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15 of 17 people found the following review helpful
4.0 out of 5 stars Innocence Unravelled, 23 Mar 2013
Nobody dances Kenneth MacMillan's ballets better than The Royal Ballet. Largely created on them or taught to them by the choreographer and the first casts, the idiom is in the dancers' blood. The Kirov once brought Manon to Covent Garden, but were unwilling or unable to get down and dirty with the drama.

Luckily, a recent run of DVDs has recorded the original style of MacMillan's dance dramas - Manon, Mayerling and Romeo and Juliet are now available on film with several different casts. This latest account of Romeo and Juliet, broadcast live in cinemas last year, is a superb case in point, in which dance and theatre are given equal weight.

Lauren Cuthbertson and Federico Bonelli are a decidedly fresh-faced pair of eponymous lovers. Rather than the brooding Tamara Rojo and Carlos Acosta on Decca's recent DVD account, this new Opus Arte film offers the promise of idealistic young love. Bonelli mixes Italianate swagger and the far-off look of an enrapt Romeo. Cuthbertson takes longer than some interpreters to change from girl to woman, yet the sense of erotic release in the pair's Act 3 bedroom pas de deux is gripping. Both here and in the famous balcony scene, they bring accuracy and expressivity to their movements.

This all-too-hopeful pair is caught in a tempestuous world of harlots, sword fights and bullying fathers. Christopher Saunders' Lord and Bennet Gartside's Tybalt are particularly articulate in communicating the pugilistic nature of the Capulet household. Unabashed in their bullying of Juliet, quick to anger, even the poised pageantry of the ball could quickly change to a brawl.

Although superbly danced, Alexander Campbell's Mercutio and Dawid Trzensimiech's Benvolio are slower on the dramatic uptake. Both could be quirkier, cheekier, though they are dazzling in the fight scenes in the market square. You just don't quite feel they're a match for Gartside's Tybalt and it's left to Bonelli, fierier here than normal, to bring the drama to boiling point. And he and Cuthbertson bring that same heat to the final scene in the Capulet tomb. Gone is their wide-eyed innocence, replaced by unbridled desperate passions, which director Ross MacGibbon delivers brilliantly to the screen.
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41 of 47 people found the following review helpful
5.0 out of 5 stars Same production, same venue, different cast, different interpretation, 5 Mar 2013
By 
I. Giles (Argyll, Scotland) - See all my reviews
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This review is from: Prokofiev: Romeo & Juliet [Blu-ray] [2013] [NTSC] (Blu-ray)
This new disc, recorded in March 2012, comes into the most direct competition possible with the previous recording. That was made in November 2007 by Decca, also at the Royal Ballet with the same production but with a different cast and a Russian conductor. One might be forgiven for being rather confused at this stage as it seems that they will double up so closely as to be an unnecessary duplication. In reality they are very different performances with a completely different emotional effect almost throughout.

Individual timings of various sections are an indication of the different approaches to the interpretation. In the earlier version starring Acosta and Rojo with Boris Gruzin conducting tempi are noticeably faster with tauter movements in many sections (such as in the crowd scenes or the sword fights) than in the new version with Federico Bonelli and Lauren Cuthbertson starring with Barry Wordsworth conducting. Some of the gentler sections can be startlingly different too such as Juliet's dance in act 1 taking just 2'20'' with Rojo compared to just over 3 minutes with Cuthbertson for instance. The ensemble pieces with their slower speeds in particular have completely different effects. The market scenes in the earlier version have an unmistakable sense of menace, the harlots' dance has an aggressive edge, the dance of the knights (Capulets) is clearly a demonstration of menacing power on the earlier version while the new version is more of a measured demonstration of stateliness.

