Rating: 
Summary: 5 Stars Nonetheless
Review: 4 Stars? Well, when Margot Fonteyn danced, every single motion or gesture of hers was a poem of utmost beauty and she herself was the embodiment of supreme elegance. In view of the duration of her part here, she herself alone deserves 7 stars! Nureyev himself also deserves 6 stars as a dancer: there is hardly anyone either from Kirov or any other place who could seriously challenge him. The rest, especially by today's standard, are all 5 star ballerinas, and there are masses of them here. For most ballet music, the composers tailor made their music to the requirements of the choreography. Tsaichovsky was an exception, his musical imagination was given a free hand: the original choreographist accommodated him and changed some of his part in accordance with his music. That partly explains why Tsaichovsky's Swan Lake or Sleeping Beauty was such great music outshinging any other ballet music. Anyway, music and choreography in ballet should go either hand in hand or as glove befitting hand. Here lies the main drawback of this DVD: the choreography doesn't tie in well with the music and was often at odd with it! Nureyev, however great a dancer he was, didn't have good ears for music, it could also be seen from the conductor of the accompanying orchestra he preferred (?) whose treatment of Swan Lake is so out of line. Nureyev introduced some new and novel elements in his choreography, notably the use of properties, say the roses, the bow and arrow, and the large clothes representing waves on the stage that at last engulfed the prince. He also mobilized masses of ballerinas to create various shapes, making them as scented as flowers. Even when they are only some simple geometric matrixes, they are equally spectacular especially when seen from a height. The stage settings are great, the costumes too and there are numerous of them. Of course, viewers must bear in mind that however brilliant the photography was, it was filmed in 1968 after all. Furthermore, there are at times some makeshifts, however brief that may be, they are quite prosaic or even static: Nureyev was by then not as matured a choreographist as he later was, as could be seen from his "Sleeping Beauty with Ballet De L'opera De Paris".
Rating:
Summary: Margot Fonteyn is Wonderful!
Review: I take ballet 5 times a week, and I decided it would influence my dancing, if I watched other ballerinas dance in other ballets. I looked all over amazon.com, and finally I decided, who could influence me more than the enchanting Margot Fonteyn dancing Swan Lake? I bought the DVD, and I love it! Fonteyn is amazing. Simply put, this is the most inspiring ballet I have ever seen, and it has greatly changed my dancing for the better, and has set my goal to strive to perfect my dancing as Margot Fonteyn had!
Rating:
Summary: Be Observant!
Review: Many people have seen the ballet of Swan Lake performed. Most people who do are not quite sure what the story is behind the expressive music and dance. Even more people have only heard the music. This delightful book makes the ballet and music more accessible for children and reflects a loving feeling for dance. If you have a young ballet dancer or ballerina (or aspiring ones), this book will be treasured by her or him. You will undoubtedly inspire their continued interest in ballet and classical music as a result. Researchers constantly find that reading to children is valuable in a variety of ways, not least of which are instilling a love of reading and improved reading skills. With better parent-child bonding from reading, your child will also be more emotionally secure and able to relate better to others. Intellectual performance will expand as well. Spending time together watching television fails as a substitute. To help other parents apply this advice, as a parent of four I consulted an expert, our youngest child, and asked her to share with me her favorite books that were read to her as a young child. Swan Lake was one of her picks. From quite a young age, our daughter loved the ballet and would watch it on television or on videos. She studied ballet, but found that it was too difficult for her to do well. But she has retained her love of the art, and will be a devoted fan for life. The great strength of this book is that it simplifies a complex story down into a small child's version. A two or three year old can enjoy it, and a four year old will be riveted by this book. The romantic ten year old will still be charmed. A great part of the appeal comes from the water colors done by the author (who was a ballerina), which give a dream-like quality to the story. These are bright enough to attract a young child, and subtle enough to lend an appropriate mood of the story. The range of emotion is very well expressed in the scenes of nature. You should be aware that the ending has been made into a happy one. I think that was a good decision for a children's book. It reminds me of the line from "Never on Sunday" where the Greek tragedies were described as comedies because everyone came to life at the end and appeared on stage for a bow. The actual story of Swan Lake would create many nightmares for young children. So I approve of the adjustment here. They can graduate to the more adult version when they are older. The story emphasizes Siegfried's lack of caution at the ball when he mistakes the counterfeit appearance of Odile (induced by a magic spell by her sorcerer father, Von Rothbart) for his promised, Odette. That is a wonderful lesson for children in the importance of paying attention to detail. I suggest two activities with your child after reading this book. One would be to play the music or watch a video of the ballet. The other would be to talk about places where it makes sense to look carefully . . . such as before crossing the street. Check things out carefully to get the most out of life!
