Arts Movie Reviews

This is a wonderful must have video!With the great Kiri Te Kanawa in her best form and old friend Robin Stapleton conducting this is one for all music lovers.Kiri has a wonderful range in dynmanics.She has worked with greats from Berstein to Lloyd Webber himself so her vast knowledge of all music types comes into play here.Plus you have the stunning outblack.This is not the first time Dame Kiri has sung in the outback.Its wonderful to have the whole concert on view here.

A wonderful DVD!

This disc is a collection of short ballet vignettes that pays tribute to the Kirov dancers and the magnificent choreography they have been given to perform. The dances range from the traditional to more modern pieces and it is this variety that gives the entire presentation a well rounded, balanced feel ; there is something here for all tastes.

Although all the works on this disc have some special qualities, the following are some of my favorites:

-"Chopiniana" , featuring Altynai Asylmuratova, Konstantin Zaklinsky and the corps de ballet; I wonder if Chopin would have ever believed his music would be the accompaniment for this serene, beautiful dance.

-The surreal, starry setting for Samuel Barber's "Adagio for Strings" seemed a perfect backdrop for Yelena Yevteeva and Eldar Aliev to perform their sensual, almost contortionistic dance.

-"Le Corsaire" features Faroukh Ruzimatov with, as always, his unbelieveable leaps and expressive dancing.

However, to me, the highlight of this entire disc was "The Fairy Doll" with Larissa Lezhnina as the beautiful doll, pursued relentlessly by the two love struck mime-clowns.(performed by Dmitry Gruzdev and Yaroslav Fadayev) This is the comical side of ballet at it's best: the two guys are magnificent as they attempt to outdo each other as they vie for her affection. All three participants of this work show grace, balance, athleticism and an unbelieveable sense of timing that make this difficult performance look simplistically easy.

All in all, a DVD featuring great choreography and top quality dancing by the Kirov. Highly recommended!

This is an excellent mixed bill program of ballet performed by a strong stable of Kirov dancers who achieved their notariety and acclaim during the late eighties and nineties. The depth of skill and artistry displayed by principals, soloists and corp de ballet alike here on this DVD is quite remarkable and well showcased in a diverse program that ranges from Les Syphlides, Le Corsaire pas de deux and Maritenka pas de six. Also on the DVD are lesser well known but equally well performed ballets of The Fairy Doll and Petruska. The DVD is anchored by a phenomenal performance of Paquita, led by Yulia Mahklina and Igor Zalensky and enhanced by the precision and elegance of other company members as they dance the various solos, pas de trois and ensemble segments of this ballet. The DVD is worth adding to any home collection for this Paquita alone.

Each of the performances was not taped before a live audience so the applause and accolades that would otherwise be due to the dancers if they had performed live is absent from the recordings. The scenery for most of the ballets are by and large traditional (except for the Stravinsky piece) and did not detract from the dancers' performances. I find it a pity that there are no bonus materials on the DVD containing any company, ballet or dancer information. Its frustrating enough to only be given the opportunity to see the Kirov perform here in the States only once every few years, but to deny information on dancers or the company in a medium such as a DVD seems to be a wasted opportunity to elevate the Kirov to its rightful place as one of the world's premier ballet companies.

The performances portrayed on this DVD will only provide Kirov fans with further ammunition to claim the Kirov as the standard bearer for all other ballet companies. It is an enjoyable DVD that deserves to be watched over and over. Don't miss out and add this to your collection sooner rather than later.

This is a studio recording of the Kirov Ballet (or by now the Mariinsky Ballet) of St. Petersburg, Russia performing some of ballets greatest 'short-form' works along with full-length ballet excerpts. The dancers are the finest products of ballet training, and on this film it shows. The footage recorded here has also been released as 'The Maryinsky Ballet" (on another label I believe).

First, a perfomance of "Les Sylphides" (or "Chopanina" as it is called in Russia) choreographed to the music of Chopin by Mikhail Fokine, with the divine prima Altinai Assylmuotva leading the cast with her husband Konstantin Zaklinsky. We also have Yelena Pankova perfoming the mazurka with wonderful style. Assylmuratova is one of ballets greatest artists, and her precision in the waltz is ballet at its best. The corps is so wonderfully lyrical in the opening sequence that it might as well be some of the best work by a corps de ballet documented to film.

Then an excerpt(or short version of) of the ballet "Petrushka", a masterpeice from the old Ballet Russe and another work of Fokine. It is not done in the more or less traditional sence, for here we have choreography by the Kirov's then artistic director Oleg Vinogradov. He does not do a great job and over condenses the multi scene, one act ballet into one short sequence. The corps looks comical running around in wierd patterns, as if doing a parody of the ballet while insulting the Stravinsky score. The lead dancer, Sergei Vikharev gives it his all, but it is pretty much worth fast-forwarding through this annoying section. (Note- See the film "Paris Dances Diaghilev" for a far better and more authentic performance of this work)

"Barbers Adagio" is another annoyance on this video, although the leading female, Yelena Evteyeva (once a Kirov prima) turns out to be a pretty entertaining as she does strange stuff with herself via her partner, who on the other hand is merely just a person put in to lift her in weird ways.

