For me, THE Swan lake, lucky enough to have seen it live on stage here back then, also with the irreplaceable wonderful Beatrice Knop later, my favorite ballerina ever ...thank you, thank you, thank you dear Astrid, for uploading here, I return regularly :), to watch ...Bettina Thiel as the queen, Thorsten Haendler as Rotbart ...wonderful acting ...and the white act at the end, have no words, also, Steffi Scherzer, at 42 here ...still her marvellous buttery soft foot work ...all in all, I LOVE it and no, not to forget the great orchestra under Barenboim ...what a delight it is, to watch AND listen ...
Loved this production! Very interesting twists, such as the Freudian mother/son relationship. The Queen Mother/Rothbart pas de deux was wonderful. Thank you so much for uploading it. 👏
Whatever one might think of the production - its interpretation of the highly interpretatble story - this is a superlative example of ballet and of musical theatre. I don't want to labour details. However, I will just point out that the last act uses exactly the music as it was first published - with all the interpretative implications that go with that. And this performance of that music is superlative - paced in a way that lets the music do the dramatic work, as only it and Tchaikovsky can. Thanks for posting!
Thanks Astrid. I wanted to see this version. Costume, music, casting were great. Some of those Act 3 tempos must have been hard to dance to (Spanish, Italian especially). Liked some of the twists in this story line, especially the Queen. This was a very good production!!
If you like this version of the ballet, then you haven't seen the version at the Mariinsky Theater or the Bolshoi. This option is the embodiment of bad taste. I can imagine how Plisetskaya would laugh if she saw this outrage.
This has to be the weirdest Swan Lake I've ever seen. The best performance was from the orchestra and I kinda missed the part where Odette and Sigfried fall in love and actually dance... Interesting interpretation I'll give it that.
Since some people wondered about the interpretation, here is what Berliner Staatsoper wrote (2013; translated and slightly shortened) The queen lives alone with her son Siegfried and projects her desires on him. The omnipresence of his mother keeps Siegfried in a golden cage of dependence. Also Benno, his old friend, is afraid of loosing their friendship, as in fact his affection to Siegfried exceeds ordinary friendship. [After Siegfried meeting Odette] Benno and the queen realise his incipient love and fear to loose their respective loved one, they and prime minister Rotbart come up with a nasty plan. A ball is organised in Siegfried honour, during which Odile, Rotbart's daughter and Odette's look-alike, will play a key role. First, the queen herself tries to awaken Siegfrieds jealousy by dancing with Rotbart. Next, the other princesses try to tempt Siegfried with individual dances. But he seems to only have eyes for Odile, in whom he seems to recognise Odette. At the end, he is moved by the queen and Rotbart to swear an oath of eternal fidelity. Suddenly Odette appears in the background. Siegfried recognises his error. He pines for Odette but is laughed at by the queen and Rotbart. In despair, he runs to the lake, where he asks Odette's forgiveness. Rotbart turns up and Siegfried realises that he is behind Odette's transformation into a swan and also took part in his mother's intrigue. They have a fight and Siegfried kills Rotbart. Then Siegfried realises that he not only betrayed his true love but also became a murderer. The only way out of his failed existence is death, which he finds by drowning himself in the lake. The queen is left behind, alone.
2:12:30 I can't find this scene no. 27 anywhere. Most performances are incomplete. This version seems to stick to the original story, it receives great point for that alone.
NO ENTIENDO ESTA VERSION..ROTBAHRT TRAE A TODSLAS CHICAS PARA PRESENTARLE AL PRINCIPE QUE PARECE MEDIO TONTIN Y EL ROMANCE QUE VE DE SU MADFE Y ROTHBART...NO LO ENTIENDO..HABLAN DE UN AMOR MUY GRANDE DE LA MADRE POR EL HIJO ????
Who could me explain, why Rothbart appears in the first act, why he is giving a rifle to Siegfried? The third act, why does Rothbart act like he is an owner of the castle meeting guests? It seems like Rothbart arranged the Siegfried and Odette's meeting, that i found illogical... Very strange like to this version for some Chopin ;)
someone actually explained this. Basically this version is a reference to Freud's Oeudipus complex. You can see his ideal Odette is actually his mother. So it could be represented as this: Rothbart was a powerful politician who wanted to take the throne, so he tried to befriended or even seduced the prince's mother - you know, like that happened alot in history. But because of the prince's Oeudipus complex, he was jealous. Rothbart took this as the prince's weakness and tried to manipulate the poor prince into paranoia, so that he could kill the prince or at the very least, make people think he was insane so that he could take the throne. At the very end, the prince was tricked to think the devil is real but it was just Rothbart's disguise to make the prince scared so he could be easily attacked. Rothbart was failed because the prince was too scared and accidently killed him.
