Costumes Movie Reviews

my only regret about MARK TWAIN TONIGHT is that it's only 90 minutes. holbrook apparently has about 12 hours worth of material that his life shows alternate among. these 90 minutes include his views on man (the only animal that blushes), his mississippi adventures as seen through tom's eyes, and jim blaine's story of the ram and old man wheeler. the ram story alone is enough to be twice worth the cost of the dvd. buy the disk. holbrook is now at just the age where his twain would be even more sublime. let's hope the sales of this dvd inspire him to do another all these years after this 1967 performance. the sound and video are good (for broadcast tv) -- mainly though, holbrook is outstanding and twain is -- twain IS twain. buy it. watch it.

I was introduced to Hal Holbrook as Mark Twain Tonight in a high school English class in 1962 and have been fascinated with Holbrook and his Twain presentation ever since. As the story goes, Holbrook took up cigar smoking to get the timber in his voice, spends three hours in make-up preparing, and has even listened to Edison recording tubes of Twain to get the voice and inflection just right. Sit back and enjoy tales from a hundred years ago that are just as germaine today. You'll soon be convinced that the man in front of you is actually Mark Twain!

if you have not heard the recordings or saw the television special 'mark twain tonight' starring hal holbrook, you are in for a real treat. my aunt took me to see the one man show many years ago in toronto. when he came a second time, years later, i took her.

i have listened to the two recordings of mark twain and mark twain tonight at least once a week for over twenty years. hal holbrook is not talente, he is gifted. listening to 'jim and huck on a raft' is so touching to me it defies description. if hou have ever trusted anyone on anything trust me. this is not to be missed. i have never heard or seen anything quite like it.

"Variety and Virtuosity" is a very good DVD that will provide any dance fan with excellent entertainment value and an easy way to view some classic Pas de Deux. The all-star American Ballet Theatre cast (1998 version) is enjoyable to watch, and performs admirably. The dialogue between the pieces is a nice way to provide a little background about the dances as well as a little insight into the personalities of the performers.

Aside from the opening three-minute "Polonaise" (lots of walking around) leading to the introductory words by Natalia Makarova, there are seven dance numbers performed. Five feature a Pas de Deux, and only one shows a dance in its entirety, "Remanso," choreographed by Nacho Duato (not to be missed; it's awesome). The partnering is very good: the younger Jose Manuel Carreno provides a strong complement to the seasoned Susan Jaffe in a number from "Swan Lake," husband and wife John Gardner and Amanda McKerrow are likewise well-matched ("The Leaves are Fading"), and Julie Kent and Robert Hill convey interesting straight-faced emotion in a work ("Cruel World") choreographed specifically on them by James Kudelka. Julio Bocca comes across as a little overly sappy in the Balcony Pas de Deux with Alessandra Ferri (one of my favorite ballerinas), but it's still great to watch. The most exceptional pair is Paloma Herrera and Angel Corella, in the Grand Pas de Deux from "Don Quixote," who elicited the loudest cheers for their combination of energy, athleticism, grace and balance. As mentioned earlier, "Remanso" was unbelievable; I was spellbound (also check out "Three by Duato," one of the best modern dance DVDs). The 3rd Movement from "Bruch Violin Concerto No. 1 was pretty good."

I'd give this DVD a 5-star rating were it not for a few little negatives which combined to knock it down a notch. First, with a run time of 83 minutes, there's very little dancing left after the introduction (not necessary, but typical for an episode of "Great Performances") and interviews with the director and dancers. Secondly, I was frustrated by camera work and editing that was a little spotty, with too many instances of dancers running in and out of the picture ... I wasn't seeing where my eyes wanted to look. Lastly, there are zero DVD extras (included in most other performance discs) that would have provided some welcome extra dimensions to the viewing experience (e.g., biographies, more behind-the-scenes footage).

Overall, this is a nice compilation of highlights for anyone wanting an good introductory look into ballet. Also, it's great for seasoned ballet fans, especially those of ABT.

The title of this DVD really fits perfectly; "Variety and Virtuosity" features not only some of the classical standards of ballet but also a few modern works to show off the talented dancers that make up the American Ballet Theatre. In this disc the group performs ensemble sets as well as several Pas de Deux.

Although the DVD only lasts 83 minutes it contains some real gems: just to mention a few......

- the great athletic and dancing skills (along with the colorful costumes) of Angel Corella and Paloma Herrera in Minkus's Don Quixote.

