The Nutcracker/ Cojocaru, Dowell, Royal Ballet | Anthony Dowell, Alina Cojocaru

The Nutcracker/ Cojocaru, Dowell, Royal Ballet | Anthony Dowell, Alina Cojocaru | great ballet!

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The Nutcracker/ Co...

	The Nutcracker/ Cojocaru, Dowell, Royal Ballet Anthony Dowell, Alina Cojocaru BBC / Opus Arte, 2001 average customer review:based on 5 reviews view larger image
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highly recommended

Yet Another Nutcracker-Oh Why Not?!

I agree with some of the assesments made by reviewer Ivy Lin, above, however, I disagree with others. This production of the beloved Christmas classic by the Royal Ballet does indeed incline more to the older Russian than the later Balanchine interpretation, which is more familiar to American audiences. I happen to prefer the former. I also agree with Ms. Lin that the dancing of Alina Cojocaru is one of the chief pleasures of this very traditional and pleasing production, which is everything a Nutcracker ought to be, including the obligatory boring turns by parental figures in Victorian clothes and tiresome little boys. Cojocaru is particularly gorgeous to watch once she takes off the little-girl dress and earmuff hair-do at the end of the first act, and gets to really, REALLY dance. Cojocaru's technique IS beautiful. Yes, she is all long etheral limbs, big jumps, arched back, beautiful feet, and expressive hands. Curiously, and here is where I disagree with Ms. Lin, Cojocaru shares another trademark that sometimes accompanies all those wonderful characteristics of Russian-school training (Cojocaru is Romanian): a bit too much awareness of just how appealing those extravagant extensions, that back-arching, and those gamboling, coltish limbs are. In fact, all that coltish, ethereal, arched-back, long-limbed gamboling got to be a bit tiresome for me at some point, especially as Anthony Dowell, attuned no doubt to the wishes of his audience vis-a-vis his new star, allowed Peter Wright, the choerographer, to insert Cojocaru into every single place in the choreography that he possibly could, including places where Clara traditionally doesn't dance: the dance of the Snowflakes, the Chinese Dance, the Russian Dance, the Waltz of the Flowers, etc. I'm sure the soloists in those pieces were just THRILLED to find their brief moments in the spotlight dimmed by the omnipresence of Cojocaru, whether she belonged there or not. I found myself muttering, "Enough already!" There WERE other dancers worth watching on stage, notably the chief Rose Fairy, Zenaida Yanofsky, in Wright's verision of the Waltz of the Flowers. A tall, elegant dancer with beautiful legs, a huge jump, and outstanding technique, Yanofsky was a great pleasure to watch - I would have preferred to watch her go on dancing rather than to see her coyly bringing Cojocaru back to center stage. By the end of the Waltz of the Flowers, it was, in my opinion, rather a pleasure to turn from the adorable, ethereal,coltish, gamboling Cojocaru to the more regal dancing of Miyako Yoshida, the Sugar Plum Fairy. In response to Ms. Lin's criticisms, it certainly wasn't Ms. Yoshida's fault that the tall Darcey Bussell pulled out and the short Ms. Yoshida was called upon to substitute for her, and dance with the very tall Jonathan Cope. Both are compleat professionals: they did their jobs and did them well. Yoshida IS a bit too short for truly great line, but she nevertheless turned in a lovely performance, with beautiful phrasing and great security, and her solo in the big pas de deux was faultless. For me, far from being a painful contrast to Cojocaru, Yoshida's more womanly presence was just as pleasurable to watch; there is room in the world for accomplished dancers who are not ethereal, long-limbed, back-arching, gamboling, coltish wonders (whose style would have been inappropriate as Sugar Plum Fairy, anyway). Ivan Putrov, the Nutcracker and Clara's dream prince, is worth st least as much attention as Cojocaru. He was wonderful: his technique blended power and elegance, with high jumps, crisp turns, and gorgeous legs. He was a sympathetic dramatic presence and a fine partner. As one expects from the Royal, all the set pieces were well-danced and expertly mimed. As for Anthony Dowell's cape-waving as Herr Drosselmeyer, really, it's "Nutcracker" and Drosselmeyer - what do you really expect in the way of character development?! The sets are beautiful, as are the costumes, the Christmas angels, the special effects, and all the soloists. This is just what a Nutcracker should be. I enjoyed it immensely and rewatch it at least twice each Christmas season.

