{"title":"Royal Ballet","description":"\u003cp\u003eballet company. in the Classical Ballet tradition.\u003c\/p\u003e\n\u003cp\u003eWorld-renowned British ballet company founded 1931; extensive video catalog on Opus Arte featuring Tchaikovsky ballets and star performers such as Marianela Nuñez and Carlos Acosta.\u003c\/p\u003e","products":[{"product_id":"art-of-marianela-nunez-4pc-4pk-62637","title":"Art Of Marianela Nunez (4pc) \/ (4pk)","description":"In her twenty years with The Royal Ballet, Argentine dancer Marianela Nu�ez has excelled in iconic ballet classics, Company heritage works and modern creations. A Company Principal for 16 years, she has performed all the leading roles in the classical, dramatic and contemporary repertory. This collection showcases her exceptional mastery in four quintessential roles. In Swan Lake, she brings to life the beautifully tragic Odette and her rival Odile. She perfectly portrays the young lover Lise in La Fille mal gard�e, and brings bravura and vivacity to the role of Kitri in Carlos Acosta's production of the classical Don Quixote. She is transcendent as Giselle, one of the most challenging and demanding roles in the repertory. With peerless technical skill and compelling performances by the whole Company, this collection celebrates an exceptional dancer in her prime. \".. a jovial and entertaining showcase for classical dancing at it's most demanding and exuberant. One of the pleasures of this ballet is to be tickled by Minkus's infectiously melodious score... Marianela Nu�ez and Acosta delivered sparky, engaging performances\" (The Times (Don Quixote)) \"If the acting is superb, it's given real authority by the dancing. Muntagirov and Nu�ez are technically thrilling; she, at her finest moments, can combine an absolute mastery of the choreography, with the illusion that she's dancing it for the first time.\" (The Guardian (Giselle))","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46012998779114,"sku":"809478012672","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3781523.jpg?v=1778272704"},{"product_id":"macmillan-concerto-ashton-enigma-variations-nureyev-raymonda-293371","title":"MacMillan: Concerto - Ashton: Enigma Variations - Nureyev: Raymonda, Act III \/ Sorokin, Royal Opera House Orchestra","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=2303277\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e From The Royal Ballet’s classical origins in the works of Petipa, to the home-grown choreographers who put British Ballet on the world stage, this mixed programme highlights the versatility of the Company. Petipa’s Raymonda Act III is Russian classical ballet summarized in one act, full of sparkle and precise technique, while Ashton’s Enigma Variations is quintessentially British in every way – from its score by Elgar and period designs by Julia Trevelyan Oman, to Ashton’s signature style, the essence of British ballet. Concerto, MacMillan’s fusion of classical technique with a contemporary mind, completes a programme that shows the breadth of the Company’s heritage. “The Royal Ballet is at the top of its game in a new triple bill of MacMillan, Ashton, and a pinch of Petipa…” (The Guardian) “O’Sullivan dances with a sunbeam brightness and zest to match her tangerine-colored costume… The ‘Nimrod’ variation is a memorable evocation of mature friendship; catching at the shifting currents of conversation and companionship with a finespun physicality… Princely Vadim Muntagirov follows suit with pantherine leaps and there’s strong support from the soloists and fluffy-hatted corps.”\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46013016539370,"sku":"809478013129","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3829539-2574977.jpg?v=1778226628"},{"product_id":"macmillan-concerto-ashton-enigma-variations-nureyev-raymonda-293378","title":"MacMillan: Concerto - Ashton: Enigma Variations - Nureyev: Raymonda, Act III \/ Sorokin, Royal Opera House Orchestra [Blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ca class=\"links\" href=\"album.jsp?album_id=2303276\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e From The Royal Ballet’s classical origins in the works of Petipa, to the home-grown choreographers who put British Ballet on the world stage, this mixed programme highlights the versatility of the Company. Petipa’s Raymonda Act III is Russian classical ballet summarized in one act, full of sparkle and precise technique, while Ashton’s Enigma Variations is quintessentially British in every way – from its score by Elgar and period designs by Julia Trevelyan Oman, to Ashton’s signature style, the essence of British ballet. Concerto, MacMillan’s fusion of classical technique with a contemporary mind, completes a programme that shows the breadth of the Company’s heritage. “The Royal Ballet is at the top of its game in a new triple bill of MacMillan, Ashton, and a pinch of Petipa…” (The Guardian) “O’Sullivan dances with a sunbeam brightness and zest to match her tangerine-colored costume… The ‘Nimrod’ variation is a memorable evocation of mature friendship; catching at the shifting currents of conversation and companionship with a finespun physicality… Princely Vadim Muntagirov follows suit with pantherine leaps and there’s strong support from the soloists and fluffy-hatted corps.”\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46013017391338,"sku":"809478072720","price":42.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3829540-2574978.jpg?v=1778388725"},{"product_id":"tchaikovsky-the-nutcracker-royal-ballet-84087","title":"Tchaikovsky: The Nutcracker \/ Royal Ballet","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=519646\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Pyotr Il'yich Tchaikovsky\u003cbr\u003e  THE NUTCRACKER\u003cbr\u003e  \u003cbr\u003e  \"One of the very best seasonal treats for children and adults alike, the Royal Ballet’s Nutcracker is a handsome, magical, thoroughly traditional rendering of ETA Hoffmann’s immortal if deeply strange story.\" -- Sunday Express\u003cbr\u003e  \u003cbr\u003e  This all-time ballet favourite, in which young Clara is swept into a fantasy adventure when one of her Christmas presents comes to life, is at its most enchanting in Peter Wright’s glorious production – as fresh as ever in its 25th year. Tchaikovsky’s ravishing score, period designs by Julia Trevelyan Oman (including an ingenious magical Christmas tree), an exquisite Sugar Plum Fairy (Miyako Yoshida) and chivalrous Prince (Steven McRae), the mysterious Drosselmeyer (Gary Avis) and vibrant dancing by The Royal Ballet make for a captivating performance. Filmed in High Definition and recorded in true surround sound.\u003cbr\u003e  \u003cbr\u003e  The Sugar Plum Fairy – Miyako Yoshida\u003cbr\u003e  Nephew \/ Nutcracker – Ricardo Cervera \/ Steven McRae\u003cbr\u003e  The Prince – Steven McRae\u003cbr\u003e  Drosselmeyer – Gary Avis\u003cbr\u003e  \u003cbr\u003e  The Royal Ballet\u003cbr\u003e  The Orchestra of the Royal Opera House\u003cbr\u003e  Koen Kessels, conductor\u003cbr\u003e  \u003cbr\u003e  Peter Wright, choreographer and director\u003cbr\u003e  (after Lev Ivanov)\u003cbr\u003e  \u003cbr\u003e  Recorded live at the Royal Opera House, November and December 2009.\u003cbr\u003e  \u003cbr\u003e  Bonus:\u003cbr\u003e  - Cast gallery\u003cbr\u003e  - Rehearsing at White Lodge\u003cbr\u003e  - Peter Wright tells the story of The Nutcracker\u003cbr\u003e  \u003cbr\u003e  Picture format: NTSC 16:9 anamorphic\u003cbr\u003e  Sound format: LPCM Stereo 2.0 \/ DTS 5.0\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Menu language: English\u003cbr\u003e  Subtitles: English, French, German, Spanish\u003cbr\u003e  Running time: 127 mins\u003cbr\u003e  No. of DVDs: 1\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46013068673258,"sku":"809478010364","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1724559.jpg?v=1778332846"},{"product_id":"carlos-acosta-dances-royal-ballet-classics-blu-256596","title":"Carlos Acosta – Dances Royal Ballet Classics [blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e   \u003ca class=\"links\" href=\"album.jsp?album_id=2108490\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e So memorably described as ‘a dancer who slashes across space faster than anyone else, who lacerates the air with shapes so clear and sharp they seem to throw off sparks’ (Independent), Carlos Acosta has been at the forefront of contemporary ballet since his arrival at the Royal Ballet in 1998. Here he sparkles in three of his most celebrated roles: the young lover Colas in the joyfully bucolic La Fille mal gardée, which received five stars from the Guardian, Times and Mail on Sunday; the innocent but doomed Romeo in Prokofiev’s sumptuously-scored adaptation of Shakespeare’s famous play; and, acting as producer and choreographer for the first time, as Basilio in Don Quixote, a production that wowed audiences thanks to its ‘intelligent’ choreography and Acosta’s ‘titanic determination, bullet-proof charisma [and] delectably trusting and playful rapport’ with co-star Marianela Núñez (Daily Telegraph). These three compelling ballets showcase Carlos Acosta’s world-class reputation as a dancer and choreographer, bolstered by outstanding co-stars and artists of the Royal Ballet. Filmed in High Definition and recorded in true Surround Sound. \u003cbr\u003e  \u003cbr\u003eCARLOS ACOSTA – Dances Royal Ballet Classics\u003cbr\u003e (3 Blu-ray Disc Box Set)\u003cbr\u003e \u003cbr\u003e Ferdinand Hérold\u003cbr\u003e LA FILLE MAL GARDÉE \u003cbr\u003e \u003cbr\u003e Lise - Marianela Nuñez\u003cbr\u003e Colas - Carlos Acosta\u003cbr\u003e Widow Simone - William Tuckett\u003cbr\u003e Alain - Jonathan Howells\u003cbr\u003e \u003cbr\u003e Royal Ballet\u003cbr\u003e Royal Opera House Orchestra\u003cbr\u003e Anthony Twiner, conductor\u003cbr\u003e \u003cbr\u003e Frederick Ashton, choreographer\u003cbr\u003e Osbert Lancaster, set designer\u003cbr\u003e \u003cbr\u003e Sergey Prokofiev\u003cbr\u003e ROMEO AND JULIET\u003cbr\u003e \u003cbr\u003e Romeo - Carlos Acosta\u003cbr\u003e Juliet - Tamara Rojo\u003cbr\u003e Mercutio - José Martin\u003cbr\u003e Tybalt - Thiago Soares\u003cbr\u003e Nurse - Sandra Conley\u003cbr\u003e