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See Terms & Conditions for p&p rates. | |  | Prokofiev: Romeo and Juliet, Op. 64Recorded live at the Royal Opera House, March 2012
Choreography Kenneth MacMillan. Given its premiere by The Royal Ballet in 1965 with Rudolf Nureyev and Margot Fonteyn dancing the title roles, Kenneth MacMillan’s first full-evening ballet has become a signature work for the Company, enjoying great popularity around the world. From the outset, the production teems with life and colour as the townspeople, market traders and servants of the rival Montagues and Capulets go about their daily business in vibrant crowd scenes. But Romeo and Juliet take centre stage for those great pas de deux: the meeting in the ballroom, the balcony scene, the morning after the wedding and the final devastating tomb scene. Although The Royal Ballet has performed Romeo and Juliet over 400 times, each performance and pairing is subtly different, and Lauren Cuthbertson and Federico Bonelli are utterly captivating in the title roles. This performance was broadcast live from Covent Garden to cinemas worldwide. Kenneth MacMillan's first full-evening ballet has become one of The Royal Ballet's signature works. This production was one of the big successes of last season’s Royal Opera House Live Cinema Season. Acclaimed performances by star principals, Lauren Cuthbertson and Federico Bonelli. Extra features: Documentaries on Kenneth MacMillan's production, and "Sharps, Points and Pirouettes" the famous sword fight scene. Includes deluxe slipcase. Running time: 158 minutes Subtitles (extra features only): EN/FR/DE/IT/ES/PT/JP Sound format: 2.0LPCM + 5.1(5.0) DTS | 
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| |  | Prokofiev: Romeo and Juliet, Op. 64
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| |  | Prokofiev: Romeo and Juliet, Op. 64DSD recording, live at the Barbican November 2008
LSO Live celebrates its 10th anniversary in 2010. The label's first release of the year features Prokofiev's spectacular score for the ballet Romeo & Juliet conducted by Valery Gergiev. Gergiev is a tireless champion of Prokofiev's music. In 2004 he conducted the complete cycle of the composer's symphonies with the LSO which then won a Gramophone Award. Shortly afterwards Gergiev became Principal Conductor of the LSO and spent much of 2008 and 2009 touring Prokofiev's symphonies with the orchestra in Europe, Japan and the USA. Gergiev's Mahler cycle continues in February 2010 with the release of the Fourth Symphony. Other upcoming releases on LSO Live include a Rachmaninov symphony cycle as well as music by Ravel, Stravinsky, Debussy and Strauss. Concert reviews: "The strings were supple and radiant … The brass, much used by Prokofiev, were tirelessly accurate, and the woodwind especially characterful, with some of the orchestra's younger members playing out of their skins. The best ballets contain music almost too good to be wasted on dancers. Freed from the need to adopt dance tempi, this wonderful music swaggered, sparkled and shimmered as it rarely does in the theatre" Mail on Sunday "Most concert conductors only take bites out of Prokofiev's virile but lengthy ballet. Not Valery Gergiev. He knows that the complete score is a treasure chest of musical characterisation, orchestral colour, soaring melody and blasting drama: manna from heaven for himself and the London Symphony Orchestra" The Times “This is music in which Gergiev has few peers today...he brings an epic, symphonic and dramatic integrity to its vast, multifaceted canvas...his London forces respond to Gergiev’s often hair-raising volatility with some of their most dynamic playing” Sunday Times, 10th January 2010 **** “...the complete ballet is a treasure-house of wonderful music...in the hands of Gergiev and the LSO there is always a moment of delight around the corner. Wonderful for dipping into.” The Telegraph, 20th January 2010 **** “Few can rival Valery Gergiev's pedigree in Prokofiev's music, and he is palpably aware of how this score works in the theatre. His pacing of events is masterly, with plenty of verve and passion… what really impresses… is the tenderness and poetry that are so often overlooked in Prokofiev, and not just in the love music. Gergiev frequently lets the strings and solo woodwind linger in a beguiling, natural rubato, whilst maintaining an architectural grasp of the tragic whole.” BBC Music Magazine, February 2010 ***** “Gergiev is in his element and not just in moments of gritty angularity or romantic excess. The lighter numbers, sometimes taken more spaciously than usual, are equally memorable.” Gramophone Magazine, March 2010 | | | In stock - usually despatched within 1 working day. |
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| |  | Prokofiev: Romeo and Juliet, Op. 64
The Ballet Edition is a series of 2 CD sets drawn from the catalogues of EMI Classics, presenting the best-loved and most popular ballets, performed by the world’s leading orchestras and conductors. “Previn's 1973 account...stresses the humour and warmth of the music as well as the central drama.” BBC Music Magazine, August 2010 ***** “Previn's pointing of rhythm is consciously seductive, whether in the fast, jaunty numbers, or in the soaring lyricism of the love music.” Penguin Guide, 2011 edition | | | In stock - usually despatched within 1 working day. |
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| |  | Prokofiev: Romeo and Juliet, Op. 64
Choreography: Kenneth MacMillan Cuban Superstar Carlos Acosta dances Romeo in Kenneth Macmillan’s timeless version of the Shakespeare/Prokofiev Classic Ballet ‘Romeo & Juliet.’ In this perennial favourite, Carlos Acosta dances alongside his regular partner, the Spanish ballerina, Tamara Rojo – a celebrated stage partnership which currently has no equal. The drama of the doomed lovers is set against the ravishing sets and costumes designs of Nicholas Georgiadis. ‘Romeo & Juliet’ and ‘Manon’ signal the beginning of a major collaboration with Carlos Acosta and The Royal Ballet, which continued in early 2009 with the filming of ‘La Bayadère’. | | | In stock - usually despatched within 1 working day. |
