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Posts Tagged ‘Igor Kolb’

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As we prepare to send off 2009 and embrace a new decade, we look back into what was hot, fun & fab around the ballet blogosphere to pick our favorite things this year. Feel free to share yours too.

Favorite Blog Posts

Haglund Heel’s “ABT needs a Mayerling” campaign

The coolest ballet campaign of the year. We keep on crossing our fingers & sending positive vibes for Mayerling to be part of ABT’s repertory someday. We’d definitely cross the Atlantic to see Marcelo Gomes as Crown Prince Rudolf.

You Dance Funny on the mess with “Swan Lake’s third act Pas de Deux”

We love uncovering mysteries à la Sherlock Holmes / Dr. Gregory House.  Divalicious prima ballerina decides she doesn’t like the score for her Swan Lake 3rd Act solo and asks Ludwig Minkus to write another one. This in turn bothers the original composer, a certain Mr. Tchaikovsky, who then writes a second version which never makes it to the final cut after all. Complicated? This could very well yield material for a soap opera.

Bloggerina meets Mr. Clement Crisp

Once upon a time our favorite ballet critic, Mr. Clement Crisp, went on a trip to Canada to see a triple bill composed entirely of new ballets, something sadly unthinkable in our neck of the woods. He met the Toronto ballet audience & spoke about what can be done to ensure the future of ballet. We were left very jealous…

Bella Figura’s Make your own Ballet Xmas in Paris

While Eurostar #FAIL would have surely prevented us from celebrating a balletic Xmas in Paris this year, this post provided us a much needed insight into the pick and mix of POB‘s casting. We are very curious about the darkest of all Nutcrackers and we might be more than tempted next December when the Mariinsky will also be in town. The post also offers a witty description of a certain Bolshoi star who has a habit of hanging on to theatre curtains.

Demicontretemps’s “If Ballet Stars were comic book heroes”

We love graphic novels, comic books and movie adaptations of both. We also often imagine deathmatches between our favorite ballet stars… if only we could pitch this idea to MTV. In this very funny post Eric Taub imagines Ballet dancers as drawn by famous comic book artists.

Veronika Part on Wolcott and Swan Lake Samba Girl

She is one of the most glamorous things to have happened to ballet. Just as gossip started to circulate that she would leave ABT she turned the tables on the rumour mill and bagged a promotion for Principal and a spot on David Letterman. May she long continue to fascinate us.

Favorite Tweets/Social Media Stuff

Sanjoy Roy on How dance companies must embrace the internet. The Guardian dance writer Sanjoy Roy picks up on the Ketinoa debate.

Hedi Slimane’s short film featuring Royal Danish Ballet’s Oscar Nielssen rocking and phrasing beaten steps to the music of Supershine drummer Matthias Sarsgaard. We said it before and will say it again: Ballet Rocks! (as tweeted by @hedislimanetwit)

Crankocast – Who would you be cast as in a Cranko ballet? Over here we got the two Taming of the Shrew sisters, one for each Bag Lady. Spooky! How did they know? (as tweeted by Stuttgart Ballet Principal dancer @EvanMcKie)

Charlotte MacMillan’s Mayerling photos at The Arts Desk – breathtakingly sinister studio shots of one of our favorite dark ballets with one of our favorite casts (as tweeted by @Macmillanballet)

Mariinsky in Japan Little Humpbacked Horse photos – mouthwatering candy store-like pictures of the Ratmansky ballet we are dying to see (as tweeted by the lovely @naomip86 – our Japanese ballet guru)

Favorite Ballet Bag Stuff

Interviews – Three fabulous leading dancers with each of the Mariinsky, the Royal Ballet and ABT. Three very distinct personalities which resulted in very different interviews. We hope you enjoyed them as much as we did. We are crossing our fingers for more.

Bridge Over Troubled Water & other Social media posts – We are big believers in the power of social media. All of these posts were great fun to write & some even managed to stir some controversy (see Sanjoy Roy article above).

Supermassive Black Hole – Our resident physicist analysed BRB’s new ballet based on Einstein’s Theory of Relativity. Perfect for the job.

Grace – This was a tough cookie. Someone asked in our Facebook group if we could write something about the ballerina’s grace. It was hard to put a subjective concept into words but we really liked the final product, not least because it gave us a chance to quote from Pride and Prejudice.

Last but not least

Our favorite Dances of the Decade

Our favorite Dance articles of 2009 (Conventional Media)

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The Royal Ballet’s Sleeping Beauties have just drawn to a close, giving way to the usual Christmas special of Nutcrackers. Notice anything in common? Both are Petipa ballets, both are amongst the safest for box office purposes, with blockbuster works such as Swan Lake and The Sleeping Beauty, their lavish costumes, orchestral music and vast ensemble of dancers, always in demand with regulars and first timers alike. Petipa ballets may be overly done, but they remain definitive classics, with great choreography which survived more or less unscathed over the years since their Imperial Ballet days.

In this post we look at Marius Petipa and the scale of his achievements. This Franco-Russian choreographer changed the face of ballet and created masterpieces – the first ballets that come to mind when one thinks classical dance – that continue to inspire generations of dancers, new choreographers and audiences.

Marius Petipa in a Nutshell

Marius Petipa. Photo: Mariinsky Theatre

Victor Marius Alphonse Petipa was born on 11 March of 1822 in Marseille son of an actress, Victorine Grasseau, and a ballet dancer (and eventually ballet master) Jean Antoine Petipa. Petipa got drawn into the  ballet world early on, starting to train at age 7 in Brussels where his family had moved to. At the time, Petipa attended the Brussels Conservatory, where he studied music. He went to school at the Grand College.

