A tale of the French Revolution, The Flames of Paris belongs to the pearls of the pure classics of classical dance. This world premiere recording of the production from choreographer Alexei Ratmansky (after Vasily Vaynonenon) and the Bolshoi Ballet, features the standout soloists Natalia Osipova and Ivan Vasiliev. Although set in revolutionary France, The Flames of Paris was intended to serve as an allegory for contemporary events in the Soviet Union. The ballet premiered in 1932 on the anniversary of the October Revolution, and one of its main characters was the population - revolutionary in mood and ready for action. Not surprisingly, The Flames of Paris was quickly included in the ranks of works which were always presented for major anniversaries.The choreographer Alexei Ratmansky has attempted to make maximum use of the preserved fragments of Vasily Vainonen in his new ballet.

The Flames of Paris

In this joyful version, a beautiful mechanical doll interferes with the happiness of two lovers. Original choreography by Marius Petita.  New version by Sergei Vikharev. Music by Leo Delibes.  Live performance 29 May 2011.

The Bolshoi Ballet: Live From Moscow - Coppelia

With Roland Petit’s cool, cabaret-style choreography and chic costumes by Yves Saint Laurent, Notre-Dame de Paris has been a modern ballet hit ever since its 1965 premiere. Petit’s deft condensation of Victor Hugo’s epic and tragic novel is now renewed by two stars of our own time, Roberto Bolle and Natalia Osipova: a stunning tribute to Petit’s genius after his death in 2011. Recorded live at Teatro alla Scala, Milan, March 2013.

La Scala Ballet: Notre-Dame de Paris

The quintessential Romantic ballet, Giselle has remained a cornerstone of the classical repertory and captivated audiences all over the world since its premiere in 1841. Peter Wright's landmark production does full justice to this work's great emotional power: making the characters psychologically convincing and emphasizing the contrast between the realism of Act I and the other-worldly in Act II. Making her debut as a member of The Royal Ballet in the title role, Natalia Osipova was hailed as ‘technically and artistically supreme … ethereal and desperately moving’ (Daily Telegraph). As Albrecht, Carlos Acosta ‘partners her with devoted care, and responds to her dazzling dancing with renewed sharpness and attack of his own’