Lord Capulet - Christopher Saunders\u003cbr\u003e Lady Capulet - Elizabeth McGorian\u003cbr\u003e Paris - David Pickering\u003cbr\u003e Benvolio - Yohei Sasaki\u003cbr\u003e Royal Ballet\u003cbr\u003e Royal Ballet Sinfonia\u003cbr\u003e Boris Gruzin, conductor\u003cbr\u003e \u003cbr\u003e Kenneth MacMillan, choreographer\u003cbr\u003e Nicholas Georgiadis, costume designer\u003cbr\u003e John B. Read, lighting designer\u003cbr\u003e \u003cbr\u003e Ludwig Minkus\u003cbr\u003e DON QUIXOTE\u003cbr\u003e \u003cbr\u003e Kitri - Marianela Nuñez\u003cbr\u003e Basilio - Carlos Acosta\u003cbr\u003e Don Quixote - Christopher Saunders\u003cbr\u003e Sancho Panza - Philip Mosley\u003cbr\u003e Lorenzo - Gary Avis\u003cbr\u003e Gamache - Bennet Gartside\u003cbr\u003e Espada - Ryoichi Hirano\u003cbr\u003e Mercedes - Laura Morera\u003cbr\u003e \u003cbr\u003e Royal Ballet\u003cbr\u003e Royal Opera House Orchestra\u003cbr\u003e Martin Yates, conductor\u003cbr\u003e \u003cbr\u003e Carlos Acosta, choreographer (after M\u003cbr\u003e arius Petipa)\u003cbr\u003e Tim Hatley, set and costume designer Hugh Vanstone, lighting designer \u003cbr\u003e \u003cbr\u003e Recorded live at the Royal Opera House, 2 February 2005 (La fille mal gardée), 2007 (Romeo and Juliet) and October 2013 (Don Quixote) \u003cbr\u003e \u003cbr\u003e Bonus:\u003cbr\u003e - Cast gallery and illustrated synopsis (La fille mal gardée)\u003cbr\u003e - Interviews with cast and crew (Don Quixote)\u003cbr\u003e - Introductions to Acts II and III (Don Quixote)\u003cbr\u003e \u003cbr\u003e Picture format: 1080i High Definition\u003cbr\u003e Sound format: LPCM 2.0 (all) \/ DTS-HD Master Audio 5.1 (Romeo and Juliet, Don Quixote) \/ Dolby Digital 5.1 (La fille mal gardée)\u003cbr\u003e Region code: 0 (worldwide)\u003cbr\u003e Menu language: English\u003cbr\u003e Subtitles: French, German, Spanish, Italian (La fille mal gardée)\u003cbr\u003e Running time: 6 hrs 15 mins (ballet) + 12 mins (bonus)\u003cbr\u003e No. of Discs: 3 (BD 50)\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46013268426986,"sku":"809478071860","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3003125.jpg?v=1778386036"},{"product_id":"adam-giselle-royal-ballet-71077","title":"Adam: Giselle \/ Royal Ballet","description":"Adolphe Adam \u003cbr\u003e  GISELLE\u003cbr\u003e  \u003cbr\u003e Giselle – Alina Cojocaru \u003cbr\u003e  Count Albrecht – Johan Kobborg \u003cbr\u003e  Myrtha – Marianela Nuñez \u003cbr\u003e  Hilarion – Martin Harvey\u003cbr\u003e  \u003cbr\u003e The Royal Ballet \u003cbr\u003e  The Orchestra of the Royal Opera House \u003cbr\u003e  Boris Gruzin, conductor\u003cbr\u003e  \u003cbr\u003e Marius Petipa, choreographer\u003cbr\u003e  \u003cbr\u003e Recorded live at the Royal Opera House, Covent Garden, London, January 2006.\u003cbr\u003e  \u003cbr\u003e Bonus features: \u003cbr\u003e  - Cast gallery and synopsis\u003cbr\u003e  \u003cbr\u003e Picture format: NTSC 16:9 anamorphic \u003cbr\u003e  Sound format: LPCM Stereo \/ DTS 5.0 \u003cbr\u003e  Region code: 0 (all regions) \u003cbr\u003e  Menu language: English \u003cbr\u003e  Running time: 112 mins \u003cbr\u003e  No. of DVDs: 1\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46013337895146,"sku":"809478009931","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1426403.jpg?v=1778338735"},{"product_id":"pas-de-deux-the-royal-ballet-278614","title":"Pas de deux \/ The Royal Ballet","description":"\u003cp\u003eThis 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.\u003c\/p\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025395110122,"sku":"809478011187","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3763195.jpg?v=1778279107"},{"product_id":"herold-la-fille-mal-gardee-royal-ballet-207883","title":"Herold: La Fille Mal Gardee \/ Royal Ballet [Blu-ray]","description":"\u003cb\u003e*** This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD or HD DVD players. ***\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ctitle\u003e3313780.zz80_HEROLD_LANCHBERY_La_Anthony.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cspan class=\"COMPOSER12\"\u003eHÉROLD-LANCHBERY \u003c\/span\u003e  \u003cspan class=\"ARIAL12bi\"\u003eLa fille mal gardée \u003c\/span\u003e  \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e Anthony Twiner, cond; Marianela Nuñez (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eLise\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Carlos Acosta (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eColas\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); William Tuckett (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eWidow Simone\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Jonathan Howells (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eAlain\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Royal Op House O \u003c\/span\u003e  \u003cspan class=\"BULLET12b\"\u003e• \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003eBBC\/OPUS ARTE 7021 (Blu-ray Disc: 112:00) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan style=\"font-style:italic\"\u003eLa fille mal gardée \u003c\/span\u003e  \u003cspan\u003ehas a long and convoluted history dating back to its first production in 1789 at the Grand Théâtre, Bordeaux, where it was staged by Jean Dauberval to a largely anonymous score utilizing various contemporary popular tunes. It then entered the repertoire of the Paris Opéra in 1828 with new music composed and arranged by Ferdinand Hérold. He retained a few melodies from the original score, composed a substantial amount of his own music, and added some popular operatic excerpts by Rossini, Donizetti, and others. Peter Ludwig Hertel composed a new and much more heavily textured score for the Berlin Court Opera in 1864. This was more in tune with the tastes of the time. Hertel’s version was subsequently produced at the Bolshoi Ballet in 1885 and survived in various forms until Frederick Ashton decided to revive it with a new score freely adapted and arranged by John Lanchberry for the Royal Ballet in 1960. It was clear to Lanchberry that in order to achieve the delightful pastoral tone envisioned by Ashton that it would be necessary to base his arrangement on Hérold’s superior version, interspersed with passages actually composed by Lanchberry himself. The 1960 Covent Garden production was a spectacular success and has become a ballet classic revived repeatedly throughout the world. This lengthy history of \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eLa fille mal gardée\u003c\/span\u003e  \u003cspan\u003e is important because every version contributed in some way to the triumph of the Ashton-Lanchberry masterpiece. The Clog Dance is apparently the only surviving section based on elements of Hertel’s score. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eMusic-lovers and audiophiles were introduced to the seductive, melodic charms of \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eLa fille mal gardée\u003c\/span\u003e  \u003cspan\u003e by the sensational sounding 1962 Decca recording of extended excerpts played by the very same Covent Garden Orchestra conducted by Lanchberry. That performance and the ongoing success of the ballet led to a complete Decca recording by the same artists in 1984. This Blu-ray disc is stunning. The brilliantly colorful sets and costumes perfectly project Ashton’s delightful vision originally inspired by Beethoven’s “Pastoral” Symphony. Marianela Nuñez (Lise) and Carlos Acosta (Colas) generate remarkable chemistry as the young lovers. Nuñez accomplishes the near impossible: she not only holds her own, but is clearly the star of the show opposite the charismatic Acosta. Her dancing has a soft, lyrical elegance that fits the bucolic atmosphere of \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eLa fille mal gardée \u003c\/span\u003e  \u003cspan\u003eideally without slighting her technically dazzling footwork. She connects directly with Acosta and the audience. If you think that this is a long way from Acosta’s macho turn in Khachaturian’s \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eSpartacus \u003c\/span\u003e  \u003cspan\u003e(\u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eFanfare\u003c\/span\u003e  \u003cspan\u003e 32:5), you are correct, but Acosta pulls it off convincingly. He projects an appropriately boyish charm, and his natural charisma prevents him from being a mere prop for Nuñez. This is great stuff! William Tuckett is also delightful in the comedic role of the Widow Simone. Despite the personal virtuosity of the principals, they blend remarkably with the production overall. Conductor Anthony Twiner doesn’t match the incisive, rhythmic snap of Lanchberry’s speedier interpretation, but his emphasis on the lyrical aspects of the charming music works well. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eThis is probably the most technically gorgeous Blu-ray disc I have seen so far. As such, it is required viewing and listening for ballet-lovers. \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eLa fille mal gardée \u003c\/span\u003e  \u003cspan\u003eis also an ideal vehicle to introduce reluctant new viewers to the world of ballet. Clearly Want List material. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Arthur Lintgen \u003c\/span\u003e\u003cbr\u003e  Picture format: 1080i High Definition, NTSC 16:9 Sound format: PCM 2.0 and 5.1\u003cbr\u003e  Region code: 0 (All regions)\u003cbr\u003e  Menu language: English\u003cbr\u003e  Subtitles: French, German, Spanish, Italian\u003cbr\u003e  Running time: 108 mins\u003cbr\u003e  No. of Discs: 1 (BD50 disc)","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025404711146,"sku":"809478070214","price":42.