The Rossini Opera Festival in Pesaro, the composer’s birthplace, is internationally renowned for its innovative stagings and musically impeccable productions.

This colourful and exuberant production was staged by Daminano Michieletto, “one of the truly new voices in stage direction today” (L’Unita). Damiano Michieletto made his international debut at the Wexford Opera Festival in 2003 with a highly-acclaimed production of Weinberger’s Svanda Dudák, named Opera Production of the Year by the Irish Times.

Claudio Scimone, a key figure in the international Rossini Renaissance, conducts the Orchestra di Bolzano e Trento and leads a cast of Rossini specialists including Daniele Zanfardino, Olga Peretyatko and Anna Malavasi. Gioachino Rossini LA SCALA DI SETA

Dormont – Daniele Zanfardino
Giulia – Olga Peretyatko
Lucilla – Anna Malavasi
Dorvil – José Manuel Zapata
Blanzac – Carlo Lepore
Germano – Paolo Bordogna

Bolzano-Trento Haydn Orchestra
Claudio Scimone, conductor

Damiano Michieletto, stage director

Recorded live at Rossini Opera Festival, Pesaro, August 2009

bonus
- Cast Gallery
- The making of La scala di seta

Picture format: NTSC 16:9
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Italian
Running time: 105 mins (opera) + 22 mins (bonus)
No. of DVDs: 1 (DVD 9)

R E V I E W:

"the musical aspects are in good hands as Claudio Scimone leads the Haydn Orchestra of Bolzano and Trento, with the piquant Olga Peretyatko’s Giulia miles above the rest of the cast in vocal terms, however involved they all are in the antics imposed by director Damiano Michieletto. Carlo Lepore acquits himself in the interpolated aria, “Alla Gloria,” familiar to those who are obsessive Rossinians in performances by Samuel Ramey and Michele Pertusi. Paolo Bordogna’s Germano is hampered by a vibrato housed in a voice of no particular distinction, though he does execute the fioritura quite well. José Manuel Zapata’s Dorvil requires the audience to suspend its belief in him as a romantic lead, while Anna Malavasi (Lucilla) executes the change from prude to sex-crazy puta in typical comic style."


FANFARE: Joel Kasow

An excellent release, altogether, and something that any fan of the opera would enjoy.

Theatrical events in the cinema have become one of the cultural phenomena of the last decade, and opera has led the way. The New York Met went first with their live HD relays, and others like Glyndebourne have followed. It’s exciting to see the Royal Opera House doing the same thing. This is a DVD release of their Macbeth that was relayed into cinemas in 2011. It’s very good all-round, well filmed and well captured in excellent sound but, as it should be, it’s the performances of the two leads that will capture the attention.
 
Simon Keenlyside and Liudmyla Monastyrska give one of the finest portrayals of the couple that I have come across. In both cases what lifts them into the category of the very special is the way they manage to chart the character’s development. Macbeth is a role that Keenlyside has grown into. He has the depth, the charisma and the energy that make the role complex and interesting; more than a great soldier laid low. His baritone is rounded and complex, just right to capture the many facets of the character’s journey. In the opening scene with the witches he comes across as vulnerable and impressionable into the bargain. However, he noticeably hardens in the second scene, and the dagger soliloquy finds him tougher and less humane. Even in the great duet after the murder his voice has more steel than remorse. This trajectory continues right to his final aria, Mal per me, which is extraordinary in its power and its sense of a life wasted. Perhaps he goes a little too far into snarling in the “sound and fury” sequence, but this remains an extraordinary interpretation of the character that I would love to have heard live. He is partnered by an equally exciting soprano in Liudmyla Monastyrska, a new name to me. She, too, charts the character’s development brilliantly, but she does so with quite extraordinary vocal tools. Her opening salvo, Ambizioso spirto, is exhilarating in its gleam, but cold with a palpable edge of steel which she maintains throughout the scene. Her vocal equipment is thrilling to listen to, however, not least in the coloratura of her cabaletta and the Brindisi of the second act. However, she undergoes the opposite journey to her husband so that, by the sleepwalking scene, she has shaded down her vocal colour to be a shadow of what it was. It’s a remarkable transition, and it makes the sleepwalking scene so much more effective, not least when she rises to a remarkable pianissimo in her final phrase. For these two alone this DVD would be required viewing. The others are fine, if not exceptional. Aceto sings Banquo’s aria very well but the character is rather uninvolving. The same is true of Macduff, though he isn’t quite as interesting to listen to. Malcolm’s few stage moments go off well, but there’s no doubt that it’s the Macbeths themselves who are the main draw here.
 
