1995 release. He Slovak Radio Symphony Orchestra (Bratislava) Andrerw Mogrelia, Conductor. Recorded at Concert Hall of the Slovak Radio at Bratislava, January 9-20, 1995."The Bratislava orchestra plays with characteristic finesse and grace and with glowing lyrical feeling. There is both drama and vitality in this Copp�lia. The recording is warm and spacious, with the orchestra set slightly back. Other versions may have more surface brilliance, but most lovers of ballet music will enjoy the naturalness of perspective and the attractively smooth string-quality. La Source comes off equally well. The Pas de fleurs grande valse is a real lollipop and in the two suites the music (selected rather arbitrarily) has plenty of colour and rhythmic life." - Penguin Guide.

Review:

At last! While we have plenty of filmed productions of Coppélia to watch and enjoy – whether vintage, bang up to date or downright wacky – and a very good one of Sylvia, this new release finally brings the first of Delibes’s three ballets, La source, to a wide audience via Blu-ray and DVD.

The usual explanation for La source’s historical neglect has been that the contribution of Delibes’s co-composer Ludwig Minkus diminished the overall quality of the score. But that suggestion isn’t an adequate one – or even necessarily accurate. In the first place, we need to be clear that “co-composers” doesn’t mean that each of the score’s individual numbers was a sort of high-quality-Delibes-watered-down-by-workmanlike-Minkus hybrid. In fact, the way in which the collaborative process worked was a very practical one – even if we have no idea why it was adopted – with each man allocated responsibility for different parts of the score. Minkus was entrusted with Act 1 and the second scene of Act 3, while Delibes was responsible for Act 2 and Act 3’s first scene. That turned out, in practice, to be a pretty even split, for Minkus ended up providing about 45 minutes worth of music and Delibes penned about 44[.]

It is certainly true that there are differences between the two men’s scores. To some extent, those derive from the mundanely practical point that each composer was writing music for very different sections of the story. Minkus’s focus in Act 1 was on establishing the ballet’s various characters and generally setting the scene, while the finale to Act 3 offered few opportunities as it gave him only six minutes to wrap up the whole drama. Delibes, on the other hand, was tasked with creating the music underpinning the more glamorous jollifications at the khan’s court, which allowed him to concentrate on writing livelier material that was characterised by far more colour, glitter and exotic sensuality.

There is, however, a second and somewhat more fundamental explanation for the perceived contrasts between the two composers’ scores, for Minkus and Delibes had rather different conceptions of what writing music for the ballet actually meant. The former was a composer of the old school who, as Ivor Guest wrote in his booklet essay for the aforementioned Bonynge CD, “specialised in composing music for the ballet, a field not highly regarded in musical circles but which nonetheless demanded a special gift to satisfy the ballet-master’s requirements – to produce melodious numbers for the dances and suitably descriptive passages for the action, and above all to deliver to a deadline”. That has led some critics to perceive Minkus as little more than a hack journeyman who churned out unmemorable material on demand, even though audiences who have come to appreciate the manner in which his skilfully-wrought scores underpin such popular ballets as Don Quixote and La bayadère might beg to differ. In reality, his music was in no way “inferior” to that of the next generation of ballet composers: it simply aimed to achieve a very different - but certainly no less legitimate – musical and dramatic purpose. The first embodiment of that subsequent generation, Delibes himself, was, on the other hand, a composer whose conception of ballet was developing into something rather more ambitious. No less a figure than Tchaikovsky, the originator of the modern “symphonic” style of ballet score, regarded Sylvia as “the first ballet in which the music constitutes not just the main, but the sole interest. What charm, what grace, what melodic, rhythmic and harmonic richness. I was ashamed. If I had known this music earlier, then of course I would not have written Swan Lake”.

It is far too easy, in fact, to assert glibly that any contrasts between the two composers’ contributions are necessarily qualitative in nature. Indeed, when listened to blind and without foreknowledge of who actually composed what, the score of La source – skilfully edited and occasionally augmented here by Marc-Olivier Dupin - actually emerges as a pretty seamless whole.

