Birdsall

I love Dorothee Gilbert, so I might buy this also, although Coppelia is not my favorite ballet. I have also heard it is practically a different ballet even though it calls itself Coppelia. Is this true? Supposedly music from other compositions by Delibes is used and the story is not the same as the traditional Coppelia. So I am holding off. I might break down, b/c I am amazed by Gilbert's balance and overall ability/technique.

Wow! Both look amazing in the video clip! Is this going to be released on dvd?

I understand, Bart. Alas, it's not only the body. One is either a soubrette or 'princessy' ballerina or one is not. That said, ballerinas who do not fall into that category can be wonderful in other types of roles. I have to say that one of the pluses in ballet is that most of the time the body matches the role. I agree with you that there seemed to be much less dancing in Alice than in most ballets. That was disappointing, but I did not know what to expect with this ballet, and since it entertained me I was okay with it. I like classical ballet the best, but I enjoy watching how new ballets attempt to wed classical ballet with more modern dance. I enjoyed the caterpillar and leaping frogs and, of course, the Sleeping Beauty spoof. Overall, I agree it is not a ballet to fly to London and see but if it were playing in my own city I would go see it live.

If you enjoyed Alice, be aware that Neumeier's Littele Mermaid is very different and inspired to the "real "story: very tragical, not funny at all. And not for childrens :-) Annamicro, thank you for the warning, and, yes, I have read that the Little Mermaid ballet is more for adults, and I actually like that approach (at least on paper before I see the ballet). I love the original story which is actually quite sad and completely unlike Disney's version. By today's standards the original Hans Christian Anderson fairy tale seems like an adult story. I have always loved it and love most adaptations of the Little Mermaid story (Rusalka is the opera version). I was happier to see the mermaid's statue in Copenhagen's harbor than the Eiffel Tower or the Coliseum in Rome (the Little Mermaid statue impressed me more than the other two things). I don't know why the story holds a fascination for me. I think it has to do with the fact that she attempts to be someone she is not for some guy who isn't worth it. I have read there is a gay subtext to the ballet, and I think most gay men do feel that it is painful to pretend to be someone they are not, so it speaks to a gay sensibility. I don't know if I will like the end result however, so I will watch it and let you know when I get it!

I guess I am more tolerant of totally wrong looks for the performing arts. You can have a huge 300 pound soprano singing Salome who is supposed to be a sexy 16 year old girl with the voice of Isolde in opera. Of course, such a soprano usually goes off stage while a dancer does the Dance of the 7 Veils (strip tease). In more recent times they have cast svelte sopranos in this role of Salome for better dramatic results, but the voice usually has no power which is a huge let down for opera lovers, because Salome needs to have power in reserve in the voice to ride such a huge orchestra. Anyway, I am so used to absurd situations and having to suspend disbelief, so Cuthbertson seemed fine as Alice for me. Of course, ballet is a different animal, so I guess it is more common to have the bodies match the role.

Loved the second act....thought the first act sort of dragged, but the second act was fun and fast moving. The Queen of Hearts' Rose Adagio was a spoof of Aurora's Rose Adagio which was cute. The sets were modern yet told the story and worked wonderfully. Lauren Cuthbertson acts the role well. Overall, an enjoyable mixture of modern and classical ballet. It doesn't take your breath away like classical ballet (although there are impressive moments of dancing), but it is quite enjoyable and fun which I am sure was the whole point since it is Alice's Adventures.....now waiting for the Little Mermaid from SF Ballet!!!

I'm glad you mentioned this about the apotheosis! I was disappointed also. I think this reconstruction (sets and narrative) is the best so far to make the story make sense, but I like the apotheosis at the Mariinsky where Raymonda and Jean de Brienne ride off on fake horses, although I suspect many find that corny or hammy. Somehow it matches the music for me as a beautiful and grand moment to end the opera. I even like the Paris Opera Ballet's way of just having Raymonda and Jean de Brienne pose in front of a banquet table while the corps do a weaving in and out of each other, if I remember correctly. Somehow having that red curtain fall built up my expectations for something really special, and then it lifted for a painting of a tournament. Seemed strange and sort of an anti-climax, but overall, I do prefer this particular production so far the best.

That's funny!!!! But interesting too! Wow! Ballet insertions/reconstructions/changes are more complicated than changes in opera! It is fascinating to read all this!