The production is fine too, stark in its contrasts of black, red and gold. Lloyd adopts a fairly minimalist approach, relying on lots of squares and cubes, most notably as an open cage where Duncan is murdered and the Macbeths plot the future. It’s her use of the witches that is most interesting. For her they are not restricted to the scenes on the heath; they invisibly orchestrate much of the action, most notably assisting the escape of Fleance after Banquo’s murder. The third act begins with a fantastic image of the great cube spinning around, controlled by the witches, with Macbeth and his wife inside. The direction of the two leads is very good and, while there isn’t much to say about the other characters, there is nothing in the production to insult or distract.
 
The chorus, so important in this opera, are very good indeed, whether playing witches, murderers, soldiers or refugees. The orchestra are fantastic too. Pappano’s direction is thrilling throughout. In one of the short extra films - all fine if unremarkable - he says that Macbeth is one of his favourite operas and you can tell in the way he screws up the tension to a thrilling climax in the chorus following Duncan’s murder. He shapes a compelling, dark vision of the score and has a whale of a time while doing so. The camera direction is always appropriate and the DTS sound comes through very well.
 
An excellent release, altogether, and something that any fan of the opera would enjoy.
 
-- Simon Thompson, MusicWeb International

Macbeth – Simon Keenlyside
Banquo – Raymond Aceto
Lady Macbeth – Liudmyla Monastryrska
Servant – Nigel Cliffe
Malcolm – Steven Ebel
Lady – Elisabeth Meister
Macduff – Dmitri Pittas

Royal Opera House Chorus and Orchestra
Antonio Pappano, conductor

Recorded live at the Royal Opera House, 13 June 2011

Bonus:
- Cast gallery
- Interviews with Simon Keenlyside, Raymond Aceto and Liudmyla Monastryrska
- Rehearsing Macbeth with Antonio Pappano

Picture format: NTSC 16:9 Anamorphic
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German, Italian, Spanish
Running time: 170 mins
No. of DVDs: 1

Classical Music

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

Sergey Prokofiev
CINDERELLA

Cinderella – Agnès Letestu
The Movie Star – José Martinez
The Sisters – Laëtitia Pujol, Stéphanie Romberg
The Mother – Stéphane Phavorin
The Producer – Wilfried Romoli

Paris National Opera Ballet
Paris National Opera Orchestra
Koen Kessels, conductor

Rudolf Nureyev, choreographer

Recorded live at the Palais Garnier, Paris, on 24, 26,and 28 April 2008.

Bonus:
- Documentary: Cinderella goes to Hollywood
- Cast gallery and illustrated synopsis

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM Stereo 2.0 / DTS 5.1
Region code: 0 (All Regions)
Menu languages: English, German, French, Spanish, Italian
Subtitles: English, German, French, Spanish, Italian
Running time: 185 mins
No. of DVDs.: 2

Also available on Blu-ray

Glyndebourne has a proud association with the operas of Benjamin Britten, however until 2010 had never staged Billy Budd. The all-male opera with a libretto co-written by EM Forster, is based on the battle between pure good and blind evil, and is set on a British man-‘o-war ship. Michael Grandage, Artistic Director of the Donmar Warehouse, chose this work to make his long-awaited operatic debut. Sir Mark Elder returned to conduct the production, marking the 100th opera production in his illustrious career.



Benjamin Britten
BILLY BUDD

Captain Vere – John Mark Ainsley
Billy Budd – Jacques Imbrailo
Claggart – Phillip Ens
Mr. Redburn – Iain Paterson
Mr. Flint – Matthew Rose
Lieutenant Ratcliffe – Darren Jeffery
Red Whiskers – Alasdair Elliott
Donald – John Moore
Dansker – Jeremy White
Novice – Ben Johnson
Squeak – Colin Judson
Bosun – Richard Mosley-Evans

The Glyndebourne Chorus
London Philharmonic Orchestra
Mark Elder, conductor
Michael Grandage, stage director
Bonus:
- Introducing Billy Budd
- Designs on Billy Budd

