A ballet in three acts by Rudolf Nureyev from the Palais Garnier. The story follows the doomed love affair between a warrior and a bayadere who is later killed by her rival...
It's easy to see why The Nutcracker, Tchaikovsky's perennially popular ballet first performed in 1892, has such enduring appeal. As Patrice Bart's 1999 production shows, it is always beautiful to look at, lending itself to the Christmas season where it has a permanent place in the schedules of the major dance companies. And Hoffmann's tale of the troubled child who must go on a wonderful (and occasionally terrifying) journey of discovery has a universal and timeless appeal. Bart's production for the Staatsoper Unter den Linden in Berlin builds on Petipa's original choreography and develops the context of the child Marie's (Nadja Saidakova) anxiety into a strong narrative. The godfather Drosselmayer (Oliver Matz) is initially a sinister figure, forcing her to confront past events before leading her into the glittering land of the Sugar Plum Fairy. Here, all expectations are exceeded. The familiarity of Tchaikovsky's intricately woven themes works in total harmony with sumptuous production values. The dancing is sublime. As the Prince, Vladimir Malakhov evokes the spirit of a young Nureyev. His pas de deux with the Sugar Plum Fairy should challenge even the most cynical tear ducts. Sit back, share the frisson of anticipation as Daniel Barenboim enters the conductor's box and let the whole experience engulf you. On the DVD: There are no extras. In addition to the 16:9 picture format, which enhances the authentic theatrical atmosphere, the Dolby Digital 5.1 sound helps make this Nutcracker an aural feast. Under Barenboim's masterful control, the orchestra draws you into the heart of the music. Booklet notes provide historical background as well as performer biographies, but a more complete cast list would have been useful. --Piers Ford
The combination of Prokofiev's masterful score with Nureyev's choreography for the ballet company of the Paris Opera could hardly make this Romeo and Juliet anything but a success. However, as it's Nureyev, God is in the detail, and while the sheer exuberance of Manuel Legris and Monique Loudieres in the leading roles is undeniable, it's the little things that count, such as Romeo's shyness as he shuffles from one foot to another in the presence of the object of his affections (it's one thing to do dying swans and amorous raptures, but not everyone can effectively choreograph a fidget). The production is visually stunning, although there's an am-dram overstatedness to the glary lighting thatcan take one aback somewhat. What's very good indeed, however, is the presence of surround and stereo audio options and a multi-angle option, which are all too often omitted altogether from dance DVDs. The booklet notes are detailed but unfussy.--Roger Thomas
The gates of Troy are open again after a ten-year siege. The Greek troops appear to have departed the battlefield - their fleet of ships having disappeared over the horizon. Rejoicing at such an unexpected victory the Trojen citizens pour out of their city to take a look at what the Greeks appear to have left behind: a giant wooden horse which they take to be an offering to pallas Athene. The only one among them not to be lulled into the general festive spirit is Cassandra who has seen Hector's ghost wandering the city ramparts with a look of foreboding about him - she senses impending disaster. Nobody pays any heed to her warnings however least of all her suitor Coroebus who tries in vain to soothe her with a tender serenade. In the presence of King Priam and Hecuba his queen the Trojens thank the gods for their safe release. But a shadow is cast over the festivities with the appearance of Hector's widow Andromache and their son Astyanax her silent mourning a memorial to those sacrificed in the long years of fighting.
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