I likedbit it is fery similar for costumes, atmosphere of the last production of ROH with Nunez and Muntagirov, here we have the maestro Barenboim.A great happiness 🎶🎵👏🙏🙌
hmmm well intersting point of you regarding the end ...1 ) not the one from 1877 ( they both got drown and die ) 2 ) not the one from 1895 apotheosis ( they meet in heaven ) but not even a later one 3 ) they live on earth after they break the spell ..
I have very mixed feelings about this production. Like Lucy Osborne I thought the best performance was from the orchestra, Of the dancers, I thought that Siegfried was uninspiring, but that may heave been the fault of the rather over-elaborate production. The other dancers, especially the queen and the female corps de ballet were very good. I frankly did not understand the production, and I do not think the PRODUCER/choreographer. deserved a standing ovation. The production was a bit too long. in the two colourful court scenes (parts one and three) there was extra music which i had never heard before! (Were these extra bits by Tschaikovsky? They did stick out like sore thumbs!)
Musical direction sounds perfect. But lacks emotional intelligence. Dance direction is fresh, superb. Really brings out character. Weakness of Siegfried, seduction of both Rothbart and Odile, Queen and her black feather fan, desirability of Odette. Most interesting, balanced, measured, production. Though missed backdrops and some lighting in classic scenes. Is stage a little too small? Do professional artists have emotions left after doing this every night in a run? Thanks for upload.
Как драматично, как трогательно.... Он бросился в волны, он не хотел жить клятвопреступником. Образ злого гения хорош., черная луна,затмение .... Инт речная интерпретация. Но русскую невесту надо было в русском костюме представить, а не дворянском начала 20 века . Но пока не улавливаю все смыслы ... Что значит последняя сцена?
Вы считаете, что невеста из России должна приехать на бал в немецкий замок в сарафане и в лаптях?))) Вы с чего решили, что так должно быть? Невеста дворянка, если приглашена в замок, а не крепостная крестьянка из деревни. Судя по этому либретто и костюмам, действие происходит в 19 веке и при чём тут национальный костюм? У нас в России на балах кто-то одевался в сарафан?
@@Верея-ь9ш Вы искусствовед?😄 Кроме лаптей другой обуви не знаете? При чём тут крестьянка из деревни? Вы совсем не смыслите в понятии исторического костюма? Так не позорьтесь убогими представлениями. Да, представьте, именно в истор. нац. костюмах и был устроен бал при дворе последнего императора. И вообще, императрицы носили элементы исторического костюма. Впрочем, зачем мне Вас просвещать - сами поинтересуйтесь темой. Вы ещё и и в либретто не разбираетесь, в канве повествования😄. Здесь выбор невест из разных стран, так что костюм не только уместен, но и желателен.
Ну, что сказать? 1 ошибка (и очень грубая на мой взгляд), это "тяжёлые" костюмы! И если у дам платья это ещё куда ни шло, кавалеры в костюмах это полное ни комильфо! Балет, если они дают имеено балет, а ничто-то иное, это язык тела, движения, жеста, постановщики и балетмейстер взял и заковал все тела в грубые и толстые тряпки (костюмы)! Поэтому музыку слышно, а полноту танца не видно. Балетмейстеру и худруку минус! Ребята это ни драмтеатр и даже ни оперетта, это БАЛЕТ, где главный инструмент и язык художника это тела артистов балета! 2 ошибка - одеяние принцев резко диссонирует с громоздкой одеждой кордебалета. 3 танцуют слабенько, хореография так себе, "тряпки" мешают, засыпаю постоянно. 4 танец с кубками это какая-то породия на танец! 5 тональность скрипичного соло немцы понизили! Приветствую! Правильное решение дирижора, а то у нас она в ЛО пищит страшно, раздрожает даже! Типа, Одетта пискля страшная, "истиричка"! Но хореография слабая, динамика танца тоже слабая, все как варёные. 6 балет часто подменяется пантомимой получается не балет. а "каша"! 7 танец МЛ какой-то раскардаш! 8 такое впечатление, что Одетта приняла снотворное и борется постоянно со сном, носок не тянет, руки в крайних положениях не фиксирует, всё как-то у неё болтается, в музыку попадает не свегда ... печальненько! 9 русский танец естественно полность извратили...и танцует его "чертяка" - Ротбар! Ну, кто же ещё может танцевать русский танец? Только нечистая сила! 10 танцы невест однообразны и очень утомительны. 11 Одилия просто "душка", мякиш какой-то, ни коварства. ни злого очарования, ничего, "душка" ... 12 Одилия еле, еле дотонцевала свою партию. 13 Странный конец! Принц взял и так легко задушил "зло", а потом бросился со скалы и разбился, а Одетта-то куда делась, кому она стала принадлежать если "зло" задушено", тут прибежала мать - принцесса и начала причетать - типа, для чего же я тебя рОстила? Полный логический коллапс! Вообщем Одетточка куда-то смоталась, Одилия расстворилась, "зло" задушено напрочь принцем, принц после уничтожения "зла"покончил жизнь самоубийством, принцесса - мать сошла с ума. Лихо!