Picture format: NTSC 16:9 Anamorphic
Sound format: LPCM Stereo 2.0 / DTS 5.1
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German, Spanish
Running time: 200 mins
No. of DVDs: 1

The Royal Swedish Ballet, Stockholm / Michel Quéval
Choreographer Peter Wright stages Swan Lake as a romantic gothic tragedy. This stunning production focuses on the heartbreaking role of the Prince in this dramatic classic, honouring the 1895 Petipa/ Ivanov original. Starring Nathalie Nordquist as Odette/Odile and Anders Nordström as Prince Siegfried

extra features include
• ‘Back to the original’ - an interview with the director of the Royal Swedish Ballet, Petter Jacobsson
• ‘A beautiful way of moving’ - interpretations of principal dancers, Nathalie Nordquist and Anders Nordström
• ‘Love transcends Death’ - Sir Peter Wright on the production’s choreography
• ‘The tale of Swan Lake’ - illustrated synopsis
• Notable productions of Swan Lake - an overview of all historic productions of this classic ballet.

R E V I E W S

"…outstandingly performed under Michel Quéval’s baton – and that’s just the start. …staging,choreography and dancing (by both corps de ballet and soloists) are all excellent. …yet another superb Opus Arte release."
- Classic FM DVD best buy

Johan Botha, Albert Dohmen, Edith Haller, and Linda Watson star in this 2010 Bayreuth Festival production of the Wagner opera conducted by Christian Thielemann.

This 32-disc box set collection brings together 12 classic live Royal Opera performances – Tosca, Otello, Cosi fan Tutte, Madama Butterfly, Meistersinger, Don Giovanni and half a dozen more - spanning a period of over forty years, from 1955-97. The set includes many of the world’s greatest operatic performers of the era: Jon Vickers, Joan Sutherland, Janet Baker, Victoria de los Angeles, Cesare Siepi, Sena Jurinac, Boris Christoff, Tito Gobbi, Kiri Te Kanawa, Zinka Milanov and Franco Corelli, amongst others.

The acclaimed Magdalen College Choir celebrates the diversity of the twentieth-century English carol repertoire in a programme that combines well-loved standards and innovative choir favorites ranging in emotion from quiet contemplation to festive joy. The selection of carols and organ solos, led by director and organist Daniel Hyde, culminates in Ralph Vaughan Williams’s celebrated Fantasia on Christmas Carols with renowned baritone Roderick Williams in the solo part. Several carols focus on the sheer joy of the miraculous Incarnation itself. William Mathias’s A babe is born is a lively setting which gives full rein to the composer’s syncopated, jazzy parallelisms. Optimism is also the principal mode of Christopher Steel’s People look east. In its ebullient joy, the piece bounces off into a different key in the third verse and deploys the voices in canon, before swinging back to a final recapitulation, replete with a jubilant descant. Composers for organ have found themselves drawn to this treasury of festive folksongs. The French organist and teacher Marcel Dupre was requested by his daughter Marguerite to write a setting of the carol Il est ne le divin enfant. The resulting piece is a set of variations on the theme, with the rune variously in the pedals, decorated, and finally worked into a masterly fugue. In similar fashion, Herbert Sumsion transformed a number of carols into preludes for the instrument. Among them was The holly and the ivy which plucks little motifs from its source before gradually introducing the tune itself, building up to a grand statement before subsiding into quiet peace.

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

Also available on standard DVD

Andrei Serban’s spectacular and thrilling 1984 production of Puccini’s final and grandest opera has long been a classic at the Royal Opera House. First filmed for BBC TV in the 80s, this new recording – of its 15th revival – is in stunning HD and makes this famous production available for the first time on DVD and Bluray. The release will rightfully take its place alongside the outstanding Royal Opera Puccini DVDs of La bohème, Tosca (on EMI) and Il Trittico. American Lise Lindstrom is one of the very few contemporary Turandots who can genuinely sing this “killer” role, and is supported by a touching Liù from Japanese soprano Eri Nakamura and an unashamedly Italianite Calaf from Marco Berti. The young Hungarian conductor Henrik Nánási directs the large orchestra and all-important chorus. Recorded live at the Royal Opera House, September 2013. Giacomo Puccini
TURANDOT
(Blu-ray Disc Version)