In reality, there were two other much more significant causes of the ballet’s failure to maintain a long-term place in the repertoire. In the first case, its plot was undeniably involved, and it is notable that the production under consideration omits several of its complicating plotlines. Moreover, the fact that there are no less than three central female figures and that easily confused names were selected for some of the central characters (Naïla/Nouredda, Djémil/Dadjé) does not help. The inconsistency of some of the participants’ on-stage motivations can also be puzzling from time to time – though, in the absence of any other modern production with which to compare it, that may be a feature unique to this particular one.

The second legitimate reason for La source’s relatively rapid descent into obscurity is simply accidental. It successfully maintained its place in the repertoire for a decade and there is no reason to doubt that regular revivals might subsequently have been mounted. However, a disastrous fire in 1873 destroyed the drawings, models and plans on which the original production had been based and, rather than recreate them from scratch, it no doubt seemed easier to ballet impresarios at the time to move on to different projects.

This new Blu-ray/DVD release preserves a new production of the ballet dating from almost 150 years after its premiere. Conservatively choreographed by Jean-Guillaume Bart for the Paris Opera Ballet, it follows the original story’s broad outlines and uses much of the Minkus/Delibes score. Booklet notes author Laure Guilbert is nevertheless at pains to stress that this production is in no way a “reconstruction” of the original but instead has a character and identity of its own. Those last words might be enough to strike fear in the heart of traditionalist ballet fans, but in reality the French choreographer (gushingly described by Ms. Guilbert as a man who “fervently cultivates his attachment to the classical universe… a lover of dance who has transformed [it] into an odyssey throughout the near- and far-flung realms of the art”) is owed a real debt of gratitude for his achievement in returning La source to the stage. There are, it’s true, a few significant problem areas that would have benefited from attention. In the case of the plot, Nouredda’s motivation and reactions as she experiences her character’s trials and tribulations can be somewhat opaque or even downright puzzling. In addition, the stage production itself is visually rather disconcerting. There is, to my own eyes at least, a jarring mismatch between Christian Lacroix’s detailed and often gorgeously elaborate costumes and Éric Ruf’s essentially impressionistic set designs. The latter are highly imaginative and attractive in their own right (especially a set of prominent and exquisitely lit ropes, lowered over the stage from the flies, that represent trees) but they are clearly not intended as any sort of realistic depiction of the settings and that doesn’t gel with the detailed, elaborate and convincingly “realistic” clothing sported by the dancers. Neither element can be described as wrong in itself, but another producer might have chosen to integrate them more effectively.

The quality of the dancing, meanwhile, is generally high, with the women, in particular, demonstrating confident assurance in their own technical skills. Ludmila Pagliero as Naïla performs with delicacy and an appropriate sense of otherworldliness; she presumably impressed not only the theatre audience but the company’s management, too, as within a year of this performance she had been promoted to the top rank of danseuse étoile. Meanwhile, the nature of her role as the princess Nouredda means that the other leading female dancer, Isabelle Ciaravola, tends to spend a disproportionate amount of time on stage looking depressed and generally mopey – although there are also moments, as already noted, when she looks bizarrely happy even though her circumstances are at their worst. If her acting is somewhat questionable, the same cannot be said, however, of Ms. Ciaravola’s dancing which is, invariably, both sensitively and often rather beautifully delivered. Of the men, Karl Paquette combines sheer energy with attention to detail in a winning performance that suffers only from an uncharacteristically drab and featureless costume, little suited, in my opinion, to the hero of a classical ballet. The role of Nouredda’s brother Mozdock, concerned about her only as far as she serves his own political ambitions, is taken by Christophe Duquenne who delivers an effectively villainous turn while leading his energetic and well-drilled soldiers in several lively numbers. Dancing as the elf Zaël, Mathias Heymann is the audience’s favourite as he leaps his way enthusiastically and repeatedly across the stage, creating a genuine character out of his role. The dancer portraying the libidinous khan, Alexis Renaud, makes the most of his opportunities but does not create as much of an impression as the other men. The rest of the company make a very positive contribution, to the extent that I thought that the numbers in which the primary focus was on the corps de ballet were among the most effectively delivered in the whole performance.

On the technical side, I was particularly impressed by the effectively realised stage lighting which has been very well captured on film. The sound, as relayed on this recording, is also more than merely acceptable and allows us to appreciate plenty of felicitous detail from the orchestra, led on this occasion by Koen Kessels who will be known to many as music director of the Royal Ballet. Meanwhile, the experienced François Roussillon’s film direction focuses our attention to everything that we need to see while not distracting us unnecessarily or drawing undue attention to itself.