-Alessandra Ferri and Julio Bocca do a wonderful interpretation of young lovers in their balcony scene Pas de Deux from Prokofiev's Romeo and Juliet. Their dancing and expressions are so sensitive that you could almost feel the love that their characters had for one another. In addition, Ferri has in some way, an indescribable allure to go with her infectious smile that draws your eye to her.

-However, the highlight of the entire disc was, to me, the husband and wife team of Amanda McKerrow and John Gardner in The Leaves are Fading . ( choreography by Antony Tudor, music by Antonin Dvorak) This is one of those ballets that combine the perfect music with the perfect dance; and McKerrow and Gardner simply do a magnificent job in expressing the quiet joy and subtle sadness of this masterpiece by Mr. Tudor. I have watched this particular dance frequently since I got this DVD and I seem to see something new with each viewing. The ending is so exquisitely beautiful and peaceful it near moves me to tears. It has gotten to the point that I cannot imagine this music being played without this dance accompanying it.

All in all, this fabulous disc is a must have if you have any interest in great ballet. Highly recommended.

I am a ballerina myself and I love this. I found the big prblem with the dancing videos are the camera angles..you always get the wrong one. With this you won't have a problem. The dancers are on the music and the dancing is great. You get both the classics and modern works. Along this the dances you also get behind the scences and short interviews from the dancers. This is really good.

I would have loved to give this Five Stars rating if not for the awful set and the awful make-up of the male singers, particularly Mr. Hampson's wig and fake stubble. What is the purpose of this? In this production, we are very fortunate to have a group of singers who are wonderful to hear and also are very nice to look at. In the book "Opera for dummies", Angela Gheorghiu, Karita Mattila, Waltraud Meier, Roberto Alagna, Dmitri Hvorostovsky, Cecilia Bartoli are listed as examples of "great looking" opera singers. The three of the singers mentioned are in this production. Mr. Hampson can certainly take Mr. Hvorotovsky's place. (The Siberian himself owns the role of Rodrigo in the Italian version. Where is his DVD of "Don Carlo"?)

This must be the best "Don Carlos" in term of the cast. Karita Mattila, the very first winner of Singer of the World, definitely lives up to her well-deserved title. Her singing and acting is just exemplary. Jose Van Dam's performance of Philip II is regal with authority, yet still maintains the sensitive side of the character. Merier's Eboli is charming. When she is scorned, she really is a lioness. Mr. Hampson probably has the best music to sing in the whole opera. "Don Carlos" could be subtitled as "Everybody loves Rodrigue". Who would not want a friend like Marquis de Posa? Mr. Hampson does not disappoint us. He sings and acts very well. The "male bounding" duet "Dieu, tu semas dans nos ames" with Alagna is just beautiful. The gently persuasive "L'Infant Carlos" can melt the coldest heart. The death scene may lack Mr.Hvorostovsky's impressive legato, it is very well sung, dramatic and moving. Mr. Hampson's Rodrigue seems more like a lover than a best friend. He thoroughly enjoys this and torments poor Bobby with every physical contact. It is almost comical to see Alagna's discomfort in such an interpretation. His interaction with Mr. Hampson is very awkward. He can hardly make eye contact with Mr. Hampson when they are alone. You can see the difference when he is with the ladies. Bobby Alagna strangely resembles Andrea Bocelli physically (Thank God Bobby does not sound like Bocelli). "Don Carols" is not a glorious role for tenor. The tenor works so hard for the whole time and the show stoppers are for the other singers. To his credit, Mr. Algana does a great job.

Overall, this long performance (210 minutes) is very enjoyable. It makes a worthy addition to any opera dvd library. For the price of $30.00, you can hardly get a seat in any opera house. This is a bargain, so grab it.