Turandot – Lise Lindstrom
Calaf – Marco Berti
Liu – Eri Nakamura
Ping – Dionysios Sourbis
Pong – Doug Jones
Pang – David Butt Philip
Altoum – Alasdair Elliott
Timur – Raymond Aceto

Royal Opera House Chorus
Royal Opera House Orchestra
Henrik Nánási, conductor

Andrei Serban, stage director

Recorded live at the Royal Opera House, September 2013

Bonus:
- Turandot – an introduction
- Behind the Masks
- Cast gallery

Picture format: 1080i High Definition
Sound format: LPCM Stereo 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Spanish, Italian, Korean
Running time: 125 mins
No. of Discs: 1 (Blu-ray)

A bold reinvention of a 19th-century classic. Kader Belarbi's fresh scenario and choreography give this colourful yet ultimately tragic story renewed clarity and simplicity. David Coleman conducts a score based on Adolphe Adam's original work, but enhanced with music by composers from Massenet to Sibelius, as well as new compositions and orchestrations by Coleman himself. This is a version for the modern age....'simply magnificent: A miracle in two acts.' - Le Figaro.

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

Also available on standard DVD

This outstanding recording features four ballet works: Liam Scarlett’s Viscera, Carlos Acosta’s Carmen, Jerome Robbins’s Afternoon of a Faun, and George Balanchine’s Tchaikovsky pas de deux. Acosta’s Carmen focuses on the dramatic essentials of revenge, jealousy, and love. Not only did Acosta choreograph the production, he also dances a lead role. When Viscera was created in 2012, Liam Scarlett was the Royal Ballet Artist In Residence. Particularly interesting is Balanchine’s Pas de Deux which was based on a newly discovered movement from Swan Lake which had not been performed since Tchaikovsky’s death.

Region Code: 0 (Worldwide)
Running Time: 118 Minutes

Gregory Doran directs King and Country: Shakespeare's Great Cycle of Kings- the complete cycle of Richard II, Henry IV, Pts. 1 & 2, and Henry V. David Tennant plays the title role in Richard II, with Antony Sher and Jasper Britton as Falstaff and Henry IV respectively in Henry IV, Pts. 1 & 2. Alex Hassell follows his performance as Prince Hal in Henry IV, Pts. 1 & 2 as Henry V in the final play in the tetralogy.

"A definitive production of a great play" - Daily Mail on Richard II

"Gregory Doran's productions are a triumphant achievement." - Times on Henry IV, Pts. 1 & 2 Sound Format: 2.0LPCM, 5.1 DTS
Subtitles: EN/FR/GE (Except Henry V with EN only)
Region: 0 (Worldwide)
Running Time: 663 mins

Also available on standard DVD

Note: These Blu-ray Discs are playable only on Blu-ray Disc players, and not compatible with standard DVD players.

Pyotr Il’yich Tchaikovsky
CLASSIC BALLETS
(3-DVD Box Set)

Swan Lake

Odette / Odille – Marianela Nuñez
Prince Siegfried – Thiago Soares
The Princess, Siegfried’s mother – Elizabeth McGorian
An Evil Spirit / Von Rothbart – Christopher Saunders
The Tutor – Alastair Marriott
Benno – David Pickering

Royal Ballet
Royal Opera House Orchestra
Valeriy Ovsyanikov, conductor

Anthony Dowell, stage director
Marius Petipa and Lev Ivanov, choreographers

Recorded at the Royal Opera House, Covent Garden, London, on 16 and 24 March 2009

Bonus:
- Illustrated synopsis
- Cast gallery
- Interview with Anthony Dowell
- Four Swan Queens - Exclusive 30-minute conversation on the demands of dancing the role of the Swan Queen with former Prima Ballerinas
- Dame Beryl Grey, Dame Monica Mason, Lesley Collier and current principal Marianela Nuñez

The Nutcracker

The Sugar Plum Fairy – Miyako Yoshida
Nephew / Nutcracker – Ricardo Cervera / Steven McRae
The Prince – Steven McRae
Drosselmeyer – Gary Avis

Royal Ballet
Royal Opera House Orchestra
Koen Kessels, conductor

Peter Wright, choreographer and director (after Lev Ivanov)

Recorded live at the Royal Opera House, Covent Garden, London, November and December 2009

Bonus:
- Cast gallery
- Rehearsing at White Lodge
- Peter Wright tells the story of The Nutcracker