This is an important release for balletomanes. It is, I think, unlikely that there will be an alternative version of La source any time soon...I repeat, therefore, my original reaction to the release of this new and well-produced Blu-ray disc – at last!
 
Rob Maynard

Also available on Blu-ray

Toy maker Dr. Coppelius (Gary Avis) seems to have a beautiful young woman in his house: Coppelia (Ashley Dean), who sits and reads on his balcony. Franz (Vadim Muntagirov) and his vellow young villagers are curious about her and how she ignores them all. Franz’s fiancée Swanilda (Marianela Nunez) is not pleased by Franz’s interest in another woman, but equally curious. When Dr. Coppelius goes to the local tavern, the young villagers slip into his house to introduce themselves to the strangely silent young woman but are met with a house full of mechanical dolls and, seemingly, magic… A classic returns to The Royal Ballet repertory with Ninette de Valois’ charming and funny Coppelia- a story of love, mischief and mechanical dolls. The intricate choreography is set to Delibes’ delightful score and shows off the technical precision and comedic timing of the whole Company. Osbert Lancaster’s designs bring a colorful storybook world to life in this Christmas treat for the whole family.

This 19th century classic, in an enchanting production by Royal Ballet choreographer Dame Ninette de Valoise, with original designs by Sir Osbert Lancaster, was broadcast live by BBC television in February 2000. The Royal Ballet, Covent Garden, is joined by the Orchestra of the Royal Opera House under Nicolae Moldoveanu.

Extra features include
• Historic 10-minute film ‘The Ballet Moves’
• Illustrated biography of Sir Osbert Lancaster (1908-86)
• Introduction to the original broadcast by Deborah Bull

R E V I E W S:

‘Now we have this sparkling Ballet on DVD, beautifully filmed and with first class orchestral sound, richly played under Nicolae Moldoveanu. Luke Heydon’s Doctor Coppelius and Leana Palmer’s Coppelia could not be bettered. This DVD is a practical tribute to Madam.’ -- Musical Opinion

‘Fabulously entertaining... Buoyant performances.’ -- San Francisco Chronicle

‘Excellence in technical television production quality…drawing the viewer into the story and recreating the emotional intensity of the theatrical experience.’ -- IMZ Dance Screen 2000

‘DVD benefits the art of the dance as well. When I have watched ballet on television the music is a distant and faint accompaniment. Here we actually hear the delights of Delibes’ ever-popular score. It’s a feast for the eye too, with the magical story of the enchanted doll, and Osbert Lancaster’s witty and colourful designs, benefiting from DVD’s clarity.’ -- Birmingham Evening Mail

WINNER of the IMZ Dance Screen 2000 Award for Stage/Studio recording
WINNER - Penguin Guide Rosette

Also availble on standard DVD

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Over a decade of dance is represented here with no fewer than 22 ballets in this magnificent 15-disc collection of stunning performances by The Royal Ballet, including spectacular stagings of well-known narrative ballets, era-defining abstract works and show-stopping shorter ballets. 19th-century masterpieces, heritage works by Frederick Ashton and Kenneth MacMillan, and contemporary classics by The Royal Ballet’s Resident Choreographer Wayne McGregor and Artistic Associate Christopher Wheeldon are here performed by Royal Ballet dancers past and present. A special edition book contains articles about The Royal Ballet, its repertory and its choreographers, as well as full synopses for all the narrative ballets, richly illustrated with striking photographs of the productions.

Also available on Blu-ray

Over a decade of dance is represented here with no fewer than 22 ballets in this magnificent 15-disc collection of stunning performances by The Royal Ballet, including spectacular stagings of well-known narrative ballets, era-defining abstract works and show-stopping shorter ballets. 19th-century masterpieces, heritage works by Frederick Ashton and Kenneth MacMillan, and contemporary classics by The Royal Ballet’s Resident Choreographer Wayne McGregor and Artistic Associate Christopher Wheeldon are here performed by Royal Ballet dancers past and present. A special edition book contains articles about The Royal Ballet, its repertory and its choreographers, as well as full synopses for all the narrative ballets, richly illustrated with striking photographs of the productions.

