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Pharaoh's Daughter / Zakharova, Bolshoi

Bolshoi Theater Orch / Sotnikov / Zakharova
Release Date: 07/12/2005 
Label:  Bel Air Classiques   Catalog #: 201  
Composer:  Cesare Pugni
Conductor:  Alexander Sotnikov
Orchestra/Ensemble:  Bolshoi Theatre Orchestra
Number of Discs: 1 
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DVD:  $29.99
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Notes and Editorial Reviews

Also available on Blu-ray

Svetlana Zakharova, Sergei Filin, Gennady Yanin, Maria Aleksandrova (dancers)

Soloists of the Bolshoï Ballet & Orchestra of the Bolshoï Theatre, Alexander Sotnikov

Choreographer: Pierre Lacotte after Marius Petipa.

Bel Air Classiques present Petipa’s extravaganza, The Pharaoh’s Daughter, in the stunning production by Pierre Lacotte. This Russian ballet enjoys a special place in history. Premiered in 1862, this grand spectacle, which lasted four hours and featured a cast of 400, was Petipa’s first truly successful ballet and secured his future in St Petersburg, where he went on to
Read more become the most influential choreographer of the 19th century. Until recently, The Pharaoh’s Daughter was also one of Petipa’s lost ballets; it hadn’t been performed since 1928. In 2000 the French choreographer Pierre Lacotte premièred a restored version at the Bolshoi Theatre, after much research into the original, resulting in a shorter although still sumptuous extravaganza. Ballet scenarios don't come much sillier than The Pharaoh's Daughter, which turns on the story of British Egyptologist Lord Wilson who, after a reckless hit of opium, dreams himself back to the time of the pharaohs. Wilson falls in love with Aspicia, the ballet's titular heroine, and when she throws herself into the Nile to avoid being married off to the King of Nubia, Wilson is left to face death by snakebite. Tragedy is averted by the Nile's underwater king who restores Aspicia to Wilson's arms.

R E V I E W:

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PUGNI La Fille du Pharaon Alexander Sotnikov, cond; Bolshoi Th O Live: Moscow 10/2003


The Pharaoh’s Daughter was premiered in St. Petersburg in 1862 and the ballet was first seen at the Bolshoi Theater in Moscow two years later. The libretto was based in part on Le Roman de la Momie, a story by Théophile Gautier, and Marius Petipa, widely regarded as the greatest ballet master of all time, created the choreography. I won’t trouble you with a detailed plot synopsis but the basic premise is as follows. Lord Wilson, a young Englishman in a pith helmet, and his manservant, John Bull, are visiting the Egyptian antiquities. A sandstorm blows up and the pair must take shelter in one of the great pyramids. They are in the company of a caravan of Arab traders who take advantage of the weather delay to light up their opium pipes; Lord Wilson requests a toke and, yes, he inhales. One of those vivid 19th-century opium dreams ensues, this one with a substantially happier ending than that afforded Berlioz’s protagonist in Symphonie fantastique. The princess Aspicia comes to life, emerging from her sarcophagus, and young Wilson, now a skimpily clad Egyptian hottie called Taor, is smitten. Difficulties ensue, as her father (the Pharaoh, of course) has promised her to the King of Nubia. But it all works out. The scenario allows for lots of grand spectacle; the original production ran about four hours.


Petipa revived La Fille du Pharaon in 1885 and 1898; it then disappeared until this new production, choreographed by Pierre Lacotte for the Bolshoi Ballet, came along in 2000. Although some of Petipa’s choreographic notes from 1898 did survive, Lacotte’s reconstruction is largely new dances. “For me, what is important is to resurrect not the letter but the spirit of the age,” states Lacotte. This he does, from the fake-looking painted scenery, to the notably low-tech “sacred snake,” to the cringe-inducing Nubians in blackface. (I guess you can get away with that sort of thing in Russia.) The choreography—solos, small ensembles, and numbers for the corps—is wonderful and the dancing by the two leads, Svetlana Zahharova and Sergei Filin, is simply spectacular. Lacotte has trimmed the total length of the ballet’s three acts to well under two hours, and the work is theatrically taut in this iteration.


The music is the work of Cesare Pugni (1802–70) who, though he also tried his hand at opera and instrumental music, can safely be called a “ballet composer,” having provided material for more than 300 such efforts. Pugni, music director at La Scala for a brief period in the 1830s (reportedly leaving town because of a gambling problem), spent some fruitful years in London and ultimately ended up as the ballet composer for the Imperial Theaters of St. Petersburg. The New Grove notes that Pugni’s music is characterized by “its subservience to the functional requirements of the choreography, a subservience which is, at the same time, its greatest artistic limitation.” This strikes me as a bit harsh because, while I can’t imagine wanting to listen to the entire score straight through without anything to look at, the material has melodic distinction and undeniable dramatic effectiveness: the tender calm of the music for Aspicia and Taor’s final pas de deux is very touching and there’s an appealingly florid flute solo accompanying act II’s concluding selection, “Évasion du Palaise.”


The orchestral playing isn’t at all heavy-handed and the sound is clear and detailed. The high-definition video serves the marvelous costumes (and the lame sets) well. Negotiating the onscreen menu to get from act to act isn’t intuitive, but you’ll figure it out.


FANFARE: Andrew Quint [Reviewing Blu-ray version]
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Works on This Recording

1.
Pharaoh's Daughter by Cesare Pugni
Conductor:  Alexander Sotnikov
Orchestra/Ensemble:  Bolshoi Theatre Orchestra
Period: Romantic 
Written: 1862; Russia 
Date of Recording: 10/2003 

Customer Reviews

Average Customer Review:  1 Customer Review )
 The Pharaoh's Daughter September 24, 2013 By Joseph S. (Burlington, WI) See All My Reviews "THE PHARAOH’S DAUGHTER The Pharaoh’s Daughter exceeded all my expectations. I have a bias for ballet music of the classical tradition; I was not disappointed. Never mind the believability of the plot, the dancing was very real. Once again the classical tradition stressed the beauty of the body and the perfection that is possible from long hours of self-discipline. What a relief from the present culture which seems addicted and determined to glorify depravity and corruption! That is no accomplishment; I can fall into that with no effort at all. On the contrary, I’m looking for joy, beauty, and a spiritual experience, and again I wasn’t disappointed. What makes this production so superb are the magnificent sets and costumes. Choreographer Pierre Lacotte is at his best. Not only do the principal dancers dazzle you but many dancers display what they have achieved, and it is near perfection. Added to all of this is what can only be called a Grand Spectacle. Not merely do you get magnificent ballet, but ballet that reminds one of a Cecil B. Demille extravaganza. This is certainly a production where the audience gets far more than expected. Truly, it is a feast for the eyes! If you are looking for insulting and ugly productions that seem to have no end in the Media today, don’t purchase this — you will be sorely disappointed. All I can say is, “Thank Heavens for the consistent and long- standing tradition of the Bolshoi!!!” I shall always opt for an uplifting experience that makes life worth living, rather than one which plunges into debauchery and despair." Report Abuse
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