3minuteswest

Dutch National Ballet's Giselle

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Congratulations, 3minuteswest! :dry:

Thanks carbro - I should clarify that it was the ballet, not the DVD, that was the Critics' Choice!

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A couple of more thoughts on th production.....

In Act 1 Albrecht also has a variation to unfamiliar music. There is a 40 minute bonus feature and I was disappointed that it was not clarified.

The Corps in Act 2 wore their veils for a longer time than in any production I have seen and it added so much to the mystery of the scene. There was one absolutely breath-taking moment when the corps formed a perfect circle around Myrtha---and for the first time in any production they really looked like a sisterhood.

I love that moment too, atm711. We placed a camera very high up specifically to capture that section.

I'm sorry that the questions about the music were not clarified in the bonus materials. I've asked the choreographers to provide some answers, I'll pass them on when I receive them.

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A couple of more thoughts on th production.....

In Act 1 Albrecht also has a variation to unfamiliar music. There is a 40 minute bonus feature and I was disappointed that it was not clarified.

atm711, I just heard from one of the choreographers that the unfamiliar music for Albrecht's first act solo is from Adam's score for Le Diable a Quatre.

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A couple of more thoughts on th production.....

In Act 1 Albrecht also has a variation to unfamiliar music. There is a 40 minute bonus feature and I was disappointed that it was not clarified.

atm711, I just heard from one of the choreographers that the unfamiliar music for Albrecht's first act solo is from Adam's score for Le Diable a Quatre.

thank you for this information, and also for the Peasant Pas----not knowing things like this can drive most BalletTalkers crazy. :wink:

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A couple of more thoughts on th production.....

In Act 1 Albrecht also has a variation to unfamiliar music. There is a 40 minute bonus feature and I was disappointed that it was not clarified.

atm711, I just heard from one of the choreographers that the unfamiliar music for Albrecht's first act solo is from Adam's score for Le Diable a Quatre.

thank you for this information, and also for the Peasant Pas----not knowing things like this can drive most BalletTalkers crazy. :blink:

BalletTalkers are incredibly knowledgeable! Glad to be of help.

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BalletTalkers are incredibly knowledgeable! Glad to be of help.

Off-the- topic, Are you making a DVD o9f the new Ratmansky Don Q ?

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Off-the- topic, Are you making a DVD o9f the new Ratmansky Don Q ?

Bingham - I very much hope so. The production returns to Dutch National Ballet in September and if we record it, I will let BalletTalkers know.

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CHazell2, yes the mime scenes are included. Having watched many Giselles in preparation for filming this one, I would say it is dramatically exciting - particularly the second act. However as the producer I'm a little biased!

It was Dance Europe's Critics' Choice 2009 for best programme and the production has got some very nice reviews.

One more question for you.

I showed a friend some of the 2nd act and when he saw the extended use of the veils and the circling of the wilis, he was sure that it was Peter Wright's production. Later, there were some bits that convinced him otherwise, but he wanted to know if there was some Peter Wright influence here, because some of these bits he had only seen with done with Peter Wright's productions.

So do you know if Rachel Beaujean and Ricardo Bustamante took inspiration from him?

thx

-ed-

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I'll say up front I am particularly biased against tinkering with the peasant pas, such as turning it into a quartet or sextet, or altering the variations. But the second act of this production is wonderful, so I have seldom been as pleased with a filmed Giselle as I am with this one.

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I'll say up front I am particularly biased against tinkering with the peasant pas, such as turning it into a quartet or sextet, or altering the variations. But the second act of this production is wonderful, so I have seldom been as pleased with a filmed Giselle as I am with this one.

Kind words, volcanohunter, thank you! It makes it all worthwhile to hear that viewers (or one at least) are enjoying it.

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CHazell2, yes the mime scenes are included. Having watched many Giselles in preparation for filming this one, I would say it is dramatically exciting - particularly the second act. However as the producer I'm a little biased!

It was Dance Europe's Critics' Choice 2009 for best programme and the production has got some very nice reviews.

One more question for you.

I showed a friend some of the 2nd act and when he saw the extended use of the veils and the circling of the wilis, he was sure that it was Peter Wright's production. Later, there were some bits that convinced him otherwise, but he wanted to know if there was some Peter Wright influence here, because some of these bits he had only seen with done with Peter Wright's productions.

So do you know if Rachel Beaujean and Ricardo Bustamante took inspiration from him?

thx

-ed-

Ed,

Actually Peter Wright does not use the circling of the Wilis in his production (if we are talking about the same moment: just after the Wilis' entrance, when they curtsey to Myrtha. If you look at the Royal Ballet recording of Peter Wright's production, the Wilis are in diagonal lines at this point). The circle was Rachel and Ricardo's idea. I do know that both choreographers admire Sir Peter's production - which was previously performed by Dutch National - and in fact he came to watch their new Giselle. I hope that helps!

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3MinutesWest... are you the one who did the wonderful Dutch National Ballet teasers on their recent Don Quixote production?

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3MinutesWest... are you the one who did the wonderful Dutch National Ballet teasers on their recent Don Quixote production?

Amy, those are produced in-house by a talented ex-dancer!

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I received the Dutch National Ballet's production of Giselle on Kultur BluRay yesterday, and have skimmed through it.

Highs:

- Excellent picture quality, though it is interlaced, so YMMV depending on your deinterlacer.

- Really clean, very refined classical technique, especially the peasant pas.

- Lots of attention paid to really small details in the performance --- a head turn here, a slight hesitation there all add up to satisfying effect.

- Bonus interviews with the leads and the stagers.

- The orchestra plays very well.

Lows:

- Sound is actually quite good, but is available only in Dolby Digital (448 kbps) in 5.1 and 2.0. I know there's little difference to be had between lossless and lossy, but it would have been nice to have lossless.

