DVD Videos

Choreography and Stage Direction by RUDOLF NUREYEV

(based upon Marius Petipa’s ballet)

Set Design by ALEXANDRE BELIAEV

Costumes by ELENA RIVKINA

Fascinated by the knight with the unfortunate physique who goes out into the world with his servant Sancho Pansa to crusade against the deplorable state of society and to perform heroic deeds, Ludwig Minkus (1826-1917) created a ballet which had a very successful premiere in the Bolshoi Theatre in Moscow on 14 December 1869. At his side was the great French dancer and choreographer Marius Petipa (1818-1910), who was born in Vienna and worked as ballet composer at the Moscow Bolshoi Theatre and at the Marientheater in St Petersburg and is considered the most important predecessor of Tschaikovsky. Our DVD presents the version choreographed by Rudolf Nureyev, which was performed in a new production by the Paris opera in April 2002 with an outstanding cast, among whom were Aurélie Dupont as Kitri and Manuel Legris as Basile. Rudolf Nureyev had himself danced the part of Basile in Leningrad when he was barely older than 21 years. After his spectacular request for asylum in France in 1961, he endeavoured to introduce this work to the West, which was frequently performed in the East. He created a new choreography in 1966 for a performance in the Vienna State Opera. On the whole he adhered to the original Petipa concept and merely reduced the five acts to three acts and one prologue.

Directed by FRANÇOIS ROUSSILLON

Choreography and Stage Direction by RUDOLF NUREYEV after Marius Petipa

Set & Costume Design by NICHOLAS GEORGIADIS

When Nureyev took up the position of Artistic Director of the ballet of the Paris opera in 1983, his words to the dancers of the ensemble so rich in tradition were, “Don’t talk, work”, and only two months later he presented his magnifi cent new production of Marius Petipa’s oriental ballet Raymonda. This production was of great importance both for Nureyev and for the ensemble, because it was his first choreography as newly-appointed director of the Paris ensemble. It laid the foundation for his personal relationship as choreographer, teacher and director with the dancers. There could not have been a better ballet than Raymonda to show to advantage the qualities of this ensemble, which is one of the foremost in the world of ballet. It is not only the three leading parts which are shown to advantage in numerous pas-de-deux, in a dramatic sword duel and in dream scenes, but there are also impressive solos for a dozen other dancers as well as many spectacular ensemble scenes, among them the splendid Hungarian dances, an exciting Spanish dance, a wonderful polonaise and fascinating pas-de-quatre and pas-de-six.

The documentary by François Roussillon examines the various aspects of this ballet, which has become a classic in the repertoire of the ballet ensemble of the Paris opera through Rudolf Nureyev’s choreography. Nureyev’s innate talent for dancing and the perfection of his rehearsal work made Raymonda one of the greatest masterworks of ballet history.

Directed by FRANÇOIS ROUSSILLON

Choreography and Stage Direction by RUDOLF NUREYEV

Set & Costume Design by EZIO FRIGERIO

Romeo and Juliet, composed by Sergei Prokofi ev in 1935, is one of the few long great ballets that are also known to a broader public. In contrast to Swan Lake, Sleeping Beauty, and the Nutcracker, however, there are not many original choreographies for Romeo and Juliet which are acknowledged as masterworks of ballet history and are passed on with only a few tactful alterations.

Nureyev’s choreography for Romeo and Juliet was created for the London Festival Ballet in 1977, and in 1984, shortly after he had taken over as director of the ballet of the Paris Opera, he produced the large-scale and gloriously colourful fresco for the company of the Paris Opera. His version, which takes into account all parts of the score, follows Shakespeare’s original very closely, and it is said that he read and studied the text again and again. The numerous crowd scenes, folk dances and fencing scenes, which are danced with extraordinary vitality, are proof of Nureyev’s outstanding talent as a dancer and choreographer. In 1995, two years after Nureyev’s death, the production with its exciting and innovative choreography and the almost too over-ornate décor was resurrected once more for the ballet of the Paris Opera and adapted to the prevailing taste. With its magnifi cent renaissance décor by Ezio Frigerio and the luxurious costumes, the ballet is one of the most magnifi cent productions of the Paris Opera. The title roles, which were danced by Monique Londoérs and Patrick Dupond in 1984, were given to the dancers Elisabeth Maurin and Manuel Legris , who had begun their careers in the corps de ballet under Nureyev. With the help of Nureyev’s long-time assistant Patricia Ruanne they tried to recapture the energy, passion and staying power for this new production, which is the prerequisite for the breathtaking aura of Nureyev’s choreography.

Celebrated Flemish/Moroccan choreographer SIDI LARBI CHERKAOUI, in collaboration with Turner Prize winning artist ANTONY GORMLEY, presents a brand new dance work inspired by the skill, strength and spirituality of Buddhist Shaolin monks.

Polish composer SZYMON BRZÓSKA has created a beautiful brand new score for piano, percussion and strings which is played live.