Каких только постановок не увидишь? Лучше классической постановки Петипа ,Иванова или Григоровича нет ничего. И танец русской невесты у нас ясен и понятен, а у немцев партнёр непонятно зачем.
So those costumes in the first scenes really confined the dancers' bodies and they were not able to execute really beautiful movement. Who thought this up, its terrible. once the corp were in their swan costumes now the production progressed but that was a long wait. Sometimes another version is not good. And they really needed a better Siegfried, too weak looking. Do not mess with my Swan Lake, Petipa knew what he was doing.
the choreo was LACKING, THE PRINCIPAL DANCERS DID NOT MAKE GOOD FIRST IMPRESSION, the first pas de deux was so lacking in intensity, the music screams for the dancers to soar, terrible. Great orchestra. i wonder who thought of the version, it was so stale in the beginning., just no magical moments
@@pedinurse1 It's choreography of Patrice Bart, a French former dancer and now choreographer, you can look him up in Moscow Ballet Competition in 1969.
@@pedinurse1 again, what's 'wrong' with you, the dancing is better than in most recent russion productions, Steffi Scherzer is fantastic, even at 42 here, the whole corps de ballet is simply incomparable, excellent ...I won't go on ...useless ...
@@tilmans3850 Agree totally. The dancing was just superb and I've watched countless different productions and companies. This was a wonderful production and the dancing was, as you say, excellent! The PDD at 1:28.37 was fantastic! Edit: The violinist for that PDD was wonderful!
2Kuula Jumal mõistab kohut õiglaselt 1 Seepärast, oh kohut mõistev inimene, ole sa kes tahes: sa ei saa ennast vabandada, sest milles sa teise üle kohut mõistad, selles mõistad sa süüdi iseenese! Sina, kes sa mõistad kohut, teed ju sedasama! 2 Ent me teame, et Jumal mõistab tõtt mööda kohut nende üle, kes niisuguseid asju teevad. 3 Sina aga, oh inimene, kes sa kohut mõistad nende üle, kes niisuguseid asju teevad, ja teed ise sedasama - kas sa arvad, et pääsed Jumala kohtuotsusest? 4 Või suhtud sa üleolevalt tema helduse ja sallivuse ja pika meele rohkusesse ega saa aru, et Jumala heldus tahab sind juhtida meelt parandama? 5 Sa talletad endale viha oma kanguse ja pöördumata südamega Jumala viha ja õiglase kohtumõistmise ilmumise päevaks, 6 kes tasub igaühele tema tegude järgi: 7 igavest elu küll neile, kes püsiva heategemise kaudu taotlevad kirkust ja au ja kadumatust, 8 ent viha ja raevu neile, kes on isemeelsed ja tõele sõnakuulmatud, aga kuulekad ülekohtule. 9 Ahistus ja kitsikus tuleb igale inimhingele, kes teeb kurja, juudile esmalt ja siis kreeklasele, 10 aga kirkus, au ja rahu igaühele, kes teeb head, juudile esmalt ja siis kreeklasele. 11 Sest Jumala juures pole erapoolikust. 12 Kes teevad pattu Seaduseta, need ka hukkuvad Seaduseta, kes teevad pattu Seaduse all, neile mõistetakse kohut Seaduse järgi. 13 Jumala ees ei ole ju õiged Seaduse kuuljad, vaid Seaduse täitjad, kes mõistetakse õigeks. 14 Kui paganad, kellel ei ole Moosese Seadust, ometi loomu poolest täidavad Seaduse sätteid, siis ilma Seaduseta olles on nad ise enesele seaduseks, 15 näidates seega, et seadusepärane tegutsemine on kirjutatud nende südamesse; ühtlasi tõendavad seda ka nende südametunnistus ja nende mõtted, mis järgemööda kas süüdistavad või vabandavad neid. 16 Nii see ilmneb päeval, mil minu evangeeliumi järgi Jumal Jeesuse Kristuse läbi mõistab kohut inimeste saladuste üle. Ka juudid on süüdlased 17 Kui aga sina lased end nimetada juudiks ning toetud Seadusele ja kiitled Jumalast 18 ja mõistad tema tahtmist ja Seadusest õppinuna oskad ära tunda olulise 19 ning oled veendunud, et sa oled sõgedate teejuht, nende valgus, kes on pilkases pimeduses, 20 rumalate kasvataja, väetite laste õpetaja, see, kelle päralt on Seaduse näol mõistmise ja tõe kehastus 21 - kuidas sa nüüd teisi õpetades iseennast ei õpeta? Sina, kes jutlustad, et varastada ei tohi, aga ise varastad? 22 Kes ütled, et abielu ei tohi rikkuda, aga ise rikud abielu? Kes ebajumalaid jälestad, aga ise riisud nende pühamut? 