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1494692.jpg?v=1778388661"},{"product_id":"tchaikovsky-sleeping-beauty-royal-ballet-blu-ray-80526","title":"Tchaikovsky: Sleeping Beauty \/ Royal Ballet [blu-ray]","description":"\u003cb\u003eNote: This Blu-ray Disc is only playable on Blu-ray Disc players, and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Pyotr Il'yich Tchaikovsky \u003cbr\u003e  THE SLEEPING BEAUTY \u003cbr\u003e  (Blu-ray Disc Version)\u003cbr\u003e  \u003cbr\u003e Princess Aurora – Alina Cojocaru \u003cbr\u003e  Prince Florimund – Federico Bonelli \u003cbr\u003e  King Florestan XXIV – Christopher Saunders \u003cbr\u003e  His Queen – Elizabeth McGorian \u003cbr\u003e  Cattalabutte – Alastair Marriott \u003cbr\u003e  Carabosse – Genesia Rosato \u003cbr\u003e  Lilac Fairy – Marianela Nuñez\u003cbr\u003e  \u003cbr\u003e The Royal Ballet \u003cbr\u003e  The Orchestra of the Royal Opera House \u003cbr\u003e  Valeriy Ovsyanikov, conductor\u003cbr\u003e  \u003cbr\u003e Marius Petipa, choreographer\u003cbr\u003e  \u003cbr\u003e Recorded live at the Royal Opera House, Covent Garden, London on 5 December 2006.\u003cbr\u003e  \u003cbr\u003e Bonus: \u003cbr\u003e  - Cast gallery and illustrated synopsis.\u003cbr\u003e  \u003cbr\u003e Picture format: 1080i High Definition \u003cbr\u003e  Sound format: PCM 2.0 and 5.1 \u003cbr\u003e  Region code: 0 (All Regions) \u003cbr\u003e  Menu language: English \u003cbr\u003e  Subtitles (extra features): French, German, Spanish, Italian \u003cbr\u003e  Running time: 135 mins \u003cbr\u003e  No. of Discs: 1 (BD50)\u003cbr\u003e  \u003cbr\u003e R E V I E W:\u003cbr\u003e  \u003cbr\u003e  \u003ctitle\u003e3344410.zz80_TCHAIKOVSKY_Sleeping_Beauty_Valeriy.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eTCHAIKOVSKY \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eThe Sleeping Beauty \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e• \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eValeriy Ovsyanikov, cond; Alina Cojocaru (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003ePrincess Aurora\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Frederico Bonelli (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003ePrince Florimund\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Marianela Nuñez (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eLilac Fairy\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Genesia Rosato (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eCarabosse\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Royal Op House Covent Garden O \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e OPUS ARTE 7037 (Blu-ray Disc: 135:00) Live: London 12\/5\/2006 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eDavid L. Kirk favorably reviewed this 2006 Royal Ballet performance of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Sleeping Beauty \u003c\/span\u003e \u003cspan\u003ein \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare \u003c\/span\u003e \u003cspan\u003e32:3. I would just add a few comments. Alina Cojocaru as Princess Aurora gives an elegant and seamless performance that manages to enchant without making you constantly aware of her impeccable technique. Cojocaru’s Princess Aurora may not quite be on the level of her signature role of Giselle, but she is the focal point of this extravagantly casted performance, despite some formidable and charismatic competition. Marianela Nuñez, as the Lilac Fairy, is mesmerizing, and could just as easily be Princess Aurora. Frederico Bonelli (Prince Florimund) holds his own and interacts well with Cojocaru. Conductor Valeriy Ovsyanikov almost rivals Antal Dorati in rhythmic intensity, but tends to be a little rigid in comparison to the master ballet conductor. That presents no problem though, because none of the competing DVD versions have a conductor that can compare to Dorati. Barry Wordsworth produces some lovely lyrical moments conducting the 1994 Royal Ballet version, but he sounds rhythmically flaccid compared to Ovsyanikov, and that won’t do with \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Sleeping Beauty\u003c\/span\u003e \u003cspan\u003e. I am in full agreement with Kirk that the warm, traditional sets allow the dancers to stand out in a way that is ideal for \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Sleeping Beauty. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe picture on this Blu-ray disc has the expected improvement in sharpness and dimensionality, but the high-resolution surround sound is even more important than the picture in \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Sleeping Beauty\u003c\/span\u003e \u003cspan\u003e. Tchaikovsky’s spectacular symphonic score is perhaps unprecedented in the world of ballet, even more so than \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSwan Lake \u003c\/span\u003e \u003cspan\u003eand \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Nutcracker.\u003c\/span\u003e \u003cspan\u003e It requires high-resolution sound to make its maximum impact, and for that reason more than any other this Blu-ray disc is the way to go. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Arthur Lintgen \u003c\/span\u003e\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025474572522,"sku":"809478070375","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1557086.jpg?v=1778387988"},{"product_id":"tchaikovsky-the-sleeping-beauty-royal-opera-house-171652","title":"Tchaikovsky: The Sleeping Beauty \/ Kessels","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ca class=\"links\" href=\"album.jsp?album_id=2265746\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Royal Ballet Principal Marianela Nuñez delights as Princess Aurora, with Vadim Muntagirov as her Prince Florimund, in this performance of a timeless classic. Marius Petipa’s The Sleeping Beauty holds a special place in The Royal Ballet’s repertory, with its vibrant sets and glittering costumes and featuring such iconic moments as the Rose Adage, the Vision pas de deux, the exuberant wedding celebration and the charming fairy-tale guests, all danced to Tchaikovsky’s richly layered music – one of the most beloved ballet scores of all time. This Sleeping Beauty captures all the magic and virtuosity that ballet has to offer. Extra features include: Introduction to The Sleeping Beauty; History of The Sleeping Beauty; The role of the Lilac Fairy with Monica Mason, Darcey Bussell and Claire Calvert. What the press said: ‘‘If you want spectacle at the ballet then this Sleeping Beauty is for you.’’ (The Times) ‘‘Tchaikovsky's most majestic ballet gets the royal treatment’’ (The Stage)\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025477325034,"sku":"809478072348","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3767035.jpg?v=1778272194"},{"product_id":"tchaikovsky-the-nutcracker-royal-ballet-blu-ray-129554","title":"Tchaikovsky: The Nutcracker \/ Royal Ballet [Blu-ray]","description":"\u003cb\u003eNote: This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e   \u003ca class=\"links\" href=\"album.jsp?album_id=519644\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Pyotr Il'yich Tchaikovsky\u003cbr\u003e  \u003cbr\u003e  Pyotr Il'yich Tchaikovsky\u003cbr\u003e  THE NUTCRACKER\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  The Sugar Plum Fairy – Miyako Yoshida\u003cbr\u003e  Nephew \/ Nutcracker – Ricardo Cervera \/ Steven McRae\u003cbr\u003e  The Prince – Steven McRae\u003cbr\u003e  Drosselmeyer – Gary Avis\u003cbr\u003e  \u003cbr\u003e  The Royal Ballet\u003cbr\u003e  The Orchestra of the Royal Opera House\u003cbr\u003e  Koen Kessels, conductor\u003cbr\u003e  \u003cbr\u003e  Peter Wright, choreographer and director\u003cbr\u003e  (after Lev Ivanov)\u003cbr\u003e  \u003cbr\u003e  Recorded live at the Royal Opera House, November and December 2009.\u003cbr\u003e  \u003cbr\u003e  Bonus:\u003cbr\u003e  - Cast gallery\u003cbr\u003e  - Rehearsing at White Lodge\u003cbr\u003e  - Peter Wright tells the story of The Nutcracker\u003cbr\u003e  \u003cbr\u003e  Picture format: 1080i High Definition \u003cbr\u003e  Sound format: LPCM Stereo 2.0 \/ DTS 5.0\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Menu language: English\u003cbr\u003e  Subtitles: English, French, German, Spanish\u003cbr\u003e  Running time: 127 mins\u003cbr\u003e  No. of Discs: 1 (BD 50)\u003cbr\u003e  \u003cbr\u003e  R E V I E W:\u003cbr\u003e  \u003cbr\u003e   \u003ctitle\u003e3444070.az_TCHAIKOVSKY_Nutcracker_Koen_Kessels.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cspan class=\"COMPOSER12\"\u003eTCHAIKOVSKY \u003c\/span\u003e  \u003cspan class=\"ARIAL12bi\"\u003eThe Nutcracker \u003c\/span\u003e  \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e Koen Kessels, cond; Iohna Loots (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eClara\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Ricardo Cervera (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eNutcracker\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Gary Avis (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eDrosselmeyer\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Genesia Rosato (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eDancing Mistress\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); David Pickering (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eMouse King\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Miyako Yoshida (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eSugar Plum Fairy\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Steven McRae (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003ePrince\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Royal Op O \u003c\/span\u003e  \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e OPUS ARTE 1036 (DVD); OA BD7072D (Blu-ray) (127:00 \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003eText and Translation) Live: Covent Garden 11\/26 and 12\/2\/2009 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan class=\"EXTRAS12\"\u003e\u0026amp; \u003c\/span\u003e  \u003cspan class=\"ARIAL12bi\"\u003eRehearsing at White Lodge\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e (10:12); Peter Wright tells the \u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eNutcracker\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e story (8:56) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eIf you are one of those who think there’s nothing new under the sun, particularly so far as \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eThe Nutcracker\u003c\/span\u003e  \u003cspan\u003e goes, this production will turn your world on its ear. Moreover, it is the very best \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eNutcracker\u003c\/span\u003e  \u003cspan\u003e production, and performance, I’ve ever seen in my life, and I’ve seen some good ones (Cincinnati Ballet’s classic 1970s production, elements of which were “borrowed” by ballet companies around the country; Balanchine’s not-so-classic New York production of the same decade; and Baryshnikov’s unusual but ultimately failed attempt at it in the 1980s). \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eChoreographer Peter Wright, now 81, has first and foremost revamped the narrative of the plot to make it more sensible and, in both plot restructuring and staging, managed to make the usually fragmented and boring act II more continuous with act I. Second, it is, in costuming and set design, both lavish and traditional, yet with numerous little touches that clearly point to an updating. And third, it is so well cast, from the principal roles down to the very last flower, mirliton, mouse, and child dancer, that it is almost mind-boggling. In short, this is as close to a perfect \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eNutcracker\u003c\/span\u003e  \u003cspan\u003e as you are likely to see in your lifetime. