Le Corsaire / American Ballet Theatre

Rating:
Summary: The ballet was great!!
Review: The ballet was great!!!!!!! I didn't think the plot was that confusing but it may be because I watch the ballet alot and understand it. The dancers including Angel Corella ( Conrad's slave Ali), Joaqun De Luz (Birbanto), Paloma Herrera (Gulnare), Julie Kent (Medora), Vladimir Malakhov (Lankendem) and Ethan Stiefel (Conrad) along with Kevin McKenzie (the artistic director) explan the plot of the ballet so it's not so confusing. The ballet is based on The Corsaire by Lord Byron. It has pirates, a sinking ship, and true love. The costumes and the scenery were beautiful!!!! And the dancing was awesome!!!!!!!!!!!!! I would certainly recommend this dvd. You get a beautiful performance by American Ballet Theatre and some action to go with it.
~Elizabeth

Rating:
Summary: ..."Le Corsaire" is entertaining and populated by the best..
Review: ..:Le Corsaire" is entertaining as well as being populated by many of the finest dancers in America today (25 Feb 2001)... ...this presentation has brief periods of expository material presented by the production staff and dancers before each act... and then a beautifully and fully mounted three act ballet... I would say great family fare...and great for people who love great ballet....Act II contains the material practically owned by R. Nureyev and M. Fonteyn in the 1960's--but here integrated into the whole handsomely and performed with heartstopping fervor by Angel Corella, Julie Kent, and Ethan Steifel. ...for festive occassions...this is a lot more fun than "The Nutcracker" and has more real plot, too.

Rating:
Summary: ABT Shines
Review: ABT Shines in this production, Julie Kent, Ethan Stiefel, Paloma Herrara, Angel Corella, and Vladimer Malakhov are wonderful just as the rest of the cast is. The Pas De Trois in the second act is wonderful as is the rest of the ballet. I would reccomend this video to anyone who enjoys ballet or theatre.

Rating:
Summary: A Semi-Triumph
Review: ABT's "Le Corsaire" "A Semi-Triumph" 4 stars

There are only two complete productions of "Le Corsaire" currently available commercially, and opinions vary in my own household about which version is superior. My sister feels that the 1999 American Ballet Theatre (ABT) production is slightly better, but I prefer the 1989 Kirov version. Unfortunately for ABT, I'm the one in the family who likes writing ballet reviews for Amazon.com. My general attitude about this ABT performance is one of tempered enthusiasm with some objections.

ABT's principal dancers are very impressive technically, there's no doubt about that. There is Julie Kent as Medora, Ethan Stiefel as Conrad, Paloma Herrera as Gulnara, Angel Corella as Ali, and Vladimir Malakhov as Lankedem. I'll concede upfront that they have a slight edge technically--on average--in comparison to their Kirov counterparts (who are Altynai Asylmuratova, Yevgeny Neff, Yelena Pankova, Faroukh Ruzimatov, and Konstantin Zaklinski, respectively). I feel that Yevgeny Neff is the weak link among the Kirov principals, and that gives the nod to ABT technically. As far as the ballerina goes, however, I am not willing to concede that Julie Kent outdanced Altynai Asylmuratova. She didn't, because in my opinion great dancing involves more than just great technique. Despite the commendable technical prowess of the ABT principal dancers, my objections to their dancing are based on the apparent artistic philosophy of the company emphasizing technique and de-emphasizing musicalness.

Therefore, I feel that the more important distinction between these two productions is that the Kirov dancing is much more musical. I invite you to sit back and think for a minute about the libretto: it's about pirates, and the story involves a series of abductions and rescues. Basically, all of the pirates want to get their hands on the beautiful Medora. Now ask yourself, "How do pirates dance"? Do they dance with flair and gusto, or are they mainly concerned about the technical perfection of their steps? Let me use another analogy here to help illustrate this point further. When pirates talk, do they heartily exclaim, "Yo ho ho, matey," or do they prefer a syntactically correct, "Hello, how are you today, sir"? I feel that the ABT dancers seem all too concerned about achieving technical perfection, and they have missed out on the spirit of the music. On one hand, the ABT production is based primarily on the pure classical style of ballet, whereas the Kirov production includes more of a special character and spirit of pirate dance, although it is definitely grounded on classical technique (i.e., danse noble vs. danse de demi-charactere). There's more of a naturalness to Kirov dancing, whereas each individual step and movement in the ABT production seems so obviously and consciously choreographed.