23 Kes kiitled Seaduse üle, aga ise häbistad Jumalat Seadusest üleastumisega? 24 Sest, nagu on kirjutatud, teie pärast teotatakse Jumala nime paganate seas. 25 Ümberlõikamisest on küll kasu, kui sa Seaduse järgi teed, kui sa aga oled Seadusest üleastuja, siis on su ümberlõikamine saanud eesnahaks. 26 Kui nüüd ümberlõikamatu peab Seaduse nõudeid, eks siis loeta tema eesnahka ümberlõikamiseks? 27 Ja eks siis see, kes loomu poolest ümberlõikamatuna täidab Seadust, mõista kohut sinu üle, kes sa kirjatähele ja ümberlõikamisele vaatamata oled Seadusest üleastuja. 28 Ei ole ju juut see, kes seda on väliselt, ega ole ümberlõikamine see, mis on väliselt ihu küljes, 29 vaid juut on see, kes seda on sisemiselt, ja õige ümberlõikamine on südame ümberlõikamine, mis toimub vaimu, mitte kirjatähe varal. Niisugune saab kiituse mitte inimestelt, vaid Jumalalt.
Only one word... NO!!! Thank God for Daniel Barenbaum, the awesome conductor. This is not supposed to be a lyrical interpretive anything, Stop it, its awful aversion. all that great music wasted on lyrical dance
For me, THE Swan lake, lucky enough to have seen it live on stage here back then, also with the irreplaceable wonderful Beatrice Knop later, my favorite ballerina ever ...thank you, thank you, thank you dear Astrid, for uploading here, I return regularly :), to watch ...Bettina Thiel as the queen, Thorsten Haendler as Rotbart ...wonderful acting ...and the white act at the end, have no words, also, Steffi Scherzer, at 42 here ...still her marvellous buttery soft foot work ...all in all, I LOVE it and no, not to forget the great orchestra under Barenboim ...what a delight it is, to watch AND listen ...
Loved this production! Very interesting twists, such as the Freudian mother/son relationship. The Queen Mother/Rothbart pas de deux was wonderful. Thank you so much for uploading it. 👏
Fantasztikusan csodálatos, bámulatra keltő, gyönyörűséges balett előadás, videók! Köszönöm szépen!
The Berlin Ballet's interpretation of Swan Lake is beautiful and creative.
I wanted very much this production!!!!Thanks a lot ,Astrid, for uploading !!!!!!!
Watched it live.... Thank you! OLIVER!!!
thanks a lot Astrid for uploading
Whatever one might think of the production - its interpretation of the highly interpretatble story - this is a superlative example of ballet and of musical theatre. I don't want to labour details. However, I will just point out that the last act uses exactly the music as it was first published - with all the interpretative implications that go with that. And this performance of that music is superlative - paced in a way that lets the music do the dramatic work, as only it and Tchaikovsky can. Thanks for posting!
Thanks Astrid. I wanted to see this version. Costume, music, casting were great. Some of those Act 3 tempos must have been hard to dance to (Spanish, Italian especially). Liked some of the twists in this story line, especially the Queen. This was a very good production!!
If you like this version of the ballet, then you haven't seen the version at the Mariinsky Theater or the Bolshoi. This option is the embodiment of bad taste. I can imagine how Plisetskaya would laugh if she saw this outrage.
Amazing! Thank you!!!
Very rare version, once tried to find a dvd but I failed
I used to have it on a VHS tape. I think it may still be for sale in the shop of Berliner Staatsballett
you can be lucky again nowadays on Amazon, at reasonable prices ...
It's currently running again until January 20th! So if you are somewhere close to Berlin you might get the chance to see it live
The best kardebalet I have ever seen.
Me encanta esta versión tenia mucho sin verla y la estaba buscando, muchas gracias Astrid.
2:08 Start
2:28:30 Finale and Curtain call 👏👏👏
This has to be the weirdest Swan Lake I've ever seen. The best performance was from the orchestra and I kinda missed the part where Odette and Sigfried fall in love and actually dance... Interesting interpretation I'll give it that.