The Sleeping Beauty

Princess Aurora – Alina Cojocaru
Prince Florimund – Federico Bonelli
King Florestan XXIV – Christopher Saunders
His Queen – Elizabeth McGorian
Cattalabutte – Alastair Marriott
Carabosse – Genesia Rosato
Lilac Fairy – Marianela Nuñez

Royal Ballet
Royal Opera House Orchestra
Valeriy Ovsyanikov, conductor

Marius Petipa, choreographer

Recorded live at the Royal Opera House, Covent Garden, London on 5 December 2006

Bonus:
- Cast gallery
- Illustrated synopsis

---

Picture format: 1080i High Definition Sound format: LPCM 2.0 / DTS 5.1 Region code: 0 (worldwide) Subtitles (bonus): French, German, Spanish (Nutcracker) + Italian (Swan Lake, Sleeping Beauty) Running time: 7 hours 37 mins No. of Discs: 3 (Blu-ray)

R E V I E W S:

This generally acclaimed Royal Ballet production of Swan Lake follows on the heels of the somewhat disappointing Blu-ray Mariinsky performance starring Ulyana Lopatkina (Odette/Odile) and conducted by Valery Gergiev (Fanfare 32:5). Both versions are based on the choreography of Marius Petipa and Lev Ivanov, with additional choreography for the Royal Ballet production by the esteemed Frederick Ashton. Any Swan Lake revolves around the central roles of Odette/Odile. In the case of Marianela Nuñez versus Lopatkina, one is not necessarily better than the other. Rather, they are very different. Nuñez is all about elegance, grace, and smooth, legato flow. She exhibits a persistent and rather resigned sadness and vulnerability in the white swan act. It is critical that there is ample contrast as Odile. In the ballroom scene, Nuñez is far more animated, saucy, and seductive. She cannot match Lopatkina’s flawless, almost surgically precise technique, but Lopatkina is cold, sterile, and certainly not very vulnerable as Odette. Nuñez radiates humanity in her finely nuanced but somewhat subdued acting. Thiago Soares (Siegfried) clearly has developed admirable rapport with Nuñez (apparently offstage as well as onstage). He is far preferable to the terminally bland Danila Korsuntsev in the Mariinsky Swan Lake. Conductor Valeriy Ovsyanikov, as in his Royal Ballet Sleeping Beauty, applies generally fast tempos, with an emphasis on clarity of instrumental lines. Compared to Antal Dorati in his legendary Mercury recording, Ovsyanikov can be equated with an overdose of valium. This beautifully staged Swan Lake is just too sedate. The whole thing gives the impression of a subdued and reverential allegiance to tradition. The sumptuous sets evoking Imperial Russia (presumably in the time of Tchaikovsky) and colorful costumes are gorgeous. The high-resolution sound features excellent mid-range detail, sparkling high frequencies, and warm bass. Extras include a short interview with Anthony Dowell discussing Swan Lake and this production, and a more lengthy presentation entitled “Four Swan Queens.” The comments of the four ladies are pretty superficial, with a few interesting anecdotes. The young Nuñez appears to be intimidated or deferential to the three older prima ballerinas to the point where she has little to say.

This production offers nothing that is new or remotely controversial. Viewers will have to choose between Lopatkina’s technical perfection and the lyrical grace of the far more likable Nuñez (who, by the way, is no slouch from a purely technical standpoint). Neither Ovsyanikov nor Gergiev are particularly memorable when compared to the electricity generated by Dorati. If I had to choose, I would probably go with the Royal Ballet, primarily because of Nuñez and her obvious rapport with Soares.

-- Arthur Lintgen, Fanfare [3-4/2010] reviewing blu-ray version of Swan Lake


The Royal Ballet’s new production of The Sleeping Beauty , which debuted in 2006, is based on their successful 1946 staging with designs by Oliver Messel. Visually, this is a significant improvement over the RB’s 1994 Sleeping Beauty designed by Maria Bjørnson. The sets used in 1994 had an immediate “Wow!” factor when first viewed (wild perspectives), but quickly wore out their welcome and so dominated the stage they detracted from the dancers. Adding to the visual impairment were many costumes that matched the scenery in color and tone, further reducing the prominence of the dancers. The new sets are beautiful. They’re very old-fashioned wing and drop; painted in warm colors that are nicely subdued so they offer a pleasant backdrop and the dancers stand out.

