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Moretti: Caravaggio / Staatsballett Berlin [blu-ray]

Monteverdi / Connelly / Malakhov / Semionova
Release Date: 06/30/2009 
Label:  Arthaus Musik   Catalog #: 101464  
Composer:  Bruno Moretti
Conductor:  Paul Connelly
Orchestra/Ensemble:  Berlin Staatskapelle Orchestra
Number of Discs: 1 
In Stock: Usually ships in 24 hours.  
Blu-ray Video:  $39.99
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Notes and Editorial Reviews

Note: This Blu-ray Disc is only playable on Blu-ray Disc players, and not compatible with standard DVD players.

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MONTEVERDI-MORETTI Caravaggio Paul Connelly, cond; Staatsballet Berlin; Staatskapelle Berlin ARTHAUS 101 464 (Blu-ray Disc: 122:00) Live: Berlin 2008


& Documentary on production; photo Read more galleries


Artist Caravaggio (real name: Michelangelo Merisi, 1571–1610) is the subject of choreographer Mauro Bigonzetti’s new two-act ballet, but the subject in only a general, even metaphorical sense. If you open the booklet and look at the section titles—things like “Journey to Rome,” “The Tooth Extraction,” “Dispute and Duel”—you’ll expect this to be a story ballet recounting the volatile artist’s quick rise to celebrity, his various conflicts and disputes, and his sudden, early death, apparently from fever rather than violence. But then you’ll start watching the performance, and become completely lost. Nothing on stage corresponds to the section titles, and it seems that Bigonzetti is indulging in a bit of postmodern misdirection.


The central dancer does seem to correspond to Caravaggio. We first see him, Vladimir Malakhov, alone on stage: a muscular, thick-lipped, shaggy Slavic blond in his underwear, Malakhov looks more like a Spartacus than a Caravaggio. His movements are beautiful, controlled, masculine, driven by some inner flame or inner torture. At various times in the course of the ballet, Malakhov is partnered with two superb female dancers, Polina Semionova and Beatrice Knop, who seem to suggest the contrasts in Caravaggio’s work and life: light and dark, purity and carnality, the private mind (or soul) and the public body. Another important partner in the second act is the commanding, beautiful young Leonard Jakovina, who embodies both tenderness and violence, and brings to the proceedings a bisexual sensuality. The first act also involves other soloists and the corps de ballet in a series of athletic Roman street scenes.


So what are all these figures up to? And what is Bigonzetti up to, for that matter? He seems to be trying to translate the sheer physicality of Caravaggio’s paintings into dance, and he certainly succeeds at this, even if identifiable allusions to actual paintings are few and far between. The lighting design of Carlo Cerri is critical to all this; it defines space and adds texture to the bodies.


Bigonzetti’s choreography is dynamic, fusing some elements of classical ballet to what is essentially modern dance. The duets are arresting and innovative, yet not quite as unusual as some of the dancers seem to think. In the accompanying interview feature, one of the ballerinas exclaims that making a dancer stand on her seated partner’s swiveling knees has never been done before; well, she’s apparently never seen Pilobolus, or acrobats, for that matter. It would have been interesting to see how she managed to slide off those knees and rejoin the floor on pointe, but unfortunately video director Andreas Morell cuts away at that point. Morell is a bit of a problem here: especially in the lively group scenes in the first act, his quick cutting, emulating the dynamics of the movement, makes the action almost unintelligible. Otherwise, though, he seems more sensible, and his choice of medium shots and close-ups usually helps illuminate the dancers’ gestures, which are very important in this choreography. He also makes good occasional use of overhead shots.


Bruno Moretti assembled the score from various works by Caravaggio’s close contemporary, Claudio Monteverdi. Moretti’s treatment of the originals is initially light and Beechamesque, but gradually becomes darker and always varied in texture. It’s romanticized Monteverdi, but it fits the stage action perfectly.


The Blu-ray release delivers superb visual detail—you can tell who shaves which body parts and who does not—and two audio options: PCM stereo and DTS-HD 7.1 surround. The DVD’s audio formats are PCM stereo, DD 5.1, and DTS 5.1. The DVD apparently is a gateway to some online bonus material, but because it requires a Windows operating system and I’m a Mac user, I couldn’t investigate it; I suspect it’s essentially the same collection of still photos from rehearsal and production that are included on the Blu-ray.


Bigonzetti’s Caravaggio is a puzzling work, but it’s beautifully performed; for both reasons, it invites multiple viewings.


FANFARE: James Reel
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CAST:
Vladimir Malakhov
Michael Banzhaf
Elisa Carrillo Cabrera
Leonard Jakovina
Mikhail Kaniskin
Beatrice Knop
Shoko Nakamura
Polina Semionova
Dmitry Semionov

Staatsballett Berlin
Staatskapelle Berlin
Paul Connelly, conductor

Mauro Bigonzetti, choreographer
Carlo Carri, lighting and set design
Kristopher Millar and Lois Swandale, costumes

Recorded live from the Staatsoper Unter den Linden, Berlin, 2008.

Bonus:
- Interviews with the choreographer, composer and soloists as well as backstage and rehearsal footage.

Picture format: 1080i Full HD
Sound format: PCM Stereo / DTS-HD Master Audio 7.1
Region code: 0 (Worldwide)
Menu language: English
Subtitles (bonus): English, German, French, Spanish, Italian, Russian
Running time: 93 mins (Ballet) + 29 mins (Bonus)
No. of Discs: 1 (BD25)
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Works on This Recording

1.
Caravaggio by Bruno Moretti
Conductor:  Paul Connelly
Orchestra/Ensemble:  Berlin Staatskapelle Orchestra
Period: 20th Century 
Date of Recording: 2008 
Venue:  Staatsoper Unter den Linden, Berlin 

Customer Reviews

Average Customer Review:  1 Customer Review )
 A wonderful ballet that was almost impossible to  January 28, 2013 By N. Atsiz See All My Reviews "I was so excited to watch a ballet as a stage experience. Instead I watched Malakhov's hand for a whole minute while Semionova was apparently dancing somewhere I couldn't see. I had to watch the mid section of a dancer while he was doing a pirouette. So many close-ups are so annoying I was ready to scream. Andreas Morell ruined a wonderful ballet. Some close-ups are acceptable but when you watch a ballet people want to see the dancers from head to toe for the most part. I was very very disappointed by the choice of the video director. He should never direct any ballets." Report Abuse
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