At first, this entire production of Verdi's masterpiece may seem a little odd: it's sung in French (not the usual Italian), it's totally uncut, and the scenery, costumes and stage directions are a little bizarre. Yet, it all comes together and not only does it work, but it is utterly amazing and is now THE recording of choice for this masterpiece.
What works here is that the nearly four hour opera is in the left in the hands of a great conductor (the terrific Antonio Pappano) and six terrific singer-actors who actually look the parts. As good as Domingo and Freni sound in the 1983 Met recording, they don't look like young lovers.
Here, we have Roberto Alagna and Karita Mattila as Carlos and Elisabet, respectively. Both look the parts, act the parts and, more importantly feel the parts. One feels the complete range of emotions these two go through. And, most importantly, their voices ring out gloriously, start to finish.
Waltraud Meier takes a little time to warm up (her Veil Song is mediocre), but once she gets going, she is terrific. Her "Don Fatal" is a showstopper here.
Thomas Hampson is a bit of a ham, as usual but his Rodrigue is intense and well sung, particularly his death scene.
The real standout here, though, is Jose Van Dam, as Phillipe. Vocally, he is more of a baritone than a bass and may not have quite the booming voice of a Boris Christoff or Samuel Ramay. But his voice is smooth, luxurious and boy can he act!
As opposed to playing the king as the usual one-dimensional villain, Van Dam portrays the part as that of a tormented, neurotic, aging man, who is slowly losing control of his empire, his family and his life. His Act IV aria, followed by his fiery confrontation with The Grand Inquisitor (the excellent Eric Halvarson)are true highlights, as is a deeply emotional duet with Carlos after the death of Rodrigue which is, sadly, almost always cut from the opera.
Once again, the bare, minimalist sets may startle some viewers at first, but, in the end, it makes sense. Don Carlos, like most Verdi operas, is a story of basic human emotions and relationships set in a dangerous time. There are moments here when one forgets that they are watching an opera, which is usually chock-full of mediocre actors employing constant stock gestures. The whole affair transcends the stage and takes on a cinematic feel. Never before have these basic human emotions of Verdi's masterpiece been played out so beautifully as they are here.

I am usually not a big fan of Alagna but this is a rare exception---impressive singing.Mattila and Meier are not true Verdian singers but they made up for it with their solid singing technique and wonderful acting.Hampson always sings well and with confidence and there is no exception in this performance.Van Dam and Halfason are both great choices for their roles and give you goose bumps.I could not stop watching for the whole 210 min. because of the beautiful music and singing.The conducting is flawless and sound is great.

The production is very simple and modern with some traditional undertone.The relationship between Marquis de Posa and Don Carlos is almost homoerotic!

I still like the Met 1983 production better. Freni and Ghiarov are perfect for their roles ( I am a big fan of Freni ). The traditional sets and costumes are more impressive.This current Don Carlos is the only French version available in video and there are beautiful additional music comparing to the Met. production.I highly recommend this DVD to all Verdi lovers.

This is exactly as advertised, i.e. great. They (meaning the cast) have made a lack luster Strauss opera into a gem. I just got my DVD and recomend it highly.

I love this recording of the SF production of Capriccio - one of my favorite Strauss operas. And I treasure having Tatiana's last performance.

There are enough comments on the performance on here already. This is for Anthony.

Ok, technically the libretto does not answer your question. Part of the delight of this opera is the ultimate ambiguity of the ending, allowing for the personal repsonse of the listener/viewer.

There are IMO 3 possibilities:

1) She picks the poet if you personally think the words are more important in opera

2) She picks the composer if you feel that music is the primary focus of opera

3) She picks neither; leaving the two gentlemen to meet only each other in the libray at 11 am, if you believe that opera is a joint fusion of music and text.

Personally I would pick # 3 and believe Strauss would also.

Stephen

I've aleady written a review, but I am puzzled. Will someone please tell me which lover Kiri selected? Poet? Composer? Neither? xyzcolin@aol.com

The cast (especially the adorable Janet Perry) is truly outstanding in this fine operetta. Unfortunately, Act III almosts ruins the whole thing with its disgusting attempt at comedy. No fault of the actors though and some very lovely singing by Perry almosts rescues it. But what really irks me is the camera shot of Kleiber during the most reflective and sumptous moments of Breuderline (sp). I sat in horror and disbelief and cursed his giant ego which must surely be the only explanation for this criminal act. I like Kleiber a lot but this nonsense of showing the conductor at the most inappropriate moment is ridiculous.

P.S. If you love Johann Strauss check out his serious operetta, Simplicius, on DVD by Kultur which stretches the boundaries toward opera status. That is one incredible show. Buy this Fledermaus and Simplicius and have a Straussfest!

Imagine a performance where the music was played beautifully and with a loving caress. Imagine a cast in which each singer seems the epitome of the character portrayed. Imagine exceptional acting with that singing, and you have this--the very best performance of Die Fledermaus.

The sets, costumes, and staging are also just right. You will feel that you're right there, at a Viennese grand ball, surrounded by beautiful people, enchanting music, and having a rollicking good time!

It's like being right there at the very best New Year's Eve party you could ever imagine. You will enjoy this performance over and over.

This is a first rate Die Fledermaus!