Thanks. If my flight gets in on time (early morn), I should even be able to make it to the preview-lecture on the evening of October 6. Fingers crossed! Luckily, my hotel is just a couple of blocks from La Scala. Still no word on who'll be the alternate Raymondas, although we can detect La Scala prima Marta Romagna and 'unidentified Jean de Brienne' rehearsing behind first-cast Novikova/Vogel in a couple of the photos. Romagna is La Scala's strongest Petipa classicist from among the permanent principals (not counting guests like Zakharova). I'd love to know who'll dance the other meaty solos, such as the friends quartet (Henriette-Clemence-Bernard-Beranger). Among the segments of Raymonda that I'm particularly looking forward to seeing for the first time, compared to 20th-Century versions in current rep around the globe: 1. Bernard & Beranger dancing to their 'male duo variation' music in the A2 Pas de Six . Most modern productions give this music to Jean de Brienne in either Act I/Scene i (where he should not appear at all!) or Act III. 2. Act III Children's Dance (a.k.a. 'La Rhapsodie') actually danced by children, as intended - again, this music is usually cut and/or repackaged as a solo for Jean de Brienne...or, in the POB/Nureyev version, I believe that this music goes to Bernard&Beranger (a funny duo in Act I). This music also appears as a duet for 2 demi-solo ladies in Balanchine's Raymonda Pas de Dix from the 1950s. 3. The full, uncut 'Cortege Hongrois' procession that is supposed to open the Act III Wedding - supposedly one of Petipa's grand 'parades' with 'cast of 100s' walking across the stage with props or on sedans...very similar to the 'parade' that opens the last act of the 1890 Sleeping Beauty or the 'parade' that opens Act II of Bayadere-1900 version. The Raymonda procession is supposed to pay homage to the Hungarian people and culture. [No - Nureyev dancing a new solo to this music, at the end of Act II of his POB version, does not count. ] Then I wonder: Will Jean de Brienne have ANY solo? He should not, if this is to be 100% faithful to Petipa's 1898 original. It will be interesting to see if Vikharev has been pressured into crafting something for Vogel and the other danseurs essaying Jean. It's a huge shame that this is not occuring in Russia...but Russia doesn't seem to want the grand Petipa reconstructions nowadays. On the other hand, it is proper that this be occuring in Milan, Italy, given that the first Raymonda was Pierina Legnani and the first Countess Sybil was Giuseppina Cecchetti. Cubanmiamiboy - Take heart. The Raymonda reconstruction has been announced for the next season (October 2012), once again starring Olesya Novikova. By then, we may even have Svetlana Zakharova fully back from maternity leave and dancing once again at La Scala as the Permanent Guest. Also, maybe - maybe there might be a live simulcast and/or DVD at that time, especially if it will involve 'superstars' like Zakharova with Bolle (who won't be dancing Jean this year)? Who knows. It's a real shame that none of Vikharev's full productions have made it onto DVD yet. Natalia, Maybe I need to re-watch the reconstruction (watched it other night on YouTube in between handing out candy to kids). I don't remember a male duo and I think Jean de Brienne did get a solo in the last act. But were the other two items the way you described? I remember children, but I am not sure it was in the place you mention. Was this a faithful reconstruction (choreography-wise), in your opinion? Even if not, I still loved it. I don't mean to nitpick. I just wanted to know. There is probably a push and pull between complete reconstruction and giving people what they want (like a solo for Jean de Brienne, as you mentioned). I followed along with the Wikipedia listing of dances, and it all made sense for the most part. Returning to an old discussion: The danse orientale is listed on Wikipedia as "cut by Petipa from the original production" and this reconstruction did not perform it which makes sense, since it was cut. The Mariinsky does not perform it either and even cuts the music whereas the reconstruction left the music. The Bolshoi performs it as a sort of pdd between Raymonda and Abderakhman. I wonder if it has ever been performed at all in that case as a variation for Raymonda. It is referred to as "Danse orientale-Danse characteristique de Raymonde (cut by Petipa from the original production)" by Wikipedia. I am just curious what this dance looks like, but it may never have been performed by anyone at all and always changed up (used for mime time in reconstruction and original and then dropped altogether at Mariinsky, and turned into short pdd at Bolshoi. I am just wondering if at any time in the history of this ballet someone danced it as a variation. Maybe we'll never know. Also, could you clear up the confusion about the Pas classique hongrois? Wikipedia's listing of the numbers is: Entree Grand adage (Pas de dix) Variation 1 Variation 2 Variation pour quatre danseurs Variation de Raymonde Grand Coda It appears that Variation 2 is always deleted and then put in after the 4 male dancers and becomes a variation for Jean de Brienne. Was it originally for one of Raymonda's friends? Do you know? Also, I noticed in all performances I have seen on video this Pas de Dix seems to have 8 couples plus Raymonda and Jean de Brienne. How is this a Pas de Dix? There are 18 people taking part in it. Maybe I am misunderstanding the term. I thought it meant 10 people altogether dancing. I know Wikipedia is not always reliable, but I do not have another listing of the dances and have used it as a rough guide when watching performances online or on dvd. And so my questions have arisen. Thanks for any info you have to clarify my questions. Bart