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eIt’s so good, in fact, that I must say this, it was not merely a pleasure but a privilege for me to review it. If it weren’t so obvious that every single cast member is really enjoying himself or herself in addition to being brilliant onstage, it might have been one of those cold-but-perfect experiences that continue to crop up on video, but everyone certainly looks as if they enjoy giving this performance as much as the audience enjoys watching it. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003ePride of place goes to Miyako Yoshida as the Sugar Plum Fairy rather than Iohna Loots as Clara, but only because Yoshida is jaw-droppingly stunning whereas Loots is “merely” fabulous. Principal ballerina of the Royal Ballet for at least a decade, Yoshida gives here a performance on par with late-period Margot Fonteyn. There are a few very tiny breaks in form, but otherwise, she is perfect. And I mean PERFECT. I even get the impression that Loots herself enjoys watching this performance—how could she not? Yet Loots is an exceptional dancer, with outstanding \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eentrechats\u003c\/span\u003e  \u003cspan\u003e and excellent form. It also helps, from the believability standpoint, that she is a very small woman with a youthful face, so it is quite easy for her to play a 14-years-old without the audience thinking, “14, my eye.” Ricardo Cervera, as her nutcracker and, later, prince, is equally outstanding. He’s the best I’ve seen in many a year, capable of extraordinary leaps, fancy footwork, and spins that put me in mind of Roman Jasinski. In the second act, he even joins the Russian dancers and takes center stage during the kazatsky! \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eWright’s genius is in rethinking the entire \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eNutcracker\u003c\/span\u003e  \u003cspan\u003e plot, divorcing the first act from the shattered remnants of E. T. A. Hoffmann’s story (which had been thoroughly diluted by Marius Petipa in the first place) and creating a new narrative structure into which everything fits. In Wright’s \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eNutcracker,\u003c\/span\u003e  \u003cspan\u003e Drosselmeyer had previously invented a trap for a royal household that killed off half the mouse population. In revenge, the wicked Mouse Queen cast a spell over his nephew, Hans-Peter, turning him into an ugly nutcracker doll. The only way to break the spell is for a young girl to love and care for him despite his awful appearance, and have him slay the Mouse King. In this context, Wright creates a prelude scene played out during the overture, showing Drosselmeyer in his study, looking longingly at a portrait of his cursed nephew and wrapping up the “nutcracker” as a Christmas gift for his favorite niece, Clara. In this production, Drosselmeyer forsakes the usual grotesque makeup and costuming borrowed from Hoffmann; he is older but distinguished-looking, wearing a flowing cape (which Gary Avis really knows how to throw around the stage!), performing numerous magic tricks for his family at the Christmas party (and which he pulls off splendidly), and continuing his appearance after most Drosselmeyers have disappeared for the duration. He comes out of the standing “owl clock” to direct the scene during the growing of the tree, sprinkles glitter across the stage to presage the appearance of angels (who really do appear to be floating across the stage … watch their controlled positions in these and other scenes!), and brings in the magic carriage that takes Clara and the now-transformed Hans-Peter to the second act, where Drosselmeyer puts on an entertainment to salute both of them for their bravery. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eThis new scenario works brilliantly and, as I said, it establishes continuity in the second act by having Cervera and Loots participate in some of the dances. Costuming and lighting are flawless, and the entire production has the quality of a dream. Not just the angels, but everyone else as well, appears to be literally floating across the stage as they move with the gossamer lighting effects and their controlled body positioning. Mother Goose is dispensed with (thank goodness). At the end, Hans-Peter puts his cloak over Clara’s bare shoulders as a keepsake, then returns to his uncle’s study—the very scene of the opening—to be embraced by the older man and bring closure to the entire production. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eIf you are a \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eNutcracker\u003c\/span\u003e  \u003cspan\u003e fan, or know someone who is, you MUST buy this DVD. If you are a choreographer or set designer, you must see how Wright and set designer Julia Oman work hand-in-glove to produce a masterpiece. And if you’re a dancer, you need to have this disc in your collection to watch, over and over and over again. You won’t believe your eyes at the sheer perfection of it all. Your jaw will drop, too, and you’ll understand how the usually staid Covent Garden audience goes absolutely berserk, screaming and applauding this \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eNutcracker\u003c\/span\u003e  \u003cspan\u003e—and particularly Yoshida—in a way British audiences rarely do. The bonus rehearsal sequence shows, as usual, some of the hard work behind the perfection, but also shows how Wright prods, cajoles, and encourages the children into giving their best—and, as he puts it, “for heaven’s sake, \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eenjoy yourself!” \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Lynn René Bayley \u003c\/span\u003e\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025516876010,"sku":"809478070726","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1745613.jpg?v=1778386072"},{"product_id":"minkus-la-bayadere-royal-ballet-blu-ray-256581","title":"Minkus: La Bayadere \/ Royal Ballet [Blu-ray]","description":"Marius Petipa’s exotic ballet, set in legendary India, is a story of love, death and vengeful judgement. Natalia Makarova’s sumptuous recreation of Petipa’s choreography, with atmospheric sets by Pier Luigi Samaritini and beautiful costumes by Yolanda Sonnabend, stars Tamara Rojo as the Bayadère (temple dancer) Nikiya, Carlos Acosta as Solor, and Marianela Nuñez as Gamzatti whose alluring presence challenges Solor’s love for Nikiya. Filmed in High Definition and recorded in true surround sound. \u003cbr\u003e  \u003cbr\u003e ‘There wasn’t a single physical gesture that didn’t mean something, that didn’t speak of love trying and failing to blossom.’ -- The Daily Telegraph\u003cbr\u003e  \u003cbr\u003e Solar: Carlos Acosta\u003cbr\u003e  Gamzatti: Marianela Nuñez \u003cbr\u003e  Nikiya: Tamara Rojo \u003cbr\u003e  The High Brahmin: Gary Avis \u003cbr\u003e  Rajah: Christopher Saunders \u003cbr\u003e  Magdaveya: Kenta Kura \u003cbr\u003e  Solor’s Friend: Valeri Hristov\u003cbr\u003e  \u003cbr\u003e The Royal Ballet \u003cbr\u003e  The Orchestra of the Royal Opera House\u003cbr\u003e  \u003cbr\u003e Conductor: Valeriy Ovsyanikov \u003cbr\u003e  Choreographer: Natalia Makarova\u003cbr\u003e  \u003cbr\u003e Recorded live from the Royal Opera House, January 2009\u003cbr\u003e  \u003cbr\u003e Extra features: \u003cbr\u003e  Tamara Rojo on dancing La Bayadère \u003cbr\u003e  Leanne Cope and Francesca Filpi on the corps de ballet \u003cbr\u003e  Tamara Rojo and Carlos Acosta rehearse with Alexander Agadzhanov \u003cbr\u003e  Natalia Makarova on choreographing La Bayadère\u003cbr\u003e  \u003cbr\u003e Duration: 01:55:00 \u003cbr\u003e  Regions: All Regions\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025516941546,"sku":"809478070795","price":39.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1806914.jpg?v=1778386082"},{"product_id":"tchaikovsky-the-nutcracker-gruzin-royal-opera-house-84109","title":"Tchaikovsky: The Nutcracker \/ Gruzin, Royal Opera House","description":"The Royal Ballet’s The Nutcracker is the quintessential Christmas ballet. When her nutcracker toy comes to life, young Clara is transported by the magician Drosselmeyer to a magical world of excitement and delight. Lauren Cuthbertson and Federico Bonelli dance the exquisite Sugar Plum Fairy and her Prince; Francesca Hayward and Alexander Campbell take the roles of Clara and the Nutcracker; and Gary Avis is the mysterious, kindly Drosselmeyer. This performance celebrated Peter Wright’s 90th birthday and a production that has been in The Royal Ballet’s repertory for more than thirty years. With sumptuous period designs, spellbinding stage effects and of course Tchaikovsky’s iconic score, The Nutcracker continues to enchant audiences of all ages. Filmed in High Definition and recorded in true SS. \"fresh and reinvigorated - Nutcrackers come and Nutcrackers go but the Royal Ballet's version is a hardy perennial. \" (The Stage) \"The Royal Ballet’s production of The Nutcracker, always handsomely traditional, has become a tradition of its own.