I watched this DVD last nite for the first time and what a pleasant surprise. Right from the opening chords of the overture you could tell that the conductor Carlos Kleiber obviously loved this work, and the orchestra responded in kind to his caressful approach(see some video of him in the latter part of the opera) to conducting this piece.
The opera takes place at the Bavarian State Opera Ballet and is performed before a live audience that was in a very receptive and appreciative mood.
The video director was Brian Large. Superb! Really, you can have the best singers, orchestra and sets but if the camera angles and switching isn't done properly then the final product can be very mediocre. No worry here.

The singing is stellar: with Eberhard Wachter (Gabriel von Eisenstein), Pamela Coburn (Rosalinde) and Janet Perry (Adele) in the leading roles. The acting is good: light hearted, honest and the overall production is really very funny, without seemingly to have to try to be funny. The cast genuinely seemed to be having a great time on stage and responded enthusiastically to the audience's appreciative applause.

And then.... there were the costumes(especially the ladies) and the sets: Absolutely gorgeous, sumptuous. Perfectly fitting for the setting that this work was written for.

I would have no hesitation in recommending this wonderful, funny opera to anyone. You will love this "Fledermaus"

This DVD is a wonderful supplement to the play. Read the play first, then buy this DVD. You'll be shocked at how wonderfully portrayed the characters are, and how close they are the the characters you've conjured in your mind. One of the best plays written, a great description of the hearts and souls of humankind. As the intro says, it is a play for people with mature minds and sensitive hearts.

All you have to do is look at the artists involved in this production to realize the landmark importance of this staging. Robards, considered the quintessential interpreter of O'Neill, reprises the role that first caused critics to sit up and take notice that a major league actor had arrived on Broadway. O'Neill roles were more like autobiographies for Robards. He faced the same alcohol-induced demons in real life as confronted such characters as Hickey and James Tyrone.

Though Lumet may not be in the same league as Jose Quintero as far as O'Neill directors are concerned, he nevertheless wrings solid performances out of every cast member involved in this historic production.

If you can, you may want to purchase this in conjunction with the 1976 Broadway Archive tape of William Saroyan's "The Time of Your Life." Both plays have similar bar room settings, about the same size cast, and similar themes. It's interesting to see how two major playwright's handle diologue and monologue, dramatic conflict and themes of dissipation. Personally, I've always felt O'Neill digs a lot deeper than Saroyan, but both productions are superb, as are most plays in the Broadway Theater Archive series.

About 17 years ago I was fortunate enough to see Jason Robards perform the part of Hicky live, in Los Angeles. Needless to say, it was a riveting 5+ hours of theatre. I knew about this televised version from readings, but had never seen it - until now. It's almost as good as being there! Purests might be upset that the script IS cut - but as much as I love O'Neill, I didn't really miss the cut sections. (Much as with Lumet's "cut" version of "Long Day's Journey"). In fact, this version may actually be more palitable to the less "hard core" watchers. Interesting to see Robert Redford's rather lackluster performance; he may be the weak link in the supporting cast. In any case, a MUST for any student of the theater!

Back in the days when Johnny Carson still hosted the "Tonight Show," Rockapella made a quick appearance - I've been hooked ever since.

Unfortunately, I've only had the privilege of seeing them four times to date in person. But, aside from the (standard practice for any in-concert recording, of course) editing out of all the between-song patter, this DVD is a great substitute for all those shows I've missed over the years.

If you've never had the opportunity of seeing these five guys on stage, I highly recommend picking up a copy of this disk. The kind of smooth, together harmonies they generate is phenomenal. Every voice in this group is a standout - and they each get to show off at least once on lead, including the amazing spit-maker, Jeff Thacher (his "drum solo" is still an unbelievable part of the show).

One last incentive, for anyone who missed them in performance up until now, is that this DVD includes the inimitable Mr. Barry Carl who has now retired from Rockapella. His remarkable Julliard-trained, three-cellars deep bass voice and fantastically entertaining facial expressions will be sorely missed.

I bought this DVD last year before I had the chance to actually see Rockapella live in concert. It is a great DVD that showcases their vocal talents and provides the opportunity for those who do not live near a venue that brings in the band to see them perform (I had to go to the east coast for that). The songs sound great, and you can experience just how talented these singers are...no instruments or pyrotecnics to cover up any flaws.
My only complaint (and this comes after seeing the guys actually live), is that this seems to be a "sanitized" version of a performance. Most of the personality has been surgically removed. You can't tell what a sweet, nice guy Kevin is, what a mischievious sparkling personality Elliott has. And the witty repartee that takes place between the guys during a performance, most especially from Bear (Barry Carl - who retires July 14th from the group...bummer), is what makes a Rockapella concert such a MUST SEE experience. Too bad the editors made the decision to cut it this way.
This is still the most watched DVD in my house, and probably always will be. But it is no substitute for witnessing a concert in person. Run, do not walk, to the venue nearest you and see these guys. I guarantee you will be glad you did.

