Rating: 
Summary: Historically important, but a very unorthodox, uneven film
Review: Rudolf Nureyev and Margot Fonteyn. No other ballet partnership is as legendary -- the fiery Russian defector and the graceful, aging English ballerina formed a bond on and off the stage that for several years practically defined romantic ballet. Thus, for this very reason, hardcore balletomanes should get this dvd. Many of us (including me) were too young to have seen Nureyev and Fonteyn live, so these videos are the only example to dissect the legendary partnership.
However, caveat emptor: this is NOT a "typical" Swan Lake by any means. You can argue that there is no "typical" Swan Lake -- the original production in 1877 was a failure. Some of the music went missing. After Tchaikovksy's death, the choreographers Marius Petipa and Lev Ivanov restaged Swan Lake, and that version more or less is the Swan Lake audiences know today. There's lots of music, so most versions of Swan Lake
use the "traditional" pieces.
Nevertheless, there are some different traditions of Swan Lake. In the Russian productions, the outcome is usually "happy" -- Rothbart is killed, and Siegfried and Odette are alive. In the productions used "everywhere else," Odette and Siegfried leap into the lake, and are reunited in the otherworld. I prefer the second ending personally, because I think it better matches both the story (the happy ending was enforced by the Tsar, and seems tacked on), and the music as well.
Rudolf Nureyev's 1966 film, however, is unlike any other Swan Lake I've ever seen. First of all, from the opening closeup (of Siegfried in blue eyeshadow and red lipstick) you realize this film is not going to follow Balanchine (and classical ballet's) creed of "ballet is woman." The first act is redesigned to incorporate a lot of solos and dance opportunities for Siegfried (Nureyev). The first act usually ends with Siegfried picking up his bow and arrow and going hunting with Benno. In this film, there is a long elegiac solo for Siegfried (using music that's usually used in act 2).
Nureyev even dares to tinker with the famous Act II choreography by Lev Ivanov. In the famous Odette/Siegfried Adagio, the melody is not repeated with the cello -- instead, there's another solo for Siegfried. Margot Fonteyn was born in 1919 so it's possible that the emphasis on Nureyev is due to Fonteyn's technical limitations at the time. And one notices that Fonteyn, as graceful and lovely as she is, is at times unable to cope with the famously demanding Odette/Odile role. For instance, Odette's solo in Act II usually ends with a series of turns and then Odette stands on pointe and holds a balance before going into the wings. Fonteyn doesn't attempt
the feat, but ends the series of turns in first position -- flat on her feet. Fonteyn by modern standards also lacks the athleticism, bonelessness (her arms always look like arms, not wings), flamboyance, and flexibility, that one usually associates with this role.
Act III's music choreography is pretty standard, but the musical arrangements (and choreography) for the Black Swan Pas de deux are radically different. Fonteyn actually churns out the fouettes, confirming something I've long suspected: that everyone looks at the fouettes, but Odette/Odile's real challenges are the balances, footwork, and leaps, and this is where you can see Fonteyn suffer.
Strangely, Act IV (the act that is usually cut to shreds) is the most intact. And it's the best-danced act: it;s the reconciliation scene between Odette and Siegfried that one can catch glimmers of the genuine bond that existed between these dancers. Elsewhere, the technical limitations of Fonteyn by this time and Nureyev's reworking of Swan Lake as a solo showpiece for Siegfried distracted me from simply enjoying their partnership. I particularly loved when Siegfried runs all over the stage, turning up the head of each swan, to find his Odette, and when he finally finds Margot's head, it's a truly beautiful moment. The ending of Nureyev's version follows the original Swan Lake, and not the "usual" endings of the Swan Boat to heaven.
On a technical level, there are problems. The ballet was filmed on a soundstage, and seems way too small to fit a whole cpmpany corps. As a result, the dancers often look haplessly cramped and as if they'll bump into each other. The close bunching also detracted from the natural geometric shapes that are so much a
part of classical ballet. The Vienna State Ballet also looks woefully underreheased. Either that or they're just bad. Their legs are terribly uneven in arabesques, their arms are a mess, and they simply look like a corps that hasnt danced Swan Lake enough. The sets are also deliberately artificial and the costuming, espeically for Nureyev and in the "color" acts, is garish. Rothbart (Redbeard here) is a non-dancing role, unlike in most productions when he's a smooth pimp-type in Act III.
