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Ivan Le Terrible
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Descriptions du produit
Opéra de Paris Sergei Prokofiev (1891-1953):
Ivan le Terrible
Yuri Grigorovich, Chorégraphie
Opéra National de Paris, Décembre 2003
système NTSC - code région 0 - 114'
Référence supprimée et remplacée
par la référence ARTHAUS :
Code ean : 0807280724790
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Le spectacle lui-même est très bon, mais reste quand même en deçà de la version du Bolchoï. Nicolas Le Riche est, de tous les danseurs français actuels, le seul à avoir la puissance athlétique nécessaire pour le rôle. Sans égaler techniquement Irek Mukhamedov, il se sort avec les honneurs d'un rôle difficile. Mais si son interprétation est expressive, on y voit quand même trop qu'il compose son personnage. Peut- être le beau Nicolas, inégalable séducteur de la scène, n'a-t-il pas en lui-même assez de noirceur pour entrer vraiment dans la peau d'un tyran fou...Lire la suite ›
Un ballet peut-il raconter une histoire? On a répondu oui depuis longtemps à condition qu'elle s'inscrive dans le genre conte de fée ou drame sentimental...
Mais peut-on chorégraphier l'Histoire? Et ses grands personnages?
Sentiments, états d'esprit, événements peuvent être dansés, dépeints par la danse, mais pas davantage. Et sûrement pas une personnalité aussi complexe que celle d'Ivan le Terrible. Les titres des tableaux de ce ballet le démontrent : Rencontre d'Ivan et d'Anastasia, Maladie d'Ivan, Méditation d'Anastasia, Colère du Tsar, Conspiration des Boyards, Révolte du peuple, Mort d'Anastasia, etc. On ne dépasse pas le livre d'images... qui se résume à : le tyran serait-il d'abord une victime ? Ivan le Terrible serait-il Ivan le Déplorable, trouvant dans le pouvoir et son abus un remède à sa douleur? Ne serait-il que le vengeur d'Anastasia assassinée?
Portrait, simpliste et réducteur, le seul à sa portée, que transmet Iouri Grigorovitch du premier tsar de toutes les Russies.
Le style redondant jusqu'au pléonasme du maître du "ballet soviétique" ("Ivan" a été créé en 1974), séduit autant qu'il agace. Le brio athlétique, l'efficacité, la beauté même de sa chorégraphie -ici comme dans son autre succès "Spartacus"- étant alourdi par le didactisme.Lire la suite ›
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The character of Tsar Ivan, who was born in 1530, is a complicated one. On the one hand, he is considered a hero of sorts by Russians because he brought the disparate parts of Russia under one rule and virtually formed the nation. But his name is also synonymous with cruelty and paranoia. In the ballet Grigorovich tries to present both sides of Ivan, and in particular makes the point that Ivan was driven to his vicious behavior by the murder of his bride by boyars who hoped to take advantage of his ill-health (from which, in the ballet, he miraculously recovers in order to wreak havoc on his enemies). Consequently, in this narrative ballet, we have scenes of surpassing tenderness between Ivan and Anastasia, and others of a warlike nature.
The lovely Eleonora Abbagnata dances Anastasia with grace and gentleness. Both her solo scenes (as in 'Anastasia deep in thought') and her pas de deux with Ivan (as in 'Meeting between Ivan and Anastasia' and the dream scene which is a pas de deux between Ivan and the ghost of Anastasia) are sublime. Karl Paquette as Kurbsky, who is Ivan's early rival for Anastasia, but later his friend, has a bravura role which he dances brilliantly. But best of all is the electrifying Nicolas Le Riche as Ivan. A tall, handsome man, he is a fine actor who portrays Ivan's many emotions tellingly, and an even finer dancer in both his solos (e.g., 'Ivan's happiness' and 'Ivan mourns for Anastasia') and the aforementioned pas de deux with Anastasia. The corps de ballets, and particularly the men, are excellent. One could quibble a bit about Grigorovich's choreography which can seem trite and even laughably gauche at times. Grigorovich is no Balanchine.
Costumes are lavish and lovely. Scenery is rather plain but quite effective. The orchestra of the Paris Opéra is conducted rather routinely in Prokofiev's often brutal score by Vallo Pähn. (If you're primarily interested in the music qua music, get Fedoseyev's riveting account on Nimbus.) Still, the overall impression is engaging and certainly the narrative carries one forward breathlessly to the end.
This performance of the ballet, which was created by Grigorovich in 1975, was recorded in 2003 and features the Paris Opera ballet. It is totally engrossing and is a spectacular production featuring over 80 dancers. Grigorovich, as a choreographer, is well able to handle such epic productions as his Spartacus ballet has also shown.