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great ballet!

I love this DVD! I have loved The Nutcracker story since I was a kid, and was pleased with how this story unfolded. Despite other reviews, I did not find that Drosselmeyer waved his cape around too much, I thought that it fit his role, and without it he would have been lacking something. I also thought that the Sugar Plum Fairy and her prince went together well, and showed a lot of chemistry. I thought that they each fit their roles wonderfully! I have already watched this ballet several times, and my two daughters (ages 5&2) have even sat and watched a good portion of it with me. I am very pleased with my purchase.

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Beautiful and Enchanting Nutcracker

This is one of my favorite versions of the Nutcracker. Unlike the opinion of the previous reviewer, I was totally enchanted with Miyako Yoshida as the Sugar Plum Fairy. She is my favorite in this role and is simply breathtaking. She gives this role more grace and life than many who have danced this role. The set and costumes are lovely and, in the usual style of the Royal Ballet, the overall performance is superb!

Enchanting Cojocaru, earthbound Yoshida

This Royal Ballet production of "The Nutcracker" (staged by Peter Wright) is a mix of the "Balanchine" and "Vainonen" schools of the Nutcracker. The Balanchine version of the Nutcracker emphasizes the child's fantasy -- a land of sweets, with comic relief. The Vainonen Nutcracker emphasizes the romantic dreams of an adolescent. The Russian-influenced Nutcrackers veer towards the Vainonen school, while in the U.S. Balanchine-based Nutcrackers are the norm.
The Royal Ballet attempts to have it both ways. Clara in this case is an adolescent girl, played by an adult ballerina. The storyline is that Herr Drosselmeyer once had a nephew, Hans-Peter, who was transformed into a Nutcracker. It is this Nutcracker who is transformed into Clara's Prince, and the Prince and Clara go off to the Kingdom of the Sweets, where the Sugar Plum Fairy reigns supreme. At the end of the ballet, Drosselmeyer's nephew is transformed back into a boy, and all ends happily.
There is one chief reason to get this ballet: the remarkable Alina Cojocaru. She's now the Royal Ballet's prima ballerina. See her here, and you'll see why her career has been raves and more raves. For such a tiny, girlish-looking ballerina, Cojocaru has a huge stage presence. She seems to float through the air as if pushed by a cloud. She was trained in Kiev and has the Russian imprints: huge, beautiful grand jetes, beautiful arms, highly arched back. Ivan Putrov is her Prince, and he also is excellent. In the second act, Clara (Cojocaru) gets to dance in some of the divertissements, and I was overjoyed, if only to see Cojocaru dance.
Unfortunately, the rest of the cast is not as strong. Miyako Yoshida, the Sugar Plum Fairy, was a sub for Darcey Bussell, and she's not at all well-paired with the very tall Jonathan Cope. Yoshida is the opposite of Cojocaru -- a very earthbound dancer. She's solid, but unremarkable. Her rather square frame is a painful contrast to the ethereal, long-limbed Cojocaru. Anthony Dowell is Herr Drosselmeyer, and he's way too fond of waving his cape around. He seems to think this is character development. It's not.
The production overall is very handsome, although the wigs that the corps have to wear are as usual unattractive. (Are there ever attractive wigs in ballet?) The dvd comes with a bonus of a backstage look at the growing Christmas tree.

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Es un clásico muy bonito.

La version es antigua, pero es muy bonita, el vestuario, los bailes, las variaciones. La disfrutamos mucho.

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