Eric, when the Mariinsky was still called the Kirov Maestro Gergiev was championing Russian opera in the West and bringing glorious "traditional" productions to the West on tour and getting them filmed on video. I am sure more people than Gergiev were involved but it seemed like he had a huge influence. But recently I have noticed that the Mariinsky is staging very "modern" versions of its operas and also releasing something like Donizetti's Lucia di Lammermoor on CD with a french soprano Natalie Dessay and a Polish tenor Piotr Beczala. There are so many recordings of Lucia out, that I question the reasoning behind a Mariinsky cd release of the opera with an international cast. Surely, there are some homegrown talent he could use, but I guess it is all about making money. Dessay and Beczala will sell b/c they are big names. It also seems like he or the Mariinsky overall wants to become "international" and be considered in the top rung of opera to compete with the Metropolitan Opera. I personally think this is going to lead to a decline of the special aspects Russian performers have been bringing to both opera and ballet since the end of communism. I hope I am wrong. I hope Russian performers can keep their special place in these art forms. Anyway, my point in all this is that I think this may also be why the Mariinsky is frowning upon reconstructions. Maybe they want to stop being a niche ethnic performing arts center and draw huge international stars from all over. That is my guess. If the Mariinsky fills up its schedule with reconstructions it would be harder to get international guest artists who want to just pop in and do the traditional Aurora or Nikiya that they already know how to dance. Just guessing. I could be totally wrong about this. But the problem with becoming global and international is that the specific traits of Russian dancers or French dancers fall to the wayside. The opera world has complained of the total loss of the french style of singing for a few decades already.

Thanks for alerting me that there are threads on the reconstruction already, Natalia. I did not see them before. This whole site is so different from the opera websites that I frequent.

What does everyone think of the La Scala reconstruction of Raymonda? I just watched the entire thing on YouTube and found it interesting to compare with how the Bolshoi and Mariinsky stages this. If this La Scala reconstruction is the definitive "original" production, It seems like the Mariinsky sticks more to the original version than Bolshoi does, although Mariinsky omits the White Lady. Also, Brienne's variation in the last act seems to be more like the Bolshoi, but I may be mistaken (will have to rewatch all of them again). It was nice to see the original sets and the story made more sense by following this original. The Bolshoi has Jean de Brienne show up in the first act and then leave which is confusing. The Mariinsky version has Abderakhman show up in the first scene of the first act (earlier than La Scala's reconstruction). Despite these differences the overall story remains the same and much of the dancing looks to be close to what I remember in the other versions with minor differences. Novikova seems to be a more down-to-earth Raymonda compared to Ulyana Lopatkina. I absolutely adore Lopatkina in the role. She is so ethereal as Raymonda, which I guess might not be what everyone wants in the role, but I love it that way. Novikova was good, but she seems like a more normal young woman, which probably is a good interpretation since Raymonda is a young woman caught between two men. I liked her, but I thought the final clapping variation needed a little more oomph somehow! I am thrilled the La Scala version is already available on YouTube. I didn't have to fly to Milan! LOL Would love to know what others thought about this. If you haven't seen it, go watch it on YouTube!

I ordered the Little Mermaid. Can't wait to see what it is like. I just got Wheeldon's Alice's Adventures in Wonderland in the mail from Amazon today also. Can't wait to watch it tomorrow. I am so glad they are releasing dvds of new works, so that we can see them without traveling all over!

Natalia, thank you for the report! So the La Scala reconstruction is how it was originally staged (or as close to the original staging and choreography)? If this is so, I hope they film it for dvd release eventually.

