Petipa

Le Corsaire - an amazing performance

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 Angel's leaping performance that was originally made famous by Rudolf Nureyev, had me stopping and rewinding repeatedly just to make sure that there weren't wires holding him up from the ceiling.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.

Beautiful dancing, great camera work; superb overall

The Dancing. "Le Corsaire" is a full-length ballet story that centers on a beautiful slave (Medora, danced by Julie Kent) who becomes the object of desire of more than a couple of pirates (principal characters danced by Ethan Stiefel, Angel Corella, Joaquin De Luz and Vladimir Malakhov). It's a theme we're all familiar with (I dare say, perhaps in real life also), so the inbuilt intrigue is enough to keep viewers interested throughout the story. The dancing in this performance (staged in Southern California in 1999) is absolutely awesome from a technical standpoint, and there are many moments that caused me to marvel. Principal dancers Corella, Paloma Herrera and Malakhov put on truly amazing displays of athleticism, balance and fluidity. Same with Julie Kent, who still looks like my ideal ballerina in terms of beauty and grace. Even the corps shines, especially in Act III. I must admit [picky comment] I was a tad underwhelmed by Ethan Stiefel, not because of his dancing, but because he seemed to be miscast: his slight build and boyish looks just didn't convey what I expected from a pirate. This little "flaw" was not enough to detract from the performance.

The Interludes. Prior to each act there is commentary by Artistic Director Kevin McKenzie and interviews (more like sound bites) with dancers and backstage personnel that are supposed to provide insight into what is portrayed as a confusing (I'm not certain why) storyline. Although it's a mildly interesting added dimension to hear the characters speak behind the scenes, much of the cast comes across as a little goofy and/or tongue-tied. I watched the first time; in the future I'll likely skip these parts.

The Visuals. I have to say that this ballet DVD showcases some of the best camera work and editing I've ever experienced for a dance performance. Edits betwen full stage and individual character views are timely and allocated perfectly. Thankfully, the common mistake (seen so often on television these days) of zooming in on a performer's face--while missing the body's attitude and movement--virtually never surfaces on this disc. There are a couple of distracting instances where the conductor's baton flicks into the bottom of the picture, and where some standing audience members obscure the dancers at curtain call time. Still, 99% of the time the camera is looking exactly where my eyes want to go, and that scores big points in watching a great performance like this.