Initially Petipa danced only to please his father who wanted to see him perform. However, he soon became enchanted with the art form and progressed so fast that he debuted at 9 in his father’s production of Pierre Gardel‘s La Dansomani. With the Belgian revolution forcing the family to move again, Jean Antoine secured a job as ballet master at the Grand Théâtre de Bordeaux. There, Petipa completed his training under the watchful eye of Auguste Vestris. By 1838, he had a job as Premier danseur in Nantes.

The following year Petipa and his father toured the United States performing for audiences who had never seen or known about ballet. While the tour was disastrous it had plenty of historical significance. Performing at the National Theatre in Broadway, Petipa was involved in the first ballet ever staged in New York City. From there Petipa travelled to Paris were he debuted at the Comédie-Française (or Théâtre-Français), partnering Carlotta Grisi and at the Théâtre de l’Académie Royale de Musique (Paris Opéra).

In 1841 he returned to Bordeaux as a Premier danseur with the company, studying under Vestris while debuting in lead roles in Giselle and La Fille Mal Gardée. It was in Bordeaux that he started choreographing full-length productions. In 1843 he moved to the King’s Theatre in Madrid where he learnt about traditional Spanish Dancing which would come in handy for making character dances later on. He was forced to leave Spain after being challenged to a duel by a cuckolded husband, the Marquis de Chateaubriand, an important member of the French Embassy. Back in Paris, he took a position as Premier danseur at the Imperial Theatre of St. Petersburg where he arrived in 1847. His father soon followed, becoming a teacher at the Imperial Ballet School until his death in 1855.

Upon his arrival in St Peterburg, Petipa was recruited to assist in the staging of Joseph Mazilier‘s Paquita (originally staged at the Paris Opéra). Helped by his father, he also staged Mazilier’s Le Diable Amoureux. Both productions were praised and Petipa’s skills brought much needed respite to a company then in crisis.

The Mariinsky Ballet in Petipa's Le Corsaire. Photo: Valentin Baranovsky / Mariinsky Theatre ©

Towards the end of 1850 Jules Perrot arrived as Premier Maître de Ballet (Principal ballet master) for the St. Petersburg Theatres. His main collaborator, composer Cesare Pugni, had also been appointed as Ballet Composer at the Imperial Theatres. Petipa danced the main roles in Perrot’s productions and served as his assistant, staging revivals such as Giselle (1850) and Le Corsaire (1858). In parallel Petipa started to choreograph dances for opera and to revise dances for Perrot’s productions.

Petipa was now choreographing more frequently, making ballets for his ballerina wife Maria Sergeyevna Surovshchikova. A rivalry with Arthur Saint-Léon, the new Principal ballet master after Perrot’s retirement (1860) developed, the two competing for the most successful production. But while Saint-Léon’s The Little Humpbacked Horse was very well received he flopped with Le Poisson Doré (1866) and Le Lys (1869) which led to his contract not being renewed. Not long afterwards Saint-Léon died of a heart attack leaving an opening for Petipa to fill the position of Premier Maître de Ballet (March, 1871).

Before being appointed ballet master Petipa had already:

Photo of a scene from the choreographer Marius Petipa (1818-1910) & the composer Cesare Pugni's (1803-1870) 1862 ballet "The Pharaoh's Daughter". The photo shows the Grand pas des chasseresses from Act I of the ballet on the stage of the Imperial Mariinsky Theatre in Petipa's revival of 1898. In the center can be seen the ballerinas (right) Mathilde Kschessinskaya (1871-1970) in the role of the Princess Aspicia, and (left) Olga Preobrajenskaya (1871-1962) in the role of the slave Ramzé.

1898 photo of Petipa's ballet "The Pharaoh's Daughter", Mathilde Kschessinska as Princess Aspicia and Olga Preobrajenska as Ramzé the slave. Photo: Imperial Mariinsky Theatre.

When Don Quixote was lavishly restaged in St. Petersburg its composer Ludwig Minkus became official Ballet Composer of the Imperial Theatres, leading Petipa and Minkus into a fruitful collaboration, with La Bayadère (1877) becoming one of Petipa’s most celebrated works.

Minkus retired in 1886 and Director Ivan Vsevolozhsky did not seek a replacement official composer, allowing instead for more diversified ballet music. This paved the way for Tchaikovsky to collaborate with Petipa in The Sleeping Beauty (1889) and create one of the most successful classical ballets of all time. At that time Petipa was diagnosed with a skin disease which meant long periods away from work. For The Nutcracker (1892) Tchaikovsky worked with Petipa’s assistant Lev Ivanov who would frequently cover for Petipa together with Enrico Cecchetti.

The Mariinsky Ballet in Petipa's Le Reveil de Flore (The Awakening of Flora). Photo: Natasha Razina / Mariinsky Theatre ©

During his tenure as balletmaster Petipa also:

  • supervised Ivanov and Cecchetti in the staging of Cinderella (1894) with italian virtuosa Pierina Legnani in the title role. Here she first performed the famous 32 fouettés en tournant later consecrated in Swan Lake;
  • choreographed The Awakening of Flora (1894) with music by Riccardo Drigo;
  • revived, together with Lev Ivanov, Tchaikovsky’s Swan Lake (1895). Lev Ivanov worked on the second and fourth acts while Petipa was in charge of the rest. Together they turned this previously unsuccessful ballet into one of the all-time greatest;
  • Continued working (coaching Anna Pavlova in her debut in Giselle) despite the deterioration of his health and persecution from new artistic director Vladimir Telyakovsky following an illreceived adaptation of Snow White (entitled Le Miroir Magique);
  • Created a final ballet, L’Amour de la Rose et le Papillon, which was scrapped before its premiere by Telyakovsky due to the impending war with Japan.