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: 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: 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: Nureyev's Swan Lake A Quantum Jete
Review: This version of Swan Lake, staged by Nureyev for the Vienna State Opera Ballet in 1964, was an historic and artistic blockbuster. In contrast to Balanchine's view that "ballet is woman" Nureyev focused on the male dancer's role and in showcasing his own talents arrived at a breakthrough in emphasis on the male dancer in ballet. Makarova's 1988 version derived from Petipa and Ashton, and mounted for the London Festival Ballet, offers the standard Prince who poses, prances, and rarely dances, and is such a pathetic fellow that one cannot imagine dying for him. Nureyev complained, "The Prince sits on his ass for thirty-five minutes and then has to walk," (instead of dance). Discerning a deeply sinister mood in Tchaikovsky's music Nureyev added psychological depth to Swan Lake by introducing an unhappy ending in which Seigfried drowns in his struggle to be reunited with Odette. The Prince's obsession with the Queen Of Swans, the ideal woman, destroys him. Thus the emphasis of the drama is on Seigfried rather than Odette, and for him to be seen as a tragic figure rather than a mere pawn demanded the first rate character portrayal that Nureyev brought to his dancing. Totally recasting the brooding passive Seigfried into an active character Nureyev introduced the Prince into the first act birthday entertainment normally danced by two girls and a boy. Nureyev recast this for two girls, two boys, and himself, dancing with them separately, together, and with energetic outgoing solos for himself. Having described the Prince as "an unusual man ready for unusual things to happen to him" he inserted the Danse Du Prince before the Coda, an unheard of solo for himself conveying Seigfried's sense of romantic anticipation and pursuit of the ideal. In the second act lakeside scene with the swans Odette's charms are usually displayed for Seigfried by his hunting companion, Bonno. Nureyev dispensed with Bonno entirely and took all the steps for himself. The result is a perfect bonding between the Prince and Odette. His coupling with Fonteyn was sublime, and in a ballet traditionally reserved for the display of the ballerina's technique the inspiration that he brought to his role created a synergism of ever more dramatic expression between them. Nureyev left act three essentially unchanged since the danser's role is so prominent although he added steps as bravura as Odile's including a series of whipping turns to match her famous 32 fouettes. Fonteyn's Odile was more sweetly flirtatious than coldly dazzling and cunning. In Makarova's version Evelynn Hart very effectively projected the pride, arrogancce, and disdain underneath Odile's seductiveness. For act four Nureyev created an elegiac pas de deux following his frantic discovery of Odette. It is one of the most beautiful dances of the ballet, perfectly conveying the poignancy of the coming separation. The conventional happy ending with Prince Seigfried and Odette reunited in death is incomprehensible at the end of the ballet unless one has read the narrative. Nureyev's unhappy ending seems more in keeping with the action and Tchaikovsky's musical mood of storm swept tragedy, abandoned romanticism, and brooding melancholy. At first Fonteyn was so upset with Nureyev's changes that he ended up kicking her out of a rehearsal, but they soon reconciled and went on as if nothing had happened. Over the orchestra's strong objections Nureyev insisted that the tempi be slowed so he could bring out the nuances of emotion he was seeking. His version of Swan Lake was a smashing success with the public. At the last performance of the premier in Vienna he and Fonteyn received 89 curtain calls, the most ever taken. In this film of the ballet restrained camerawork and intelligent editing have defined the essential choreography and dramatic effects. The camera angles and close-ups capture rather than destroy the patterns and enchainments as is so often the case when "creative film-making" makes a hash of the choreography. As other reviewers have noted this DVD may not be entirely up the technically achievable standard but it is so far superior to anything available on VHS, and brings such clarity and presence to the performance, that its few flaws can be forgiven. Nureyev's Swan Lake belongs in every ballet lover's collection, and it is fervently to be hoped that this DVD is but the first in an avalanche of these great ballets on perfect DVD's.
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