Some people have found the story hard to follow. My Kirov videotape was supposed to have come with a text enclosed inside the clamshell, but it was missing for some reason. Nevertheless, I was able to understand the story without the printed synopsis. Despite the fact that the ABT version has interviews explaining the plot before each act, I actually found it harder to follow. The difference is that the Kirov version has well thought out scene changes within the acts that the ABT version lacks, and this makes the Kirov libretto more cohesive and understandable.

One of the special delights of this ballet is the corps de ballet work in act three called "The Garden of Femininity" (or "Le Jardin Animee" on some excerpt tapes). My sister noted to me one day that the ABT corps work is more precise. That would be true, but some further explanation is necessary. The Kirov corps de ballet in this ballet also includes Vaganova students. You have to ask yourself if the benefit of including the cute, young Vaganova girls outweighs the fact that they haven't yet developed the precision of the experienced Kirov corps de ballet members. In any case, I thought that the Kirov's "Garden of Femininity" had a definite advantage with its intricate pastel lighting and delicate scenery. If you don't have the time to watch the entire ballet, you can always just watch "The Garden of Femininity" as an excerpt. That's a plus, no matter which one of these titles you choose.

I have seen both of the recent ABT videotapes (the other being "American Ballet Theatre Now: Variety and Virtuosity" [1998]), and a special measure of respect is due to the ABT dancers: indeed, they do have wonderful technique, but I wonder if they are going in the right direction by emphasizing technique so heavily at the expense of musicalness. But, in fairness to the dancers, this may actually be the fault of the Artistic Director, Kevin McKenzie, rather than the dancers themselves. In any case, a one star deduction to the overall rating of this title is merited. I know what I value in a performance, and so I've tried to draw some distinctions for you between the two tapes so that you can decide for yourself what is most important. Don't worry though, you can't go all that wrong with either of these videotapes. In short, people who put a heavy emphasis on technique will admire the ABT production, whereas people who value musicalness should stick with the Kirov production. Yo ho ho, matey.

Rating:
Summary: A Semi-Triumph
Review: ABT's "Le Corsaire" "A Semi-Triumph" 4 stars

There are only two complete productions of "Le Corsaire" currently available commercially, and opinions vary in my own household about which version is superior. My sister feels that the 1999 American Ballet Theatre (ABT) production is slightly better, but I prefer the 1989 Kirov version. Unfortunately for ABT, I'm the one in the family who likes writing ballet reviews for Amazon.com. My general attitude about this ABT performance is one of tempered enthusiasm with some objections.

ABT's principal dancers are very impressive technically, there's no doubt about that. There is Julie Kent as Medora, Ethan Stiefel as Conrad, Paloma Herrera as Gulnara, Angel Corella as Ali, and Vladimir Malakhov as Lankedem. I'll concede upfront that they have a slight edge technically--on average--in comparison to their Kirov counterparts (who are Altynai Asylmuratova, Yevgeny Neff, Yelena Pankova, Faroukh Ruzimatov, and Konstantin Zaklinski, respectively). I feel that Yevgeny Neff is the weak link among the Kirov principals, and that gives the nod to ABT technically. As far as the ballerina goes, however, I am not willing to concede that Julie Kent outdanced Altynai Asylmuratova. She didn't, because in my opinion great dancing involves more than just great technique. Despite the commendable technical prowess of the ABT principal dancers, my objections to their dancing are based on the apparent artistic philosophy of the company emphasizing technique and de-emphasizing musicalness.

Therefore, I feel that the more important distinction between these two productions is that the Kirov dancing is much more musical. I invite you to sit back and think for a minute about the libretto: it's about pirates, and the story involves a series of abductions and rescues. Basically, all of the pirates want to get their hands on the beautiful Medora. Now ask yourself, "How do pirates dance"? Do they dance with flair and gusto, or are they mainly concerned about the technical perfection of their steps? Let me use another analogy here to help illustrate this point further. When pirates talk, do they heartily exclaim, "Yo ho ho, matey," or do they prefer a syntactically correct, "Hello, how are you today, sir"? I feel that the ABT dancers seem all too concerned about achieving technical perfection, and they have missed out on the spirit of the music. On one hand, the ABT production is based primarily on the pure classical style of ballet, whereas the Kirov production includes more of a special character and spirit of pirate dance, although it is definitely grounded on classical technique (i.e., danse noble vs. danse de demi-charactere). There's more of a naturalness to Kirov dancing, whereas each individual step and movement in the ABT production seems so obviously and consciously choreographed.