For a traditional Swan Lake with a more modern Odette/Odile, I'd suggest the Makarova/Dowell dvd with the Royal Ballet. Makarova was 41 at the time of filming, but her long extensions, boneless arms, exquisite balances, and still impressive technique make her Odette/Odile much more appealing to modern tastes. This Swan Lake is of great historical value,
and Fonteyn is undeniably lovely, but overall I admit I wanted a more traditional Swan Lake, and I certainly wouldnt recommend this dvd as anyone's first Swan Lake. Its just too unorthodox.
Rating: 
Summary: Historically Important
Review: The ballet duo of Rudolf Nureyev and Margot Fonteyn is something of a legend, and I'm pleased that a film was made of one of their performances and that it's available on DVD. The production is traditional and sumptuous. A voice-over narrates the story. I'm not well informed about the particulars of ballet and dance, but it seems to be a fine performance. Nureyev looks to have had special tights made to accentuate his behind; it's hilariously prominent. The film is old and rather faded, but its appearance suits the overall atmosphere and the ebbing memories of that time. The DVD, by the way, has no extra materials, but nevertheless I highly recommend it.
Rating:
Summary: What about Margot?
Review: There were a lot of closeups of Nureyev. obviously he played a big part in the production of this video. Margot Fonteyn just kinda disappeared into the background. Their dancing was impeccable nonetheless. The corps was lamentable, and the orchestra was utterly disappointing. Nureyev's hoggishness evident in all the focus that was put upon his performance was discouraging as well. But Margot's dancing in this particular performance was worthy of all the praise she has received in her career and after. Her performance is what really saved this dvd from being considered a flop. For Margot, 4 stars.
Rating:
Summary: Great Nureyev Vehicle
Review: This filmed performance was styled by Nureyev, who choreographed and danced this performance - retaining and only mildly revising the traditional "white acts" choreography of Ivanovich/Petipa. Nureyev's aim was to give a lot more dancing and character to Prince Siegfried. Apart from his outrageously over-the-top makeup, Nureyev's realization of the Prince was, in addition to being the perfection of perfection, profoundly moving - the Prince can act! But there's more. Margot Fonteyn was one of the greatest ballerinas ever. In 1961, when Nureyev famously leapt to the West, a partnership began that many have described as miraculous. Fonteyn's age was fairly transparent here. Certainly the technique maintained a high level of purity and style. Even though the roll was trimmed to accomadate the tolls of sin (Fonteyn was 47 when this was filmed!) and she probably was even more breathtaking at her peak, this performance will not dissapoint anyone but a moron. Sadly, the corps here is remarkably weak and the orchestra [disappointing]. This is why it lost a star from me. Because the corps is so vital to this ballet, and Tchaikovsky's music so fine, you'll probably want another Swan Lake if you can only have one. The Kirov is probably the one, also on DVD. But if you're a [fan]for heart-melting beauty, you'll have to get it for Nureyev. Contrary to what many reviewers experienced, I found this DVD to be surprisingly fresh and clear. I couldn't actually believe that it was 1966 when it was recorded. I had to double-check the notes. In fact, after seeing it once, I was certain that I had been mistaken. This looks like something from the 80s at least. But it's not.
Rating: 
Summary: Magnificent choriography and an unrivalled production
Review: This great masterpiece by Tchaikovsky in this particular rendition exploits all the advanced technology of DVD. You have to view it on a state of the art 60 inch TV set with at least sterio sound, if nor surround sound. THis is a classic. Nureyev is simply gorgeous and amazing.
Rating:
Summary: Great Performance, DVD reproduction needs work.
Review: This is definitely a great performance and should be in every ballet lover's collection while we patiently await the day it can be restored and digitally remastered. Maybe someone else that knows could comment, but my guess is that the master for this was a video, since there are dust marks on the credits screens but not seen anywhere in the performance. To the credit of those making the recording, it also appears that a special stage performance was made for the benefit of the recording, since it was appropriately lit for cameras and shot from multiple cameras with competent choices of camera angles, close-ups, pans and wide shots. Although I share his enthusiasm for this performance, I have to disagree with Mr. Crotty's overstatement that this release "exploits all the advanced technology of DVD. The September 1999 viewer from Texas is completely accurate in his comments about the visual and audio flaws. The next version should address these flaws and do a restoration to remove the videotape scan line artefacts. It should have full DTS stereo digitally remastered from an original professional audio tape and not the videotape's audio track. The quality would then be up to the minimum level that customers expect from DVDs. Even considering basic DVD capabilities, there is little to complement since almost none are used other than chapter indexing of all scenes. This is decent, with 39 points in the ballet that can be selected. But unlike Kultur's other excellent Nureyev DVD of Romeo and Juliet, there are no annotations of any kind- no biographies or story synopsis except that which is embedded in the film itself rather than on a DVD screen or subtitle. At bare minimum, the synopsis for each act should be translated into the major European languages as well as (judging from Amazon's statement of its popularity in Taiwan) non European languages such as Chinese. Besides the bare bones features in Romeo and Juliet, a ballet commentary as a separate audio track would be especially welcome. These sorts of things are common on great films by Hitchcock or Bergman and could be done cheaply. Either of these features would enrich the experience of audiences who are interested in gathering a fuller appreciation of this art form, and would pay the producers back since it would extend their market into larger audiences. Additional Credits (copied from back of box): Ballet members of the Wiener Staatsopernballett, Music performed by Wiener Symphoniker conducted by John Lanchbery. Directed by Truck Branss and Art Direction Ton Friesen, with all choreography by Nureyev.
