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The
Best of the Bolshoi Ballet
Boris ASAFIEV (1884-1949) Dance of the Tartars (from The Fountain of Bakhchisaray)
(1934) [2:37] Piotr Il’yich TCHAIKOVSKY (1840-1893) Spanish Dance (from Swan Lake) (1877)
[1:53] Sergei RACHMANINOV (1873-1943) Spring Waters (from the song, op.14) (1896)
[2:08] Mikhail GLINKA (1804-1857) Polonaise and Cracovienne (from A Life for
the Tsar) (1836) [5:24] Charles GOUNOD (1818-1893) Walpurgisnacht (from Faust) (1859) [17:16] Camille SAINT-SAËNS (1835-1921) The Dying Swan (from The Carnival of the Animals)
(1886) [3:48] Adolphe ADAM (1803-1856) Giselle – ballet in two acts (1844) [58:57]
Choreography by Leonid Lavrovsky
Galina
Ulanova … Giselle
Nikolai Fadeyechev … Albrecht
Taisia Monakhova … Berthe
Alexander Radunsky … The Duke of Courland
Irina Makedonskaya … Bathilde
Vladimir Levashev … Hilarion
Rimma Karelskaya … Myrtha
Bolshoi Theatre Ballet
Orchestra of the Royal Opera House, Covent Garden and
Bournemouth Symphony Orchestra/Yuri Faier (Rachmaninov,
Glinka, Gounod, Saint-Saëns and Adam) and Gennady Rozhdestvensky
(Asafiev and Tchaikovsky)
rec. live performance, Royal Opera House, Covent Garden,
London, 1956 DEUTSCHE
GRAMMOPHON 0734425 [100:00]
This is a remarkable DVD that restores
to wide circulation a 1957 cinema film that recorded
the Bolshoi Ballet’s first ever visit to London. There
is, let me say right at the beginning, some utterly amazing
and quite unmissable material here and any lover of dance – and
any ballet history buff - will want to see it. More of
that later …
Almost as mind-boggling as the Bolshoi
company’s artistry, though - and, indeed, the first point
brought to your attention in the opening credits - is
the claim that the film is in itself artistically
groundbreaking. In an introduction notable for both sheer
hyperbole and slipshod punctuation, we are informed that
it was “directed by Paul Czinner in his special method
and technique … The methods by which this performance
has been filmed, originated with Paul Czinner. He elaborated
and applied the technique by means of which outstanding
stage productions can be caught and preserved for the
enjoyment of wider audiences today and as a record for
posterity.”
So, what was Mr Czinner’s amazing “technique”?
I presume that there really was one as a certain
Alfred Travers is, indeed, listed in the credits as “Director
of Technique”. But I cannot, for the life of me, see
what it might have been. We have here a perfectly decently
filmed series of divertissements followed by a complete
performance of Adam’s Giselle. But there are no
innovative camera angles or any other out of the ordinary
filmmaking techniques that might be described as “special”.
Wait a minute, though … Doesn’t the cover sticker boast
that the film was Oscar nominated? Well, yes it was – but
it turns out to have been in the Scoring of a Musical
Picture category. And it didn’t even win that - the accolade
went instead to André Previn for Gigi.
The only conclusion I can draw, given that
DG’s booklet notes tell us nothing on the subject, is
that, if Paul Czinner did indeed have a particular “special
technique” that allowed him to record “outstanding stage
productions”, it must have been the production of his
cheque book.
With my opening gripe out of the way, let’s
consider the dancing. This historically important film
record leaves no doubt at all that the huge acclaim garnered
by the Bolshoi company on its 1956 tour was entirely
justified.
Taking the shorter divertissements first
of all, contemporary audiences were immediately stunned,
in particular, by the powerful virility and sheer élan
of the male dancers for, as Noël Goodwin’s booklet notes
point out, that was something not seen on London stages
since the time of Diaghilev’s Ballets Russes more
than thirty years before. That characteristically immense
energy and enthusiasm is immediately apparent in the
opening Dance of the Tartars from Asafiev’s The
Fountain of Bakhchisaray (an abridged performance
of which, featuring not only Galina Ulanova but also
Maya Plisetskaya, is available on VAI DVD 4263). It reappears
in a more controlled fashion in the hugely enjoyable
Glinka Polonaise and Cracovienne and then, once
again, with appropriately wild abandon in Gounod’s depiction
of Walpurgisnacht.
