Le Corsaire is the perfect vehicle for the world-renowned virtuosity of the American Ballet Theatre. The acclaimed cast masterfully weaves their way through pirates, shipwrecks, abductions, treachery and true love. Dazzling choreography is intertwined with colorful costumes, exotic scenery and special effects that add life to the non-stop action. It's entertainment, pure and simple. Julie Kent, Angel Corella, Joaquin De Luz, Paloma Herrera, Vladimir Malakhov, Ethan Stiefel. 113 minutes.

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The Dancing. "Le Corsaire" is a full-length ballet story that centers on a beautiful slave (Medora, danced by Julie Kent) who becomes the object of desire of more than a couple of pirates (principal characters danced by Ethan Stiefel, Angel Corella, Joaquin De Luz and Vladimir Malakhov). It's a theme we're all familiar with (I dare say, perhaps in real life also), so the inbuilt intrigue is enough to keep viewers interested throughout the story. The dancing in this performance (staged in Southern California in 1999) is absolutely awesome from a technical standpoint, and there are many moments that caused me to marvel. Principal dancers Corella, Paloma Herrera and Malakhov put on truly amazing displays of athleticism, balance and fluidity. Same with Julie Kent, who still looks like my ideal ballerina in terms of beauty and grace. Even the corps shines, especially in Act III. I must admit [picky comment] I was a tad underwhelmed by Ethan Stiefel, not because of his dancing, but because he seemed to be miscast: his slight build and boyish looks just didn't convey what I expected from a pirate. This little "flaw" was not enough to detract from the performance.

The Interludes. Prior to each act there is commentary by Artistic Director Kevin McKenzie and interviews (more like sound bites) with dancers and backstage personnel that are supposed to provide insight into what is portrayed as a confusing (I'm not certain why) storyline. Although it's a mildly interesting added dimension to hear the characters speak behind the scenes, much of the cast comes across as a little goofy and/or tongue-tied. I watched the first time; in the future I'll likely skip these parts.

The Visuals. I have to say that this ballet DVD showcases some of the best camera work and editing I've ever experienced for a dance performance. Edits betwen full stage and individual character views are timely and allocated perfectly. Thankfully, the common mistake (seen so often on television these days) of zooming in on a performer's face--while missing the body's attitude and movement--virtually never surfaces on this disc. There are a couple of distracting instances where the conductor's baton flicks into the bottom of the picture, and where some standing audience members obscure the dancers at curtain call time. Still, 99% of the time the camera is looking exactly where my eyes want to go, and that scores big points in watching a great performance like this.

24 of 24 found the following review helpful:

Le Corsaire: ABC CoupDec 21, 1999
By Harlan Kessel
We watched the American Ballet Company production of this magnificent ballet on PBS tonight, 20 December 1999. It is an absolutely superb production with some of the most athletic dancing we have ever seen. It's an exotic plot, set in an Orientalia kingdom--a pasha is the opera buffo--and involving lovely slave maidens, handsome male adventurers, and intrigue. Its history is interesting too: over the years, many Russian composers have contributed bits and parts so that today, about six composers in all (Tchaikowsky, Glinka, Berlioz et al are part of the composers' ensemble). This great ballet survives only because Russia preserved its many transformations. See it. It is marvelous, and a whole new introduction to classical ballet.

23 of 24 found the following review helpful:

Above and Beyond 5 StarsDec 23, 1999

American Ballet Theatre has done it again! With out fault they have once again surpassed all expectations with Le Corsaire. The ballet's story line once confusing, is now simplistic. The dancers: Stiefel, Correra, Kent, Herra, and newcomer Murphy have unquestionable talent beyond their years. The choreography is flawless, each step is given to portray the character it represents, not another. The combination of pure talent, and pure choreography equals nothing but the best.

25 of 27 found the following review helpful:

Very silly ballet, but some great dancingApr 26, 2005
By Ivy Lin
Not all ballet music is created equal. Le Corsaire's "score" is one of the "less equal" of classical ballet. Because it's a pastiche of six (count 'em) composers, there's no cohesiveness or continuity whatsoever in the ballet. Things feel and sound like either: 1. pas de deux music, which always has a lot of harps and strings; or 2. filler junk. The plot of Le Corsaire is also unbelievably silly and convoluted. In short: A pirate's crew is shipwrecked, said pirate falls in love with a harem girl, buys her, but then his servant betrays his master, kidnaps girl ... And oh, really, who cares.

The reason Le Corsaire has any hold over the ballet repertoire at al is because it requires a large cast, and everyone has his/her "moment" in the spotlight. It's really a dance extravaganza with only a bare-bones plot; even the corps don't really get much attention. But it's a great piece for showing off technique or charisma. Incidentally, the "slave pas de deux" (most famous moment of the ballet) was the calling card of Rudolf Nureyev. He danced it for his Vaganova academy graduation (a tape still exists) and in the West as a showpiece. The pdd remains a great favorite of ballet galas, although both the Kirov and the ABT present it as a pas de trois with Medora, Slave, and Conrad, as that is closer to Petipa's original choreography.

There are two video versions of Le Corsaire: the Kirov video, and this video from the American Ballet Theatre which was incidentally staged by the great Kirov ballerina Natalia Dudlinskaya. The two videos both feature incredible dancing, but the companies differ in their approach. The ABT seems to have realized that the story is a joke, so the dancers (especially the men) play up everything for camp. The ABT video includes some charming footage of Kevin McKenzie and the dancers trying to explain the nonsensical plot. Vladimir Malakhov is particularly delightful as he "defends" his character's actions. The Kirov doesn't take the story very seriously either, but their approach is to just let their lead dancers show off.