\" (The Independent) \"Francesca Hayward and Alexander Campbell make an enchanting couple, \" (The Daily Telegraph)\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eDETAILS\u003c\/strong\u003e:\u003cbr\u003e \u003cbr\u003e Format: NTSC\u003cbr\u003e Language: English\u003cbr\u003e Subtitles: None\u003cbr\u003e Dubbed: None\u003cbr\u003e Aspect Ratio: 1.78:1","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025561047274,"sku":"809478012528","price":26.99,"currency_code":"USD","in_stock":true},{"title":"Blu-Ray","offer_id":46025561080042,"sku":"809478072294","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/809478012528.jpg?v=1778272263"},{"product_id":"tchaikovsky-the-sleeping-beauty-royal-opera-house-65860","title":"Tchaikovsky: The Sleeping Beauty \/ Royal Opera House","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=2265748\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003eRoyal Ballet Principal Marianela Nuñez delights as Princess Aurora, with Vadim Muntagirov as her Prince Florimund, in this performance of a timeless classic. Marius Petipa’s The Sleeping Beauty holds a special place in The Royal Ballet’s repertory, with its vibrant sets and glittering costumes and featuring such iconic moments as the Rose Adage, the Vision pas de deux, the exuberant wedding celebration and the charming fairy-tale guests, all danced to Tchaikovsky’s richly layered music – one of the most beloved ballet scores of all time. This Sleeping Beauty captures all the magic and virtuosity that ballet has to offer. Extra features include: Introduction to The Sleeping Beauty; History of The Sleeping Beauty; The role of the Lilac Fairy with Monica Mason, Darcey Bussell and Claire Calvert. What the press said: ‘‘If you want spectacle at the ballet then this Sleeping Beauty is for you.’’ (The Times) ‘‘Tchaikovsky's most majestic ballet gets the royal treatment’’ (The Stage)","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025574351082,"sku":"809478012573","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3767033.jpg?v=1778258575"},{"product_id":"anastasia-royal-ballet-58748","title":"Anastasia \/ Royal Ballet","description":"Royal Ballet Principal Natalia Osipova dances the title role in Kenneth MacMillan's haunting ballet, to atmospheric music by Tchaikovsky and Martinu. Anastasia tells the story of Anna Anderson who, following the Russian Revolution and the murder of the royal family, claimed she was the surviving Grand Duchess Anastasia. Many believed her to be an imposter; others hoped she was Anastasia, a remnant of a lost world. A powerful, psychological challenge for the lead dancer, Anastasia explores one of the great historical mysteries of the 20th century, only recently solved, and the distorting mirror of memory, time and place. 'Natalia Osipova... technical perfectionism' (The Stage) 'I salute Osipova, the entire company performance, Crowley's magnificent designs, and Simon Hewett's notable account of the Tchaikovsky\/Martinu scores.' (The Financial Times 5 Stars) '- convulsive jitters, turned-in feet, violence, grief, and fear - is no surprise, either... Osipova's magnetic performance.' (The Arts Desk 4 Stars)","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025598796010,"sku":"809478012436","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3740323.jpg?v=1778279149"},{"product_id":"herold-la-fille-mal-gardee-royal-ballet-58752","title":"Herold: La Fille Mal Gardée \/ Royal Ballet","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=213086\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e  \u003cbr\u003e Ferdinand Hérold \u003cbr\u003e  LA FILLE MAL GARDÉE\u003cbr\u003e  \u003cbr\u003e  Colas – Carlos Acosta \u003cbr\u003e  Lise – Marianela Nuñez \u003cbr\u003e  Simone – William Tuckett \u003cbr\u003e  Alain – Jonathan Howells\u003cbr\u003e  \u003cbr\u003e  The Royal Ballet \u003cbr\u003e  The Orchestra of the Royal Opera House \u003cbr\u003e  Anthony Twiner, conductor\u003cbr\u003e  \u003cbr\u003e  Frederick Ashton, choreographer \u003cbr\u003e  Osbert Lancaster, set design\u003cbr\u003e  \u003cbr\u003e  Recorded live at the Royal Opera House, Covent Garden, London, 2 February 2005.\u003cbr\u003e  \u003cbr\u003e  Bonus: Cast gallery and illustrated synopsis\u003cbr\u003e  \u003cbr\u003e  Picture format: NTSC 16:9 anamorphic \u003cbr\u003e  Sound format: LPCM Stereo \/ 5.1 Surround sound \u003cbr\u003e  Region code: 0 (All regions) \u003cbr\u003e  Menu language: English \u003cbr\u003e  Running time: 112 mins\u003cbr\u003e  \u003cbr\u003e  R E V I E W:\u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eA delightful production … considerable charm and appeal.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  Choreographer Sir Frederick Ashton was born in September 1904, so it was always likely that the Royal Ballet – of which he was Director for most of the 1960s – would take the opportunity to celebrate his centenary with revivals of some of his best works.\u003cbr\u003e  \u003cbr\u003e  My colleague Ian Lace has already given a very warm welcome to Opus Arte’s DVD of the 2005 revival of Ashton’s 1952 production of Delibes’s Sylvia (see review). Now this new release, from the same television\/DVD producers, is likely to offer just as much – if not more – pleasure to admirers of both the choreographer and several of the Royal Ballet’s most accomplished artistes.\u003cbr\u003e  \u003cbr\u003e  The origins of the score are somewhat obscure. The earliest music – dating from 1789 - was cobbled together by an unknown hand from a variety of popular melodies. But by 1828 it was considered sufficiently dated for Ferdinand Hérold to be commissioned to rearrange and supplement it, using not just his own material but also unauthorized extracts from pieces by Donizetti, Rossini and others.\u003cbr\u003e  \u003cbr\u003e  Hérold’s score held the field for less than 40 years, though, before it in turn was considered so old-fashioned that it was superseded by one penned by Peter Ludwig Hertel. Thus, from the 1860s onwards, it was Hertel’s music – at various times added to substantially by Drigo, Pugni, Minkus and Delibes, not to mention Anton Rubinstein and a certain Johann Armsheimer – that was associated with the La fille mal gardée story.\u003cbr\u003e  \u003cbr\u003e  Had Ashton had a grander conception for his planned 1960 Covent Garden production, he might well have used the by now traditional Hertel score. But instead he envisaged a simple, pastoral, light-hearted and pastel-shaded interpretation of the old story – Watteau rather than Winterhalter. Thus, having retrieved Hérold’s long-neglected music from the archives, he asked John Lanchbery to edit and re-orchestrate it. [Ironically enough, a single bit of Hertel did eventually find its way into the new version and, as the theme of the famous clog dance, can be heard in one of the ballet’s best loved episodes!]\u003cbr\u003e  \u003cbr\u003e  La fille mal gardée – yet another story of young lovers thwarting an ambitious parent’s plan to marry off one of them to a far wealthier suitor - is now considered the quintessential Ashton ballet and is certainly the best loved. The choreography’s apparent - but not actual! - simplicity and its sheer joie de vivre work in perfect harmony with the undemanding light-hearted story and the tuneful 1828 score to ensure that audiences invariably leave the theatre with faces wreathed in smiles. That would certainly have been so as patrons left the Royal Opera House on 2 February 2005 – and thankfully the BBC’s cameras were there to record the occasion.\u003cbr\u003e  \u003cbr\u003e  While not having any great emotional depths to plumb in their roles, attractive and charismatic soloists Marianela Nuñez and Carlos Acosta are utterly convincing as youthful lovers. She is an exceptionally pretty girl, whereas he is the epitome of a virile and handsome young swain. Moreover, unlike many ballet productions, this is one case where the protagonists look genuinely and appropriately young. In fact, Nuñez was, at the time, just 23 and the Royal Ballet’s youngest Principal – though mere youth was clearly no handicap as she received, that same year, the Best Female Dancer accolade in the Critics’ Circle National Dance Awards. Acosta, though actually nine years older, makes an ideal visual match – as his many admirers will certainly testify.\u003cbr\u003e  \u003cbr\u003e  The pair are also very well matched as dancers and offer well-nigh perfect interpretations and performances. Ashton’s choreography may not offer too much in the way of flashy opportunities to bring down the house, but it is sufficiently taxing to require the dancers to demonstrate complete concentration and immaculate technique. Both are in clear evidence here.\u003cbr\u003e  \u003cbr\u003e  As Widow Simone, the domineering mother determined to engineer an advantageous – if loveless – marriage for her daughter, William Tuckett plays the role for laughs. In full pantomime dame mode and equipped with a range of wonderfully exaggerated facial expressions, he certainly succeeds. He can, though, dance too – although I would have liked to have heard the clack-clack of his clogs more clearly over the orchestra, so as to emphasize his skillful footwork in the famous highlight solo.\u003cbr\u003e  \u003cbr\u003e  Jonathan Howells’s interpretation of Alain, Widow Simone’s preferred rich-but-dim suitor for her daughter, is again strong on comedy but he also conveys an air of pathos that adds considerably to the role and was clearly appreciated by the Covent Garden audience.\u003cbr\u003e  \u003cbr\u003e  The production keeps the corps de ballet especially busy portraying various types of cheerful, good natured country folk. These are remarkably sophisticated rustics, however – at least when it comes to their ability to interpret Ashton’s intricate, fluid patterns on stage. The maypole dance preceding the storm that brings the first act to a close - itself a striking coup de théâtre - offers an excellent example of the company’s strength in full ensemble, as does the exuberant finale to the whole ballet.