None of this is to say, of course, that
the Bolshoi’s women are not up to the same standard.
Indeed, they make a superb job of portraying Gounod’s
will-o’-the-wisps, evil spirits, witches and goblins
with vivid characterisation and immense flair. They tend,
however, to make an even stronger impact as individual
soloists. Lyudmila Bogomolova is virtuosic, fresh, unaffected
and utterly delightful in Rachmaninov’s Spring Waters (billed
in the film as Spring Water), while her colleagues
in Tchaikovsky’s Spanish Dance – S. Zvyagina and
A. Nersesova – make it look as if their spines are made
of endlessly flexible rubber. Galina Ulanova is, it goes
without saying, nonpareil in her depiction of
Saint-Saëns’s ubiquitous bird. Her performance is utterly
tender and moving, with some gestures in the final death
throes so affecting and “real” that you feel that there
is really no other way that an in extremis swan should die.
The main focus is on Ulanova again in the
abridged but well-staged performance of Giselle that
takes up well over half the running time of this disc.
Critic Arnold Haskell described her as “remote in a world
of her own - which we are privileged to penetrate. She
is so completely identified with the character she impersonates
that nothing outside exists". Meanwhile, another
famous interpreter of the role of Giselle, Margot Fonteyn,
observed: “I
cannot even begin to talk about Ulanova’s dancing, it
is so marvelous. I am left speechless. It is magic”.
Those two quotations neatly suggest the unique combination
of genuinely convincing acting and immaculate technique
that made Ulanova so special. Both qualities, thankfully,
are well displayed in this filmed performance. The
Bolshoi’s prima ballerina assoluta of her day
creates truthful and touching portrayals, whether of
a young, innocent country girl in the first flush of
romantic love, a callously betrayed victim driven to
insanity and death, or, in Act 2, the otherworldly lost
soul who still fights to protect the lover who caused
her death. Ably supported by Nikolai Fadeyechev (his
character Anglicised to “Albert” and bearing an uncanny
resemblance to 1950s TV star Richard Greene in Robin
Hood) and by a very well drilled corps of vengeful
water sprites, Ulanova’s performance retains its unique
and compelling power after more than fifty years.
You will gather that I was very impressed
by the content of this DVD. There are, though, a few
negative points worth recording, most of which are probably
related to the original material’s age (and possibly
its poor state of preservation?)
Firstly, the colours can look quite odd
at times, especially in the opening divertissements where
facial hues, for instance, are sometimes completely lost
in a sort of golden wash. In these days when it is a
straightforward job to bring up colours in dull photographs
on a home computer, I am surprised that nothing could
be done about that. Secondly, there is some rather odd
ambient sound at times, as if an engineer has superimposed
a track of a chattering audience over the performance.
Unless Royal Opera House patrons in the 1950s were much
worse behaved than today, such a blatant case of lèse
majesté (the
Queen was apparently present for Giselle) sounds more than a little unlikely. My
third warning is of a few odd but tiny glitches in the
sound (the opening of the second scene and the very end
of the last act of Giselle) and also in picture
(just a few moments into that second scene), both apparently
on the original material. Finally, the DG documentation
is uncharacteristically sparse and, while good on the
company and dancers, tells us nothing about the making
of the film. Two orchestras are listed – but we are not
told which one was used for what. I assume that the Royal
Opera House orchestra played for Giselle, but
did the Bournemouth band do so for the divertissements?
Were the latter even filmed on the Covent Garden premises
or, indeed, on the same occasion? I suspect that DG have
simply bought the rights to the old movie and placed
it on DVD: many thanks for that, but perhaps they could
have just done a little research to help put the whole
thing into better context, as well as, perhaps, engaging
in some technical restoration work on the print.
I suppose, though, that one ought just
to be grateful to be able to watch this historic film
at all. And for that, I guess that we really ought to
thank Mr Paul Czinner who, whatever the nature of his “special
method and technique”, certainly succeeded well in his
stated aim of ensuring that this amazing spectacle was “caught
and preserved for the enjoyment of wider audiences today
and as a record for posterity”.
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