- The dancing, while clean, is a bit reserved. I would have preferred a bit more feeling.

- I don't like the Myrtha as she doesn't seem to be strong enough, but this is a very tough role, and it's rare to see a good one.

- The set is a bit drab, and the design and costumes can seem anachronistic.

- Silly Kultur endless beginning title screens. Argh. Don't they realize we paid $30 to see the main feature, not ugly logos? Put them at the end if you have to.

--Andre

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I just watched my copy for the first time, and I was very moved by Anna Tsygankova's performance. Her feet were lovely, and the way she seemed to stay in the air forever at the top of the assembles was exquisite. I particularly liked that her Act I was vibrant when she was happy, but that the mad scene was tempered, without the usual hair pulling and tossing. You could see her go into herself very deeply, foreshadowing Act II.

I loved the sets and costumes, although it's hard for me to tell the impact in the theater vs. on film. I thought the camera people did a great job of filming and kudos to them and the editor(s) for not trying to star in the video with cuts all over the place. It was like watching a real performance, in the best way. The interviews were terrific, and I loved the rehearsal footage. Boris Gruzin got a wonderful performance from the orchestra.

I was hoping for the Peasant Pas de Deux, not the pas de quatre, but since it was there, it was a pleasure to see Michele Jimenez; in her variation, she used her feet as if she were holding a paintbrush creating a watercolor. I loved Mathieu Gremillet's clear, elegant style. I thought Anu Viheriaranta and Emanouela Merdjanova's were brilliant in Zulme's and Moyna's variations.

The production takes the point of view that Albrecht loves Giselle truly-madly-deeply, and, poor, misunderstood chap, he would have cleared up everything if she hadn't died, or, to be more accurate, he hadn't killed her first, and in this vein, Jozef Varga was very affecting in the second act. I was partial to Jan Zerer's very human Hilarion.

Definitely a keeper.

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I just watched my copy for the first time, and I was very moved by Anna Tsygankova's performance. Her feet were lovely, and the way she seemed to stay in the air forever at the top of the assembles was exquisite. I particularly liked that her Act I was vibrant when she was happy, but that the mad scene was tempered, without the usual hair pulling and tossing. You could see her go into herself very deeply, foreshadowing Act II.

I loved the sets and costumes, although it's hard for me to tell the impact in the theater vs. on film. I thought the camera people did a great job of filming and kudos to them and the editor(s) for not trying to star in the video with cuts all over the place. It was like watching a real performance, in the best way. The interviews were terrific, and I loved the rehearsal footage. Boris Gruzin got a wonderful performance from the orchestra.

I was hoping for the Peasant Pas de Deux, not the pas de quatre, but since it was there, it was a pleasure to see Michele Jimenez; in her variation, she used her feet as if she were holding a paintbrush creating a watercolor. I loved Mathieu Gremillet's clear, elegant style. I thought Anu Viheriaranta and Emanouela Merdjanova's were brilliant in Zulme's and Moyna's variations.

The production takes the point of view that Albrecht loves Giselle truly-madly-deeply, and, poor, misunderstood chap, he would have cleared up everything if she hadn't died, or, to be more accurate, he hadn't killed her first, and in this vein, Jozef Varga was very affecting in the second act. I was partial to Jan Zerer's very human Hilarion.

Definitely a keeper.

What is your opinion on Albrecht's role in Giselle is he a sinner or a person looking for escape when forced to marry cause of his status?

Does he really fall in love or he only feels bad cause of the tragical outcome of his actions? When is the moment when he realizes how he feels about her if he does love her? Do you think this story is still actual today? Love, tragedy, social differences, arranged marriage etc.?

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Thank you so much for your review Helene - and thanks to everyone who has taken the time to share their comments here. It's very interesting to read people's reactions and to understand what viewers like and dislike about the production and the DVD. I know the dancers are delighted to hear that people have found their performances moving.

We agree with you about Anna - her assembles were breathtaking. And I remember being moved to tears by her mad scene, even though I was busy working on the recording at the time!

Thanks again. Knowing that viewers are enjoying "our" Giselle is very fulfilling.

I just watched my copy for the first time, and I was very moved by Anna Tsygankova's performance. Her feet were lovely, and the way she seemed to stay in the air forever at the top of the assembles was exquisite. I particularly liked that her Act I was vibrant when she was happy, but that the mad scene was tempered, without the usual hair pulling and tossing. You could see her go into herself very deeply, foreshadowing Act II.

I loved the sets and costumes, although it's hard for me to tell the impact in the theater vs. on film. I thought the camera people did a great job of filming and kudos to them and the editor(s) for not trying to star in the video with cuts all over the place. It was like watching a real performance, in the best way. The interviews were terrific, and I loved the rehearsal footage. Boris Gruzin got a wonderful performance from the orchestra.

I was hoping for the Peasant Pas de Deux, not the pas de quatre, but since it was there, it was a pleasure to see Michele Jimenez; in her variation, she used her feet as if she were holding a paintbrush creating a watercolor. I loved Mathieu Gremillet's clear, elegant style. I thought Anu Viheriaranta and Emanouela Merdjanova's were brilliant in Zulme's and Moyna's variations.

The production takes the point of view that Albrecht loves Giselle truly-madly-deeply, and, poor, misunderstood chap, he would have cleared up everything if she hadn't died, or, to be more accurate, he hadn't killed her first, and in this vein, Jozef Varga was very affecting in the second act. I was partial to Jan Zerer's very human Hilarion.

Definitely a keeper.

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If anyone in the UK missed Giselle on Sky Arts and Sky Arts HD last night (Tuesday 13th July), it's repeated again this afternoon (Wed 14th July).

More broadcasts to come hopefully, I will try and give advance warning next time.

Giselle on Sky Arts

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