Petipa retired to Gurzuf in southern Russia in 1907 at the suggestion of his doctors. He remained there until his death on July 14, 1910. A diary entry dated 1907 reads: “I can state I created a ballet company of which everyone said: St. Petersburg has the greatest ballet in all Europe.”

His Ballets

Petipa will be forever associated with lavish productions, character and classical dances, big ensemble and dramatic scenes in mime or in pas d’action (mime with dance). His dances combine the technical purity of the French school with the virtuosity of the Italian school. He was very involved in the creation of his ballets, researching subject matter extensively and working close with the composer and designer. He created choreography before going to the studio and teaching it to his dancers. He produced more than 46 original works and revised many more (e.g. Giselle), of which a large share is still being performed today.

The Mariinsky Ballet in The Sleeping Beauty. Photo: Natasha Razina / Mariinsky Theatre ©

Petipa’s ballets have survived more of less intact thanks to the availability of the  Stepanov Method of notation from 1891 onwards. The method combines the encoding of dance movements with musical notes, in two steps: first, the breaking down of a complex movement and second, the translation of the broken down/basic movement into a musical symbol. The project was taken over by Alexander Gorsky and eventually by Nicholas Sergeyev, a former Imperial dancer, who later brought Giselle to the Paris Opéra Ballet and The Sleeping Beauty, Giselle, Coppélia and The Nutcracker into The Royal Ballet. These notated versions became the standard choreographic text and have been adopted by nearly every major ballet company in the world.

A (non-exhaustive) list of his works

Original Works

  • Le Carnaval de Venise (Pugni on a theme by Nicolò Paganini, 1858)
  • The Pharaoh’s Daughter (Pugni, 1861)
  • Don Quixote (Minkus, 1869)
  • Les Aventures de Pélée (Minkus/Delibes, 1876)
  • La Bayadère (Minkus, 1877)
  • Roxana, la beauté de Monténégro (Minkus, 1878)
  • Pygmalion ou La Statue de Chypre (Trubestkoi, 1883)
  • La Fille Mal Gardée (with Lev Ivanov and Virginia Zucchi. Hertel / Hérold / Pugni, 1885)
  • Les Pilules Magiques (Minkus, 1886)
  • Le Talisman (Drigo, 1889)
  • The Sleeping Beauty (Tchaikovsky, 1890)
  • The Nutcracker (with Lev Ivanov – Tchaikovsky, 1892)
  • Cendrillon (Staged by Ivanov and Cecchetti under Petipa’s supervision – Fitinhof-Schell, 1893)
  • Swan Lake (with Lev Ivanov – Tchaikovsky revised by Drigo, 1895)
  • Raymonda (Glazunov, 1898)
  • Las Saisons (Glazunov, 1900)
  • Le Millions d’Arlequin (Drigo, 1900)
  • Le Miroir Magique (Koreschchenko, 1903)
  • La Romance de la Rose et le Papillon (Drigo, never premiered)

Revivals/Restagings

  • Paquita (after J. Mazilier with F. Malevergne – Deldevez / Liadov, 1847)
  • Giselle (after J. Coralli and J. Perrot with Jules Perrot and Jean Petipa – Adam / Pugni, 1850)
  • Le Corsaire (after J. Mazilier with J. Perrot – Adam / Pugni, 1858)
  • Le Papillon (after M. Taglioni – Offenbach / Minkus 1874)
  • Coppélia (after Saint-Léon – Delibes, 1884)
  • La Esmeralda (after J. Perrot – Pugni 1886)
  • La Sylphide (after F. Taglioni – Schnietzhoeffer/Drigo 1892)
  • The Little Humpbacked Horse (after Saint-Léon – Pugni, 1895)

Videos

  • Vikharev Reconstruction of Petipa’s Sleeping Beauty with Yevgenia Obraztsova as Aurora, Anton Korsakov as Prince Désiré and Anastasia Kolegova as The Lilac Fairy [link]
  • Vikharev Reconstruction of Petipa’s La Bayadère with Daria Pavlenko as Nikiya, Igor Kolb as Solor and Elvira Tarasova as Gamzatti [link]
  • Ratmansky and Burlaka‘s restaging of Le Corsaire for The Bolshoi, with Maria Alexandrova as Medora and Nikolai Tsiskaridze as Conrad [link]
  • Dance of the Animated Frescoes from The Little Humpbacked Horse, performed by students of the Vaganova Academy. [link]
  • Vikharev Reconstruction of The Awakening of Flora with Yevgenia Obraztsova as Flora, Xenia Ostreikovskaya as the Aurora, Vladimir Shklyarov as Zephyr, Maxim Chaschegorov as Apollo and Valeria Martynyuk as Cupid.  [link]
  • Pas de deux from Le Talisman by students from the Vaganova Academy [link]
  • Pas de deux from La Fille Mal Gardée by students from the Vaganova Academy [link]
  • Burlaka’s Reconstruction of the Paquita Grand Pas Classique with Svetlana Zakharova and Andrei Uvarov [link]
  • Mikhailovsky Theatre‘s staging of the Grand Pas Classique from La Esmeralda [link]
  • Ulyana Lopatkina as Odile and Danila Korsuntsev as Siegfried in Act III of Mariinsky’s Swan Lake [link]

Sources and Further Information

  1. Biography of Marius Petipa: His Life and Work. ArticleMyriad.com [link]
  2. Ballet Met Notes for Marius Petipa, Choreographer [link]
  3. Wikipedia entry for Marius Petipa [link]
  4. The Diaries of Marius Petipa. Edited and Translated by Lynn Garofola. Studies in Dance History, Society of Dance History Scholars. (1992) ASIN: B0006P1DJ6 [link]
  5. Russian Ballet Master: The Memoirs of Marius Petipa. Edited by Lillian Moore and Translated by Helen Whittaker. Dance Books LTD (2009) ISBN-10: 0903102005 [link]
  6. The Cambridge Companion to Ballet by Marion Kant. Cambridge University Press; 1st edition (2007). ISBN-10: 0521539862 [link]

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Igor Kolb. Source: Mariinsky.ru Copyright Mariinsky Theatre ©.