Marius Petipa is credited with the choreography in both productions, but contributions from Frederick Ashton, Anthony Dowell, and Christopher Wheeldon are noted. Further credit for this 2006 production is also given to Monica Mason and Christopher Newton “after Ninette de Valois and Nicholas Sergeyev.” Sergeyev was Petipa’s assistant. The original designs by Oliver Messel are augmented and interpreted by Peter Farmer. The result of their efforts is a very classy Sleeping Beauty that is a joy to watch.

The dancing in both 1994 and 2006 productions is of a very high order. Of the six principal roles (Aurora, Florimund, Carabosse, Lilac Fairy, Florine, and Blue Bird), there are individual differences between the two casts, and one significant casting difference. In 2006, Carabosse is played by a woman, Genesia Rosato, in a role usually performed by a man. Anthony Dowell’s Carabosse in 1994 is something to behold. Looking like he just rose from the swamp, he dominates the stage whenever he appears. In comparison, Rosato in 2006 is more restrained, offering a character reminiscent of a blend between Mrs. Danvers and Elsa Lancaster in Bride of Frankenstein.

Alina Cojocaru and Federico Bonelli are nicely paired as Aurora and Florimund. Neither is as flashy as their 1994 counterparts, but they combine technical expertise with convincing acting. They look like royalty from Fairy Land, and like they care about each other. In the 1994 cast, Viviana Durante and Zoltan Solymosi, were significantly mismatched in height (I’ve read Durante was a last minute stand-in for a taller dancer), and they were only superficially into their characters, but they still offered impressive performances. Durante is tiny and elflike; being on point seemed natural to her. During the Rose Adagio she so successfully achieved her balance she refused the fourth courtier’s hand. Solymosi doesn’t have quite the technical expertise of Federico Bonelli, but Solymosi, one of the tallest dancers on the stage, has stage presence in abundance. He commands attention even when standing still.

Conductor Valeriy Ovsyanikov pulls all the Romantic stops out of Tchaikovsky’s unabashedly flamboyant score, in contrast to Barry Wordsworth’s more elegant approach. Carabosse’s curse, the Rose Adagio, the finale, and Apothéose benefitted from Ovsyanikov’s muscular conducting, whereas the waltzes, the Panorama, the character dances, and the adagio in the act III Pas de deux were more lovingly handled by Wordsworth.

The 1994 Sleeping Beauty is full screen; the 2006 is wide screen. Ross MacGibbon, the video director in 2006 was listed as editor in 1994. His part in both of these videos is restrained and rarely intrudes on the dancing. There are some shots of bouncing torsos (dancers viewed from the waist up) when I would have preferred to see the entire performer, but MacGibbon’s direction in this Sleeping Beauty is how I wish more of these videos of stage performances were filmed, a vast improvement over his direction of the Mariinsky Swan Lake (see Fanfare 31:5).

There are some cuts to the score (a few numbers are deleted, a few are shortened), but the abridgements are slight and the key dances, such as the Rose Adagio, are presented in full. The image is bright and clear; the sound, available in either LPCM stereo or DTS Digital surround is excellent. The Sleeping Beauty has long been one of the Royal Ballet’s premier productions; this 1946 updated to 2006 version does the company proud.

-- David L. Kirk, Fanfare
reviewing Sleeping Beauty

A very special dance occasion in honour of a celestial alignment of events, the Gala des Étoiles celebrates the Ballet Corp’s time-honoured tradition of a Grand Gala at La Scala as it coincides with Milan’s tenure as host city of EXPO 2015. Symbolically espousing the spirit of the Universal Exposition by bringing together outstanding international talent, La Scala’s étoiles – Svetlana Zakharova, Roberto Bolle and Massimo Murru – extend Milan’s red carpet to a veritable constellation of guest dancers from around the world, including rising stars and luminaries of the ballet universe.

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

Also available on standard DVD

Peter and the Wolf, Prokofiev’s musical fairy tale, has been delighting children since 1936. Nearly 60 years later, in 1995, the young choreographer Matthew Hart created a witty choreographed version for the Royal Ballet School with designs by Ian Spurling. Described as ‘an utterly delightful ballet and a perfect showcase for the younger students,’ by the Royal Ballet’s Director, Monica Mason, it was staged again and recorded for this DVD.

