.0 Stereo
Format: Classical, Color, Dolby, DVD, NTSC
Picture Format: 1.33:1
Running Time: 149 minutes
DVD Release Date: 2006-06-27
Audience Rating: NR (Not Rated)
Studio: Kultur Video
Movie Reviews of Tchaikovsky - The Sleeping Beauty / Aurelie Dupont, Manuel Legris, Vincent Cordier, Nathalie Quernet, Laurent Queval, Paris Opera Ballet
Movie Review: VIVE LA REINE!
Summary: 5 Stars
Working within a given system an interpreter has the prerogative to insert, or omit, various sections so long as this does not interfere with the integrity of the work as a whole, rather further illuminate its underlying Intention and Potential. By this I mean that Nureyev, having meticulously adhered to the stylistic coherency of the work, allowed his imagination to run free and wild in this absolutely enchanting production of Petipa's master-work.
Long and fruitful has been the rapport between the French and Russian Traditions. The tale of the Sleeping Beauty, by the 17th century auther Charles Perrault was written at a time in history regarded by the French as "Le Grand Siecle". The style of the day is rightfully labeled -"Rigueur"- it may be summed up thus: Severity-of-Form aligned with Elegance. Louis XIV insisted that this aesthetic ideal be applied rigorously to all art forms.
Some two hundred years later the French-born Petipa, created a work of unparalleled stylistic purity of form and elegance of manner for the Imperial Mariinsky Theatre, St. Petersbourg, based on the same story. Eighty years later the Russian Nureyev took this notion even further to conceive for the Opera National de Paris a masterpiece of a production that even after 20 years of its creation manages to retain its freshness and relevance in today's swiftly changing world.
Needless to say all aspects of this production are superbly worked-out with meticulous attention to detail. Nureyev proved to be even more fastidious in his undertakings than even the French would have deemed necessary. The general splendor of the décor and costumes is particularly commendable whilst being enhanced by the brilliant nuances of the Lumieres.
The prologue is of particular grandeur with all the good fairies in attendance bearing good wishes. They dance beautifully, with poise and goodness in their demeanor. Ms. Marie Agnes-Gillot dances with crystal-clear precision and luminance yet is still soft and gentle. Each fairy has her style and all perform with much ease and command. For the French the height of the leg extension is of lesser value than the style and bearing used to get it up there. The whole stage is magically lit up by the presence of the entire court wishing the newborn a happy life.
At this point the ceremony is interrupted by a somewhat overwhelming announcement that the vengeful Carabosse is about to appear. She is a beauty fallen from grace. The mime dialogue that will ensue between the two rival Powers - Carabosse and Fee des Lilas - is brief but spellbinding, so watch closely! Both Powers, Good and Evil, appear convincing and of equal depth. Bravo Nureyev!
...
Hush! Tchaikovsky's music is letting us know that the Divine and unassuming Ms. Aurelie Dupont is about to make her nonchalant entrance as Aurore. She hurries onto the stage with the energy and vivacity of a privileged 16 year old. At once, it is clear: She has lived a happy life; making us all wish that our lives were a fairytale. Needless to say that what I observed from this point on can be summed up with one single word - Beauty. She was the incarnation of it! From this All aspects of her interpretation are uniformly perfect.
"Beauty" is first and foremost a masterpiece of academic stylistic discipline. It represents the pinnacle of the Style "Noble", defining a standard of Pure Form. Any infusion of emotion to the sheer choreographic structural ideal must confine itself to this paradigm. Second to that, the dancer must sparkle within the context of the libretto! (Note that the Great Mr. B, considered this ballet as petipa's masterpeice). Sadly enough many modern choreographers, and dancers, consider the role of Aurore saccharine and effervescent, entirely out of sync. Well, no doubt there are greater issues at hand, this is true, but none of them can be dealt with by performing on stage, even if it is the works of the famous Matz-Ek.
As opposed to other styles of dance, the classical world allows us to dream since it tends towards the Transcendental Ideal. For this, however, we must have great artists. For the performance of the entire Classical repertoire, the Principal is critical.
The vision scene in the second act is of poignant beauty. Petipa's choreography for the corps in this section is splendid with its diagonal symmetry and interweaving effect - it perfectly echoes the music. Plenty of ballottes (they fit perfectly, without seeming heavy), tombes and battements. And of-course the lovely Ms. dupont. Her powers are at their summit here. Gentle, Serene, Unattainable. She is the means through which iridescent visions materialize.
The final act is stupendous! Not only is the grand pas de deux majestically executed by the dazzling etoiles Ms. Dupont and Mr. Legris, but the closure of the production is of monumental proportions. The whole cast ecstatically showcasing the Majesty of the French Tradition. As seen through the eyes of this Uncanny Russian.
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More Tchaikovsky - The Sleeping Beauty / Aurelie Dupont, Manuel Legris, Vincent Cordier, Nathalie Quernet, Laurent Queval, Paris Opera Ballet reviews:
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Summary of Tchaikovsky - The Sleeping Beauty / Aurelie Dupont, Manuel Legris, Vincent Cordier, Nathalie Quernet, Laurent Queval, Paris Opera Ballet
Music by Pyotr Ilyich Tchaikovsky. Choreographed and staged by Rudolf Nureyev after Marius Petipa. Restaged by Patricia RuanneThe Sleeping Beauty remains, as Rudolf Nureyev often called it, the ?ballet of ballets?. It is the most accomplished and the most brilliant, as well as one of the most spectacular of the 19th century, and the most representative of the ?noble? style of classical dancing. Rudolf Nureyev's version, which he created for the Opera Ballet in 1989, was recorded at the Opéra Bastille in 1999, in a new production (sets and costumes) created by his faithful collaborators, Ezio Frigerio and Franca Squarciapino, who had already produced Swan Lake, Romeo And Juliet And La Bayadère.
Princess Aurora: Aurélie Dupont
Prince Désiré: Manuel Legris
King Florestan: Vincent Cordier
The Queen: Nathalie Quernet
Catalabutte: Laurent Queval
The Lilac Fairy: Béatrice Martel
Carabosse: Nathalie Aubin
Princess Florina: Delphine Moussin
Bluebird: Benjamin Pech
Puss In Boots: Stéphane Elizabé
White Cat: Laetitia Pujol
Orchestre De L?Opéra National De Paris
Conductor: David Coleman. Sets: Ezio Frigerio. Costumes: Franca Squarciapino. Directed By Pierre Cavassilas.
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