Since some people wondered about the interpretation, here is what Berliner Staatsoper wrote (2013; translated and slightly shortened)
The queen lives alone with her son Siegfried and projects her desires on him. The omnipresence of his mother keeps Siegfried in a golden cage of dependence. Also Benno, his old friend, is afraid of loosing their friendship, as in fact his affection to Siegfried exceeds ordinary friendship. [After Siegfried meeting Odette] Benno and the queen realise his incipient love and fear to loose their respective loved one, they and prime minister Rotbart come up with a nasty plan.
A ball is organised in Siegfried honour, during which Odile, Rotbart's daughter and Odette's look-alike, will play a key role. First, the queen herself tries to awaken Siegfrieds jealousy by dancing with Rotbart. Next, the other princesses try to tempt Siegfried with individual dances. But he seems to only have eyes for Odile, in whom he seems to recognise Odette. At the end, he is moved by the queen and Rotbart to swear an oath of eternal fidelity.
Suddenly Odette appears in the background. Siegfried recognises his error. He pines for Odette but is laughed at by the queen and Rotbart. In despair, he runs to the lake, where he asks Odette's forgiveness. Rotbart turns up and Siegfried realises that he is behind Odette's transformation into a swan and also took part in his mother's intrigue. They have a fight and Siegfried kills Rotbart. Then Siegfried realises that he not only betrayed his true love but also became a murderer. The only way out of his failed existence is death, which he finds by drowning himself in the lake. The queen is left behind, alone.
Thank you for posting this from the Berliner Staatsoper. I am one of those who raised the interpretation; and this is very helpful. 🙂
@@Martin_Adams184 glad to hear that :-)
1:27:42 Geez they completely steal the show...
Will you explain, please, the role and its significance with prince's mother and her lover? What is the intrigue behind?
2:12:30 I can't find this scene no. 27 anywhere. Most performances are incomplete. This version seems to stick to the original story, it receives great point for that alone.
Me recuerda al ballet de Rudolf Nureyev por determinados pasos que son muy Nureyev.. de todos modos muy original... Me gusta...
Beloved version!
NO ENTIENDO ESTA VERSION..ROTBAHRT TRAE A TODSLAS CHICAS PARA PRESENTARLE AL PRINCIPE QUE PARECE MEDIO TONTIN Y EL ROMANCE QUE VE DE SU MADFE Y ROTHBART...NO LO ENTIENDO..HABLAN DE UN AMOR MUY GRANDE DE LA MADRE POR EL HIJO ????
Who could me explain, why Rothbart appears in the first act, why he is giving a rifle to Siegfried?
The third act, why does Rothbart act like he is an owner of the castle meeting guests?
It seems like Rothbart arranged the Siegfried and Odette's meeting, that i found illogical...
Very strange
like to this version for some Chopin ;)
someone actually explained this. Basically this version is a reference to Freud's Oeudipus complex. You can see his ideal Odette is actually his mother. So it could be represented as this: Rothbart was a powerful politician who wanted to take the throne, so he tried to befriended or even seduced the prince's mother - you know, like that happened alot in history. But because of the prince's Oeudipus complex, he was jealous. Rothbart took this as the prince's weakness and tried to manipulate the poor prince into paranoia, so that he could kill the prince or at the very least, make people think he was insane so that he could take the throne. At the very end, the prince was tricked to think the devil is real but it was just Rothbart's disguise to make the prince scared so he could be easily attacked. Rothbart was failed because the prince was too scared and accidently killed him.
Beautiful explanation @@dangtuandung2423
Thanx for uploading. Sadly the soundqualty is terrible compared to the DVD 1998. Wish youtube delivered better sound
You have right
I likedbit it is fery similar for costumes, atmosphere of the last production of ROH with Nunez and Muntagirov, here we have the maestro Barenboim.A great happiness 🎶🎵👏🙏🙌
And again - no Happy end- very sad!🤥😪😭🤝👏👏
Anyone knows who are the female dancers in the pas de trois?
Nicole siepert and Jun liu I think
@@roseichitsuyousa936 correct ...
This is so beautiful I like it what’s the name of swan queen actress
Кто здесь главный герой,где волшебство, победа добра
Руки превосходны
オーケストラの演奏がすごい上手です。
Как лаконично, немцы гении все расставили по цифрам
hmmm well intersting point of you regarding the end ...1 ) not the one from 1877 ( they both got drown and die ) 2 ) not the one from 1895 apotheosis ( they meet in heaven ) but not even a later one 3 ) they live on earth after they break the spell ..
Нос у принца хорош настоящий итальяно веро, история мать и сын напоминает Лукрецию и Чезаре
why not 720p ?