This difference in interpretation between the two performances is apparent throughout and equally applies to the main characters, Romeo and Juliet. Acosta is all about strength and power and he is matched by Rojo's apparent fragility. This creates a dramatic tension which matches the palpable menace that permeates the whole of the earlier performance. The harlots are aggressive, the fight scenes are hair-raising in their intense determination to inflict death. Interestingly, Christopher Saunders appearing in both versions, is more aggressive as Lord Capulet towards Juliet in the bedroom scenes in act 3 than he is in the same role in the new version. Thiago Soares as Tybalt is extraordinarily cold-bloodied and vicious in the earlier production and his actual physical appearance and general demeanour is in a completely different league compared to the more socially acceptable and simply unpleasant characterisation of Bennet Gartside in this new version. Everything about the earlier version is on a more epic scale. This also applies to Rojo's apparent fragility as a naive and very young girl and her ultimate final strength as she takes the sleeping draught and then finally stabs herself and dies. She is visibly moved and struggles to hold back the tears at the following curtain calls and Acosta has to comfort her. It takes her a while to compose herself.

In the new production there is a gentler and more lyrical approach to the whole ballet. This is not just a question of generally slower speeds. The emphasis is on smoother phrasing within the orchestra and a greater emphasis on the sweeping string textures rather than edgy brass which are kept more tonally blended. In the earlier version the phrasing is more aggressive with harsher accenting and with the brass far more prominent and biting in their tonal projection. On stage, the ensemble market scenes are more good humoured here with the harlots less aggressively dominant towards Romeo and his friends and the responses from the other girls less angry or defensive of their propriety. Mercutio's taunting, fight and ultimate death at the hands of Tybalt is more about taunting gone wrong rather than built-in hatred. Lady Capulet shows plenty of grief here but the earlier version is more literally hand-wringing because of the greater level of previous violence and its consequence. Both Federico Bonelli and Lauren Cuthbertson give excellent portrayals of their respective roles but this is very much girl meets boy next door. He is clearly a gentle soul with not an ounce of aggression in him. She is a bonny and healthy young English girl/woman with the added experience of being more than a teenager, more socially aware, less of a naive victim figure and not at all fragile. Both he and she are all smiles and immediately happy at the final curtain calls and there is clearly no need for comfort!

The new booklet has a telling comment from a member of the Technical Department which sums it all up and I quote: 'The Russian conductors go at it like mad things. It does sound better, but you feel "Slow down a bit"-because there's a hell of a lot to do.'

In the Acosta and Rojo earlier version, everything is on an epic scale both emotionally and physically. This applies to absolutely everything from the two stars, the supporting characters, the ensembles and corps de ballet and, possibly most importantly, from the driven and very Russian view of the conductor, Boris Gruzin. This is a drama of inevitable high tragedy which could never have gone right given the total lack of understanding at every level.

In this newer version with Bonelli and Cuthbertson everything is on a more normal girl meets boy next door scale both emotionally and physically. This equally applies to the supporting characters, the ensembles and corps de ballet and, probably crucially, from the more lyrical and less dramatic view of the conductor, Barry Wordsworth. This is a potentially happy story of the love between two young people which goes tragically wrong but could perhaps have been avoided given more understanding and social counselling, and I don't mean to be trite. This is very much a tale related to our own times where hope for a happy ending is never quite banished until the final act. One is left with the feeling of 'If only but ....'

Both discs are well recorded with sharp HD definition in both imaging and DTS-Master Audio sound. The camera work in both cases is excellent and fully supports the action on stage. The new disc supplies two short documentaries about the fight scenes (4 minutes) and about Kenneth MacMillan (8 minutes). There is also the usual Opus Arte cast gallery. The Decca disc does not have any extras.

This then is a choice between two quite different versions which are not as similar as one might expect. Both are equally well danced, recorded and played. The dramatic intent is the difference and this pervades both performances completely.

Supporters of the main stars will surely choose the version that they relate to on that basis. So will those who attended the performances either on stage or on screen. The audiences at the conclusion of both discs were equally ecstatic.