Igor Kolb. Source: Mariinsky.ru Copyright Mariinsky Theatre ©.

If you follow us on Twitter or Facebook or if you have been reading our posts here you will know that, balletwise, the past two weeks have been “all about the Mariinsky in London, their stylish dancing and the impressive array of performers they have fielded to wow us in the classics Swan Lake, The Sleeping Beauty, Romeo & Juliet and in sexy Balanchine.

We were particularly impressed with the very charismatic Igor Kolb, a 32 year old principal dancer, now in his 13th season with the Mariinsky. Igor’s artistry is remarkable, he’s blessed with an expressive handsome face, strong dramatic skills, effortless and fluid dancing and a beautiful line. His naturalistic Romeo left us at the edge of our seats and dying to know where all this dramatic juice comes from. We were delighted when he agreed to spare a few minutes between rehearsals to talk to us:

How do you cope with the mix of different roles on tour?

IK: It’s very interesting for me to dance a mix of roles on tour because they are all different roles from different eras. If I were to do Swan Lake every day it would be in some respects easier but psychologically, just impossible. Having said that, as a dancer you always want to make something more interesting out of the same role, even when you’ve danced it for a long time.

How long have you been with the Mariinsky and when did you become a principal dancer?

IK: This is my 13th season with the company. I started dancing principal roles very early, Prince Désiré from “The Sleeping Beauty”, the central adagio in Balanchine’s Scotch Symphony, and the poet in Chopiniana [Les Sylphides] so in a way the appointment to principal a few years later was a mere formality as I was already dancing all these big roles from the start.

You began your career dancing in the classics but how have you matured into a more dramatic dancer – the critic Jeffery Taylor said last week your Romeo was “heart-piercing” – lately?

IK: I really like the theatre, I go when I can in St. Petersburg, old plays new productions, I go see them all. I also like cinema and literature too [Igor is currently reading Dostoevsky’s Brothers Karamazov]. Maybe it’s because I am a bit older now but I refused to dance Romeo initially. I had Zeffirelli’s Romeo in my mind’s eye and in this film there is a pretty girl and a pretty boy [Leonard Whiting]. I used to look at myself in the mirror and did not feel I was like that at all, the movie is like a beautiful fairy tale and I was definitely not like the boy in that film!

But then there was the [Baz Luhrmann] more recent version with Leonardo DiCaprio and I did not like him in the role. I started to compare both versions and that’s when I began to think maybe I could tackle the role. I understood that I just had to be myself, that I should behave as if I would behave in that situation. I am not as naïve as the boy in the first film, naivety is such a difficult thing to show on stage. For me it’s the tragic side that comes more naturally and I want people to believe in me. If you go onstage and you are not convincing then people can feel it, and as a dancer you can feel when the audience does not believe you, it shows in their reaction, in the atmosphere. Here I felt people were looking forward to seeing me as Romeo, as the London audience knows me already.

What are your favorite roles & your dream roles?

IK: I like everything that I do in the Mariinsky repertoire, I am very lucky because I haven’t had to dance things I don’t enjoy! Of course there have been roles that I have tried and did not like as much but then the Company is ok if I don’t want to revisit those.

Outside the Mariinsky repertoire there are very many dream roles, of course. I would like very much to work with Mats Ek’s wife, Ana Laguna. She came to see me perform as Romeo and I was so glad as I greatly admire the Ek piece she has danced with Baryshnikov. Other than Ana and Mats Ek, I would love to work with Jiří Kylián.

How about MacMillan roles?

IK: Yes, very much. Manon for instance is one of two ballets I only danced once in my life  [the other being Balanchine’s Scotch Symphony which the Mariinsky is set to perform again next season]. I debuted as Des Grieux at the Bolshoi theatre just as the Mariinsky’s performance rights for this ballet were expiring so that was a double tragedy for me, onstage and backstage, as I knew I could not do it again!

Igor Kolb in Swan Lake. Photo: Gene Schiavone ©. Source: geneschiavone.com

Igor Kolb in Swan Lake. Photo: Gene Schiavone ©. Source: geneschiavone.com

Do you think there is a right balance at the moment between old and modern repertoire at the Mariinsky?

IK: I think the old repertoire, ie. Swan Lake, The Sleeping Beauty, are like the calling cards of the Mariinsky theatre, they are the face of the theatre and that tradition should not change even though there might be other versions in other companies. It’s our tradition, like tea in London. When you look at Balanchine for instance, all companies around the world are expected to dance his works in exactly the same way as the NYCB. I think it’s fine if done in small chunks but if overly done it feels like everyone out there is eating the same dish over and over again.

How important is it to have new works created for the company?

IK: We’d like someone in demand like Christopher Wheeldon for example to come over to create new work for the company, original pieces of work tailor-made for us. I think that in England it’s very good that the Royal Ballet uses the smaller theatre, the Linbury studio to get new work tried and tested. There’s also a similar project at the Wiener-Staatsoper, you see lots of different choreographers, see what you want to do, try different things out. Over in St. Petersburg we don’t have anything like that or like choreographic workshops.