❤❤
У актрисы техника великолепна
1:31:40 como se llama la musica de esa pieza
Es la danza del rusa de El lago de los cisnes que no siempre se incluía aunque últimamente sí porque es muy bella.
@@alvaroferal2 Nice that the Music are in the ballet
Wowww that harp player is good
1:04:49 Wir warten darauf, dass dieses Ballett auf allen staatlichen russischen Fernsehkanälen ausgestrahlt wird.
I have very mixed feelings about this production. Like Lucy Osborne I thought the best performance was from the orchestra, Of the dancers, I thought that Siegfried was uninspiring, but that may heave been the fault of the rather over-elaborate production. The other dancers, especially the queen and the female corps de ballet were very good.
I frankly did not understand the production, and I do not think the PRODUCER/choreographer. deserved a standing ovation. The production was a bit too long. in the two colourful court scenes (parts one and three) there was extra music which i had never heard before! (Were these extra bits by Tschaikovsky? They did stick out like sore thumbs!)
Musical direction sounds perfect. But lacks emotional intelligence. Dance direction is fresh, superb. Really brings out character. Weakness of Siegfried, seduction of both Rothbart and Odile, Queen and her black feather fan, desirability of Odette. Most interesting, balanced, measured, production. Though missed backdrops and some lighting in classic scenes. Is stage a little too small? Do professional artists have emotions left after doing this every night in a run? Thanks for upload.
Как драматично, как трогательно....
Он бросился в волны, он не хотел жить клятвопреступником. Образ злого гения хорош., черная луна,затмение .... Инт речная интерпретация. Но русскую невесту надо было в русском костюме представить, а не дворянском начала 20 века .
Но пока не улавливаю все смыслы ... Что значит последняя сцена?
Вы считаете, что невеста из России должна приехать на бал в немецкий замок в сарафане и в лаптях?))) Вы с чего решили, что так должно быть? Невеста дворянка, если приглашена в замок, а не крепостная крестьянка из деревни. Судя по этому либретто и костюмам, действие происходит в 19 веке и при чём тут национальный костюм? У нас в России на балах кто-то одевался в сарафан?
@@Верея-ь9ш Вы искусствовед?😄 Кроме лаптей другой обуви не знаете? При чём тут крестьянка из деревни? Вы совсем не смыслите в понятии исторического костюма? Так не позорьтесь убогими представлениями. Да, представьте, именно в истор. нац. костюмах и был устроен бал при дворе последнего императора. И вообще, императрицы носили элементы исторического костюма. Впрочем, зачем мне Вас просвещать - сами поинтересуйтесь темой. Вы ещё и и в либретто не разбираетесь, в канве повествования😄. Здесь выбор невест из разных стран, так что костюм не только уместен, но и желателен.
Задник сцены не отражает настроение
Кордебалет прекрасен
Не хватает света,любви и апофеоза
1:46:23 1:46:36 2:06:57 2:18:24 2:23:08 1:17:13
Этому герою ещё рано танцевать роль принца ,подросток
1:29:20
メモ
1:58:51
Is that a made up ending? That didn’t happen in the one I saw.
Это одна из концовок.
Па де де черного лебедя прекрасно
Актриса возрастная,принц мальчик
Очень реалистично, где сказка по Гримму
M_A_R_A_V_I_L_L_O_S_O
58:30
Ротбальт харизматичен но совсем не сказка ,нет волшебства
레슨실:403✓나이:91은지
This prima reminds me somewhat of Alla Mikalchenko from the Bolshoi of the 80s.
Чехов ,Вишневый сад
장우영:사실혼 남편은행퇴근✓오후3:30
Сцена как в Большом
장우영:장준서:장서준:레슨실:504✓
Ну, что сказать?
1 ошибка (и очень грубая на мой взгляд), это "тяжёлые" костюмы! И если у дам платья это ещё куда ни шло, кавалеры в костюмах это полное ни комильфо! Балет, если они дают имеено балет, а ничто-то иное, это язык тела, движения, жеста, постановщики и балетмейстер взял и заковал все тела в грубые и толстые тряпки (костюмы)! Поэтому музыку слышно, а полноту танца не видно. Балетмейстеру и худруку минус! Ребята это ни драмтеатр и даже ни оперетта, это БАЛЕТ, где главный инструмент и язык художника это тела артистов балета!
2 ошибка - одеяние принцев резко диссонирует с громоздкой одеждой кордебалета.
3 танцуют слабенько, хореография так себе, "тряпки" мешают, засыпаю постоянно.
4 танец с кубками это какая-то породия на танец!
5 тональность скрипичного соло немцы понизили! Приветствую! Правильное решение дирижора, а то у нас она в ЛО пищит страшно, раздрожает даже! Типа, Одетта пискля страшная, "истиричка"! Но хореография слабая, динамика танца тоже слабая, все как варёные.
