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Andrew Quint
Fanfare, July 2016

[Lanchbery’s] brilliant and colorful orchestration is a delight from beginning to end.

Barry Wordsworth’s leadership in the pit is propulsive and attentive to orchestral detail. …Utterly recommended. © 2016 Fanfare Read complete review



Lawrence Hansen
American Record Guide, May 2016

The entire production maintains Ashton’s idyllic, happy, fantasy vision of country life without coming off as too cute or trivial. …somehow Ashton captured—and the current Royal Ballet production preserves—the happiness of a summer day in a way that few composers except Mozart could do. It’s joyful escapism as much now in 2016 as the original ballet was in 1789…

This production also exemplifies the English style of ballet dancing—grace, poise, and exceptional attention to precision and detail without sacrificing warmth and humanity. © 2016 American Record Guide Read complete review on American Record Guide



Marc Haegeman
Classical Net, March 2016

…wholly respectful and appropriate. The ballet clearly ages well and it’s a delight to see how the company continues to enjoy and illuminate every step and action. Principals Natalia Osipova and Steven McRae are terrific and attractive dancers, relishing Ashton’s technical challenges just as much as the manifold comical situations. Temperamentally and stylistically they come from a different stock, and some scenes look just a tad too studied, but don’t let this spoil your pleasure: this is classical ballet at its most enchanting. Ballet lovers who already own the previous Fille ma gardée needn’t worry, the dancers are so much different one can easily have both. © 2016 Classical Net Read complete review




Christie Grimstad
ConcertoNet.com, January 2016

Barry Wordsworth brings a fine and unobtrusive interpretation from the orchestra pit.

The corps de ballet is a strong entity which supports all principals. The cleverly complex “Maypole Dance” flows while a contingent of poultry adds to the farm antics during the amusing “Dance of the Cock and Hens.” © 2016 ConcertoNet.com Read complete review



Nicholas Sheffo
Fulvue Drive-in, January 2016

…The Royal Ballet in yet another top rate recent production with Natalia Osipova and Steven McRae conducted by Barry Wordsworth and music by Ferdinand Herold. …this can be a bit surreal like a fairy tale book and was often grouped with ballet versions of classics in that genre… © 2016 Fulvue Drive-in Read complete review



David Denton
David's Review Corner, December 2015

Using a patchwork of music from various composers tacked onto Louis Hérold’s original work, John Lanchbery created the endearing score for La fille mal gardee. Prior to the score being compiled, Frederick Ashton had devised a fun-packed ballet set in the countryside and relating to the love of Lise and Colas, the daughter of a rich widowed farmer and a young and handsome farmer. That is blighted by her mother who has promised Lise’s hand to Alain, the soppy young son of a prosperous vineyard owner. All of these events are little more than a basic story that supports a series of dances set in an abundance of colouful costumes and a brightly lit farm yard setting complete with a dancing cock and his hens. The basic idea had been passed down through generations, but this new choreography, first seen in 1960, was an instant success, and it has remained in the Royal Ballet’s repertoire ever since. With Philip Mosley as the harassed mother adding the pantomime comedy, it is then left to Natalia Osipova and Steven McRae to enjoy all of the showpiece solo and duet dances, Osipova’s busy feet are a delight to see. Paul Kay is brilliantly funny as the dimwit Alain, the split-second antics performed with a natural ease. In the orchestra pit is Barry Wordsworth, a conductor that dancers love to have, as his ability to find—and retain in his memory—the right tempos for individual dancers has been well documented. So here we have an immaculately filmed performance from May 2015, placing on disc a great treasure of the British ballet scene, with an orchestra in outstanding form. It is a release you must not miss, and is here reviewed in superb in Blu-ray, but with an alternative in standard DVD on OA 1196D also available. © 2015 David’s Review Corner





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