When Marc Haegeman interviewed you a few years ago you mentioned having auditioned for the Mariinsky 6 times within 6 months, what is about this particular company that made you perseve?

IK: I studied ballet in Minsk and was not planning to go anywhere then as I liked the city and because it’s my country [Belarus]. Then I was invited to take part in the Vaganova Prix in St. Petersburg [where Igor took third prize], after which I understood that if I wanted to do something serious in ballet I ought to leave Minsk. As a result of the competition I was also asked to consider joining the Royal Ballet so everything could have turned out very differently! But I wanted to be close to home and to me the Mariinsky seemed like the top.

Speaking of the Royal Ballet, you danced Swan Lake with Tamara Rojo last year, how did you find dancing with her?

IK: It wasn’t difficult for us to dance together. Right from the first rehearsal we understood each other immediately, so it was in a sense, very easy for us and we danced together again last April in Tokyo, we did Roland Petit’s Proust (“Proust ou Les Intermittences du Coeur”) as part of the “Roland Petit Gala”. There might also be future opportunities to dance with Tamara again.

Tell us about Tokyo!

IK: I adore Tokyo, it’s my favourite city, along with London and St. Petersburg. I had a gala there ealier this year, Igor Kolb & Friends, where I danced Christian Spuck’s spoof “Le Grand Pas de Deux”, [Ukranian choreographer] Radu Poklitaru’s “Two on a Swing” a one act ballet he created for me and longtime Mariinsky principal Yulia Makhalina, as well as some more Roland Petit.

And the Japanese fans?

IK: I am so grateful to them, they spoil me when I am in Japan, they keep sending huge boxes of food, coffee, tea, sugar, everything, to the hotel, but lovely messages too. I always make a point of writing back to thank them, it’s pleasant that people take the time and it’s nice to feel that people appreciate me as a dancer, that they appreciate what I am doing as an artist. In Japan and England fans are really polite, very gentle. There was this lady over here, a long time ballet regular from Oxford, who knitted two matching vests with the initials IK, one for me, and the other for [soloist] Ilya Kuznetsov.

It’s a sharp contrast to St. Petersburg, the most difficult place to dance, the coldest public. It’s not just my opinion but people who work in the theatre generally feel that the public has changed, become more jaded. The tickets are now very expensive and it does not seem to draw the real enthusiasts anymore, they have been driven away, the theatre may be full but it’s now a very different crowd.

What’s in your Ballet Bag?

IK: When I came into the Mariinsky 13 years ago I did not even have a bag, only a towel, I was so badly off! But now I do have one and I carry around some knee tape, towels, a stock of fresh t-shirts and some foot rollers, plus any goodies that people give me!

With a big Спасибо/Spasibo to Igor from two appreciative and admiring Bag Ladies & kudos to Alice Lagnado for her impressive simultaneous translation skills!

Igor Kolb in a Nutshell:

He was born in Pinsk, Belarus (then Belorussia) in 1977 and started dancing at age 13. He attended the Belorussia State Ballet School in Minsk where he trained with Alexander Kolidenko & Vera Shveisova, and graduated as part of the 1996 class. During his final years at school, he was already dancing for the company in Minsk and under the tutelage of Kolidenko, he participated in the 1995 Vaganova Prix, where he won the third prize.

The prize brought him some deserved attention and motivated him to audition for the Mariinsky. It took him several attempts to obtain a contract, which he finally did just as he was graduating.

Arriving in St. Peterburg, Igor worked with Yuri Fateyev (though his current coach is Gennadi Selyutski) who helped him adapt his skills to the company’s style. Soon he was seen in principal roles, making his debut as Prince Désiré in The Sleeping Beauty in June 1997, as Swan Lake’s Siegfried in 2000 and as Solor in Vikharev‘s reconstruction of Petipa’s La Bayadère in 2002. In 2003 he was promoted to Principal Dancer.

Igor is known for his impeccable classical style and admits feeling closer to the company’s classical repertory (Albrecht in Giselle, Prince Désiré in The Sleeping Beauty, Siegfried in Swan Lake, etc.). He was filmed in Fokine‘s Spectre de la Rose, which is available as part of the DVD The Kirov Celebrates Nijinsky (Arthaus-Musik 2004).

He does not have a regular partner at the Mariinsky, having danced throughout his career with Diana Vishneva, Svetlana Zakharova, Sofia Gumerova, Daria Pavlenko, Zhanna Ayupova. Some of his more recent partners include Alina Somova, Ekaterina Kondaurova, Yevgenia Obraztsova and Irina Golub.

Videos

  • Igor dances Solor’s Variation in La Bayadère (Vikharev’s Reconstruction) [link]
  • As the “poet” in Chopiniana, partnering Svetlana Zakharova [link]
  • Igor Kolb and Diana Vishneva in the Paquita Grand Pas. Links to parts [1] and [2]
  • As Romeo in Lavrovsky’s version of Romeo & Juliet. With Yevgenia Obraztsova. Links to parts [1] and [2].
  • Igor Kolb and Ulyana Lopatkina, perform in Christian Spuck’s “Le Grand Pas de Deux” [link]
  • Igor Kolb and Zhanna Ayupova in Fokine‘s Le Spectre de la Rose [link]
  • As Siegfried in Swan Lake, partnering Royal Ballet Principal Tamara Rojo [link]
  • As Albrecht, in Giselle, partnering Alina Somova. Links to parts [1] and [2].