The ballet charts the unsettled period of history between the point where Ivan is crowned Tsar and the point where he finally crushes the Boyars and from then rules Russia with an iron hand and considerable personal instability - the beginning of Ivan the Terrible. This period crucially features the marriage of Anastasia to Ivan and her poisoning by the Boyars and the repercussions upon them.
Ivan is, at best, an unstable character and this is wonderfully portrayed by the, at times chilling and perfectly cast, male lead - Nicolas Le Riche. The two supporting roles of Anastasia (Eleonora Abbagnato) and the treacherous Kurbsky (Karl Paquette) are also excellently portrayed and danced. The considerable corps de ballet are also universally excellent and the whole production is completely impressive.
There is none of the lyrical music found in the other great Prokofiev ballets, Romeo and Juliet or Cinderella, as that would be inappropriate to the subject matter. Instead we get music entirely appropriate to the scenarios painted - dramatic, powerful and mysterious as appropriate. As mentioned in the opening paragraph above, you also get yet another opportunity to enjoy the music from the 3rd symphony - or was it the Fiery Angel - or perhaps the film? Great stuff, whatever order it was written in - just enjoy it!
The camera work is perfect, giving a good balance between close views for personal impact and the important panoramic views to emphasise the scale when large numbers of the corps de ballet are on stage. The sound is presented in DD 5.0, DTS 5.0 and stereo and clearly demonstrates the excellence of the Paris orchestra under the conductor, Vello Pahn.
In summary I have no doubt that this very important release is fully worthy of 5 stars and that it will be a very satisfying addition to the collections of purchasers.
I just recently started going to ballets & operas, my knowledge other that what I like is nil. I do like music, color, movement, light & shadow. This disc is great for all of these. If you are looking for a good starter ballet this & Michael Bourne's Swan Lake are in my opinion good bets.
This is classic ballet & to my eye a very good one. The male & female dancers appeared to have little if any difference in ability. That will upset the lead dancers I'm sure but I mean to compliment the whole dance troupe & all responsible for putting them together. The lead dancers do have the more difficult parts to complete & I enjoyed their abilities greatly. The skill of the supporting dancers so well enhanced the performance of & my enjoyment of this ballet I had to mention that.
I have no doubt that anyone watching this DVD experienced or not will find some of the dance to be not only beautiful but awe inspiringly athletic. Some moves are just astounding in the strength & body control needed to land without falling.
My daughter has begun ballet classes & she says that the dance is all about straight body lines & movement. I had no idea how far this could be taken or how wonderful it could be to watch.
I/m assuming I don't need to explain the story line here. The male lead playing Ivan is quick, powerful & wonderfully balanced throughout the performance. The woman dancing Anastasia's part is regal, beautiful & demure. The costuming which I consider extremely important is 1st rate. Lighting is surely 5 stars & as it affects every other aspect the most, receives my rave review. Why not 5 stars.
The masses are represented here by a group of bells being manipulated by male dancers. I loved their first appearance but by the time the ballet was over I had seen a bit too much of them. This is not a knock on the dancers, just in the time spent on stage. I (just myself) would have preferred a tiny change in choreography such as perhaps them not tied to the bells. This is a 4 1/2 star ballet with thanks to all involved for starting my education.
Now the Opera National de Paris offers a formidable performance of Grigorovch's Ivan ,recorded live in 2003,Vello Pähn conducting Prokofiev's great music,composed as film score for Eisenstein's 1942-44 masterpiece. Grigorovich had choreographed it,in his vigorous style,in 1975, for the Bolshoi and his wife Natalia Bessmertnova,recently deceased, who had danced Anastasia with Mukhamedov ,helped as assistant choreographer,in this Paris production.
Nicholas Le Riche gives an impressive,electrifying Ivan ,his prodigious "jetés" memorable,his presence as an actor extremely convincing,performing with great technique this 17 year-old sombre, cruel and tormented Ivan. The world had taken notice of him in 1993,dancing Auber's Pas de Quatre with Elisabeth Platel,in Tokio,as Nina Ananiashvili's guest.Since then,as "étoile" of the BNP,he has become the epitome of the great dancer,along with Manuel Legris.On DVD,one can watch him in Balanchines'Jewels,Neumeier's Sylvia,and Albrecht in Giselle ,appeared now.
His beloved Anastasia is young and beautiful Eleonora Abbagnato who convinces with her subtle,moving dancing.
Karl Paquette,already seen in Lacotte's revised Paquita(2003) and Nureyev's Swan Lake(2006),is an intense,fiercing Kurbsky,more than deserves to become an "étoile".
This luxurious production ,beautifully filmed,is a must.