Rating:
Summary: Missing meaning
Review: This retelling of the famous story of Swan Lake is a simplified version intended for younger children. Unfortunately, this simplification does a disservice to one of the main themes of this story. The ending is altered in a way that loses the idea of the prince being willing to sacrifice all, even his life, for his love. Even young children can recognize the princes's dilemma and appreciate what it means to sacrifice something important. This is a moral we would do well to leave in stories, not take out in the retelling. I also cannot leave without mentioning that although I have read many cudos for this author's watercolor illustrations, I have to say that I simply don't like them. Perhaps watercolor just isn't my medium.
Rating:
Summary: A Mixed Review
Review: This Rudolf Nureyev production of "Swan Lake" was first staged for the Vienna State Opera Ballet in 1964. It was made into a film in 1967, and it is now available on video. On page 225 of the biography "Perpetual Motion: The Public and Private Lives of Rudolf Nureyev" (New York: Simon and Schuster, 1995), Otis Stuart describes this Nureyev production as "dense, psychologically complicated" and also as "unilaterally despised by the local critics and public." Generally speaking, I like Nureyev's dancing. I really enjoy Nureyev and Margot Fonteyn together in The Royal Ballet's "Romeo and Juliet" (1966). Nureyev's character came off very credible to me. In Nureyev's private life, I'm aware that he lived an alternate lifestyle. That would not be my choice, but it does not necessarily preclude me from enjoying a ballet that he dances in. Nevertheless, I have trouble in seeing the value behind Nureyev's outrageously effeminate portrayal of Prince Siegfried in this production. I suspect that might be a big part of why this performance did not achieve critical and public acclaim in the sixties. There is, however, some merit to be found in Nureyev's choreography. Many of the swan formations are interesting. There is some good detail in the dancing when Prince Siegfried first meets Odette. When Odile does her famous 32 fouttes in Act III, the camera changes angles a couple of times to give you different views. I've learned not to take things like that for granted, as I've seen other quality productions who will just stay with the one view for the entire time. A libretto is provided, in case you do not already know the story. The video run time is 112 minutes, whereas a Kirov production is 144 minutes long. That means that Nureyev had to edit out some of the lessor known dances. Nureyev did not like the Joker in the Kirov version, because he felt it was not in keeping with the overall character of the ballet. So, he edited it out along with Prince Siegfried's friend Benno. He also changed the name of the evil sorcerer from von Rotbart to Redbeard. The ballet music was written by Peter Ilyich Tchaikovsky. The score is beautiful, but the performance by the Vienna Symphony Orchestra is mediocre compared to other performances I've seen by the Leningrad Philharmonic Orchestra and the New York City Ballet Orchestra. Also, it is important to consider the fact that this was recorded in 1967. The recording technology back then is not what it is today. I am afraid that many people will buy this video because of the name attraction of Fonteyn and Nureyev. Quite frankly, I think that they are making a mistake, especially if this is to be the only "Swan Lake" in their collection. If you desire to own all of the available "Swan Lake" editions, then by all means buy this one. But, remember that Dame Margot Fonteyn was born in 1919, and her technical skills in 1967 are not up to par with today's dancers. Furthermore, there are a number of dances that are not done by the principal dancers, and the Vienna corps is simply not all that great. For instance, during the dance of the four Cygnets, you can see that their heads are not in sync. I invite a comparison with The Kirov Ballet. One good thing about this production is that the ending is more true to the actual story than a typical Kirov version. This is because the Tsar did not allow for certain types of endings in his theater. The Soviets also maintained that tradition. Nureyev was known to have despised the Kirov ending, and therefore he discarded it. His ending is also quite theatrical and involves stage props. That might not sit well with some purist types. Also, the sorcerer Redbeard is primarily an actor. He doesn't even wear ballet slippers because he doesn't dance. He just goes around appearing menacing and stirring up the swans and casting spells and such. By comparison, the Kirov version features a dancing von Rotbart. The actual name of the sorcerer, and whether he is theatrical or not, doesn't matter all that much to me. But, you can make your own decisions as to what you value in a performance, so I'm just letting you know. Out of the five "Swan Lake" versions that I have seen (to date), my favorite is a Peter Martins after George Balanchine after Petipa & Ivanov production from the "Live From Lincoln Center" public television series. It features innovative choreography, great dancing and an absolutely stunning ending! Peter Martin's production is my idea of a five-star "Swan Lake." Unfortunately, it is not available commercially. As an alternative, I recommend the Kirov "Swan Lake" production (ASIN 6304185529 by Kultur Video) as a reasonable, quality substitute that can be purchased through Amazon.com. In any case, please be sure to fully research the other "Swan Lake" productions available to you before buying this one. You might be disappointed by this one. I was.
