|
In the past I have heard critics of George Balanchine's choreography call it uninteresting and bland, and to some extent I sympathised. So it was with some trepidation that I sat down to watch Opus Arte's DVD of Jewels: Joyaux from the Opéra National de Paris.
I was pleasantly surprised. It is of course very difficult to make something of this title look anything but lovely, but the designers did a good job creating a sparkling and lively effect. Minimalist but stylish modern backgrounds were used in all three ballets, which left room for lavishly sumptuous costumes.
Emeralds featured a backdrop of deep black or velvet, which set off the exquisite outfits designed by Christian Lacroix. The calm blue-emerald green colours that were gradated through the dancers' skirts matched the elegance of Fauré's music. Particularly noteworthy dancing came from Clairemarie Osta in the famous Sicilienne. The corps de ballet also admirably retained a solid yet glamorous and crystalline presence. The male dancing was compact and strong. Yet unfortunately, there often seemed to be little connection or chemistry between the couples, technical prowess notwithstanding.
Rubies featured the same velvety-black backdrop, but with an enormous, swirling, fiery image of a jewel cut into it. The mix of sharpness and angular movement fitted will with Stravinsky's jazzy score, as did the modern bandeaux mini-dresses.
This ballet shows a completely contrasting side to Balanchine's character. Instead of the ethereal mystic elegance of Emeralds, Rubies was sexy and dangerous. The dancers obviously enjoyed performing and it showed on their faces. However, they still adhered to Balanchine's strict formal construction.
The angular preference of Balanchine's really came across in the final ballet of the trilogy, Diamonds by Tchaikovsky. The dancing shows the long, lean, sharp features of the Balanchine-style-dancers. Diamonds focuses on big, highly-structured ensemble tableaux which mimic the nature of the precious stones they emulate.
The problem I have with the set for Diamonds (which was against a vivid blue background), was the unfortunate sculpture hanging above the dancers. Instead of looking like modernist symbolic art (which I'm sure suited the show's ambience in the designer's mind), it actually looks like a giant with a cold passed by and no one was carrying a hanky big enough.
The DVD was also presented with a smart and informative booklet. This included glossy, brightly coloured stills from the performance. Happily the visual stimuli remained dominant over the literary information so that the viewer doesn't get deterred from what should be entertainment.
The DVD did contain, however, an hour long Extra Feature entitled George Balanchine Forever. This was helpfully split into chapters and due to the practicality of DVD layouts, was there to be ignored or perused at the viewer's leisure.
The feature was a mix of information. It included an analysis of Balanchine's style and personality. This allows the viewer to understand the choreographer's choices based on a deeper knowledge of the man himself. The documentary also showed the views of different people who worked on the DVD. These included dancers, choreographers, teachers and costume designers for example. This wide range of talking heads ensures that interest is sustained throughout the feature.
Overall the DVD is entertaining to watch. The dancers bought style and flair to an enjoyable production, whilst retaining the technical precision associated the company.
 | 
more 