Adam: Giselle - Highlights / Mogrelia, Slovak Radio Symphony

$13.99
Label
Naxos
Release Date
June 26, 2012
Format
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    Featuring ⌄
    • COMPOSER
      ADAM, ADOLPHE
    • ORCHESTRA / ENSEMBLE
      Slovak Radio Symphony Orchestra
    • PERFORMER
      Mogrelia
    Product Details ⌄
    • RELEASE DATE
      June 26, 2012
    • UPC
      747313292479
    • CATALOG NUMBER
      8572924
    • LABEL
      Naxos
    • NUMBER OF DISCS
      1
    • GENRE
      Ballet



ADAM Giselle • Pavel Klinichev, cond; Svetlana Lunkina ( Giselle ); Dmitry Gudanov ( Albrecht ); Maria Allash ( Myrtha ); Vitaly Biktimirov ( Hans ); Elena Bukanova ( Berthe ); Ekaterina Barykina ( Bathilde ); Alexey Loparevich ( Duke ); Vladislav Lantratov ( Wilfreed ); Chinara Alizade, Andrey Bolotin ( Peasants ); Bolshoi Ballet & O • BELAIR BAC074 (109: 00) Live: Moscow 01/2011


ADAM Giselle: highlights • Andrew Mogrelia, cond; Slovak RSO • NAXOS 8.572924 (61:07)


Giselle is one of the ballet characters that dancers relish, emblematic of the Romantic era, complete with mad scene yet requiring dancing of great purity for the second act. Svetlana Lunkina is one of the new crop of Bolshoi ballerinas equally at home in bravura roles at the same time as being a convincing Giselle or Sylphide. Dmitry Gudanov is a convincing hero, his youthful looks helping to define his character as an innocent, totally unaware of the chaos he has created. Maria Allash possesses the same romantic qualities as Lunkina, allied with a stern demeanor that makes her Myrtha a very steely character. Chinara Alizade and Andrey Bolotin dance the interpolated Peasant Pas de Deux with the requisite charm, while Vitaly Biktimirov’s lovelorn Hans (aka Hilarion) almost arouses our compassion. Pavel Klinichev and the Bolshoi Orchestra offer a straightforward reading. The credit “choreographic version by Yuri Grigorovich after choreography by Jean Coralli, Jules Perrot & Marius Petipa” is puzzling as this appears to be a standard version, other than a hastily choreographed court dance the first time the Duke and his followers arrive. Grigorovich’s only other contribution would appear to be some of the bizarre rhythmic accentuations that he favors.


The CD of orchestral highlights is well-enough performed by Andrew Mogrelia and the Slovak Radio Symphony Orchestra, of particular interest for the music with hunting fanfares that are rarely heard at the start of act II before Myrtha’s entrance. But some of the tempi are unsuitable for the theater and may even jar listeners familiar with the work.


FANFARE: Joel Kasow