Rating:
Summary: A Mixed Review
Review: This Rudolf Nureyev production of "Swan Lake" was first staged for the Vienna State Opera Ballet in 1964. It was made into a film in 1967, and it is now available on video. On page 225 of the biography "Perpetual Motion: The Public and Private Lives of Rudolf Nureyev" (New York: Simon and Schuster, 1995), Otis Stuart describes this Nureyev production as "dense, psychologically complicated" and also as "unilaterally despised by the local critics and public." Generally speaking, I like Nureyev's dancing. I really enjoy Nureyev and Margot Fonteyn together in The Royal Ballet's "Romeo and Juliet" (1966). Nureyev's character came off very credible to me. In Nureyev's private life, I'm aware that he lived an alternate lifestyle. That would not be my choice, but it does not necessarily preclude me from enjoying a ballet that he dances in. Nevertheless, I have trouble in seeing the value behind Nureyev's outrageously effeminate portrayal of Prince Siegfried in this production. I suspect that might be a big part of why this performance did not achieve critical and public acclaim in the sixties. There is, however, some merit to be found in Nureyev's choreography. Many of the swan formations are interesting. There is some good detail in the dancing when Prince Siegfried first meets Odette. When Odile does her famous 32 fouttes in Act III, the camera changes angles a couple of times to give you different views. I've learned not to take things like that for granted, as I've seen other quality productions who will just stay with the one view for the entire time. A libretto is provided, in case you do not already know the story. The video run time is 112 minutes, whereas a Kirov production is 144 minutes long. That means that Nureyev had to edit out some of the lessor known dances. Nureyev did not like the Joker in the Kirov version, because he felt it was not in keeping with the overall character of the ballet. So, he edited it out along with Prince Siegfried's friend Benno. He also changed the name of the evil sorcerer from von Rotbart to Redbeard. The ballet music was written by Peter Ilyich Tchaikovsky. The score is beautiful, but the performance by the Vienna Symphony Orchestra is mediocre compared to other performances I've seen by the Leningrad Philharmonic Orchestra and the New York City Ballet Orchestra. Also, it is important to consider the fact that this was recorded in 1967. The recording technology back then is not what it is today. I am afraid that many people will buy this video because of the name attraction of Fonteyn and Nureyev. Quite frankly, I think that they are making a mistake, especially if this is to be the only "Swan Lake" in their collection. If you desire to own all of the available "Swan Lake" editions, then by all means buy this one. But, remember that Dame Margot Fonteyn was born in 1919, and her technical skills in 1967 are not up to par with today's dancers. Furthermore, there are a number of dances that are not done by the principal dancers, and the Vienna corps is simply not all that great. For instance, during the dance of the four Cygnets, you can see that their heads are not in sync. I invite a comparison with The Kirov Ballet. One good thing about this production is that the ending is more true to the actual story than a typical Kirov version. This is because the Tsar did not allow for certain types of endings in his theater. The Soviets also maintained that tradition. Nureyev was known to have despised the Kirov ending, and therefore he discarded it. His ending is also quite theatrical and involves stage props. That might not sit well with some purist types. Also, the sorcerer Redbeard is primarily an actor. He doesn't even wear ballet slippers because he doesn't dance. He just goes around appearing menacing and stirring up the swans and casting spells and such. By comparison, the Kirov version features a dancing von Rotbart. The actual name of the sorcerer, and whether he is theatrical or not, doesn't matter all that much to me. But, you can make your own decisions as to what you value in a performance, so I'm just letting you know. Out of the five "Swan Lake" versions that I have seen (to date), my favorite is a Peter Martins after George Balanchine after Petipa & Ivanov production from the "Live From Lincoln Center" public television series. It features innovative choreography, great dancing and an absolutely stunning ending! Peter Martin's production is my idea of a five-star "Swan Lake." Unfortunately, it is not available commercially. As an alternative, I recommend the Kirov "Swan Lake" production (ASIN 6304185529 by Kultur Video) as a reasonable, quality substitute that can be purchased through Amazon.com. In any case, please be sure to fully research the other "Swan Lake" productions available to you before buying this one. You might be disappointed by this one. I was.