Some people have found the story hard to follow. My Kirov videotape was supposed to have come with a text enclosed inside the clamshell, but it was missing for some reason. Nevertheless, I was able to understand the story without the printed synopsis. Despite the fact that the ABT version has interviews explaining the plot before each act, I actually found it harder to follow. The difference is that the Kirov version has well thought out scene changes within the acts that the ABT version lacks, and this makes the Kirov libretto more cohesive and understandable.

One of the special delights of this ballet is the corps de ballet work in act three called "The Garden of Femininity" (or "Le Jardin Animee" on some excerpt tapes). My sister noted to me one day that the ABT corps work is more precise. That would be true, but some further explanation is necessary. The Kirov corps de ballet in this ballet also includes Vaganova students. You have to ask yourself if the benefit of including the cute, young Vaganova girls outweighs the fact that they haven't yet developed the precision of the experienced Kirov corps de ballet members. In any case, I thought that the Kirov's "Garden of Femininity" had a definite advantage with its intricate pastel lighting and delicate scenery. If you don't have the time to watch the entire ballet, you can always just watch "The Garden of Femininity" as an excerpt. That's a plus, no matter which one of these titles you choose.

I have seen both of the recent ABT videotapes (the other being "American Ballet Theatre Now: Variety and Virtuosity" [1998]), and a special measure of respect is due to the ABT dancers: indeed, they do have wonderful technique, but I wonder if they are going in the right direction by emphasizing technique so heavily at the expense of musicalness. But, in fairness to the dancers, this may actually be the fault of the Artistic Director, Kevin McKenzie, rather than the dancers themselves. In any case, a one star deduction to the overall rating of this title is merited. I know what I value in a performance, and so I've tried to draw some distinctions for you between the two tapes so that you can decide for yourself what is most important. Don't worry though, you can't go all that wrong with either of these videotapes. In short, people who put a heavy emphasis on technique will admire the ABT production, whereas people who value musicalness should stick with the Kirov production. Yo ho ho, matey.

Rating:
Summary: Excellent Dancing
Review: All of the dancers in this ballet represent classic American Ballet Theatre style. Angel Corella, Ethan Stiefel, Joaquin De Luz, and Vladimir Malakhov were all brilliant! Julie Kent's techique and beauty made her the perfect Medora and Paloma Herrera was great, too. I could watch this DVD over and over.

Rating:
Summary: Above and Beyond 5 Stars
Review: American Ballet Theatre has done it again! With out fault they have once again surpassed all expectations with Le Corsaire. The ballet's story line once confusing, is now simplistic. The dancers: Stiefel, Correra, Kent, Herra, and newcomer Murphy have unquestionable talent beyond their years. The choreography is flawless, each step is given to portray the character it represents, not another. The combination of pure talent, and pure choreography equals nothing but the best.

Rating:
Summary: Le Corsaire - an amazing performance
Review: American Ballet Theatre's DVD of its 1999 performance of "Le Corsaire" at the Orange County Arts Center is both technically brilliant and beautiful. It is based on the classic story "The Corsair" (1814) by Lord Byron. A somewhat confusing tale that centers on the beautiful slave girl Medora, performed majestically by Julie Kent, who has been sold to a jovial Pasha, portrayed by Michael Owen. Unfortunately her heart belongs to the swashbuckling pirate Conrad, danced by the charismatic Ethan Stiefel. Conrad eventually steals her away form the Pasha, and after a tragic ship crash, ends up stranded with her on a deserted island.

This performance was filmed with multiple cameras that provide just the right balance of wide stage shots and character driven close-ups. The cinematography is just right. Nothing fancy, no special effects, just the proper angles and framing that let the story be told without distracting from it.

The artistic director Kevin McKenzie did a wonderful job bringing this classic tale to life. The set design was grand in scale and magnificent in detail. Vibrant colors and textures helped to convey the proper mood for this pirate love story. The costuming and wardrobe added to the already colorful presentation. The score of several different composers, performed by the Pacific Symphony Orchestra, conducted by Ermanno Florio, was lyrical and rhythmic, providing the perfect musical foundation for this tale.