This set of three films provides an outstanding showcase for the artistry of dancer Roberto Bolle, a ballet star of our own time. For the 75th anniversary celebrations of The Royal Ballet, Frederick Ashton’s Sylvia was restored to the splendor of its elegant and opulent three-act form. Casting Bolle as Aminta alongside Darcey Bussell in the title role, this is a wonderful showcase for virtuosity, invention and classical beauty. By contrast Roland Petit’s Notre-Dame de Paris exudes modernity, with its cool choreography and chic costumes by Yves Saint-Laurent. Here Bolle’s tragic Quasimodo, by turns fierce and tender, dances opposite Natalia Osipova as Esmeralda. In a second production from La Scala, the Ballet Corp’s traditional Grand Gala aligns with Milan’s tenure as host city of EXPO 2015, and Roberto Bolle, as one of La Scala’s étoiles, plays a central role in the stunning programme of excerpts. He performs the pas de deux from yet another Petit masterwork, dancing Don José to Polina Semionova’s Carmen, along with the mesmerizing contemporary solo Prototype.

This set of three films provides an outstanding showcase for the artistry of dancer Roberto Bolle, a ballet star of our own time. For the 75th anniversary celebrations of The Royal Ballet, Frederick Ashton’s Sylvia was restored to the splendor of its elegant and opulent three-act form. Casting Bolle as Aminta alongside Darcey Bussell in the title role, this is a wonderful showcase for virtuosity, invention and classical beauty. By contrast Roland Petit’s Notre-Dame de Paris exudes modernity, with its cool choreography and chic costumes by Yves Saint-Laurent. Here Bolle’s tragic Quasimodo, by turns fierce and tender, dances opposite Natalia Osipova as Esmeralda. In a second production from La Scala, the Ballet Corp’s traditional Grand Gala aligns with Milan’s tenure as host city of EXPO 2015, and Roberto Bolle, as one of La Scala’s étoiles, plays a central role in the stunning programme of excerpts. He performs the pas de deux from yet another Petit masterwork, dancing Don José to Polina Semionova’s Carmen, along with the mesmerizing contemporary solo Prototype.

LILY PONS RECITAL

A beautiful production of this charming ballet with a wonderfully melodic score by Delibes.
Sylvia was first produced at the Palais Garnier, Paris on 14 June 1876, four years after Delibes other big success, Coppélia. Of Delibes’s Sylvia music, Tchaikovsky, who saw the ballet in Vienna in 1877, enthused, “It is the first ballet in which the music constitutes not just the main but the only interest. What charm and elegance, what riches in the melody, the rhythm, the harmony. I was ashamed. If I had known this music before, I would not have written Swan Lake.”. Praise indeed, but Tchaikovsky is being very hard on the other elements of this charming ballet based on classical mythology.

Frederick Ashton choreographed the production, featured on this DVD, first performed at the Royal Opera House, Covent Garden on 3 September 1952. Ashton was not completely satisfied with it, however, and it was put aside. The production languished for forty years or so; and by now Ashton had died. The realization and staging of this 2005 production is the work of Christopher Newton who had danced under the direction of Ashton and was aware of the sort of refinements the great choreographer had in mind. Newton is interviewed about all this in the interviews before Act III of the ballet.

The sets and lighting are sumptuous and atmospheric, the costumes gorgeous and colourful. Delibes’ music is full of melody, one memorable tune succeeding another right through the ballet. Darcey Bussell enchants as the warrior nymph, Sylvia; arrogant in her taunting of the statue of the god Eros who repays her by shooting her with an arrow of love so that she falls for the enamored, shepherd, Aminta (Roberto Bolle). She is gracefully athletic especially in her dances with her two male leads: Bolle and Thiago Soares as the evil Orion who lusts after Sylvia and kidnaps the nymph, carrying her off to his island lair. Here, in Act II Darcey has to dance seductively to divert the attentions of Orion, to make him drunk so that she might escape - an escape made possible by a disguised Eros. Arguably Bussell does not have the figure for seductive dancing, she is also too graceful and stately, so the dance is sinuous rather than seductive. The two male leads are strong and acrobatic, displaying tremendous leaps. The corps de ballet impress throughout with beautiful ensemble dancing and the speciality dancers – the orientals in Act II and the goats in Act III - are quite charming.