Rating:
Summary: A Mixed Review
Review: This Rudolf Nureyev production of "Swan Lake" was first staged for the Vienna State Opera Ballet in 1964. It was made into a film in 1967, and it is now available on video. On page 225 of the biography "Perpetual Motion: The Public and Private Lives of Rudolf Nureyev" (New York: Simon and Schuster, 1995), Otis Stuart describes this Nureyev production as "dense, psychologically complicated" and also as "unilaterally despised by the local critics and public." Generally speaking, I like Nureyev's dancing. I really enjoy Nureyev and Margot Fonteyn together in The Royal Ballet's "Romeo and Juliet" (1966). Nureyev's character came off very credible to me. In Nureyev's private life, I'm aware that he lived an alternate lifestyle. That would not be my choice, but it does not necessarily preclude me from enjoying a ballet that he dances in. Nevertheless, I have trouble in seeing the value behind Nureyev's outrageously effeminate portrayal of Prince Siegfried in this production. I suspect that might be a big part of why this performance did not achieve critical and public acclaim in the sixties. There is, however, some merit to be found in Nureyev's choreography. Many of the swan formations are interesting. There is some good detail in the dancing when Prince Siegfried first meets Odette. When Odile does her famous 32 fouttes in Act III, the camera changes angles a couple of times to give you different views. I've learned not to take things like that for granted, as I've seen other quality productions who will just stay with the one view for the entire time. A libretto is provided, in case you do not already know the story. The video run time is 112 minutes, whereas a Kirov production is 144 minutes long. That means that Nureyev had to edit out some of the lessor known dances. Nureyev did not like the Joker in the Kirov version, because he felt it was not in keeping with the overall character of the ballet. So, he edited it out along with Prince Siegfried's friend Benno. He also changed the name of the evil sorcerer from von Rotbart to Redbeard. The ballet music was written by Peter Ilyich Tchaikovsky. The score is beautiful, but the performance by the Vienna Symphony Orchestra is mediocre compared to other performances I've seen by the Leningrad Philharmonic Orchestra and the New York City Ballet Orchestra. Also, it is important to consider the fact that this was recorded in 1967. The recording technology back then is not what it is today. I am afraid that many people will buy this video because of the name attraction of Fonteyn and Nureyev. Quite frankly, I think that they are making a mistake, especially if this is to be the only "Swan Lake" in their collection. If you desire to own all of the available "Swan Lake" editions, then by all means buy this one. But, remember that Dame Margot Fonteyn was born in 1919, and her technical skills in 1967 are not up to par with today's dancers. Furthermore, there are a number of dances that are not done by the principal dancers, and the Vienna corps is simply not all that great. For instance, during the dance of the four Cygnets, you can see that their heads are not in sync. I invite a comparison with The Kirov Ballet. One good thing about this production is that the ending is more true to the actual story than a typical Kirov version. This is because the Tsar did not allow for certain types of endings in his theater. The Soviets also maintained that tradition. Nureyev was known to have despised the Kirov ending, and therefore he discarded it. His ending is also quite theatrical and involves stage props. That might not sit well with some purist types. Also, the sorcerer Redbeard is primarily an actor. He doesn't even wear ballet slippers because he doesn't dance. He just goes around appearing menacing and stirring up the swans and casting spells and such. By comparison, the Kirov version features a dancing von Rotbart. The actual name of the sorcerer, and whether he is theatrical or not, doesn't matter all that much to me. But, you can make your own decisions as to what you value in a performance, so I'm just letting you know. Out of the five "Swan Lake" versions that I have seen (to date), my favorite is a Peter Martins after George Balanchine after Petipa & Ivanov production from the "Live From Lincoln Center" public television series. It features innovative choreography, great dancing and an absolutely stunning ending! Peter Martin's production is my idea of a five-star "Swan Lake." Unfortunately, it is not available commercially. As an alternative, I recommend the Kirov "Swan Lake" production (ASIN 6304185529 by Kultur Video) as a reasonable, quality substitute that can be purchased through Amazon.com. In any case, please be sure to fully research the other "Swan Lake" productions available to you before buying this one. You might be disappointed by this one. I was.
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