The 17 Monks performing in Sutra are directly from the original Shaolin Temple, situated near Dengfeng City in the Henan Province of China. In 1983 the State Council defined the Shaolin Temple as the key national Buddhist Temple. By visiting the Shaolin Temple, and working with the Shaolin Monks over several months, Sidi Larbi follows a lifelong interest of exploring the philosophy and faith behind the Shaolin tradition, its relationship with KungFu, and its position within a contemporary context.

Unique and exclusive recording at Sadler’s Wells of this worldwide box office hit. “Sutra” is due to being another world tour late January 2009, timed with the release of the DVD;

Legendary status and popularity of the Shaolin Monks. Attract huge numbers of followers from all over the world to train in KungFu at the Shaolin Temple;

Exclusive DVD bonus features: in-depth interviews with key collaborators, including internationally acclaimed choreographer Sidi Larbi Cerkaoui (zero degrees), composer Szymon Brzóska and artist Antony Gormley, stills gallery and limited edition collector’s booklet;

“unique, profoundly imagined” 5 STARS The Guardian

“This new Sadler’s Wells production exceeds even our highest expectations” 5 STARS The Times

“Remarkable… part martial arts spectacular, part conceptual art, which thrills…” 4 STARS The Independent

Staging, Choreography, Sets, Costumes, Lighting Design & Film by Uwe Scholz

Uwe Scholz, former director of the Leipzig Ballet, was hailed as one of the most brilliant choreographic minds of his generation and one of the most important German choreographers at the time of his untimely death in November 2004 at the age of 45. Scholz took up his first position as a choreographer with Marcia Haydée in Stuttgart when he was 22. He saw himself as a mixture between his teacher John Cranko and the influential George Balanchine, and the magically beautiful and extraordinarily musical choreographies that he created for houses such as the Opera in Vienna, La Scala, Zurich and Leipzig owe much to neoclassicism.This DVD recording focuses on the two interpretations of Le Sacre du Printemps that he created for 'his' Leipzig Ballet, the company that he led to international fame from 1991. The evening opens with a legendary solo interpretation, danced by Giovanni di Palma to Stravinsky's own adaptation for two pianos of the ‘Rite’. Often seen as Scholz's autobiographical legacy, this choreography shows a dancer's loneliness and despair in heartbreaking images.An emotive ensemble interpretation to the original orchestral version of the same piece forms the second half of the evening. Here Kiyoko Kimura takes the leading role among the 56 dancers on the stage.The staging proves the ensemble to be one of the best contemporary ballet companies worldwide. Günter Atteln's insightful documentary Soulscapes is a full-length homage to Uwe Scholz showing excerpts of his most important works.The film offers a warm and detailed account of a thoroughly fascinating life and includes some very personal interviews with a man consumed by his art until his last breath.

British choreographer Robert North presents this passionate ballet setting of the famous story of “Carmen” for the Gyori Ballet Company, to music by Christopher Benstead. Also featured is the ballet “Purim” (The Casting of Fate) by Hungarian choreographer Istvan Juhos, to music by Ferenc Javori. This is an excellent DVD of contemporary dance by this Hungarian company formed in 1979.

A Special Ballet by Jean Grand-Maître and Joni Mitchell

Legendary Canadian artist Joni Mitchell in collaboration with internationally acclaimed choreographer Jean Grand-Maître of the Alberta Ballet Company created “Joni Mitchell’s The Fiddle and The Drum” a special ballet that speaks volumes of Joni Mitchell’s life-long concerns about environmental neglect and the warring nature of mankind.

This narrative ballet was performed to a specially re-mastered soundtrack of Mitchell’s provocative music. This ballet is a celebration of the profoundly humanistic questions and testimonies that are expressed so poetically by Joni Mitchell, a world-renowned poet. Three art forms combine as Alberta Ballet’s commanding dancers move their powerful bodies and their ethereal souls within a protective world of sound, colour and texture that Ms. Mitchell has created.

The dynamic set was fully designed by Mitchell and includes the first release of Mitchell’s latest artwork “Green Flag Song”, which is projected on a large canvas drum style screen during the ballet.

The Alberta Ballet Company gives metaphorical life to her eternal music while, in tandem, her art works appear above them. Ms. Mitchell’s most recent artistic creations are deeply inspired by man’s warring nature and mark a dramatic change in her sense of aesthetics. These iconic images were literally choreographed by Ms. Mitchell to appear at key moments with particular lyrics in her songs. Her musical selections are from her earliest to latest recordings such as: For the Roses, Passion Play, Slouching Towards Bethlehem, The Beat of Black Wings, Sex Kills, The Three Great Stimulants and The Fiddle and The Drum. The ballet also includes three new songs from Mitchell’s anticipated 2007 album release “Shine”, one of which is an energizing remix of Big Yellow Taxi. For the Ballet’s Artistic Director, Jean Grand-Maître, these signifi cant compositions served as his manuscript and inspiration.