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| | | Prokofiev: Romeo and Juliet, Op. 64
Choreography: Kenneth MacMillan Cuban Superstar Carlos Acosta dances Romeo in Kenneth Macmillan’s timeless version of the Shakespeare/Prokofiev Classic Ballet ‘Romeo & Juliet.’ In this perennial favourite, Carlos Acosta dances alongside his regular partner, the Spanish ballerina, Tamara Rojo – a celebrated stage partnership which currently has no equal. The drama of the doomed lovers is set against the ravishing sets and costumes designs of Nicholas Georgiadis. ‘Romeo & Juliet’ and ‘Manon’ signal the beginning of a major collaboration with Carlos Acosta and The Royal Ballet, which continued in early 2009 with the filming of ‘La Bayadère’. “As… the star-crossed lovers… the inspirational Carlos Acosta and the facially so expressive Tamara Rojo… galvanising conducted by Gruzin… all flaming testosterone thanks not only to Acosta and his Mercutio, José Martín, but also to the brutal Tybalt of Thiago Soares. Like all the character dancers here, he fills the role with life and energy. The final duel practically flies off the stage, the corps' reaction seems genuine and Elizabeth MacGorian's Lady Capulet makes the mother's-grieving curtain truly hair-raising for once. ...at the Royal Ballet a classic is raised to an unsurpassable level.” BBC Music Magazine, March 2010 ***** “…excellent sound and picture quality. Nicholas Geogiadis's designs, dating from 1965. are still gorgeously redolent of Renaissance Verona, and the big scenes of street life and the Capulet ball are magnificent spectacles. One of today's dream partnerships, Tamara Rojo and Carlos Acosta, prove more than a match for their distinguished predecessors. ...Rojo rises to the fierce dramatic challenges of the last act with electrifying intensity. ...and Prokofiev's score is vigorously conducted by Boris Gruzin.” Gramophone Magazine, February 2010 | | | In stock - usually despatched within 1 working day. |
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| |  | Prokofiev: Romeo and Juliet, Op. 64choreography by Yuri Grigorovich, based on the original choreography by Leonid Lavrovsky
Recording Date: 1989
Place of recording: Bolshoi Theatre Moscow
Running Time: 134 min
Picture Format: 4:3
Sound Format: PCM Stereo
Menu Languages NTSC: D, F, GB, SP
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| |  | Prokofiev: Romeo and Juliet, Op. 64(complete ballet)
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| |  | Prokofiev: Romeo and Juliet, Op. 64
“This great ballet score has been very lucky on records. Both Previn's EMI set and the Decca Maazel recording, are very distinguished and make a powerful impression on the listener. This Russian recording could not be more different. It was made in the Kirov Theatre in Leningrad and has the fullness and amplitude characteristic of the finest western recordings, not surprising, as the recording team was from Philips. The orchestral playing, too, is superb by any international standard and has none of the sharp edges or raucousness we used to associate with Soviet fortissimos.
If there were a criticism of the playing it would be to suggest that at times it's almost overcultivated.
The Introduction has a striking grace and flexibility, a sophistication of light and shade that some listeners mightn't expect. The action of the opening street scene and the sequence of events which follows is delineated with much delicacy of effect, crisp clear rhythms, great energy when called for, in the 'Morning dance', for instance and the most stylish instrumental response from all departments of the orchestra.
Perhaps it's all a shade mellow (Maazel demonstrated how pungent Prokofiev's scoring could sound) and the mood of the 'Balcony scene' is pure romanticism, relaxed and without sexual ardour: the strings float ethereally, there's a beautifully played violin solo, and at the climax the listener is quite carried away. The great climax of 'Juliet's funeral' generates richly intense string playing and resoundingly powerful brass.
But there's no sense of utter despair. So this is a performance to enjoy for the lyric feeling of Prokofiev's score and for the marvellous orchestral playing, but the starkness of the tragedy is more heartrendingly conveyed elsewhere.” Gramophone Classical Music Guide, 2010 | | | In stock - usually despatched within 1 working day. |
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| |  | Prokofiev: Romeo and Juliet, Op. 64Recorded live at the Royal Opera House, March 2012
Choreography Kenneth MacMillan. Given its premiere by The Royal Ballet in 1965 with Rudolf Nureyev and Margot Fonteyn dancing the title roles, Kenneth MacMillan’s first full-evening ballet has become a signature work for the Company, enjoying great popularity around the world. From the outset, the production teems with life and colour as the townspeople, market traders and servants of the rival Montagues and Capulets go about their daily business in vibrant crowd scenes. But Romeo and Juliet take centre stage for those great pas de deux: the meeting in the ballroom, the balcony scene, the morning after the wedding and the final devastating tomb scene. Although The Royal Ballet has performed Romeo and Juliet over 400 times, each performance and pairing is subtly different, and Lauren Cuthbertson and Federico Bonelli are utterly captivating in the title roles. This performance was broadcast live from Covent Garden to cinemas worldwide. Kenneth MacMillan's first full-evening ballet has become one of The Royal Ballet's signature works. This production was one of the big successes of last season’s Royal Opera House Live Cinema Season. Acclaimed performances by star principals, Lauren Cuthbertson and Federico Bonelli. Extra features: Documentaries on Kenneth MacMillan's production, and "Sharps, Points and Pirouettes" the famous sword fight scene. Includes deluxe slipcase. Running time: 158 minutes Subtitles (extra features only): EN/FR/DE/IT/ES/PT/JP Sound format: 2.0LPCM + 5.1(5.0) DTS |
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