I'll just spend the rest of the review comparing the videos:

PRODUCTION - ABT wins hands down. The Kirov's Corsaire looks slightly old and ragged, like many company warhorses. The video quality is not as clear. Moreover, the Kirov performance is one of those 'fake live' ones where the dancers dance but applause is tracked in later. At the ABT, everything looks new. The ABT dvd also includes brief interviews with the dancers before every act as they "explain" the plot. It's a nice touch and gives us viewers a chance to feel slightly closer to the dancers.

DANSEURS - A close call, but I'd give the nod to the ABT. Both Conrads (Yevgeny Neff for Kirov and Ethan Stiefel for ABT) are the male weak links. They don't dance badly, but they aren't particularly memorable either. Farukh Ruzimatov is the slave for Kirov, Angel Corella for ABT. This one's a draw -- Ruzimatov has a natural Tartar exoticism that kind of works for this role, but Corella's dancing is more exuberant, and Corella seems to be having more fun. For Lankedam the evil slave trader is, ABT wins. Vladamir Malakhov is wickedly funny and over-the-top, in his bright red outfit. Konstantin Zaklinsky also tries for some comic relief but he isn't quite as funny or talented as Malakhov.

BALLERINAS: Here, the Kirov wins, no question. As Medora the slave-girl of vaguely Mid-Asian descent, Altynai Asylmuratova is just perfect. She looks extremely Asian and exotic, and really has the kind of belly-dance-goes-ballet thing down pat. In Sleeping Beauty I might call the extreme curvature of her spine and the way she kicks her leg up in attitude a bit distorted. Here, it's just right. Her Medora is also personally adorable. In the famous "slave" pas de deux Altynai has trouble finishing her 32 fouettes but she does them anyway. Julie Kent, OTOH, has a kind of homogenized, bland dancing style that isn't quite as compelling to watch. Her Medora is just a smiley girl-next-door. In one bizarre scene, Julie Kent has a mile-wide grin as she's being bound and kidnapped.

The smaller part of Gulnare is taken by Elena Pankova for the Kirov and Paloma Herrera for the ABT. Herrera is very strong technically, with an extremely solid, unadorned style. Pankova is light and feathery, sort of a "floater." Both are good, but I think Pankova is more believable as a barely pubescent slave girl. Incidentally, both videos feature as odalisques who would later become famous principals. The ABT has Gillian Murphy executing triple pirouettes, while the Kirov has an odalisque trio of Margherita Kulik, Zhanna Ayupova, and Veronika Ivanova.

I think both ABT and Kirov videos are worth getting for balletomanes. In the end, I'd have to give the "dancing" nod to the Kirov, and the "concept/production" nod to the ABT.

13 of 13 found the following review helpful:

Le Corsaire - an amazing performanceJun 12, 2003
By MICHAEL L EGGERT
American Ballet Theatre's DVD of its 1999 performance of "Le Corsaire" at the Orange County Arts Center is both technically brilliant and beautiful. It is based on the classic story "The Corsair" (1814) by Lord Byron. A somewhat confusing tale that centers on the beautiful slave girl Medora, performed majestically by Julie Kent, who has been sold to a jovial Pasha, portrayed by Michael Owen. Unfortunately her heart belongs to the swashbuckling pirate Conrad, danced by the charismatic Ethan Stiefel. Conrad eventually steals her away form the Pasha, and after a tragic ship crash, ends up stranded with her on a deserted island.

This performance was filmed with multiple cameras that provide just the right balance of wide stage shots and character driven close-ups. The cinematography is just right. Nothing fancy, no special effects, just the proper angles and framing that let the story be told without distracting from it.

The artistic director Kevin McKenzie did a wonderful job bringing this classic tale to life. The set design was grand in scale and magnificent in detail. Vibrant colors and textures helped to convey the proper mood for this pirate love story. The costuming and wardrobe added to the already colorful presentation. The score of several different composers, performed by the Pacific Symphony Orchestra, conducted by Ermanno Florio, was lyrical and rhythmic, providing the perfect musical foundation for this tale.

Yet beyond all the set design, lighting, and costumes, it was really all about the dancing. Julie Kent (Medora) is the embodiment of style and grace. She is technically accurate and beautiful to watch. But it is Paloma Herrera's performance as the other slave girl (Guinare) that stole my heart. Paloma seems to have an unearthly sense of balance, as if gravity doesn't apply to her. She is able to stay up on pointe for what seems like an impossible amount of time. Her feet are so unnaturally flexible it makes me wonder if they aren't made out of rubber, or perhaps she is missing some bones. Paloma also seems to take more risks with her dancing as opposed to the safer performance of Julie Kent. The two of them provided the perfect compliment as the objects of desire for the leading men. Even though Ethan Stiefel did a splendid job as Conrad, it was his slave, portrayed by Angel Corella that really defines Le Corsaire as a ballet not to miss. Angel's leaping performance that was originally made famous by Rudolf Nureyev, had me stopping and rewinding repeatedly just to make sure that there weren't wires holding him up from the ceiling. He has more hang time than Michael Jordan. He is like a tornado on the stage, explosive and dangerous. His performance alone makes this DVD worth the asking price. Vladimir Malakhov (Lankendem) does a leaping routine were he lands in such an impossible and precarious way, that he must have Orthopedic surgeons salivating at the thought that this guy is going to blow his knees out. Yet somehow he makes it look so easy and natural, even though everyday mortals would be hard pressed to replicate.

American Ballet Theatre's Le Corsair is a joy to watch. With such outstanding performances, and great cinematography, this is one DVD you will keep coming back to it again and again.

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