The DVD includes interviews with Christopher Newton and Peter Farmer who added his special design talents to the original sets of Robin and Christopher Ironside. Before each act Darcy Bussell comments on the ballet and we see her and others in rehearsal and behind the scenes and between acts during the performance. Illustrated synopses of the action in each of the ballet’s three acts are also enclosed.

David Nice’s erudite note details Delibes music as applied to the dances and shows how the composer was influenced by Berlioz and Wagner. Elgar, as a young man, Nice reminds us, played the violin in a Birmingham performance of the Sylvia Suite and later conducted it himself. Moreover, Nice claims, Delibes’s broad ‘Bacchus’ theme, influenced Elgar’s First Pomp and Circumstance March.

A beautiful production of this charming ballet with a wonderfully melodic score by Delibes.

-- Ian Lace, MusicWeb International [reviewing the standard DVD version]

Note: This Blu-ray Disc is only playable on Blu-ray Disc players, and not compatible with standard DVD players.

Leo DELIBES (1836-1891)
Sylvia - ballet in three acts with choreography by Frederick Ashton (1876)
Sylvia … Darcey Bussell
Aminta … Roberto Bolle
Orion … Thiago Soares
Eros … Martin Harvey
Diana … Mara Galeazzi
The Royal Ballet
Orchestra of the Royal Opera House/Graham Bond
rec. The Royal Opera House, Covent Garden, London, 1, 5 December 2005

FORMAT: All Formats
REGIONS: All Regions
PICTURE FORMAT: 16:9
LENGTH: 117 Mins
SOUND: DTS SURROUND 5.1 / LPCM STEREO
SUBTITLES: EN/FR/DE/ES/IT
NO OF DISCS: 1

Also available on Blu-ray

Swanilda – Dorothée Gilbert
Frantz – Mathias Heymann
Coppélius – José Martinez
Spalanzani – Fabrice Bourgeois

Paris National Opera Ballet
Orchestre Colonne
Koen Kessels, conductor

Patrice Bart, choreographer (after Arthur Saint-Léon)
Ezio Toffolutti, set and costume design
Yves Bernard, lighting design

Recorded live from the Palais Garnier, March 2011

Bonus:
- Cast Gallery
- Documentary – The Mystery of Coppélia

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM Stereo 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles (bonus): English, French, German, Spanish
Running time: 83 mins (ballet) + 30 mins (bonus)
No. of DVDs: 1 (DVD 9)

R E V I E W:

To me Delibes’ Coppélia, like Tchaikovsky’s Nutcracker, stands amongst the very best ballets for children’s entertainment at Christmas. The world of make-believe weaves a simple yet logical plot with magical overtones, memorable music and colourful characters placed within vibrant settings.

On this DVD, excellent performances are provided by the quartet of principal dancers. The corps de ballet contributes delightfully in well-lit pools of light. Their routines are traditional and much as we would expect. Upstage in comparative gloom are incidental villagers going about their daily business to add a nice air of authenticity. The costumes are elegant and I liked the Dr Caligari style presentation of Coppélius. Kessels sets a traditional pace much more in keeping with the spirit of the work rather than the majestic yet deliberately ponderous pace set by Mark Elder in his Covent Garden recording.

This said, the French choreographer, Bart has decided to consider the psychological undertones of Coppélius and assemble a darker side to the illusionist to provide a love triangle between Swanilda, Frantz and Coppélius rather than the traditional development of the ballet. We have no doll sitting in an upstairs window that maddens Swanilda and whose jealousy provides a humorous situation to feed the development of plot. Instead Coppélius, very much in evidence in Act I for no apparent reason, provides Frantz with a book in which the beautiful doll is displayed. Later, in his house a large book is opened containing a life-size Swanilda/Coppelia.

In Bart’s production the dancing is delightful and the performance has pace yet Delibes’ orchestral picture does not match the plot and does not always fit. To complement the ballet’s dark mood, a sombre street-scene at dusk is provided throughout an Act I which is atmospheric with distorted rising perspectives reminiscent of a 1920s German expressionism setting. The impeding gloom is an improvement over the flat appearance of Osbert Lancaster’s Covent Garden setting in 2000. Here, an opportunity has been lost in not providing a visual contrast between the village scene and the mysterious interior of Coppélius’s house. To dance the cheery and colourful mazurka without a warmer mood of lighting is disappointing. We are told that Bart introduces some orchestral sections from Lakmé and The King has Spoken to help carry the darker atmosphere. Although the additional music does not detract it does seem unnecessary.

