THE PARIS OPERA BALLET.
Palace Cinema, Canberra, March 14,15,16,19.
Reviewed by Bill Stephens
Because of his huge renown as an outstanding dancer, it is often overlooked that Rudolf Nureyev was also a very fine choreographer with a passion for preserving the great ballet masterpieces. Throughout his career he staged productions of many ballet classics for ballet companies around the world, including “Don Quixote” for the Australian Ballet.
In 1989 he
staged a production of “La Belle au Bois Dormant” for the Paris Opera Ballet
which is featured in the current series of filmed opera and ballet performances
being screened at the Palace Cinema in Canberra.
This
performance was filmed at the Palais Garnier on December 16th and at
that performance the role of Princess Aurora was danced by Myriam Ould Braham.
Her Prince Desire was Mathias Heymann.
 |
| Myriam Ould Braham - Matthias Heymann |
As you would
expect, both were beautifully cast. Ould Braham looked every inch the serious faced
16 year old, nervous at having to select a partner from the four suitors on
offer at the ball arranged by her parents, then radiant when she meets the
prince of her dreams on awakening from a century-long nap - the inspiration for
the ballet is the Charles Perrault tale but Walt Disney has made the story
pretty famous too. Ould Braham is a wonderful dancer with beautiful extensions
and a great line, superbly displayed by Nureyev’s choreography.
Mathias
Heymann also looks and acts the perfect Prince Desire. Tall, dark and handsome,
he is an accomplished, thoughtful partner as well as a virtuosic dancer. Their grand pas de deux which climaxes the
ballet is quite simply thrilling.
 |
| Myriam Ould Braham - Matthias Heymann |
The many
huge ensemble dances are superbly executed as are the soloist’s smaller
ensemble dances and specialty pas de deux.
Nureyev has
based his production on the original production staged at the Marinsky Theatre
in St. Petersburg which was choreographed by Marius Petipa to Tchaikovsky’s ravishing
score. He has used as much of Petipa’s original choreography as he could
remember, which he has modified and expanded, to meet his particular conception
of the piece. The result is an eye-popping extravaganza which provides an
almost overwhelming feast for both the eyes and ears.
The lavish sets
and costumes are the work of Ezio Frigerio and Francesca Squarciapino and they
look quite marvellous on the massive stage of the Palais Garnier.
The high
definition film print is remarkably clear, and the sound throughout was
magnificent. It was just a little disappointing and disconcerting therefore
when the operator at this particular showing turned on the house lights before
the film had ended, washing away some of the magic.
One now looks forward to comparing the Royal Ballet's version of this same ballet which screens at the Palace Cinemas on April 18,19,20 and 23.