Extract of Reviews and Praise:

Of his Solor in Vikharev’s reconstructed La Bayadère (Covent Garden, 2003)

They were, however, having to follow the superb act of Kolb. His huge jump and flaring line are pure Kirov, but it’s his unusual modesty that clinches his power. Kolb’s technical feats look all the more amazing because he never tries to juice up the audience before he whirls into action or hog the applause when he has finished. Judith Mackrell at The Guardian [link]

Kolb is an immensely appealing Solor, a honey of a warrior who declares his undying love for Nikiya yet falls under the spell of Gamzatti, the Rajah’s beautiful, scheming daughter. So appealing, in fact, that you almost forgive him. His dancing, meanwhile, is splendidly realised, strong and flexible. Debra Craine at The Times [link]

Of his Prince in Ratmansky’s Cinderella (Kennedy Center, 2005)

Kolb’s dancing is strong, clear, pure to the point where it might provide textbook illustration, and yet informed with grace.  He does a dutiful job of creating a character, but you can tell that his real raison d’être is to display the abstract beauty of classical dancing, step by step. Tobi Tobias at ArtsJournal [link]

Of his role in Ballet Imperial (Covent Garden 2005)

Ballet Imperial, which closed their Balanchine triple bill, looks back to Imperial Russia, its grand sweeping contours matching the massive chords of Tchaikovsky’s Piano Concerto No. 2. It demands huge and virtuoso dancing, which of course the Kirov delivers, led by Igor Kolb, who has perfect lines, amplitude, power – perfect everything. Nadine Meisner at The Independent [link]

Of his role in Steptext (Forsythe Programme, Sadler’s Wells 2008)

Steptext, a quartet, sets out Forsythe’s stall. Here is the essence of his drastic style: the provocative blend of nonchalance and intense commitment in the moves; the impatience with the strict rules of classical technique; the annoying eccentricity in presentation (switching lights on and off, playing games with Bach). Igor Kolb brought muscular grace to his dancing, while Ekaterina Kondaurova brought assertive glamour to hers. Debra Craine at The Times [link]

Of his Romeo (Romeo & Juliet, Covent Garden, 2009)

…the evening’s saviour is Igor Kolb’s Romeo. His performance is passionate and breathlessly enthusiastic; Kolb just dances the steps as Prokofiev’s music tells him to and pierces all our hearts. Jeffery Taylor at The Daily Express [link]

Sources and Further Information

  1. Biography written by Marc Haegeman, Igor Kolb’s Official Website [link]
  2. An Interview with Igor Kolb, by Marc Haegeman. First published in Dance International, Fall 2003 and reproduced at For Ballet Lovers Only. December 2002 [link]
  3. Wikipedia Entry for Igor Kolb [link]
  4. Interview with Igor Kolb by Cassandra, at Critical Dance. August 2003 [link]
  5. Danila Korsuntsev and Igor Kolb. Kirov Stars. Interview by Kevin Ng. Ballet.co Magazine, December 2000. [link]

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In the August edition of Dancing Times Magazine there is an interesting article which looks back on the history of the “Soviet Sleeping Beauty”, the version the Mariinsky have brought to this tour in London (they also have a Vikharev reconstruction of Petipa’s older version which is currently shelved though perhaps not permanently). According to Nadine Meisner, author of the article,  the version we now see is a collage of the 1952 Konstantin Sergeyev work which replaced Petipa’s original to better appeal to the demands of that era. Thus, large chunks of ballet mime have been cut, the fairies given new steps to dance and the Panorama/Aurora Vision scene recreated entirely.

Olesya Novikova as Aurora, in Mariinskys The Sleeping Beauty. Photo: Cal Performances © Source: Voice of Dance.

Ekaterina Osmolkina as Aurora, in Mariinsky's The Sleeping Beauty. Photo: Cal Performances © Source: Voice of Dance.

The Sleeping Beauty is a ballet that can easily fall into overly sweet & cute territory and Sergeyev’s version seems not ashamed of going into full twee mode, with the garland waltz a parade of cherub-like children, too many fairy tale characters (most of them do not get a solo) crowding the festivities in the final act and with less layers of symbolism to compensate. The lack of sensitive handling of the tale is for me its biggest letdown. Take for instance the fairies in the prologue. What I adore about the Royal Ballet’s version is that choreographic allusions from each of these fairy variations are discreetly built into 16 year old Aurora’s solos showing us that she is the sum of all gifts bestowed on her: purity, grace, generosity, musicality, etc. Here Aurora’s bond with the fairies goes unnoticed.

The critic Clive Barnes had noted after seeing it in 1961 that “the Kirov take a less dramatic view of the ballet than we in England”. There is less delicacy, no doubt due to the historical context in which it was conceived, and this shows in the toned down mime which omits the Lilac Fairy’s reassurances that should Aurora prick her finger she will merely fall asleep, not die. Or in the beginning of the vision scene where the Lilac Fairy does not have to convince Prince Desiré that she has a cure for his blues, it’s almost as if he knows she is a woman on a mission and he’s onboard immediately. Aurora’s development from playful adolescence to mature woman at her wedding is never fully revealed to the audience either.

The spindle – or the lack thereof – is another issue I take with the Konstantin Sergeyev text. It is the object of Carabosse’s curse to Aurora: she will prick her finger on a spindle and die. To avoid this, the King banishes all prickly objects from his kingdom. Fast forward 16 years and we see Aurora triumphing as the center of all attentions in her birthday party until she sees this shiny, pointy object that she has never seen before; think of all psychological connotations that are fitting here, the allure of danger, teenage rebellion. She has got to have that spindle, grabs it enthusiastically to the dismay of her parents, pricks self, brings about the curse. In Sergeyev’s version all this wonderful symbology is lost to us because Carabosse hides the spindle in a flower bouquet which she offers to the princess, just like Gamzatti does to Nikiya in La Bayadère. Aurora never even registers the presence of a spindle. And how insensitive this is.