The television production supports our interest with well-chosen camera angles and clear focus on the action. It must be said that the production’s visual story was not always easy to follow even when you know the traditional plot.

The DVD in addition to provision of the usual Chapters includes an interesting documentary with interviews of the key dancers, director and choreographer who explain their interpretations. Subtitles are available in English, German and Spanish.

-- Raymond J Walker, MusicWeb International

A beautiful production of this charming ballet with a wonderfully melodic score by Delibes.

Sylvia was first produced at the Palais Garnier, Paris on 14 June 1876, four years after Delibes other big success, Coppélia. Of Delibes’s Sylvia music, Tchaikovsky, who saw the ballet in Vienna in 1877, enthused, “It is the first ballet in which the music constitutes not just the main but the only interest. What charm and elegance, what riches in the melody, the rhythm, the harmony. I was ashamed. If I had known this music before, I would not have written Swan Lake.”. Praise indeed, but Tchaikovsky is being very hard on the other elements of this charming ballet based on classical mythology.

Frederick Ashton choreographed the production, featured on this DVD, first performed at the Royal Opera House, Covent Garden on 3 September 1952. Ashton was not completely satisfied with it, however, and it was put aside. The production languished for forty years or so; and by now Ashton had died. The realization and staging of this 2005 production is the work of Christopher Newton who had danced under the direction of Ashton and was aware of the sort of refinements the great choreographer had in mind. Newton is interviewed about all this in the interviews before Act III of the ballet.

The sets and lighting are sumptuous and atmospheric, the costumes gorgeous and colourful. Delibes’ music is full of melody, one memorable tune succeeding another right through the ballet. Darcey Bussell enchants as the warrior nymph, Sylvia; arrogant in her taunting of the statue of the god Eros who repays her by shooting her with an arrow of love so that she falls for the enamored, shepherd, Aminta (Roberto Bolle). She is gracefully athletic especially in her dances with her two male leads: Bolle and Thiago Soares as the evil Orion who lusts after Sylvia and kidnaps the nymph, carrying her off to his island lair. Here, in Act II Darcey has to dance seductively to divert the attentions of Orion, to make him drunk so that she might escape - an escape made possible by a disguised Eros. Arguably Bussell does not have the figure for seductive dancing, she is also too graceful and stately, so the dance is sinuous rather than seductive. The two male leads are strong and acrobatic, displaying tremendous leaps. The corps de ballet impress throughout with beautiful ensemble dancing and the speciality dancers – the orientals in Act II and the goats in Act III - are quite charming.

The DVD includes interviews with Christopher Newton and Peter Farmer who added his special design talents to the original sets of Robin and Christopher Ironside. Before each act Darcy Bussell comments on the ballet and we see her and others in rehearsal and behind the scenes and between acts during the performance. Illustrated synopses of the action in each of the ballet’s three acts are also enclosed.

David Nice’s erudite note details Delibes music as applied to the dances and shows how the composer was influenced by Berlioz and Wagner. Elgar, as a young man, Nice reminds us, played the violin in a Birmingham performance of the Sylvia Suite and later conducted it himself. Moreover, Nice claims, Delibes’s broad ‘Bacchus’ theme, influenced Elgar’s First Pomp and Circumstance March.

A beautiful production of this charming ballet with a wonderfully melodic score by Delibes.

-- Ian Lace, MusicWeb International

Leo DELIBES (1836-1891)
Sylvia - ballet in three acts with choreography by Frederick Ashton (1876)
Sylvia … Darcey Bussell
Aminta … Roberto Bolle
Orion … Thiago Soares
Eros … Martin Harvey
Diana … Mara Galeazzi
The Royal Ballet
Orchestra of the Royal Opera House/Graham Bond
Rec. The Royal Opera House, Covent Garden, London, 1, 5 December 2005

FORMAT: All Formats
REGIONS: All Regions
PICTURE FORMAT: 16:9
LENGTH: 117 Mins
SOUND: DTS SURROUND 5.1 / LPCM STEREO
SUBTITLES: EN/FR/DE/ES/IT
NO OF DISCS: 1

Chopin, Debiles & Tchaikovsky: Ballet Music