Mariinsky Live 3D Cine-cast of Swan Lake, June 6Rescheduled from Feb. 14
Posted 08 June 2013 - 06:10 AM
Kondaurova deserved better.
Posted 09 June 2013 - 09:24 PM
Posted 09 June 2013 - 09:30 PM
Posted 10 June 2013 - 02:29 AM
Agree! Lovely style from all three. Xander Parish has good jumps and elegant presence - looking more and more promising, and Nadia Batoeva's turns in particular are just a joy to see!
The pas de trois is lovely!
Posted 10 June 2013 - 04:46 AM
This clip made its way to youtube... At least Vodianova's dress was easy on the eyes...
I was actually sitting in the box next to the one in which the interviews were conducted--not the one you see in background but the one on the other side. The people immediately next to the interview box had to wait to sit down until the end of intermission so it was a bit of musical chairs for a few minutes and, since the boxes are already overcrowded, it was quite a crush as we all stood waiting to get into our proper seats. However, it was fun to be right next to the filming and especially enjoyable to see the artists that close up (and likewise Gergiev during the next intermission). Now that my stage door days are over I almost never see them that way.
During the interviews we could only hear Vodianova not the artists being interviewed. I think she looked quite a bit prettier in real life, as indeed did her dress as well. I can see here that the interviews were fairly lame, especially for a balletomane, but as best I could tell everyone in our box (a mix of Americans and Russians) seemed to find it somewhat exciting to be right next to the filming and we all applauded Vodianova as she left her box and she gave us a charming smile. So...uh...I had a great time with it.
Posted 10 June 2013 - 06:05 AM
Posted 10 June 2013 - 07:01 AM
I can't seem to access the Black Swan odd footage anymore, It seemed as if there was a crane shot that was very beautiful and I wished they had used more of these. Other shots were not bad, but seemed a little too wide and thereby losing some strength. There were some poor timing choices for cutting wide, diminishing the height of lifts or the energy of the moment. I feel like they had planned to use more crane shots but were warned off of it, but I have no idea really what was happening. It is just that they seemed to have someone beautifully sensitive to framing on a camera not used very often.
But still, faming could have been like this... (though I am still hoping something was off with the transfer to youtube and that they didn't really cut off the dancer's head. )
Posted 10 June 2013 - 09:05 AM
I wish they would use the production team that does Britain's Royal Ballet productions as these seem generally well thought out and sensitively shot, but perhaps there are diplomatic issues that would block this?
To answer your question and mine, the film was directed by Ross MacGibbon, who has oodles of experience shooting the Royal Ballet, and he had an English crew. http://londondance.c...3d-live-screen/ So my best guess is that the crane made him temporarily take leave of his senses. At one point, I think at the beginning of the csardas, he even had his "boom mic in the shot" moment where the moving crane was visible at the top of the frame.
Posted 10 June 2013 - 09:26 AM
Somewhere in the Ballet Videos etc. forum, perhaps we should put up a list of current dance movie directors and their credits. It might be enlightening to see. There is such an art to presenting ballet on screen. Some do it so very well. I sometimes strongly encourage people to come to the Ballet in Cinema screenings because in my locale this is the only chance they will have to see some of the great productions... but I was burned on the Osipova-Saravanov Giselle and now really hesitate to talk the films up. On the other hand, I regretted not getting everyone out to see the Coppelia. Hard to know in advance, but a list of credits could be a helpful predictor.
Look... Ross MacGibbon even directed a 1996 Mariinsky Swan Lake: http://www.fandango....ography/p278672. And in the article you linked, he says "It will be the sixth production of Swan Lake that I will have directed and I love filming it each and every time.".
I don't know if this is the same production but the same dancers are listed. I don't know.. Ideally, I would have had the camera on the fouettés gradually come in closer and keep her dead center even if she started to drift, but there aren't major gaffes. I wonder if he had the same crew, even if it were an English crew. Is there somewhere to see the full credits? (apologies if I'm not hunting them down effectively). Here's a list of dancer credits, but no camera credits. http://www.mariinsky...et-portrait.pdf Speaking of which, no one has said anything about John Hurt's narration... did it not happen?
Posted 10 June 2013 - 10:07 AM
Now, back to the main topic.
Posted 10 June 2013 - 12:46 PM
I was not impressed with the hostess/narrator. Blech. I also found it VERY long. I understand that this is a 'live' performance, but when it is taped live, cut out the intermissions. We just stood around the movie theater (which was sadly almost empty) waiting, and then waited longer through the 'interviews'.
This is the second ballet movie I have taken my students to and I find the intermissions too long for them. They would do better with the 'electricity' of a full audience during the intermissions, but this was ploddingly long.
Posted 10 June 2013 - 12:53 PM
Posted 10 June 2013 - 12:53 PM
Posted 10 June 2013 - 01:16 PM
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