\u003cbr\u003e  \u003cbr\u003e  Meanwhile, conductor Anthony Twiner directs an appropriately jaunty and light-hearted account of the score and the Covent Garden orchestra responds with aplomb throughout.\u003cbr\u003e  \u003cbr\u003e  The set is from designs by Osbert Lancaster who was, at that time well-known as a professional cartoonist for the Daily Express. Its simple, cartoon-like qualities and the exaggeratedly clichéd French peasant costumes also fit the mood of this delightful production perfectly and add measurably to its already considerable charm and appeal.\u003cbr\u003e  \u003cbr\u003e  -- Rob Maynard, MusicWeb International\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025601712362,"sku":"809478009924","price":24.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1379221.jpg?v=1778324485"},{"product_id":"henze-ondine-royal-ballet-80561","title":"Henze: Ondine \/ Royal Ballet","description":"Hans Werner Henze \u003cbr\u003e  ONDINE\u003cbr\u003e  \u003cbr\u003e  Ondine – Miyako Yoshida \u003cbr\u003e  Palemon – Edward Watson \u003cbr\u003e  Berta – Genesia Rosato \u003cbr\u003e  Tirrenio – Ricardo Cervera \u003cbr\u003e  A Hermit – Gary Avis\u003cbr\u003e  \u003cbr\u003e  Royal Ballet \u003cbr\u003e  Royal Opera House Orchestra \u003cbr\u003e  Barry Wordsworth, conductor\u003cbr\u003e  \u003cbr\u003e  Frederick Ashton, choreographer\u003cbr\u003e  \u003cbr\u003e  Recorded live at the Royal Opera House, Covent Garden, London, June 2009.\u003cbr\u003e  \u003cbr\u003e  Bonus: \u003cbr\u003e  - Illustrated synopsis \u003cbr\u003e  - Cast gallery \u003cbr\u003e  - The Making of Ondine – an interview with Hans Werner Henze\u003cbr\u003e  \u003cbr\u003e  Picture format: 16:9 \u003cbr\u003e  Sound format: LPCM 2.0 \/ DTS 5.1 \u003cbr\u003e  Region code: 0 (worldwide) \u003cbr\u003e  Menu language: English \u003cbr\u003e  Subtitles: English, French, German, Spanish (bonus only) \u003cbr\u003e  Running time: 114 mins \u003cbr\u003e  No. of Discs: 1\u003cbr\u003e  \u003cbr\u003e  Miyako Yoshida dances the title role originally created for Margot Fonteyn in the hauntingly beautiful underwater world of Ondine, vividly brought to life by The Royal Ballet. Frederick Ashton’s shimmering choreography, Lila de Nobili’s impressionistic designs and Hans Werner Henze’s specially commissioned, vibrant and inventive score, memorably combine to evoke the many moods and colours of the sea. Filmed in High Definition and recorded in true surround sound.\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025604301034,"sku":"809478010302","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1654438.jpg?v=1778332790"},{"product_id":"tchaikovsky-cherevichki-the-tsarinas-slippers-polianichko-royal-223526","title":"Tchaikovsky: Cherevichki (The Tsarina's Slippers) \/ Polianichko, Royal Opera House","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e It is also available in  \u003ca href=\"http:\/\/www.arkivmusic.com\/classical\/album.jsp?album_id=523246\"\u003eDVD format.\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e 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.\u003cbr\u003e  \u003cbr\u003e Solokha – Larissa Diadkova\u003cbr\u003e  The Devil – Maxim Mikhailov\u003cbr\u003e  Chub – Vladimir Matorin\u003cbr\u003e  Panas – John Upperton\u003cbr\u003e  Oxana – Olga Guryakova\u003cbr\u003e  Vakula – Vsevolod Grivnov\u003cbr\u003e  Pan Golova – Alexander Vassiliev\u003cbr\u003e  The Schoolmaster – Viacheslav Voynarovskiy\u003cbr\u003e  Odark – Olga Sabadoch\u003cbr\u003e  Wood Goblin – Changhan Lim\u003cbr\u003e  Echo – Andrew Macnair\u003cbr\u003e  His Highness – Sergey Leiferkus\u003cbr\u003e  Master of Ceremonies – Jeremy White\u003cbr\u003e  \u003cbr\u003e The Royal Ballet Royal Opera House Orchestra\u003cbr\u003e  Alexander Polianichko, conductor\u003cbr\u003e  \u003cbr\u003e Francesca Zambello, stage director\u003cbr\u003e  Alastair Marriott, choreography\u003cbr\u003e  \u003cbr\u003e Recorded live at the Royal Opera House, Covent Garden, November 2009.\u003cbr\u003e  \u003cbr\u003e Bonus: - Introducing Cherevichki by Francesca Zambello\u003cbr\u003e  - Cast and Characters\u003cbr\u003e  - Staging Gogol's world\u003cbr\u003e  \u003cbr\u003e Picture format: 1080i High Definition\u003cbr\u003e  Sound format: LPCM Stereo 2.0 \/ DTS-HD Master Audio 5.1\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Menu language: English\u003cbr\u003e  Subtitles: English, French, German, Spanish\u003cbr\u003e  Running time: 154 mins\u003cbr\u003e  No. of Discs: 1\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025612394730,"sku":"809478070733","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1769928.jpg?v=1778386082"},{"product_id":"pas-de-deux-1","title":"Pas de deux","description":"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.","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025612656874,"sku":"809478071303","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3763197.jpg?v=1778388665"},{"product_id":"ashton-les-patineurs-divertissements-scenes-de-ballet-65856","title":"Ashton: Les Patineurs, Divertissements, Scenes De Ballet \/ Royal Opera House Ballet","description":"\u003cspan\u003eAn all-Ashton DVD is a treat, for apart from several full-length ballets we have been lacking examples of the choreographer’s work in shorter pieces. \u003c\/span\u003e  \u003cspan style=\"font-style: italic;\"\u003eLes Patineurs\u003c\/span\u003e  \u003cspan\u003e is a hardy classic, dating from 1937, and makes a wonderful introduction to the work of one of the major choreographers of the 20th century. Meyerbeer’s catchy music inspires Ashton not only in the \u003c\/span\u003e  \u003cspan style=\"font-style: italic;\"\u003epas de deux\u003c\/span\u003e  \u003cspan\u003e with its fan lifts, but also the male solo, which is as virtuoso as can be. The dancers maintain a skating step throughout, but it is the variety of which Ashton is master that continues to astound us. The dueling girls who try to outdo one another offer further examples of virtuosity, which make us wonder at the qualities of the dancers of 75 years ago. Today, with Stephen McRae as the Blue Boy and Sarah Lamb and Rupert Pennefeather as the Lovers, we can still sense the excitement of balletgoers of an earlier epoch. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-style: italic;\"\u003eScènes de Ballet\u003c\/span\u003e \u003cspan\u003e is a postwar creation that has never achieved the widespread currency of \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003ePatineurs\u003c\/span\u003e \u003cspan\u003e, yet remains a signal piece in Ashton’s oeuvre, much as \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003eSymphonic Variations,\u003c\/span\u003e \u003cspan\u003e of which we desperately need documentation. A lead couple is supported by four men and a corps of women, and the choreographer continually astounds us with the patterns he weaves. His response to Stravinsky is perhaps not as direct as that of Balanchine, but then Mr. B never gave us his version of this “dancy” work. It is nonetheless fascinating to watch the Ashtonian sensibility at work, while Miyako Yoshida and Ivan Putrov show off both the music and the choreography. Ashton’s delicate references to such classics as the Rose Adagio from \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003eSleeping Beauty\u003c\/span\u003e \u003cspan\u003e cannot be missed. André Beaurepaire’s sets and costumes are the only things that appear dated in what is otherwise a major contribution to the repertoire of the Royal Ballet. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe divertissements show Ashton’s craftsmanship in the “Awakening” \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003epas de deux\u003c\/span\u003e \u003cspan\u003e from \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003eSleeping Beauty\u003c\/span\u003e \u003cspan\u003e with the ravishing Darcey Bussell and Jonathan Cope; two excerpts from a wartime ballet created for American Ballet Theatre; \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003eDevil’s Holiday\u003c\/span\u003e \u003cspan\u003e, especially the man’s solo eloquently danced by Viacheslav Samodurov; and three \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003epièces d’occasion\u003c\/span\u003e \u003cspan\u003e: a duet to the Méditation from Massenet’s \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003eThaïs\u003c\/span\u003e \u003cspan\u003e (Mara Galeazzi and Thiago Soares), \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003eFive Brahms Waltzes in the Manner of Isadora Duncan\u003c\/span\u003e \u003cspan\u003e (Tamara Rojo), and the \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003eVoices of Spring pas de deux\u003c\/span\u003e \u003cspan\u003e (Leanne Benjamin and Carlos Acosta). The Brahms is the most interesting of the lot as Ashton had seen Duncan when he was a young man, and later created his own work for Lynn Seymour. Rojo is astounding in this re-creation, as she conveys Ashton’s own impressions but also embodies much of what one has read about Duncan in other sources. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight: bold;\"\u003eFANFARE: Joel Kasow \u003c\/span\u003e\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025614328042,"sku":"809478010647","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1925859_b525eeaa-e723-43b3-bd95-19f967c215b0.jpg?v=1778254331"},{"product_id":"tchaikovsky-cherevichki-the-tsarinas-slippers-polianichko-royal-123778","title":"Tchaikovsky: Cherevichki (The Tsarina's Slippers) \/ Polianichko, Royal Opera House","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=523249\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e 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.\u003cbr\u003e  \u003cbr\u003e Solokha – Larissa Diadkova\u003cbr\u003e  The Devil – Maxim Mikhailov\u003cbr\u003e  Chub – Vladimir Matorin\u003cbr\u003e  Panas – John Upperton\u003cbr\u003e  Oxana – Olga Guryakova\u003cbr\u003e  Vakula – Vsevolod Grivnov\u003cbr\u003e  Pan Golova – Alexander Vassiliev\u003cbr\u003e  The Schoolmaster – Viacheslav Voynarovskiy\u003cbr\u003e  Odark – Olga Sabadoch\u003cbr\u003e  Wood Goblin – Changhan Lim\u003cbr\u003e  Echo – Andrew Macnair\u003cbr\u003e  His Highness – Sergey Leiferkus\u003cbr\u003e  Master of Ceremonies – Jeremy White\u003cbr\u003e  \u003cbr\u003e The Royal Ballet Royal Opera House Orchestra\u003cbr\u003e  Alexander Polianichko, conductor\u003cbr\u003e  \u003cbr\u003e Francesca Zambello, stage director\u003cbr\u003e  Alastair Marriott, choreography\u003cbr\u003e  \u003cbr\u003e Recorded live at the Royal Opera House, Covent Garden, November 2009.