Victor Hugo's book is much darker than the ballet. I remember it being super descriptive of each scene. It described every place in such detail that you felt you were there, and there were descriptions of how the poor lived, etc. I think the irony was that Quasimodo was so ugly and physically gross, so people were scared of him. Meanwhile, Frollo was so evil on the inside despite being in such a "pure" position. Frollo was the one to be scared of, not Quasimodo. I imagine a ballet that is as dark as the book would probably turn a lot of people off. It is a great book, but it has been so long since I read it. It took me FOREVER to read it (had to read it for a class in college). It is not really pleasure reading, b/c it is so deep, intricate, and dark, but once you are done with the book you are amazed at how Victor Hugo made you feel like you were there. However, his descriptions were so long winded that I sometimes got so bored as ignorant as that sounds. Like I said, hard reading, but once I was done I was very impressed with the book. I think the cathedral itself becomes like a character in the book b/c all the characters are somehow connected to it. But I remember it being such a hard read that I never read it again. Maybe I will put it on my list to reread, since I have forgotten so much. The ballet is much more light hearted and fun! LOL I don't want to dissuade anyone from reading the book though. It really is a masterpiece!

Can't wait for the Bolshoi's Sleeping Beauty now! Also, really looking forward to Le Corsaire, b/c judging from YouTube clips the Bolshoi's Le jar din anime in Corsaire is a more intricate and spectacular version than what is normally performed.

Helene, I caught parts of the intermissions but not all. I had had a big latte and then a large coke, so I was running to the bathroom whenever the ballet was not going on! LOL I felt sorry for Novakova/Novikova doing all that translating and having to often rush at the end. I lived in Germany and Austria for a year each, and so I would sometimes have a friend visiting and had to translate back and forth to different people, and it drove me nuts!!! At the very beginning I think she greeted people in Russian, French, English, and German, but for some reason she continued with just English and French. It is one thing to do announcing like this, but then she actually conducted interviews and had to translate them in two languages (French and English) after conducting them in Russian! Poor woman! LOL She probably loves it though. Some people do. Thanks for the full cast list from the Bolshoi. I wonder if they will release this as a dvd as you are praying. It seems like a shame to do these in theaters and tape them for encore presentations but then not release them on dvd, so I hope, like you, that they will. The Metropolitan Opera has released some of their HD presentations but not all. I think it is an issue of getting all the artists to sign off on release or something. Still waiting desperately for a dvd of Boris Godunov with Rene Pape from last season!

Marga, thanks for the info on the dancers' names (they were not identified on the program that the movie theater gave out, although all the other dancers were listed. Also, I liked Acteon's outfit too! I know Peggy did not like it! I think that young guy is simply stunning physically, facially, and in dancing ability that the outfit should be skimpy when you have someone of such rare beauty! LOL His costume did not bother me one bit, although it is obvious someone (either the costume designer or the wardrobe person) decided his toga should be ultra short! LOL I have seen a clip of the tambourine kick too and kept waiting for that dance. I am still new to ballet, and I know that many variations were scrapped or replaced or switched at premieres or when re-choreographed. So it is interesting that the "famous" tambourine kick" variation is actually composed by Drigo, instead of Pugni according to the link you provided. That must be why they decided not to include it. It must have been an interpolation at some point. Peggy, I did not see when the goat or lamb was running around backstage. Not sure how I missed it. I did run to the bathroom before it started and during intermissions though. That must have been cute, and, yes, he/she probably thought they wanted dinner! LOL I have watched the Pharaoh's Daughter and thought Pugni was a mediocre composer b/c of that, and so today I expected mediocre music as well, but I quite enjoyed a lot of the music. It surprised me. I guess it all depends on expectations. I went in with low expectations of the music, so I was pleasantly surprised that I enjoyed it. You are right that it isn't Tchaikovsky or Delibes though. I went in with high expectations of the dancing and was quite satisfied!!! It is a shame this ballet is not done more often in the U.S. The story is familiar to people here: Victor Hugo's book, many movie versions, etc. so I wonder why it is not really done here except for excerpted variations. It has been YEARS since I read the book. I think Phoebus survives and actually thinks that Esmeralda stabbed him in the book. Maybe someone else remembers more clearly. Since the book is so long it had to be glossed over. I guess, in the ballet, we are just supposed to understand that he healed up quickly and came back to save her! LOL LOL I did think it was funny how you described it.....new outfit and everything! LOL I was surprised that Fleur de Lys did 32 fouettes (or however many she actually did do) by the way. I am surprised how many ballets include that. I thought it was mainly a Swan Lake tradition, but I have seen it in Don Quichotte, Paquita, etc. I do think it does give a circus-like atmosphere to the finales and I do not mean that as a derogatory comment.