"...Matthew Hart’s Peter and the Wolf is one of the most beguiling children’s ballets around.” - The Telegraph

Matthew Hart, choreographer
The Wolf – Sergei Polunin
Grandfather – Will Kemp
Peter – Kilian Smith
Duck – Charlotte Edmonds
Bird – Laurine Muccioli
Cat – Chisato Katsura

The Royal Ballet School
Royal Ballet Sinfonia
Paul Murphy, conductor

Recorded live at the Royal Opera House, 16 and 18 December 2010.

Bonus:
- Cast gallery
- Documentary feature on rehearsing Peter and the Wolf

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS 5.0
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German, Spanish
Running time: 38 mins
No. of Discs: 1 (Blu-ray)

"This release heralds a new association between Opus Arte and the Magdalen College Choir, Oxford, under its director, Daniel Hyde Dietrich Buxtehude's Membra Jesu Nostri is considered to be the first Lutheran oratorio Renowned soloists include John-Mark Ainsley and Robin Blaze Features Gramophone Award-winning instrumental group Phantasm"

This unique collection celebrates the pas de deux: the ‘steps for two’ or partner dances so central to ballets both modern and classical. It brings together 16 exceptional pas de deux from The Royal Ballet’s unequalled repertory, in outstanding performances by Company dancers past and present. Representing The Royal Ballet’s heritage works and recent creations, as well as 19th-century classics, Pas de Deux demonstrates the choreographic diversity, technical brilliance, show-stopping spectacle and artistry for which The Royal Ballet is acclaimed around the world. Included in this collection are Frederick Ashton’s Voices of Spring and pas de deux from his La Fille mal gardée; from Kenneth MacMillan’s Romeo and Juliet, Concerto, Elite Syncopations, Manon and Mayerling; from Wayne McGregor’s Limen; from Christopher Wheeldon’s Alice’s Adventures in Wonderland and The Winter’s Tale; and from the 19th-century classics Giselle, Don Quixote, Swan Lake and The Nutcracker. All captured in high definition and recorded in true surround sound.

Christopher Wheeldon's acclaimed new Cinderella for the Dutch National Ballet is an imaginative interpretation of a much-loved classic. Inspired by the original Brothers Grimm fairy tale, Wheeldon gives the characters renewed depth and complexity, complementing Prokofiev's celebrated and colorful score. With sets and costumes by the renowned designer Julian Crouch, supported by stunning stage effects, this world premiere production is a truly magical experience, bringing an age-old fairy tale into the 21st century.

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

Also available on standard DVD

Joby Talbot
ALICE’S ADVENTURES IN WONDERLAND

Ballet in 2 Acts

Alice – Lauren Cuthbertson
Jack / Knave of Hearts – Sergei Polunin
Lewis Carroll / White Rabbit – Edward Watson
Mother / Queen of Hearts – Zenaida Yanowsky
Father / King of Hearts – Christopher Saunders
Magician / Mad Hatter – Steven McRae
Duchess – Simon Russell Beale

Royal Ballet
Royal Opera House Orchestra
Barry Wordsworth, conductor
Christopher Wheeldon, choreography

Bob Crowley, designs
Nicholas Wright, scenario
Natasha Katz, lighting design

Recorded live from the Royal Opera House, Covent Garden, 9 March 2011.

Bonus:
- Cast Gallery
- Documentary – Being Alice

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS-HD Master Audio
Region code: 0 (worldwide)
Subtitles: English, French, German, Spanish
Running time: 120 mins (ballet) + 30 mins (bonus)
No. of Discs: 1 (BD 50)

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

It is also available in DVD format.