The pas de deux from the ballet "Le Corsaire" (see my reviews of both the Kirov Ballet and American Ballet Theatre films of the full-length work) is perfomed here by Farukh Ruzimitov and Lubov Kunakova. I have seen both of these dancers do better on film, particularly Ruzimitov, whose flamboyance is a little to much in his variation. He has been recorded in this peice many times. Kunakovas costume is very tacky, looking like a cross between a Shade from the ballet "La Bayadere" and a flamingo, but she is still charming.

The most entertaining on the entire program: second to last is a pas de trois from the ballet "The Fairy Doll" (or "Die Pupenfee"). This excerpt is by the composer Riccardo Drigo and not Josef Bayer as credited, whose pas was added to the ballet at the turn of the century. Larissa Lezhnina and her two clowns for suitors are astounding! It is some of the best ballet dancing I have ever seen.

Next is the Pierre LaCotte restoration of the choreography of Perrot: the pas de six from "Markitenka" or "La Vivandare". It is charming and in the romantic style of ballet. Elenea Pankaova is a delight....as usual.

Finally, the grand pas and pas de trois from the ballet "Paquita". The choreography is by the great ballet master Marius Petipa (creator of "The Nutcrakcer", "The Sleeping Beauty", "Swan Lake", "La Bayadere", among others)to the music of Leon Minkus. The soloists and corps are superb, particularly Yulia Makhalina in the lead. Igor Zelensky dances the male lead, with a solo from the Leo Delibes ballet "Sylvia" instead of the Minkus one for some odd reason. This has the only film record of the famous 'Golden' pas de trois (or Minkus pas de trois) on film, sort of oddly stuck in the middle of the grand pas as the Kirov often does when performing this work.

All in all this film is superb, and has essential recordings in the performances of "Paquita", and "Les Sylphides" (or "Chopiniana") and also the only film of "The Fairy Doll" pas de trois. Along with the great dancing, the music of each work is well recorded and allows for great listening as well! Five stars!

I've been a fan of Kiri Te Kanawa's since I began vocal studies more than 15 years ago. The ease with which she sang and the creamy, gorgeous voice was something to behold. So, when I saw that she released a DVD, and of performances I didn't already own on video, I couldn't wait to buy a copy. Owning this DVD is worth the anticipation I went through! There are two concerts presented, from about 10 years ago, although there is only about an hour's worth of music included. (Why, I'd like to know.) The first concert, despite being an outdoor performance, was recorded very well, although there is a tiny bit of feedback present at times. She sings Puccini, Verdi and some popular songs. The outdoor crowd adds a great deal of excitement to this performance (and goose bumps). In the second half, a more subdued location and program (Handel, Mozart) bring about a different air altogether. Though her voice doesn't (and never did) have the agility of, say, a true coloratura, it is admirable and something to which we mere mortals should aspire. She is a true Mozartean singer. My voice teacher always told me, if you can master singing the works of Mozart, you can sing just about anything. Dame Kiri is living proof of that. I will recommend this DVD to anyone, whether they be fan or student, or both.

This is Kiri Te Kanawa at her finest. On this excellently transferred DVD we get to see her perform in her home country New Zealand and at a beautiful English chapel. The energy and excitement of the outdoor NZ concert really breathe through the screen. She sings "Io son l'umile ancella," "In quelle trine morbide," "Pace, pace, mio dio," "Tu, che di gel sei cinta," AND "Ch'il bel sogno di Doretta," one of her signature arias, which is mysteriously OMITTED from the listing on the back and inside covers! (It is itself worth the price of the DVD.) The NZ selection concludes with two Maori songs, one of them sung a capella, and "I Could Have Danced All Night." The second half of the program consists of two Handel arias ("Non disperar" and "Care selve") and Mozart's "Exsultate, jubilate!" in its entirety. Everyone familiar with Kiri Te Kanawa knows that she never leaves one of her headlining concerts without singing "O mio babbino caro", which here runs during the end credits. A very satisfying program. Note that between a few segments there is commentary by Kiri, which ties the whole program together very nicely. No subtitles. Excellent sound. Winner of the Silver Medal in Arts Performance at the 1993 NY Intl Film and TV Festival.

The production designer seemed to think the primary focus should be on his talents rather than the actors or composer. Angela Denoke was wonderful, Toesten Kerl efective as the ill fated hero. They had to do battle with the sets and costumes. It was difficult to understand Korngold's opera because of the poor production.

Korngold is an over the top composer, but this production tries to out do him, and as a result, is confusing. Denoke is wonderful, physically beautiful with a matching voice. Kerl is fine and convincing. They have a hard time competing with the "everything but the kitchen sink" production. The designers seem to feel the focus of the opera should be on the sets and peculiar design decisions rather than on the music and Korngold's conception for the opera.

This is a minor opera by a minor composer. It isn't even listed in Kobbe and is rarely performed. But it is filled with exquisite music and vocals and has a macabre fascination. Being a hick from the sticks, my first encounter with it was the movie Aria which uses Marietta's Lied in one of the vignettes as the audio to accompany a video of the city of Bruges and actress and model Elizabeth Hurley disrobing. Hearing the show stopper from Korngold's masterpiece almost made me forget about Liz.