6 балет часто подменяется пантомимой получается не балет. а "каша"!
7 танец МЛ какой-то раскардаш!
8 такое впечатление, что Одетта приняла снотворное и борется постоянно со сном, носок не тянет, руки в крайних положениях не фиксирует, всё как-то у неё болтается, в музыку попадает не свегда ... печальненько!
9 русский танец естественно полность извратили...и танцует его "чертяка" - Ротбар! Ну, кто же ещё может танцевать русский танец? Только нечистая сила!
10 танцы невест однообразны и очень утомительны.
11 Одилия просто "душка", мякиш какой-то, ни коварства. ни злого очарования, ничего, "душка" ...
12 Одилия еле, еле дотонцевала свою партию.
13 Странный конец! Принц взял и так легко задушил "зло", а потом бросился со скалы и разбился, а Одетта-то куда делась, кому она стала принадлежать если "зло" задушено", тут прибежала мать - принцесса и начала причетать - типа, для чего же я тебя рОстила? Полный логический коллапс! Вообщем Одетточка куда-то смоталась, Одилия расстворилась, "зло" задушено напрочь принцем, принц после уничтожения "зла"покончил жизнь самоубийством, принцесса - мать сошла с ума. Лихо!
Танца с кубками (акт-1) я вообще не видел. А только вначале 1 акта мужчины взяли кубки, чтобы произнести тост за юбилей принца.
Откуда лебедь куда ушла ,где озеро
Взрослые лебеди тоже хороши
13:08 funniest version I have ever heard
Музыка игрушечная
채원오빠:레슨실:603✓
오후8교시✓
나이:89우영
나이:87채원
Лебедь больно худой😢
Каких только постановок не увидишь? Лучше классической постановки Петипа ,Иванова или Григоровича нет ничего. И танец русской невесты у нас ясен и понятен, а у немцев партнёр непонятно зачем.
Если мундир то где эполеты
나이:12준서
나이:17서준
채원오빠:법률혼 퇴근✓치과의사남편님
У актрисы лицо голодающего лебедя
504:레슨실 다다다:0000
So those costumes in the first scenes really confined the dancers' bodies and they were not able to execute really beautiful movement. Who thought this up, its terrible. once the corp were in their swan costumes now the production progressed but that was a long wait. Sometimes another version is not good. And they really needed a better Siegfried, too weak looking. Do not mess with my Swan Lake, Petipa knew what he was doing.
The costumes should show the time of ROMANOWS , thats why this historical style. Simply phantastic!
История буржуазии по Чехову ,кто здесь принц понять не возможно, герои не яркие, кордебалет хороший
Just terrible.
Ужас что показали как все изменили
Четкие линии, немецкая точность
Испания коррида
В музыку не вписались,танец куколки и оловянного солдатика
Дизайн костюмы,декорации ,все по немецки скупо и экономично
They took a brilliant classical ballet and ruined it with modern. I don't understand it. I couldn't watch it.
Что за Ротбальт, русский танец превратили во что?
Неополитания, Жиронда ,красные колпачки
Балет не вдохновил , минимализм во всем, новые либеральные отношения
Дуэт не состоялся , Лебедь не эмоциональна
The music direction is superlative! The dancing is awful, I am sorry...
the choreo was LACKING, THE PRINCIPAL DANCERS DID NOT MAKE GOOD FIRST IMPRESSION, the first pas de deux was so lacking in intensity, the music screams for the dancers to soar, terrible. Great orchestra. i wonder who thought of the version, it was so stale in the beginning., just no magical moments
@@pedinurse1 It's choreography of Patrice Bart, a French former dancer and now choreographer, you can look him up in Moscow Ballet Competition in 1969.
@@pedinurse1 again, what's 'wrong' with you, the dancing is better than in most recent russion productions, Steffi Scherzer is fantastic, even at 42 here, the whole corps de ballet is simply incomparable, excellent ...I won't go on ...useless ...
@@tilmans3850 Agree totally. The dancing was just superb and I've watched countless different productions and companies. This was a wonderful production and the dancing was, as you say, excellent! The PDD at 1:28.37 was fantastic!
Edit: The violinist for that PDD was wonderful!
Tchaikovsky did a great job
Флибустьеры
2Kuula
Jumal mõistab kohut õiglaselt
1 Seepärast, oh kohut mõistev inimene, ole sa kes tahes: sa
ei saa ennast vabandada, sest milles sa teise üle kohut mõistad,
selles mõistad sa süüdi iseenese! Sina, kes sa mõistad kohut,
teed ju sedasama!
2 Ent me teame, et Jumal mõistab tõtt mööda kohut nende
üle, kes niisuguseid asju teevad.