“The Fiddle and The Drum” was produced by Joe Media Group in High Definition at the Jubilee Auditorium in Calgary, Alberta, Canada.

Subtitles: English, Frenchy, Italian

Zero Degrees is a remarkable collaboration between four of today's most respected artists.

Moroccan-Flemish SIDI LARBI CHERKAOUI is best known for his work with Les Ballets C. de la B. while AKRAM KHAN is world renowned for developing his own 'contemporary Kathak' style, winning numerous awards. For Zero Degrees they bring their unique styles together in this spellbinding piece of dance.

Mercury Award winning composer/producer NITIN SAWHNEY adds his own East-meets-West sound with a specially commissioned score played live by four musicians, and Turner Prize winner ANTONY GORMLEY has contributed the staging - two life-size casts of the dancers.

Zero Degrees explores borders - between countries, cultures and, most importantly, between life and death. It challenges, prompts and inspires, in a seamless fusion of dance styles, music and contemporary art.

Unique and exclusive recording at Sadler’s Wells of this worldwide box office hit;

Exclusive DVD bonus features: in-depth interviews with Akram Khan and Sidi Larbi Cherkaoui, two of the world’s most successful and inventive choreographers, stills gallery and limited edition collector’s booklet;

Excerpts featured in BBC1’s Imagine programme;

“zero degrees is a thing of strange, sweet, brutal beauty… a devastating must-see” Evening Standard

“Transfixing, not only because they are superb dancers but because their performance is given such strange and potent definition by its staging.” The Guardian

“Hugely moving and visionary” The Daily Telegraph

“Sawhney’s exciting score takes a journey of its own, from visceral, sensuous rhythms that burst with life, to beautiful plangent melodies that linger in the air like the spectre of death” The Times

Directed by Ross MacGibbon

English commentary with French and German subtitles

Christmas Night. A little boy sits alone by a small, feeble Christmas tree from the branches of which sadly hang garlands salvaged from Christmases past. His mother is dead. Suddenly, in a dream, or by magic, she is there, next to him, and places a small gift at the foot of the tree. The enchanted night begins: the gift grows bigger and becomes a miraculous icon, fiends flood in, the mother appears, alive, followed by two Angels of Light created by Marius-Mephisto. The whole room is dancing and the child begins to laugh. Is it a dream? Reality is that which we feel to be real. Reality is the moment, here and now. Freed from his fear, the boy watches the Pas de Deux from The Nutcracker directed by Marius, his master, and danced by the Prince and Princess.

“I remember! Christmas.. .. Marseille, the tree, the Nativity scene, the presents, the thirteen desserts -among them my favourite -the NUTS! Above all, I loved cracking nuts. My father had shown me that the insides were like a little human brain. I remember.. . My mother. I was seven years old. One evening she said to me, ‘your mother is going on a long journey. Promise me you will be good. I remember. Christmas.’ ”

So wrote Maurice Béjart in his programme notes for his version of the well-loved Christmas ballet The Nutcracker (Casse-Noisette). Béjart’s magical staging transforms the piece into an enchanting and enchanted autobiography and a loving homage to the choreographer’s mother and to his creative hero, Marius Petipa. The first part of the performance is punctuated by Béjart, on a huge video screen, telling something of his childhood. Summing up his approach to creating this ballet, Béjart remarked, “You live a life and you dream a life. When you come to write your own life you tell a lie to build the truth.”

Using Tchaikovsky‘s score in its entirety, augmented with popular waltz and accordion music performed on-stage by the legendary Yvette Homer, Béjart takes the original St Petersburg story as a springboard from which to evoke the memories, emotions and feelings of his own life’s journey: from a Marseille childhood, dominated by the memory of his mother to the passionate commitment to dance, inspired by the father of classical ballet, Petipa. The stage is flooded with allusions to Béjart’s actual and imaginary history: characters both real and symbolic, forests, scouting, bull-fighting, bicycles, old songs and much more, create a universe of feeling reaching its apotheosis in a faithful recreation of the original Pas de Deux -a true declaration of love. The only character in his Nutcracker that relates to the original is Mephisto, who replaces Drosselmeyer as the facilitator of fantastical dreams and happenings. Goethe’s Faust fascinated Béjart when he was still very young and the choreographer’s Mephisto is at the same time his creative hero Marius Petipa. Marius-Mephisto opens up a world to the boy Bim (Béjart) in which his dream life and his desire to dance are intertwined.

Three performances of Béjart’s Nutcracker were recorded live fiom the Theatre du Chatelet in Paris for the purposes of this television presentation.

The showman of modem dance, Maurice Béjart’s work has been provocative, influential and popular in equal measure. His choreography has always been physically thrilling, setting up an immediate emotional combustion between audience and performer, and he attracted huge new audiences for dance with the Ballet of the Twentieth Century productions he mounted in sports stadia, public squares and circus tents. Since founding the Béjart Ballet Lausanne in 1987, he has been working on a more intimate scale but his style has remained just as electric, vivid and direct in its appeal as ever.