Lilac Fairy in Mariinskys The Sleeping Beauty. Source: Mariinsky Theatre

Lilac Fairy in Mariinsky's The Sleeping Beauty. Source: Mariinsky Theatre.

But I don’t wish to imply that the production is entirely devoid of virtues. Ekaterina Kondaurova is a warm Lilac fairy and her dancing is magic in itself, so secure and at the same time so fluid, the choreography giving her more to do than elsewhere. I find the Panorama scene  ideal (despite its early conclusion due to the Lilac Fairy’s boat malfunctioning!). It’s here that we can marvel at the Mariinsky’s solid corps and where Evgenia Obraztsova looks like a true vision which Igor Kolb’s prince Désiré treats as the most precious thing he has ever laid eyes on. There are a lot more opportunities for Prince Désiré to display his bravura and drive, as he vividly responds to the vision of Aurora and battles with Carabosse (superbly played by Islom Baimuradov) and minions. This prince will do whatever it takes to find the princess of his dreams, Kolb’s every step and gesture indicating this urge.

Sergeyev also treats us to a wonderful version of the wedding pas de deux:  this particular choreography of Aurora’s variation, beginning with the hops on pointe and arms that sing, is the moment I long for the most all evening and here, thanks to Obraztsova, it is full of musicality and grace. Obraztsova & Kolb are elegant, noble and entirely convincing. If there’s little symbolism at least there’s plenty of classicism for us to take home.

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Thinking of Lavrovsky’s Romeo and Juliet as completely obsolete is like saying German Expressionist cinema has no more value in a post Hitchcock world.  The latter could not have existed without the former and it is always interesting to revisit original works and old schools, observing where choreographers like Cranko and MacMillan would have drawn inspiration from. With that hat on I went to see the Mariinsky’s Romeo and Juliet on Thursday, also thinking back about how much I used to enjoy Galina Ulanova in the Bolshoi’s filmed version, a staple in my hometown’s art house cinemas as I was growing up.

While I side with those who think the Lavrovsky version feels like pantomime blended with dance, that the market scenes and the sword fighting are too tidy, the balcony pas de deux not passionate enough and the constant change of scenery & props distracting (do they really need all those tables and chairs at the Capulet’s ball when these are cleared away within minutes?), there are many things to admire here. The clearer narrative, for instance, which shows us the moment where Romeo learns of Juliet’s death – the MacMillan version always makes me doubt the logic of Romeo getting to Juliet’s tomb so quickly, poison-in-pocket – and an extended wedding ceremony where Romeo covers Juliet’s path with lilies, the young couple mirroring each other’s movements in the balances they take and in the display of their line, in readiness for life together.

First night reviews (such as this one by Mr. Clement Crisp), while critical of production values and dated text, have been unanimous about Vladimir Shklyarov’s ardent Romeo. I don’t think the reviews exaggerate Shklyarov’s abilities, having seen him dance last autumn in London, but I do suspect there’s more to it and that some of this Romeo outpour is connected with Lavrovsky’s shaping of his romantic hero, as again on Thursday it was Igor Kolb‘s performance which registered the most.

Kolb has been on my “to watch” list for sometime. Generally praised for his classicism and technical abilities, coupled with strong dramatic skills, he seems on a league of his own. During the Mariinsky tour to London he will be dancing Romeo and then princes Siegfried & Desiré. Not being able to treat myself to multiple performances due to the somewhat steep prices for this tour, and wishing to limit my exposure to the opening night Juliet, the controversial Alina Somova whom I intend to see in the Balanchine triple bill (perhaps the ideal habitat for her much discussed edgy line), I decided to go with Kolb’s date, more so as his Juliet was initially supposed to be the lovely Evgenia Obraztsova.

Igor Kolb and Yevgenia Obraztsova in Mariinsky's Romeo & Juliet. Photo: Marc Haegeman /Mariinsky © Source: Mariinsky Theatre

Igor Kolb and Yevgenia Obraztsova in Mariinsky's Romeo & Juliet. Photo: Marc Haegeman /Mariinsky © Source: Mariinsky Theatre

But the same unmerciful casting gods which did not allow Evgenia to be paired with Shklyarov in the London tour (she was cast and then withdrawn from his matinee performance of The Sleeping Beauty) also took her out of Kolb’s performance. Instead I saw soloist Irina Golub, a lovely dancer of expressive eyes, beautiful line and fast feet who does not make liberal use of extensions unlike some of her colleagues. Never trying to bend Lavrovsky’s regimental choreography, Golub dances Juliet understatedly and as true to form as I would imagine it to be, but while the style is pure it exposes the choreographer’s basic sketch of Juliet. Over and over again she is seen dancing the same steps, the dance not revealing much about her character. At least not until the final act when Juliet finally shows her determination to be with Romeo at any cost.

Kolb’s presence on the other hand is never understated and all the better for it. It is a shame that Lavrovsky did not give Romeo any dancing until the balcony pas de deux (which is more of a reserved, bodies apart kind, not the emotional powerhouse we know from MacMillan) and that he and pals Mercutio and Benvolio interact mostly through pantomime. Kolb is vivid in acting (though slightly over the top in the Mantua scene, which requires him to throw a tantrum), gentle and romantic with Irina’s Juliet yet with a powerful sense of the tragedy which is to unfold (flaring up those exotic eyes!); his dancing is fluid, with sharp lines and complete commitment to the steps – including a “leap of faith” collapse to the ground which made me fear for his safety and wonder how amazing he must be in Albrecht’s variation- his are the evening’s most instense moments. I can’t wait to see him again – hopefully paired with Obraztsova – in The Sleeping Beauty next week.