\u003cbr\u003e  \u003cbr\u003e Bonus: - Introducing Cherevichki by Francesca Zambello\u003cbr\u003e  - Cast and Characters\u003cbr\u003e  - Staging Gogol's world\u003cbr\u003e  \u003cbr\u003e Picture format: NTSC 16:9 anamorphic\u003cbr\u003e  Sound format: LPCM Stereo \/ DTS 5.1\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Menu language: English\u003cbr\u003e  Subtitles: English, French, German, Spanish\u003cbr\u003e  Running time: 154 mins\u003cbr\u003e  No. of DVDs: 1\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025619079402,"sku":"809478010371","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1769918.jpg?v=1778254286"},{"product_id":"wayne-mcgregor-chroma-infra-limen-royal-ballet-180589","title":"Wayne Mcgregor: Chroma, Infra, Limen \/ Royal Ballet","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=557716\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  The diversity of Wayne McGregor’s astonishing talent is demonstrated through Chroma, Infra and Limen, each created for The Royal Ballet, for whom he is resident choreographer. Intimate yet universal, light yet dark, frenetic yet lyrical, McGregor pursues his passion for exploring the inner workings of the human body and mind, his many-layered and beautiful dances providing visual, sensual and kinaesthetic stimulus for the viewer.\u003cbr\u003e  \u003cbr\u003e  \"…Wayne McGregor's Infra: sumptuous beauty and shimmering possibility\" The Telegraph \u003cbr\u003e  \u003cbr\u003e  Chroma\u003cbr\u003e  Federico Bonelli, Ricardo Cervera, Tamara Rojo\u003cbr\u003e  Mara GaleazzI, Sarah Lamb, Steven Mcrae, Laura Morera\u003cbr\u003e  Ludovic Ondiviela, Eric Underwood, Jonathan Watkins\u003cbr\u003e  Edward Watson \u003cbr\u003e  \u003cbr\u003e  Orchestra of the Royal Opera House\u003cbr\u003e  Conductor: Daniel Capps\u003cbr\u003e  Music: Joby Talbot , Jack White III\u003cbr\u003e  \u003cbr\u003e  Infra\u003cbr\u003e  Leanne Benjamin, Ricardo Cervera, Yuhui Choe\u003cbr\u003e  Lauren Cuthbertson, Mara Galeazzi, Melissa Hamilton\u003cbr\u003e  Ryoichi Hirano, Paul Kay, Marianela Nuñez, Eric Underwood\u003cbr\u003e  Jonathan Watkins, Edward Watson\u003cbr\u003e  The Max Richter Quintet\u003cbr\u003e  Director: Jonathan Haswell\u003cbr\u003e  Music: Max Richter\u003cbr\u003e  \u003cbr\u003e  Limen\u003cbr\u003e  Leanne Benjamin, Yuhui Choe, Mara Galeazzi, Melissa Hamilton, Sarah Lamb, Marianela Nuñez Leticia Stock, Akane Takada, Tristan Dyer, Paul Kay Brian Maloney, Steven Mcrae, Ludovic Ondiviela, Eric Underwood, Edward Watson\u003cbr\u003e  \u003cbr\u003e  Orchestra of the Royal Opera House\u003cbr\u003e  Director: Barry Wordsworth\u003cbr\u003e  Music: Kaija Saariaho\u003cbr\u003e  \u003cbr\u003e  Recorded live from the Royal Opera House\u003cbr\u003e  Infra: 13th \u0026amp; 14th November 2008\u003cbr\u003e  Chroma: 10th \u0026amp; 11th June 2010\u003cbr\u003e  Limen: 13th \u0026amp; 17th November 2009\u003cbr\u003e  \u003cbr\u003e  Duration: 01:38:00\u003cbr\u003e  Regions: All Regions\u003cbr\u003e  Picture Format: 16:9 Anamorphic\u003cbr\u003e  Sound Type: 2.0LPCM + 5.1(5.0) DTS \u003cbr\u003e  Subtitles: French\/German\/Spanish\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025619046634,"sku":"809478010487","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1826082.jpg?v=1778332774"},{"product_id":"herold-la-fille-mal-gardee-nadia-nerina-201685","title":"Herold: La Fille Mal Gardee \/ Nadia Nerina, David Blair, Stanley Holden","description":"\u003cbr\u003e \u003cbr\u003e   \u003cspan class=\"COMPOSER12\"\u003e HÉROLD-HAYDN-MARTINI-ROSSINI-DONIZETTI-HERTEL \u003c\/span\u003e  \u003cspan class=\"ARIAL12bi\"\u003eLa fille mal gardée \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e(arr. Lanchbery with additional music) \u003c\/span\u003e  \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e John Lanchbery, cond; Nadia Nerina, David Blair, Stanley Holden, Alexander Grant, Leslie Edwards (dancers); Royal Ballet Covent Garden O \u003c\/span\u003e  \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e ICA CLASSICS 5088, mono (90:37) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eThis is not an actual performance of \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eLa fille mal gardée\u003c\/span\u003e  \u003cspan\u003e but a film version made for the BBC between September 7 and 9 of 1962. The images are sepia and white, and at times the old style TV cameras can scarcely keep up with the speed of the dancers’ feet, but one thing that shines through like a beacon in this, as in so many ballets under the direct supervision of Frederick Ashton, is its marvelous combination of characterization and humor. I’ve long felt that Ashton always wanted to present \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003echaracters \u003c\/span\u003e  \u003cspan\u003eup there on stage, not just decorous dancers showing off their techniques, and he was capable of slipping some humor into even the most serious works. In this piece of fluff, he was in his element, and as much as one can do so on a ballet stage, he created a silent film combining love story with comedy. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eAlthough this derives from one of the oldest surviving ballets—its premiere was in 1789 at Bordeaux—both the choreography and the music morphed considerably through the next century and a half. The first step towards confusion occurred at the 1828 Paris revival, where Hérold was asked to adapt his score to include themes from other composers’ operas—among them Haydn, Martini, and Donizetti. In 1837 Paris Opéra ballerina Fanny Elssler insisted on a new tailored version of the \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003epas de deux\u003c\/span\u003e  \u003cspan\u003e using her favorite melodies from Donizetti’s \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eL’elisir d’amore\u003c\/span\u003e  \u003cspan\u003e (specifically, the tune of the finale and the middle portion of “Udite, o rustici”). Somewhere along the line, the opening scene music of Rossini’s \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eIl barbiere di Siviglia\u003c\/span\u003e  \u003cspan\u003e crept in as the introductory music to Lise and Colas in act I, while in Berlin in 1864, a completely new score by Peter Ludwig Hertel appeared. Ashton, being a bit confused as to which form of the music to use, was partly guided in this respect by Tamara Karsavina, who had danced Lise at the Mariinsky Theatre. She suggested a return, more or less, to the 1837 version (which he found in the library) but using musical inserts of his own choice. Since Ashton created Widow Simone’s clog dance, he incorporated a piece of folk music into the score. Originally he was aided in the project by noted composer Malcolm Arnold, but for some reason Arnold quit, so Ashton turned to his conductor, John Lanchbery, to piece the music together. The two of them worked together for two months, meeting at least three times a week to match music to action. Lanchbery would play some of the music to get Ashton’s feedback. This eventually led to his writing interpolated passages to blend Hérold’s, Donizetti’s, Rossini’s, and Hertel’s music together, as well as composing Leitmotifs for Widow Simone and Colas and the “disaster” music in the last act. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eThe principal dancers—Nerina as Lise, Blair as Colas, Holden as Widow Simone and Grant as the “rich dweeb” Alain—were undoubtedly the cream of his then-current crop. By comparison with today’s dancers, only Blair suffers ever so slightly. He can do tremendous jetées and his elevation is superb, but he only occasionally creates the same kind of continuous flow with his motions that the amazing Carlos Acosta can achieve nowadays. Otherwise, however, this is the superior production. Pride of place goes to Nerina, whose series of rapid entrechats in the \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003epas de deux\u003c\/span\u003e  \u003cspan\u003e have the rapidity and pointed grace of a cat; moreover, in all of her dancing one continually gets the impression that she’s having a ball, even though it must have been extremely demanding work. See my review elsewhere of \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eAn Evening with the Royal Ballet,\u003c\/span\u003e  \u003cspan\u003e and you will note my disappointment in the technically fine but somewhat staid dancing of the same scene by Marianela Nuñez. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eI was also very impressed by the dancing of the two comic roles. Holden certainly can’t hold a patch technically on William Tuckett, who does the clog dance in the later video, but he doesn’t have to. His highly practiced “stumbling” looks more real, as if he’s about to trip over his own ankles and fall on the floor. Indeed, while watching him perform this dance I couldn’t help thinking that Ashton may have gotten the idea for some of these steps from watching Ray Bolger as the scarecrow in \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eThe Wizard of Oz,\u003c\/span\u003e  \u003cspan\u003e so similar were his motions. Alexander Grant, playing the role of the dim-witted Alain, conversely put me in mind of someone who came much later—Martin Short as Ed Grimley. Several of the steps Short used in doing his Grimley character were right there onscreen, being danced by Grant…not to mention a cowlick (but in the back rather than the front). I wonder if Short ever saw a production of this ballet? \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eI was particularly impressed by several of the little touches that Ashton put into certain scenes, for instance the intricacy of the dance in which Cola and Lise form a cat’s cradle out of her ribbon while dancing, or the maypole dance for the corps in which they twisted and untwisted the ribbons with deceptively simple but actually quite complex movements. And then there were the scenes involving Alain, of which I will give you two: During his first scene he inadvertently opens his umbrella and falls to the ground behind it. Colas and Lise push it aside to find him, but he has slid between the legs of his father and pops up behind him! Also, in the act I finale, a sudden thunderstorm, Alain and the Widow swerve back and forth across the stage—umbrella opened—as if they were actually being windswept, and do so in a really funny, skewered way. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eIf anything, act II is even funnier, more clever and well staged than the first, particularly in the modified morris dance for the male corps (no bells on their shins but they did dance with sticks held at shoulder height). Their dancing in this scene is simply spectacular. There’s also a marvelous scene where Colas (Blair) lifts Lise (Nerina) at the top of a double-door to give her a kiss, and she literally seems to be floating up to him; but this is one of Nerina’s special qualities, the ability to appear as if she is floating. Once again in this act, her work on pointe appears completely effortless—you never once see or sense the physical tension that goes into these moves. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eLise hides Colas in her bedroom before Mom (Widow Simone) comes back, but shortly after her return Thomas, the notary, the notary’s assistant, and Alain return to have her sign the marriage contract and wed her daughter to the dimwit. When Alain goes to open Lise’s bedroom door and finds her in her wedding dress, kissing Colas, he falls backwards down the stairs and everyone is in a tizzy, but Lise explains everything and begs forgiveness. Happily, even the notary realizes that they are a better match and encourages Simone to forgive Lise and accept Colas as a son-in-law, following which the latter celebrates his good luck with a series of excellent fast turns. Only Thomas seems to be taking it badly as he ushers his son out. And there are two surprise postludes: first, when Alain returns to the now-empty farmhouse and furtively moves around…until he retrieves his beloved umbrella, and the second when everyone is walking down the country path. Thomas makes a move to “come on,” which you assume is a gesture to Alain, but instead it’s the chickens who follow him first—trailed, finally and inevitably, by Alain. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eThe only complaint I have of this DVD is that the numbering sequence of the various “chapters” is off by one, because the booklet lists an “Introduction to the ICA Classics Series” as No. 1, but you only get this if you select “play all.” Otherwise, if you choose to select chapters of the ballet, you will be off by one number—in other words, the act I \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003epas de deux \u003c\/span\u003e  \u003cspan\u003eis actually chapter 16, not 17 as listed in the booklet. But this is an absolutely delightful ballet and a classic performance. Despite the sepia-and-white print, I would even recommend this to young girls who are interested in ballet. It’s a funny enough story and has an excellent level of difficulty in it that will captivate and delight them. As for anyone else who enjoys ballet, this is a must. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Lynn René Bayley \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e Ferdinand Herold\u003cbr\u003e  LA FILLE MAL GARDÉE\u003cbr\u003e  \u003cbr\u003e  Lise – Nadia Nerina\u003cbr\u003e  Colas – David Blair\u003cbr\u003e  Widow Simone – Stanley Holden\u003cbr\u003e  Alain – Alexander Grant\u003cbr\u003e  Thomas – Leslie Edwards\u003cbr\u003e  A Notary – Franklin White\u003cbr\u003e  \u003cbr\u003e  The Royal Ballet\u003cbr\u003e  Covent Garden Orchestra\u003cbr\u003e  John Lanchbery, conductor\u003cbr\u003e  \u003cbr\u003e  Frederick Ashton, choreographer\u003cbr\u003e  Osbert Lancaster, designer\u003cbr\u003e  \u003cbr\u003e  Recorded at BBC Studio, London, 7–9 September 1962 \u003cbr\u003e  \u003cbr\u003e  Picture format: NTSC 4:3\u003cbr\u003e  Sound format: Enhanced Mono\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Menu language: English\u003cbr\u003e  Booklet notes: English, French, German\u003cbr\u003e  Running time: 90 mins\u003cbr\u003e  No. of DVDs: 1","brand":"ICA Classics","offers":[{"title":"DVD","offer_id":46027730944234,"sku":"5060244550889","price":26.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2067838.jpg?v=1778320712"},{"product_id":"delibes-sylvia-royal-ballet-blu-ray-80528","title":"Delibes: Sylvia \/ Royal Ballet [blu-ray]","description":"\u003cimg src=\"\/graphics\/features\/watch.gif\" border=\"0\"\u003e\u003cbr\u003e   \u003cembed src=\"http:\/\/www.arkivmusic.com\/media\/mediaplayer.swf\" width=\"470\" height=\"250\" allowscriptaccess=\"always\" allowfullscreen=\"true\" flashvars=\"height=250\u0026amp;width=470\u0026amp;file=http:\/\/graphics.arkivmusic.com\/media\/video\/opusarte\/181156_video.flv?=http:\/\/arkivmusic.com\/graphics\/features\/181156_image.gif\u0026amp;displayheight=233\u0026amp;usefullscreen=false\"\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eA beautiful production of this charming ballet with a wonderfully melodic score by Delibes.\u003c\/b\u003e\u003cbr\u003e  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.\u003cbr\u003e  \u003cbr\u003e 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.\u003cbr\u003e  \u003cbr\u003e 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.\u003cbr\u003e  \u003cbr\u003e 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.\u003cbr\u003e  \u003cbr\u003e 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.\u003cbr\u003e  \u003cbr\u003e A beautiful production of this charming ballet with a wonderfully melodic score by Delibes.\u003cbr\u003e  \u003cbr\u003e -- Ian Lace, MusicWeb International [reviewing the standard DVD version] \u003cbr\u003e \u003cbr\u003e   \u003cb\u003eNote: This Blu-ray Disc is only playable on Blu-ray Disc players, and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Leo DELIBES (1836-1891)\u003cbr\u003e  Sylvia - ballet in three acts with choreography by Frederick Ashton (1876)\u003cbr\u003e  Sylvia … Darcey Bussell\u003cbr\u003e  Aminta … Roberto Bolle\u003cbr\u003e  Orion … Thiago Soares\u003cbr\u003e  Eros … Martin Harvey\u003cbr\u003e  Diana … Mara Galeazzi\u003cbr\u003e  The Royal Ballet\u003cbr\u003e  Orchestra of the Royal Opera House\/Graham Bond\u003cbr\u003e  rec. The Royal Opera House, Covent Garden, London, 1, 5 December 2005\u003cbr\u003e  \u003cbr\u003e FORMAT: All Formats\u003cbr\u003e  REGIONS: All Regions\u003cbr\u003e  PICTURE FORMAT: 16:9\u003cbr\u003e  LENGTH: 117 Mins\u003cbr\u003e  SOUND: DTS SURROUND 5.1 \/ LPCM STEREO\u003cbr\u003e  SUBTITLES: EN\/FR\/DE\/ES\/IT\u003cbr\u003e  NO OF DISCS: 1\u003cbr\u003e \u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46028026806506,"sku":"809478070474","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1569165.jpg?v=1778381070"},{"product_id":"ballet-spectacular-giselle-la-fille-mal-gardee-84114","title":"Ballet Spectacular - Giselle, La Fille Mal Gardee, Coppelia","description":"This special DVD collection presents The Royal Ballet in three of the world's most popular ballets, as featured in the best-selling book Ballet Spectacular. \u003cbr\u003e  \u003cbr\u003e BALLET SPECTACULAR\u003cbr\u003e  (3-DVD Box set)\u003cbr\u003e \u003cbr\u003e  Adolphe Adam\u003cbr\u003e  GISELLE\u003cbr\u003e \u003cbr\u003e  Giselle - Alina Cojocaru\u003cbr\u003e  Count Albrecht - Johan Kobborg\u003cbr\u003e  Myrtha - Marianela Nuñez\u003cbr\u003e  Hilarion - Martin Harvey \u003cbr\u003e \u003cbr\u003e  Royal Ballet\u003cbr\u003e  Royal Opera House Orchestra\u003cbr\u003e  Boris Gruzin, conductor\u003cbr\u003e \u003cbr\u003e  Marius Petipa, choreographer (after Jean Coralli and Jules Perrot)\u003cbr\u003e  John MacFarlane, stage and costume designer\u003cbr\u003e  Jennifer Tipton, lighting designer \u003cbr\u003e \u003cbr\u003e  Léo Delibes\u003cbr\u003e  COPPÉLIA\u003cbr\u003e \u003cbr\u003e  Swanilda - Leanne Benjamin\u003cbr\u003e  Franz - Carlos Acosta\u003cbr\u003e  Doctor Coppélius - Luke Heydon\u003cbr\u003e  Coppélia - Leana Palmer\u003cbr\u003e \u003cbr\u003e  Royal Ballet\u003cbr\u003e  Royal Opera House Orchestra\u003cbr\u003e  Nicolae Moldaveanu, conductor\u003cbr\u003e \u003cbr\u003e  Ninette de Valois, choreographer (after Lev Ivanov and Enrico Cecchetti)\u003cbr\u003e  Osbert Lancaster, stage and costume designer\u003cbr\u003e  John B. Read, lighting designer\u003cbr\u003e \u003cbr\u003e  Ferdinand Hérold\u003cbr\u003e  LA FILLE MAL GARDÉE\u003cbr\u003e \u003cbr\u003e  Colas - Carlos Acosta\u003cbr\u003e  Lise - Marianela Nuñez\u003cbr\u003e  Simone - William Tuckett\u003cbr\u003e  Alain - Jonathan Howells\u003cbr\u003e \u003cbr\u003e  Royal Ballet\u003cbr\u003e  Royal Opera House Orchestra\u003cbr\u003e  Anthony Twiner, conductor \u003cbr\u003e \u003cbr\u003e  Frederick Ashton, choreographer\u003cbr\u003e  Osbert Lancaster, set and costume designer\u003cbr\u003e  John B. Read, lighting designer\u003cbr\u003e \u003cbr\u003e  Recorded live at the Royal Opera House, Covent Garden, London, January 2006 (Giselle), 2000 (Coppélia) and 2 February 2005 (La Fille Mal Gardée)\u003cbr\u003e \u003cbr\u003e  Bonus:\u003cbr\u003e  - Illustrated synopsis\u003cbr\u003e  - Cast gallery\u003cbr\u003e  - Historic 10-minute film, “The Ballet Moves” (Coppélia)\u003cbr\u003e  - llustrated biography of Osbert Lancaster (Coppélia) \u003cbr\u003e \u003cbr\u003e  --- \u003cbr\u003e \u003cbr\u003e  Picture format: NTSC 16:9 anamorphic\u003cbr\u003e  Sound format: LPCM Stereo \/ 5.1 Surround sound\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Menu language (bonus): English\u003cbr\u003e  Running time: 5 hrs 44 mins\u003cbr\u003e  No. of DVDs: 3\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46028027691242,"sku":"809478011828","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2832893.jpg?v=1778380203"}],"url":"https:\/\/arkivmusic.com\/collections\/royal-ballet.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}