If you like close harmonies but can't stomach boy "bands," you'll get into this mature-sounding quintet. Kevin Wright and Scott Leonard, the tenors, have beautiful, clean voices. Elliot Kerman's steady baritone and bassman Barry Carl are there to back it all up. And vocal percussionist Jeff Thacher has an entire drum kit in his vocal chords. These guys are amazing.

Hearing them is an experience in itself. Watching them do their thing is even better. I wish this DVD would have kept more of the between-song chatter, which can be really funny, and shows the good rapport the band has with the audience. (They did keep Barry's famous "Corny solo" speech!) My only other complaint is that Scott gets too much camera time. While I'm sure his many, many female fans don't mind, Jeff is really more fun to watch. Mostly because you're sitting there saying "How *does* he do that?"

Minor complaints, though. This is a band that truly loves what they're doing, which comes across in moments of humour in the fan-favourite "Zombie Jamboree" and the poignant "People Change." Other highlights include a flirtatious "Pretty Woman," Barry getting way looooow on "16 Tons," and Jeff's drum solo during "Carmen Sandiego," unfortunately trimmed down from the version on the CD. But the best is "Zombie Jamboree," with complete with Barry's fake Jamaican-accented introduction and some cute choreography.

When Rockapella comes to your town, check them out. Until then, this will hold you over.

This production will seize you and not let you go; it is so powerful. The inate dramatic intensity that is "Tosca" is successfully transferred into this actual full-fledged film. I think this is achieved in part through its filming at the actual sites in Rome where the story takes place, using costumes and props as the people would actually have had in Rome around 1800. There is little, if any, fledgling experimental interpretation here. Everything has been carefully crafted, as if the audience member watching the production were thrown into exactly how Puccini would have imagined it, if one could make such a claim.
Placido Domingo's performance is as to be expected. We find him here at the very height of his career, full of youthful splendor: a seemingly effortless, yet brilliant delivery. Kabaivanska commands a quite compelling role of Tosca, as well. Although I've watched this production a countless number of times, I still say "wow" every time she finishes the very much underrated withing operatic criticism, in my opinion, aria "Vissi d'arte" in the second act. Stronger performances of Tosca's vocal part can be heard on other recordings, though. Try anything with Kiri Tekanawa, for instance, who sings with much more of the dark resonance that is Tosca. However, the real catcher is that of Scarpia with Milnes performing. Scarpia actually is a very demanding role, especially for a baritone, a fact not really widely accepted. But Milnes really shines in his role and, I think, makes the most striking impression of the three leads.
Flaws with this production include the relatively poor video quality. Yes, it's true that there are constant white spots that show up on the screen throughout the piece. The final scene also can be a little disappointing. The soldiers do not march in step, although they try to, and this clutter can distract from the ultimate emotional climax that Puccini achieves here. The orchestra also does not play together in the final echo of the flagship theme of the opera, which makes the whole opera come to an unsteady close. These are nevertheless details, and probably wouldn't be noticed the during the first few viewings.
All in all, I would definitely recommend buying this production because overall it very much achieves the quintessential dramatic splendor of Tosca and is thus worth owning your own copy to view over and over again.

Needless to say that the star is Raina Kabaivanska, a beautiful, graceful Tosca, whose soprano is very expressive - a voice that can be glorious and tender as well. She sings high pianissimo beautifully and her trills are brilliant in "Vissi d'arte". In contrast to other's acting, her acting is full of details and subtleties, dramatizing a proud, fiery, and willing-to-die-for-love Tosca wonderfully. Domingo's approach to Cavaradossi is heroic, poetic, and quite attentive. His voice is silvery; he looks virile, although a bit too wide his girth for a young Cavaradossi. "Recondita armonia" is sung with passion and graceful turns. In "E lucevan le stelle" he conveys the farewell to life with deep emotions and climaxes the aria in a wonderful outburst of "E non ho amato mai tanto la vita". Sherrill Milnes sings Scarpia with a powerful baritone, only if he could add some varieties in reflecting the character's human side, other than just evil. Also, did he really need that ugly unnatural-looking nose?
The film was exquisitely made, from the interior of the grand chapel to the crystals on Scarpia's dining table, everything was carefully chosen. Adding the effect of performing on locations where the story actually took place, this surely is an epic production of Tosca.