Mariinskys Romeo & Juliet. Source: Mariinsky Theatre. Copyright belongs to its respective owners.

Mariinsky's Romeo & Juliet. Source: Mariinsky Theatre. Copyright belongs to its respective owners.

Choreographic shortcomings aside, it is a delight to see the stylish work of the Mariinsky corps and to hear the superb orchestra under Gruzin’s conducting (the brass never sounds that sharp in the Royal Ballet’s performances). The costumes have been much criticized in the press and true, Tybalt is almost a cartoon character lost in a ballet and Lady Capulet shifts from intense grief over her nephew’s death to complete inertia upon discovering her daughter’s. But neither of these things, nor the ugly polyester wigs worn by some of the men, spoiled my enjoyment of this vintage ballet classic, which still has so much to say about Shakespeare’s timeless story.

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Going for thirty six days without any ballet is quite a challenge for a balletomane, therefore I could not pass up the opportunity of seeing Carlos Acosta & Guests Artists, a mixed ballet bag of short pieces featuring from modern Brandstrup to chic & classical Ashton’s Rhapsody, and ranging from the overdone (a “male” Dying Swan) to the rarely seen (Azary Plisetsky’s Canto Vital & John Neumeier’s Othello).

Carlos Acosta as Spartacus. Source: Comono. Copyright belongs to its respective owners.

Carlos Acosta as Spartacus. Source: Comono. Copyright belongs to its respective owners.

Given the variety of flavors, it’s a good show for those wishing to sample ballet before committing to full length traditional or modern works. I took my visiting 11 year old niece who had not seen much dance before, she left impressed and willing to return. Acosta makes the right call as he opts for an informal atmosphere. The show opens with the dancers arriving in their leg warmers and changing into performance gear at the deep end of the stage revealing to us what goes on behind the scenes. While “The Ballet Boyz” did the same thing more effectively by streaming a live video from the dressing rooms in their gala a few years ago, this is a budget friendly way to strike the same chord. The evening kicks off just as informally with a barre at centre stage and Stevenson’s Three Preludes segueing into Cuban choreographer Ivan Tenorio’s Ritmicas, a great way to show the contrast in dance classwork, one with soft adagio moves (danced by English National Ballet‘s Principals Begoña Cao and Arionel Vargas) and the other much  jazzier, with plenty of speedy turns and modern extensions.

Acosta steps in to show off his Spartacus best in two solos, replacing the well known pas de deux, given Bolshoi’s Nina Kaptsova‘s withdrawal a few weeks ago. The crowd roars but blink and you will miss those jetés and tours à la seconde, which are gone in 60 seconds. Although I understand Acosta’s motives for including a hint of Spartacus in the programme (a crowd-pleaser & also his favorite role) I doubt those in the audience not familiar with this ballet will care to find out more just from seeing a short extract in a vacuum, but in addition to its “wow factor”, Spartacus is certainly an effective gauge to the evening’s high testosterone levels: after Ashton’s lovely Rhapsody Pas de Deux (sadly minus the variations!) we had an Othello (Hamburg Ballet’s Amilcar Moret) wearing nothing but well defined muscles and a scarf, soon unravelled by his Desdemona so that we catch a glimpse of a dance belt (instructive for those who wonder what male dancers wear underneath tights!), followed by “Canto Vital” which I nicknamed “Spartacus x 4“. This particular piece, choreographed to show off Ballet Nacional de Cuba’s best virtuoso dancers, pretends to be about three forces of nature – beast, fish and bird – struggling to survive but in reality it’s like the Neolithic version of Les Lutins without the comedy & the clothes, with plenty of opportunity for the men (Acosta plus Royal Ballet’s Steven McRae, Amilcar Moret and Arionel Vargas) to wear very little and impress us while trying to outdo each other, McRae in particular showing off some seriously juicy double “rondes de jambe en l’air” and leaping 2 storys higher than all the other men combined (Canto Vital can be found on YouTube: here are parts 1 and 2).

The Dying Swan is never going to feature in my personal ballet gala wishlist, it is a piece I dislike in any shape or form (with possibly one exception: this version danced by Igor Kolb) and I was not converted by this particular Michel Descombey version picked by Acosta, to me it seemed more like yoga’s Swan dive than ballet’s Swan death. “Over There” choreographed by Ramon Gomes Reis over Dido’s lament (taped music) reminded me that we had recently seen it better sung and more originally choreographed a few blocks down the road. A few other breezy and fun pieces such as Derek Deane’s Summertime were served until the grand finale (and Cuba’s answer to Don Quixote) with Georges Garcia’s “Majisimo”, which I presumed from the programme note to be a staple at every Acosta & Guests. Majisimo gives the ensemble an opportunity to shine and to end on a high, especially Acosta and his leading lady for the occasion Royal Ballet principal Roberta Marquez. My niece was very impressed by Roberta’s speedy turns (lovely Italian fouettées followed by piqué turns) and I liked how she added flirty Brazilian spice to Acosta’s Cuban charm, a good match. I left the theatre wishing I could see Roberta and Acosta dancing together more often. And even if not every item on the bill was my cup of tea, seeing Acosta & Marquez & McRae in great shape definitely cured my ballet blues!

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