Tchaikovsky: Swan Lake (Paris Opera Ballet)

Introduction

Filmed live at the Opéra Bastille, Paris in 2005, a performance of Tchaikovsky`s ballet (with Rudolph Nureyev`s updated version of his famous choreography).

Prince Siegfried is daydreaming on the day before his birthday. The subject of the dream is a beautiful princess being tormented by a huge bird of prey, which ultimately flies away with her. Siegfried`s tutor wakes him up and reminds him that he has to get on with the birthday preparations, which include welcoming the guests arriving for the ball. Siegfried`s mother also reminds him that on the following day, he must choose a bride from several eligible young ladies. Siegfried however, is on of those princes who insist on marrying for love only, and is rather put out by the rules laid out by State. The tutor tries to remind him of his duty to his country but Siegfried has none of it and disappears to pursue his own dreams.

Resting by a lake, he sees a vision of a beautiful white swan, which immediately grabs his princely attention. It is, in fact, a young woman called Odette who has been transfomed (together with several other young and beautful women) into a swan by the evil sorcerer, Rothbart. The spell can only be broken if a man declares his eternal lover for her. This isn`t too much of a problem for the prince, and he promises to rescue her. Rothbart (in the shape of a huge bird of prey) tries to intervene but the lovers are protected by the other swans.

Siegfried insists that Odette come to the ball where he can choose her for his bride. She, not surprisingly, says that this is impossible, as she`s a swan.

Back at the palace, the ball has begun, but Siegfried is noticeable distracted. None of the potential brides is chosen (much to his mother`s annoyance). Rothbart appears in the guise of an ambassador, and has brought his own daughter, Odile. Odile has herself been transformed into the likeness of Odette. Siegfried falls for the trick and declares his undying love for the `evil twin`. Odette turns up and the prince realises his appalling mistake, but it`s too late.

Back at the lake, the swans are doing their best to cheer Odette up, but she now has to face up to her destiny. Siegfried arrives and begs Odette`s forgiveness, which is gladly given but to no avail. Rothbart banishes Odette forever, and Siegfried`s earlier daydream is realised.

Video

This is one of the best Opus-Arte discs for video quality which I have seen. The Paris production is a hugely complex one, but none of the detail is lost, even in the darker scenes.

Audio

Sound is just as good, and orchestral detail is vivid, if perhaps a little too close for comfort (certainly, the violin solo in the Act 2 `Pas de deux` is forced at the beginning and could have done with some `toning down`, although there`s not much you can do if the leader wants to saw his fiddle in half I suppose). At least we don`t have any pit-to-stage balance issues in a ballet DVD.

Features

Extras are sparse, in fact we have just the obligatory `Illustrated Synopsis` and `Cast Gallery` on the disc, and a decent little essay by the production director (François Roussillon) in the accompanying booklet.

Various language subtitles (to translate the French titles in the acts) are also present.

Conclusion

Despite the woeful lack of extras, this disc is a revelation on how to convey the experience of live ballet on DVD. Camera angles are specifically set up to look down (almost vertically) on the stage, and this shows the incredible sense of form and pattern which a choreographer can bring to a stage - certainly, the audience would not have experienced it like this).

Close ups are also expertly handled, although a few more facial expressions from the impossibly chiselled features of José Martinez (Siegfried) would have been welcome. Agnès Letestu (Odette / Odile) has no such problem, especially in her startling transformation from the rather withdrawn Odette into the wild, and rather sexy Odile.

Technically, the dancing seems highly impressive to this particular novice, and I was amazed at the tightness of the ensembles, especially from the swans. The plot of the ballet really takes second place to many of the `characteristic dances` (if I can describe them as such) dotted throughout the performance, to which Tchaikovsky set some of his best short orchestral showpieces. Each is given a fantastic outing, but the best here (for me anyway) has to be the Dance of the Cygnets. The famous choreography (I assume some of the original was kept by Nureyev) has been spoofed on so many occasions throughout cinematic and TV history, that seeing it in its original context is a complete joy.

Musically, things also go very well indeed (with the exception of the aforementioned violin solo - just the start of it though, as the rest is brilliantly played!). Vello Pähn paces everything very nicely, and keeps the rather faster tempi often heard when the music is played in orchestral concerts down to a more `danceable` level. Despite the more leisurely, and probably correct, reading, this is still one of those scores which is one of the most famliar classical works (even to those who claim not to know much classical music) and so there is nothing to put anyone of in this respect.

It`s a shame about the extras. For such a major release, and a work which was specifically designed for the Paris Ballet, some form of documentary would have been hugely welcome, and would most likely have attracted the less-knowledgeable. As things stand however, it remains a superb example of classical dance, and should be recommended to anyone who appreciates a professional ballet company doing what they do best on a very well presented (if slightly empty) disc.