I would suggest that potential purchasers who do not relate directly to either cast would be best advised to consider which type of story they favour - a drama of hatred and aggression overcoming all or girl meets boy with a not quite inevitable tragic ending. Both of these options are equally well done on these two discs but they are not the same by any means.

In conclusion. these are two equally good discs but a reviewer can only give clues as to the differences between them. I would not presume to go further with advice as this will so obviously be a matter of personal responses to the individual dancers and to the type of story preferred. Everything else is equally matched.

.....................................

Some dialogue from the comments section that may offer further help:

Thank you for your wonderfully in-depth review! You've convinced me to buy the blu-ray. (U.S. review)

I find that a lot of people who disagree with a review mark it as "unhelpful," which is, I think, a misnomer and unfair. Amazon should have two separate buttons: "agree/disagree" for those who have seen/read/used the item and agree or disagree with a reviewer's opinion and "helpful/unhelpful" for those who are potential buyers. For the latter, your review could not be anything but helpful. (U.S. review)

A most wonderful review. Many thanks.
Wish you had also commented on the two different Paris. Vale Rihristov's portray made Paris matter far more and the story much sadder.
I'm forwarding your review to a young ballet student. (U.S.review)

An absolutely superb review that is a model for how to address an opera or ballet. Thank you for the insights and also for the example of how to write a comprehensive comparative review. By the way, this is also one of the most beautiful ballets ever written. (Many years ago I was in London and saw Romeo and Juliet; the Juliet -- I sadly forget her name -- was ill and a young substitute was introduced. She was Natalia Makarova. What an experience!) Based on your review I will now buy both versions. (U.S. review)

Very interesting - I do think that Barry Wordsworth is a very good conductor and I have admired his work in purely orchestral repertoire. Given that my own primary interest is the music, I am glad that I got this version; as I have the feeling that his is the approach I prefer (U.K. review)

Yes your review is very comprehensive - it made me want to have a look at some of your other reviews, which I did and found them to be very helpful! (U.K. review)

An EXCELLENT Review, Ian!
We are lucky to have two such brilliant but different versions available, and I'm not sure I will ever be able to pick a favourite!
The 2012 Barry Wordsworth version has one BIG advantage, which is much more pleasant and natural sounding Brass and Strings, but I do miss Boris Grusin's "Full Speed Ahead!" approach to the Swordfight Scenes!! (U.K. review)

Bravo, I. Giles,
I had a feeling of watching a completely different Romeo & Juliet when I got the arte opus disc. You nailed it perfectly! Why chose between the two if you can have both? (U.K. review)

...........................................

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1 of 1 people found the following review helpful
4.0 out of 5 stars Good performance of a Macmillan classic by a world class company, 21 Dec 2014
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A good performance of Macmillan's R and J, as you would expect from the Royal Ballet. It's difficult not to compare it with the Rojo/Acosta version. I'd say that Tamara Rojo has the edge as Juliet over Lauren Cuthbertson, but that Lauren's interpretation is very interesting, being much more English, or perhaps I should say, much less Latin. Acosta is technically superior to Bonelli as Romeo, I think (I 'm not an expert), but Bonelli has the edge dramatically, for me. It is much clearer to me why Romeo kills himself at the end, and Bonelli keeps up the passion better than Acosta. The supporting roles are good in both productions, and it's worth having both DVDs simply to compare the different interpretations, particularly of Mercutio. I think the filming and editing in this version are slightly better. There is an informative extra feature on the difficulties of sword fighting to music.
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22 of 26 people found the following review helpful
5.0 out of 5 stars High Quality Production in HD., 27 Feb 2013
By 
Bruce "from Brighton" (UK - England) - See all my reviews
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This review is from: Prokofiev: Romeo & Juliet [Blu-ray] [2013] [NTSC] (Blu-ray)
I went to see this production at Covent Garden many years ago and it has been going for over 400 performances, making it undoubtedly one of the most popular. Now we have another version on Blu Ray, only a few years after this one Prokofiev - Romeo and Juliet [Blu-ray] [2007] [2009][Region Free]

The reason seems to be that this comes from a performance that was broadcast live to cinemas around the world in March 2012; giving an opportunity to produce this recording. Everything about this exudes quality and from the excellent orchestra conducted by Barry Worsdworth, to the sets and costumes - it's all top notch.