Most operas have simple plots. Girl meets boy, boys, a regiment and romantic polygons are formed. Throw in war, inquisition, sorcery, alchemy, women trying to find their shadow, etc. and you've got your basic opera plot. But this opera, or at least this production of it, left me feeling like ones of the apes in Stanley Kubrick's movie 2001 contemplating the obelisk. Frankly, I have no clue as to what is going on. But the enigma adds to the allure and, besides, if the folks responsible for it wanted me to understand it they would have made it understandable. A minor puzzle is when Marietta begins her big number a teenage boy in semiformal attire emerges from a door in the deserted mausoleum and bachelor pad to accompany her on a piano.

Although I love this opera, this performance of it, and this DVD, my enjoyment would have been enhanced if the necrophilia and fetish aspects had been toned down. In an opera such as Salome it's necessary to have a severed head prominently displayed. But is it really necessary to have as the main stage prop in Die Tote Stadt the desiccated corpse of the departed Marie which looks like Norman Bates' mother from Alfred Hitchcock's movie Psycho? Do we really need to see Paul grabbing dolls and cadavers with the zest of a python latching onto a bunny rabbit? More could and should have been left to the imagination.

If you've only heard of Korngold as the composer of music for some great and not so great Hollywood movies, you need to get this. Your ears are in for a treat. But you may need a blinder and a barf bag for the gruesome parts.

Looked forward to this a great deal. Own the very well done transfer of the 1953 movie version. Saw the recent stage revival production twice at the Kennedy Center. This version has a very competent cast, but not the equivalent of what I experienced in the live performances I saw. Strangely enough, in this video production, there are several shots of a full-house audience, but it appears the production was actually taped w/o an audience. No curtain calls, for example. To compound this, the audience reaction (laughter, applause, etc.) is only audible selectively here and there throughout. Also, I find the TV/Video approach to be rather annoying. That is to say too many close-ups. I mean real close-ups, so close one can almost see tonsils! Overall, not bad for a rental. On my copy, the DTS version is missing its left surround track.

As a person who absolutely LOVES musical theater and saw the 1999 Revival of Kiss Me, Kate of Broadway with Brian Stokes Mitchell and Marin Mazzie I was dissapointed with this production. While the music and the dancing are spectacular I have a few qualms about the actual filming and some of the cast memebers.

1. Hattie: should have been someone else. The woman who plays her in the DVD was not as spectacular as Adriane Lenox who played Hattie in the 1999 Broadway Revival. There are moments when she just ISN'T on key, and it's grating on the nerves.

2. Lois Lane/Bianca: She's so much fun in the DVD, but now as fun as Amy Spanger was. I did enjoy that Bill Calhoun was played by the same person (Michael Berresse).

Overall, the performance is superb, but the DVD needs help. No extras, no subtitles, none of the things that set DVD's apart from video.

The recent PBS version of "Kiss Me, Kate" is an absolutely glorious production of this classic Broadway musical comedy based on Shakespeare's "The Taming of the Shrew." Standout performances and a brilliant directorial vision combine to make this THE very best production ever. The DVD of this Great Performance will rule for ages.

Rachel York as Lilli/Kate and Brent Barrett as Fred/Petruchio each bring an underlying tenderness to their off-stage characters that makes you ache to see them get back together in the end. Sure, they rant and rave and fight like wildcats, just as their on-stage counterparts do. But never do you forget that they love each other. Too many productions of this very funny show-within-a-show make the leads one dimensional and totally unlikeable, acting as if they hate each other. This production, directed by Michael Blakemore and performed throughout with tremendous energy and skill, is first and foremost a love story. Everything else - the tongue-in-cheek wit, superb singing, vibrant dancing, innovative orchestration, and even bawdy physical humor - is consistent with the passion that emanates from the two leads.

And the two leads are superb. Rachel York has a vocal range that is unequalled in musical theater today. She sings her torchy version of "So In Love" with a heartbreaking sincerity, then belts her "I Hate Men" with raucous wild abandon. She ultimately reaches the stratosphere with her amazing coloratura soprano in her screamingly funny rendition of "Kiss Me, Kate." Matching her every step of the way is Brent Barrett. He infuses his "Were Thine That Special Face" and reprise of "So in Love" with absolute adoration, but also demonstrates unbridled machismo in "I've Come to Wive It Wealthily in Padua" and "Where Is the Life That Late I Led." The chemistry between York and Barrett is palpable, even on DVD. They accentuate their volatile relationship with unexpected touches of genuine endearment, such as an unconscious tender brush of an arm during "Wunderbar" or a glistening tear in the eye during the finale.

The entire cast keeps up with the pace and tone set by York and Barrett. The show never lets down, and everyone seems to be having great good fun with the unrepressed music and lyrics of Cole Porter. This PBS version of "Kiss Me, Kate" will undoubtedly prove to be a classic, with the performances by Rachel York and Brent Barrett considered definitive. It will surely be the standard against which all future Kates are measured. It is an unabashed winner.