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George Dorris
Ballet Review, March 2016

TCHAIKOVSKY, P.I.: Swan Lake (Royal Ballet, 2015) (NTSC) OA1181D
TCHAIKOVSKY, P.I.: Swan Lake (Royal Ballet, 2015) (Blu-ray, HD) OABD7174D

Whatever you think of this production, it was beautifully danced…by a seasoned company. Osipova makes a lovely Odette and a strong Odile, well partnered by Matthew Golding’s technically assured Siegfried and Gary Avis as a malign von Rothbart. The first act pas de trois and third act character dances are all well danced and the corps remains strong.

Boris Gruzin is an experienced hand at this with his fine aorchestra, and the filming is good. © 2016 Ballet Review



Robert Benson
ClassicalCDReview.com, October 2015

There are many DVDs of Tchaikovsky’s Swan Lake, but this latest is very special. It offers Anthony Dowell’s interpretation of the 1895 St. Petersburg premiere and Ivanov, with gorgeous costumes and scenery. All of the dancers are magnificent, and it seems each is striving to encourage all for maximum balletic excitement. Excellent sound, video is extraordinary. This is a great show. Recommended! © 2015 ClassicalCDReview.com




Lewis J. Whittington
ConcertoNet.com, August 2015

TCHAIKOVSKY, P.I.: Swan Lake (Royal Ballet, 2015) (NTSC) OA1181D
TCHAIKOVSKY, P.I.: Swan Lake (Royal Ballet, 2015) (NTSC) OABD7174D

Osipova represents a generation of dancers who have the strength and skills to meet the requirements of both roles. Her adagio pointe work exudes lustrous clarity of movement. She adds mystique to Odile, part avian, and as…always a woman. From every angle Osipova gives a defining performance, from diamond-hard arabesque variations to her impeccable transitional phrasing, technical artistry and dramatic expression.

Concertgoers who are used to a more driving rendition will find the fine orchestral detailing and tempo by conductor Boris Gruzin as lugubrious, yet Gruzin’s pacing deftly frames Osipova’s singular artistry. The performance was directed for the screen by Ross MacGibbon who skillfully captures the immediacy of the individual performances, including well-chosen cutaways to the musicians in The Royal pit. © 2015 ConcertoNet.com Read complete review



David Denton
David's Review Corner, August 2015

TCHAIKOVSKY, P.I.: Swan Lake (Royal Ballet, 2015) (NTSC) OA1181D
TCHAIKOVSKY, P.I.: Swan Lake (Royal Ballet, 2015) (Blu-ray, HD) OABD7174D

Anthony Dowell’s interpretation of Marius Petipa and Lev Ivanov’s original 1895 choreography of Swan Lake in a 2015 performance at the Royal Opera House. It has become an icon of ballet at London’s Covent Garden, its Fabrege-inspired designs invoking the era of Imperial Russia at the time of Tchaikovsky’s composition. The sets and costumes are a feast of colour, with an attention to detail that bewitches the eye. Onto the conductor’s rostrum comes the much experienced, Boris Gruzin, his baton technique so precise and immaculate that it sets the scene for the outstanding orchestral contribution, his tempos obviously tailor-made for each individual dancer, with much panache released in the character dances of the opening and third acts. Maybe the world’s leading principal dancers had achieved the ultimate technical standards decade ago, but it is the subordinates that take today’s performances to new levels of excellence. It is very obvious here, with the massive corps de ballet so perfectly of one accord in their actions, and beautiful to look at. It is also a production that has been given its period feel with a large number of ‘walk on’ parts to create atmosphere. Natalia Osipova in her dual role of the white and black swan is full of limpid beauty, while in Matthew Golding we have a virile and powerful Prince. Yet I guess that most who buy this release will first and foremost be dazzled by the sheer spectacle of the staging that has been perfectly captured by the filming team, and equally by the excellence of sound engineering that comes in stereo or surround mode. © 2015 David’s Review Corner



Tim Pfaff
Bay Area Reporter, July 2015

In every step [Osipova] takes, every move she makes, and every breath she takes there’s a degree of extension, yielding freedom and exaltation in movement itself, allowed very few mortals, and usually no more than one to an age. Many a swan dancer has done that wavy thing with the arms, but when Osipova does it, you could rightly wonder if there are bones in hers. It’s not the illusion of fluidity; it’s fluidity.

Boris Gruzin leads the diligent ROH Orchestra in one of those squarish readings that we’re told dancers need. © 2015 Bay Area Report Read complete review





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