I just got back from watching the Bolshoi's Esmeralda live at the movies. I had never seen this ballet, and enjoyed it. The dancing of Esmeralda is very dainty like Raymonda or Sleeping Beauty, yet seems to have an earthiness to it as well, which fits the gypsy character. They had a live baby goat but kept it in people's arms for the most part. I understand why, but it would have been nice if it could have wandered around for a minute! LOL The sets and costumes were wonderful. Maria Alexandrova was very good. Such good balance! Yekaterina Krysanova was also outstanding as Fleur de Lys. So was Ruslan Skvortsov. I don't know who danced Acteon in the "Diane and Acteon" pas de deux in Act 2, but he knocked your socks off with his dancing and looks. What did others think? Did anyone else see it?

I will have to try it soon. I got over not having a physical product with audio recordings, but video is still weird for me. I am still hung up on having something on my shelf to take down. But I know I need to get over that, since this is the way of the world! LOL Thanks for the info!

Tendu, I buy audio music on iTunes, but I have never bought videos. I assume that means you just own a copy that is on your computer when you do that. Does the picture remain small like a YouTube video, or is it full screen just like a dvd (with multiple viewing sizes)? I am still old school. I like having the physical product, but I am slowly coming into the 21st century!!!!

Just watched the new Don Quichot dvd from the Dutch National Ballet that I purchased from Amazon. It is a real treat. So charming. The Amazon reviews made me a little hesitant b/c some reviews said there was blurring during the dancing, but I think that must be only on the BluRay version (or maybe the company cleared up the problem). I got the regular dvd (not blu ray) and had no problems viewing it on my mac without any blurring. The production is so charming, and Anna Tsygankova is a great Kitri. Matthew Golding is a really good Basilio too, and he looks sort of like Brad Pitt! Tsygankova stays in place during her 32 fouettes! The story is also much more clear than on other Don Quixote versions I have seen in the past. You understand what is going on at all times. I think anyone who likes the Don Quixote ballet would enjoy this new Dutch National Ballet version. I liked Tsygankova in the DNB's Giselle release too.

Wonderful news!!! Thank you so much!!!!!!

Natalia, thanks for this thoughtful post. I have noticed on the two Bolshoi versions (Bessmertnova and Semenyaka) the Danse Orientale is kept in and becomes a half solo/half pdd for Raymonda and Abderakham. According to Wikipedia (which is not always accurate) the Danse orientale used to be just a solo for Raymonda. So I think the Bolshoi (if you count that pdd) includes 6 of Raymonda's solos, and I guess the entrance (picking up the roses) would make a 7th. This is all nitpicking on my part, but it intrigues me. The two Mariinsky/Kirov versions I have watched (Lopatkina and Kolpakova) do not include the dance orientale music at all (no solo and no pdd). So in the Kirov/Mariinsky version there are really just 5 variations plus entrance, if I remember correctly. According to Wikipedia a couple of the variations were omitted from the premiere. So I guess each company will present a slightly different number of variations for Raymonda.

I recently purchased the ballet Siddharta (Paris Opera Ballet), mainly because I have interest in Buddhism. It is supposedly a ballet about Siddharta's/Buddha's enlightenment. I have to honestly say that I would not know at all what is going on in the ballet if it were not for the booklet that has a rundown of each scene. If I didn't have the booklet I would be like, "WTF?" throughout every scene. I knew it was going to be sort of like this, but I feel a little more effort in making the story clear should have been made. It is a new ballet, so I expected postmodern aspects (stage, costume, some abstract moments, etc), but this is abstract to the extreme. Half the time you don't know if Siddharta is upset, angry, or happy. You don't even know what the emotions of the characters are. In most abstract pieces you at least know the feelings that are being conveyed. This seems like a total flop to me, but maybe someone could enlighten me. Has anyone seen it live or seen this dvd? I would love to know what others think! Most of the time I felt, "This is BS!" I do like some of the modern dancing in it and I think the dancers gave their all, but somehow after seeing the dvd I doubt I would even go to it if given a free ticket and it was playing right across the street!!!!