3 Sina aga, oh inimene, kes sa kohut mõistad nende üle, kes
niisuguseid asju teevad, ja teed ise sedasama - kas sa arvad, et
pääsed Jumala kohtuotsusest?
4 Või suhtud sa üleolevalt tema helduse ja sallivuse ja pika
meele rohkusesse ega saa aru, et Jumala heldus tahab sind juhtida
meelt parandama?
5 Sa talletad endale viha oma kanguse ja
pöördumata südamega Jumala viha ja õiglase kohtumõistmise
ilmumise päevaks,
6 kes tasub igaühele tema tegude järgi:
7 igavest elu küll neile, kes püsiva heategemise kaudu
taotlevad kirkust ja au ja kadumatust,
8 ent viha ja raevu neile, kes on isemeelsed ja tõele
sõnakuulmatud, aga kuulekad ülekohtule.
9 Ahistus ja kitsikus tuleb igale inimhingele, kes teeb
kurja, juudile esmalt ja siis kreeklasele,
10 aga kirkus, au ja rahu igaühele, kes teeb head, juudile
esmalt ja siis kreeklasele.
11 Sest Jumala juures pole erapoolikust.
12 Kes teevad pattu Seaduseta, need ka hukkuvad Seaduseta,
kes teevad pattu Seaduse all, neile mõistetakse kohut Seaduse
järgi.
13 Jumala ees ei ole ju õiged Seaduse kuuljad, vaid Seaduse
täitjad, kes mõistetakse õigeks.
14 Kui paganad, kellel ei ole Moosese Seadust, ometi
loomu poolest täidavad Seaduse sätteid, siis ilma Seaduseta olles
on nad ise enesele seaduseks,
15 näidates seega, et seadusepärane tegutsemine on kirjutatud
nende südamesse; ühtlasi tõendavad seda ka nende südametunnistus
ja nende mõtted, mis järgemööda kas süüdistavad või vabandavad
neid.
16 Nii see ilmneb päeval, mil minu evangeeliumi järgi Jumal
Jeesuse Kristuse läbi mõistab kohut inimeste saladuste üle.
Ka juudid on süüdlased
17 Kui aga sina lased end nimetada juudiks ning toetud
Seadusele ja kiitled Jumalast
18 ja mõistad tema tahtmist ja Seadusest õppinuna oskad ära
tunda olulise
19 ning oled veendunud, et sa oled sõgedate teejuht, nende
valgus, kes on pilkases pimeduses,
20 rumalate kasvataja, väetite laste õpetaja, see, kelle
päralt on Seaduse näol mõistmise ja tõe kehastus
21 - kuidas sa nüüd teisi õpetades iseennast ei õpeta?
Sina, kes jutlustad, et varastada ei tohi, aga ise varastad?
22 Kes ütled, et abielu ei tohi rikkuda, aga ise rikud
abielu? Kes ebajumalaid jälestad, aga ise riisud nende pühamut?
23 Kes kiitled Seaduse üle, aga ise häbistad Jumalat
Seadusest üleastumisega?
24 Sest, nagu on kirjutatud, teie pärast teotatakse Jumala nime
paganate seas.
25 Ümberlõikamisest on küll kasu, kui sa Seaduse järgi
teed, kui sa aga oled Seadusest üleastuja, siis on su
ümberlõikamine saanud eesnahaks.
26 Kui nüüd ümberlõikamatu peab Seaduse nõudeid, eks siis
loeta tema eesnahka ümberlõikamiseks?
27 Ja eks siis see, kes loomu poolest ümberlõikamatuna täidab
Seadust, mõista kohut sinu üle, kes sa kirjatähele ja
ümberlõikamisele vaatamata oled Seadusest üleastuja.
28 Ei ole ju juut see, kes seda on väliselt, ega ole
ümberlõikamine see, mis on väliselt ihu küljes,
29 vaid juut on see, kes seda on sisemiselt, ja õige
ümberlõikamine on südame ümberlõikamine, mis toimub vaimu,
mitte kirjatähe varal. Niisugune saab kiituse mitte inimestelt,
vaid Jumalalt.
I translated that with Google, thinking it was the description of all the 29 scenes in the Swan Lake. Then I saw "foreskins".
Ballet in suits and long dresses doesn’t do it for me
Only one word... NO!!! Thank God for Daniel Barenbaum, the awesome conductor. This is not supposed to be a lyrical interpretive anything, Stop it, its awful aversion. all that great music wasted on lyrical dance
Обман и ложь
41:31
53:56
2010-2011 Hutchinson, MN Night and Day at Target
54:53
Part 1
58:50
1:03:02
1:36:11