One of the most vibrant, colourful and eye-catching productions staged at London’s Royal Opera House who offered it as the 2009 Christmas presentation. Starting out life as Vakula the Smith, whatever its title, Tchaikovsky’s opera was based on Gogol’s story, Christmas Eve, its lighthearted fairytale aimed at creating an evening of delightful fantasy. The plot is complicated and requires a large cast, but taken down to its bare bones, it tells the story of Vakula, whose mother is courted by many men including the Devil, she too being something of a witch. He falls for the young village wench, Oxana, a rather highly-strung filly who says he will have to get the Empresses shoes before she will marry him. With the help of the Devil, who carries him on his back to St. Petersburg, he does successfully obtain a pair of the Empresses shoes. Victorious he returns only to find a contrite Oxana who has missed him greatly, and wants him as her husband with or without the Empresses shoes. Though it was heavily revised by Tchaikovsky to create Cherevichki (The Tsarina’s Slippers), he thought very highly of the finished product, but it has never found a place in the international opera repertoire. With a largely Russian cast, the Royal Opera House turned it into a visual spectacular, presenting one big scene after another, with big ballet scenes and a massive extravaganza at the Empresses palace. The cast is superb throughout, with Vsevolod Grivnov a heroic heldontenor as Vakula; Olga Guryakova a charming and typical Russian soprano as Oxana; Larissa Diadkova is a fulsome Solokha in voice and stature, but it is the big voice of Vladimir Matorin as Chub that almost steals the show. Maybe the chorus is just a little tentative at times, particularly at the return of Vakula, but with the range of magnificent costumes they still make a visual delight. A joint BBC/Royal Opera House product, the whole presentation is superb, the costume’s colours so thrillingly brought to your screen.

Solokha – Larissa Diadkova
The Devil – Maxim Mikhailov
Chub – Vladimir Matorin
Panas – John Upperton
Oxana – Olga Guryakova
Vakula – Vsevolod Grivnov
Pan Golova – Alexander Vassiliev
The Schoolmaster – Viacheslav Voynarovskiy
Odark – Olga Sabadoch
Wood Goblin – Changhan Lim
Echo – Andrew Macnair
His Highness – Sergey Leiferkus
Master of Ceremonies – Jeremy White

The Royal Ballet Royal Opera House Orchestra
Alexander Polianichko, conductor

Francesca Zambello, stage director
Alastair Marriott, choreography

Recorded live at the Royal Opera House, Covent Garden, November 2009.

Bonus: - Introducing Cherevichki by Francesca Zambello
- Cast and Characters
- Staging Gogol's world

Picture format: 1080i High Definition
Sound format: LPCM Stereo 2.0 / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German, Spanish
Running time: 154 mins
No. of Discs: 1

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

Also available on standard DVD

La Valse

Hikaru Kobayashi
Ryoichi Hirano
Samantha Raine
Bennet Gartside
Helen Crawford
Brian Maloney

Music:
Maurice Ravel: La Valse


Meditation from Thaïs

Leanne Benjamin
Valeri Hristov

Music:
Jules Massenet: Thaïs, Act II: Meditation


Voices of Spring

Yuhui Choe
Alexander Campbell

Music:
Johann Strauss: Fruhlingsstimmen (Voices of Spring), Op. 410


Monotones I and II

Emma Maguire
Akane Takada
Dawid Trzensimiech
Marianela Nuñez
Federico Bonelli
Edward Watson

Music:
Erik Satie: Gnoissienes and Gymnopedies


Marguerite and Armand

Tamara Rojo
Christopher Saunders
Sergei Polunin
Gary Avis

Music: Franz Liszt: Piano Sonata in B Minor, S178/R21

The Royal Ballet
Royal Opera House Orchestra
Emmanuel Plasson, conductor

Frederick Ashton, choreographer

Recorded live at the Royal Opera House, February 2013


Bonus:
- Introduction to Voices of Spring, Meditation, Monotones and The Ashton Foundation

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Picture format: NTSC 16:9
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English
Running time: 97 mins
No. of DVDs: 1

Johan Botha, Albert Dohmen, Edith Haller, and Linda Watson star in this 2010 Bayreuth Festival production of the Wagner opera conducted by Christian Thielemann.

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

Harrison Birtwistle
THE MINOTAUR
(Blu-ray Disc Version)

The Minotaur – John Tomlinson
Theseus – Johan Reuter
Ariadne – Christine Rice
Snake Priestess – Andrew Watts
Hiereus – Philip Langridge
Ker – Amanda Echalaz

The Royal Opera Chorus
The Orchestra of the Royal Opera House
Antonio Pappano, conductor

Stephen Langridge, stage director

Recorded live at the Royal Opera House, Covent Garden on 25, 30 April and 3 May 2008.

Bonus:
- Documentary: Myth is Universal
- Illustrated synopsis and cast gallery

Picture format: 1080i High Definition
Sound format: PCM Stereo 2.0 and 5.0
Region code: 0 (All Regions)
Menu languages: English
Subtitles: English, German, French, Spanish, Italian
Running time: 175 mins
No. of Discs: 1 (BD 50)