Yet beyond all the set design, lighting, and costumes, it was really all about the dancing. Julie Kent (Medora) is the embodiment of style and grace. She is technically accurate and beautiful to watch. But it is Paloma Herrera's performance as the other slave girl (Guinare) that stole my heart. Paloma seems to have an unearthly sense of balance, as if gravity doesn't apply to her. She is able to stay up on pointe for what seems like an impossible amount of time. Her feet are so unnaturally flexible it makes me wonder if they aren't made out of rubber, or perhaps she is missing some bones. Paloma also seems to take more risks with her dancing as opposed to the safer performance of Julie Kent. The two of them provided the perfect compliment as the objects of desire for the leading men. Even though Ethan Stiefel did a splendid job as Conrad, it was his slave, portrayed by Angel Corella that really defines Le Corsaire as a ballet not to miss. Angel's leaping performance that was originally made famous by Rudolf Nureyev, had me stopping and rewinding repeatedly just to make sure that there weren't wires holding him up from the ceiling. He has more hang time than Michael Jordan. He is like a tornado on the stage, explosive and dangerous. His performance alone makes this DVD worth the asking price. Vladimir Malakhov (Lankendem) does a leaping routine were he lands in such an impossible and precarious way, that he must have Orthopedic surgeons salivating at the thought that this guy is going to blow his knees out. Yet somehow he makes it look so easy and natural, even though everyday mortals would be hard pressed to replicate.

American Ballet Theatre's Le Corsair is a joy to watch. With such outstanding performances, and great cinematography, this is one DVD you will keep coming back to it again and again.

Rating:
Summary: Le Corsaire - an amazing performance
Review: American Ballet Theatre's DVD of its 1999 performance of "Le Corsaire" at the Orange County Arts Center is both technically brilliant and beautiful. It is based on the classic story "The Corsair" (1814) by Lord Byron. A somewhat confusing tale that centers on the beautiful slave girl Medora, performed majestically by Julie Kent, who has been sold to a jovial Pasha, portrayed by Michael Owen. Unfortunately her heart belongs to the swashbuckling pirate Conrad, danced by the charismatic Ethan Stiefel. Conrad eventually steals her away form the Pasha, and after a tragic ship crash, ends up stranded with her on a deserted island.

This performance was filmed with multiple cameras that provide just the right balance of wide stage shots and character driven close-ups. The cinematography is just right. Nothing fancy, no special effects, just the proper angles and framing that let the story be told without distracting from it.

The artistic director Kevin McKenzie did a wonderful job bringing this classic tale to life. The set design was grand in scale and magnificent in detail. Vibrant colors and textures helped to convey the proper mood for this pirate love story. The costuming and wardrobe added to the already colorful presentation. The score of several different composers, performed by the Pacific Symphony Orchestra, conducted by Ermanno Florio, was lyrical and rhythmic, providing the perfect musical foundation for this tale.

Yet beyond all the set design, lighting, and costumes, it was really all about the dancing. Julie Kent (Medora) is the embodiment of style and grace. She is technically accurate and beautiful to watch. But it is Paloma Herrera's performance as the other slave girl (Guinare) that stole my heart. Paloma seems to have an unearthly sense of balance, as if gravity doesn't apply to her. She is able to stay up on pointe for what seems like an impossible amount of time. Her feet are so unnaturally flexible it makes me wonder if they aren't made out of rubber, or perhaps she is missing some bones. Paloma also seems to take more risks with her dancing as opposed to the safer performance of Julie Kent. The two of them provided the perfect compliment as the objects of desire for the leading men. Even though Ethan Stiefel did a splendid job as Conrad, it was his slave, portrayed by Angel Corella that really defines Le Corsaire as a ballet not to miss. Angel's leaping performance that was originally made famous by Rudolf Nureyev, had me stopping and rewinding repeatedly just to make sure that there weren't wires holding him up from the ceiling. He has more hang time than Michael Jordan. He is like a tornado on the stage, explosive and dangerous. His performance alone makes this DVD worth the asking price. Vladimir Malakhov (Lankendem) does a leaping routine were he lands in such an impossible and precarious way, that he must have Orthopedic surgeons salivating at the thought that this guy is going to blow his knees out. Yet somehow he makes it look so easy and natural, even though everyday mortals would be hard pressed to replicate.

American Ballet Theatre's Le Corsair is a joy to watch. With such outstanding performances, and great cinematography, this is one DVD you will keep coming back to it again and again.

Rating:
Summary: the bomb!
Review: don't miss the second act where the famous pas de trois happens. it was the best performance of that particular dance i have ever seen. the rest of the dancing was spectacular of course. the only thing was that i thought paloma herrera should have had the lead role. she was much better than julie kent. overall, this version of le corsaire was just delightful!