Great singing, acting, and, especially, beautiful filming, on location. In this "political" opera, that counts. I can't imagine a better version.

Sorry, I'm going to be a dissenter here. Can't add anything to the evaluation of the performance itself, since the other reviewers have said all that needs to be said.
But the work itself is not intrinsically outstanding. Good, but not great. Since I take it that one's rating ought to be of the intrinsic artistic value of the performance, that means that significant weight ought to be placed on the merits of the underlying work.
I place emphasis on this for the following reason: based on the reviews here, I was thinking of purchasing Attila. After all, I reasoned, better buy a great performance of a lesser work than a so-so performance of a central work. Fortunately, I have access to a good college library which has an excellent opera collection. I'm glad I didn't spend my money.
If you have lots of money, and have seen Traviata, Don Giovanni, and Walkure four or five times each, then sure, treat yourself to something different. But if you are new to opera, and are looking for a great introduction to the form, there are plenty of very good to excellent performances of more central works available here. Go for those first.

Ramey makes the whole thing work. His voice and ability to dominate the stage make this production work. Atilla is not a great opera, but when well performed, as it is here, it's enjoyable and impressive.

This one is outstanding performance done by second to none artists. I have been seating breathless from the first up to last sound of this beauty. If you one like me, seek on Verdi, this definitely for you. I rent this DVD from Netflix and kept it for 1 mount but finally decided to get my own.
I highly recommend watch to this one.

I cannot say enough about how excellent (even beyond most of the other great Cirque DVD shows and products that have been released) this DVD is from a video, showmanship and technical aspects viewpoint. However be warned that this DVD recording either on transfer or in original recording suffers from consistent and annoying audio dropout in several places which will clearly reduce your enjoyment potential if you care about the auditory experience. I bought several of these DVDs from Amazon and another online competitor in an attempt to find a consistent soundtrack. All of the DVD's lose serious audio volume (dropouts) in the same places (at least its a consistent problem). I know the problem isn't my player because it happens in the several machines we have tried it on.

However despite this I still will keep the DVD and recommend it because it is such a greatly produced and otherwise enjoyable video. But be forwarned when you hear the sound quality fade. On audio it gets 1 star and on everything else it gets a 5.

Judging from the other reviews, I guess I am alone in saying I didn't like this show all that much; I have all the Cirque DVDs and would rate this below several others in many respects. First, though, I'll say that I loved the DVD from a technical viewpoint. The photography was spectacular and the colors...many times while watching I would just sit back and marvel at the colors, thinking "Wow, is that beautiful!" The sound was also superb, especially in DTS (which I think is definitely superior to Dolby 5.1). The extras were interesting and the mult-angle stuff was well-done. What I really didn't like that much was the show itself. Complaints: too much time devoted to the clowns, whom I didn't find funny; too much emphasis on "drama" and trying to tell a story and not enough circus acts (they shouldn't forget "Cirque" is the first word in their name, which implies circus acts and not acting); and the acts they had were not that good. The juggler and the Icarian games were top-notch and rate with the best, but I too find aerial straps boring (and there were 2 acts like that, by the twins and the girl, and a third that was similar, the 4 girls on the platform), and the rest (balancing, etc.) we've seen before and by more exciting performers. I guess this was just too "artsy" for me; I'd much prefer they get back to presenting the top circus talent in the world, and more of it.

Ever since i saw Allegria live, I have been a huge Cirque fan. I have seen every show expect Mystere and Varekai. I plan on seeing Varekai live when it comes to my city this upcomming summer. I know I may be spoiling the whole thing by buying the DVD but I wanted to see how good it was. I must say that Cirque Du Soleil really did their best work with Varekai. All the acts are amazing. Even the clowns are funny, since they arent wearing lots of clown make-up or have a big red nose. The guy is hilarious.
The acts are the best I have ever seen. In Body Sakting the performers seem to have so much fun.
Icarian Games shows strength, trust and amazing abilities.
Even Cloud caught my attention with the wonderful music.
I own every Cirque CD there is and the music in the DVD is the best of them all.
To finish such a fine show with Russian Swings was the best idea. U can see how much the audience loves every act.
Every act is beyond anything that is amazing. The DVD has such good quality to it, and the extra features are brillent as well.
I advise any Cirque fan to purchase this and go see the show live, believe me it is worth every penny.