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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

Ralph V Lucano
American Record Guide, January 2016

…[Natalia Osipova’s] an extraordinary technician, ripping off the notorious fouetté turns in Act 3 with ease and moving so lightly, in general, that you can easily believe her a swan. When Matthew Golding, her tall, strapping prince, lifts her against a dark background, you would think she was actually floating on air, especially when she’s in Odette’s white costume. …The score is played (very well, and in superb sound) pretty much complete. …Anyone who wants a picturesque, traditional Swan Lake to live with need look no further. © 2016 American Record Guide Read complete review on American Record Guide

Marc Haegeman
Classical Net, October 2015

…[disc] wins on all fronts—contrast, dynamic range, color definition, detail, and sound fidelity. The barely lit lakeside scenes look absolutely stunning. Costumes reveal a marvel of detail.

The sound mix…is very impressive—warm, natural, detailed and with a very powerful basses.© 2015 Classical Net Read complete review

Lewis J. Whittington, 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 Read complete review

Lawrence D. Devoe, MD, August 2015

Boris Gruzin leads the Orchestra of the Royal Opera in a sensitive, well-paced reading of this lush, romantic score. Christopher Carr’s staging and Yolanda Sonnabend’s elaborate sets place the ballet during Tchaikovsky’s own era rather than that of its original medieval setting. The corps of the Royal Ballet is among the finest in the world and the performances by the supporting dancers are simply superb. Swan Lake sinks or swims on its two principals and Osipova and Golding are a well-matched pair who deliver spectacular turns on the stage, as evidenced by their pas de deux in track 33.

[A] Swan Lake for ballet lovers to own. Given the loud cheering by the audience present, I could not agree more. Highly recommended. © 2015 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

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