What I remember from the Royal Opera House was that in the audience, the sound of the dancers' feet landing was much louder than expected and at times overpowering Prokofiev's delicate scoring. But in this recording, everything is perfectly balanced - every detail of the orchestra is heard and the physicality of the dancers comes across just as well. DTS-HD Master Audio surround sound helps and the orchestra sound closer than the stage noises.

Picture quality is excellent and every detail comes across, due to the sympathetic lighting and you are left to enjoy the spectacle unhindered by any aspect. Of course, the reason this is popular is that there is plenty of action and the story is very familiar. Along with some truly memorable tunes, the whole thing flies by in a whirl.

The Blu Ray package is generous with over two and half hours of the ballet and several extras about the making and one of the most exciting aspects - the swordfights. The booklet included is excellent, with many photos and detailed indexing, information and synopsis. Highly recommended.
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1 of 1 people found the following review helpful
5.0 out of 5 stars Just fantastic, mesmeric and totally amazing, 7 Oct 2014
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Oh my, if you are into the ballet this is heaven on a plate!! Just fantastic, mesmeric and totally amazing, such skill from these wonderful dancers. The interpretation of the ballet was from the classic which was a treat as so many go for the contemporary version. This is dreamy and I can highly recommend.
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4 of 5 people found the following review helpful
5.0 out of 5 stars Excellent performances from Lauren Cuthbertson and Frederico Bonelli, 8 Jun 2013
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This is a beautifully filmed performance of MacMillan's Romeo and Juliet with the Royal Ballet at Covent Garden.
Lauren Cuthbertson and Frederico Bonelli are thoroughly convincing as the lovers in this dramatic performance.The dancing is superb throughout and I can warmly recommend it to all lovers of ballet and theatre.
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5.0 out of 5 stars Enthralling, 6 Jun 2014
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A delightful version of a classic ballet with beautiful costumes and lovely dancing. Prokofiev's score is always wonderful to hear.
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4.0 out of 5 stars How can I write a review. Prokofiev's musics were ..., 3 Sep 2014
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How can I write a review. Prokofiev's musics were worlds famous, and ofcourse Romeo & JulietI. The first version I watched was dance by Galina Tamarova when I was a freshman. This one had its own merit.
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2 of 3 people found the following review helpful
5.0 out of 5 stars A classic production wonderfully performed, 15 Jun 2013
By 
Mr. Philip J. Wathen "Philip Wathen" (Pembrokeshire) - See all my reviews
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This review is from: Prokofiev: Romeo & Juliet [Blu-ray] [2013] [NTSC] (Blu-ray)
I first saw this production at the time of the live broadcast to cinemas around the world. It is a spectacular production and a wonderful performance. This recording is excellent, both visually and sonically.

Perhaps one day the Nureyev & Fonteyn film of this work will be available on Blu-ray, but the music would need to be re-recorded to match this modern recording.
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2 of 3 people found the following review helpful
5.0 out of 5 stars Outstanding Ballet!, 10 Sep 2013
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What a wonderful love story and a beautiful way to portray this Shakespeare masterpiece! Federico Bonelli is superb and tells Romeo's story with such expression! Alexander Campbell is the best Mercutio ever! Fabulous costumes and music! I wish I could see the Royal Ballet in person now.
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Prokofiev: Romeo & Juliet [Blu-ray] [2013] [NTSC]
Prokofiev: Romeo & Juliet [Blu-ray] [2013] [NTSC] by Federico Bonelli (Blu-ray - 2013)
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