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When the Mariinsky brought their Soviet Beauty to London this summer I left wishing I could have seen their lovely Aurora Evgenia Obraztsova in a more agreeable production. I think the Lilac Fairy must have heard my wishes, for they came true last Saturday: Evgenia was back in London guesting in The Royal Ballet’s Sleeping Beauty. Having originally planned to see only 2 performances of the ballet this time, both featuring these Bag Ladies’ favourite Aurora Alina Cojocaru, I suddenly had to make room for more. After all, when a Mariinsky ballerina (and another notable Princess Aurora) descends upon your local company you drop all prior engagements and spend your emergency ballet cash on whatever seats are left. And there weren’t many.

The Sleeping Beauty, The Royal Ballet, 2009

Emma Maguire as Red Riding Hood and David Pickering as The Wolf in The Sleeping Beauty Act 3. Photo: Johan Persson / ROH ©

Evgenia, who had just made an important debut a few days before as the Tsar Maiden in Ratmansky’s version of The Little Humpacked Horse, is an utterly charming Aurora and the Royal Ballet’s very delicate production of this classic fits her like a glove. She did not seem to have any issues with the differences in  the choreography, nor with the slower conducting tempo which actually did her a great service during the Rose Adagio‘s trickier passages.

Obraztsova makes her Act 1 entrance reminding us that none of the qualities bestowed on the 16-year old Princess by the fairy godmothers are wasted on her. During Aurora’s variation she even nods to the often overlooked Fairy of the Song Bird with an exquisite flutter of her hands, showing how important it is to truly have the gift of musicality when you dance a role like this. In the Rose Adagio she responds to her suitors with equal doses of shyness and coquettishness and even though she dared not look at them during the first series of balances, she risked one or two flirty glances as soon as she  had settled into the final promenades. This might be unconsciously done but it fits the character of a teenager still not used to all that male attention so well.

She also had a good rapport with her prince David Makhateli. David,  a dancer who possesses a vintage aura of Romanticism, is perfect for the role of Prince Florimund. He is elegant and very fine in the adagio parts and in his display of classical line. While their first pas de deux in the vision scene conveyed mutual longing, in the wedding pas de deux we have a real sense of two souls united from the way they slowly mirror each other’s steps and then converge into one. A detail I admire about David’s Florimund is that he does the “no hands fish dive” finale looking lovingly at his Aurora whereas most Princes tend to gaze at the audience. But how could he not, with such an exquisite dancer as Evgenia in his hands?

The Sleeping Beauty, The Royal Ballet, 2009

Sergei Polunin as Florestan in The Royal Ballet’s The Sleeping Beauty Act 3. Photo: Johan Persson / ROH ©

This being a matinée it was normal to expect certain roles cast at a more junior level.  It was a pleasure to see the elegant Xander Parish as the Lilac cavalier and corps member Akane Takada so confident in soloist roles. She gave a good injection of fluidity to the tricky Fairy of the Enchanted Garden variation and  continued to shine later alongside the always delightful Yuhui Choe in the Florestan Pas de Trois. Kristen McNally was a very wicked Carabosse. But one still laments the fact that, save for Marianela Nuñez, the company seems short of Principal dancers who can tackle the fiendish role of the Lilac Fairy. As lovely as Laura McCulloch is in manner and in mime, the Lilac’s prologue variation, with its Italian fouettés and turns that demand Swiss-watch precision, is too big a challenge to be cast at anything other than Principal level, even in a matinée performance.

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Is this ballet for you?

Go If: You love classical ballet complete with fairy tale theme, tiaras, tutus, lavish décors and variations for almost every single dancer featuring every single ballet step. The Sleeping Beauty is also ideal for: classical music fans who want to live Tchaikovsky’s vision of the story, young budding ballerinas and danseurs looking for inspiration and first timers, who will be able to easily follow the story.

Skip If: You cannot bear choreographic “filler”, endless variations and character dances (particularly in the prologue and act 3), long mime sequences (as in the Royal Ballet’s version), happy ever after fairy-tales or overly long ballets – think 3 hours including intervals.

Dream Cast

Aurora: There is currently no better Aurora in our books than Alina Cojocaru.

Prince Désiré/Florimund: Beauty is more centered on the ballerina so the Prince’s role is secondary. However, the male solos are a perfect showcase for  danseur nobles such as Mariinsky’s Igor Kolb, ABT’s Marcelo Gomes, NYCB’s Robbie Fairchild and Roberto Bolle. At the Royal Ballet we think rising star Sergei Polunin (who is tackling the role for the first time this season) and Rupert Pennefather are very princely.

Lilac Fairy: Ulyana Lopatkina, Veronika Part and Marianela Nuñez.

Alina Cojocaru as Aurora in Mariinky's 1890 Sleeping Beauty. Photo: Natasha Razina ©. Source: Ballet-dance.com

Alina Cojocaru as Aurora in Mariinsky's 1890 Sleeping Beauty. Photo: Natasha Razina ©. Source: Ballet-dance.com

Background

In 1888 Ivan Vsevolozhsky, Director of the Imperial Theatre in St. Petersburg, had the idea of adapting Charles Perrault‘s tale of The Sleeping Beauty into a ballet and invited Tchaikovsky to compose the music. It was a bold move at a time when fairy-tale based ballets were in low public demand and largely viewed as theatrical gimmicks. Tchaikovsky’s Swan Lake (as choreographed by Wenzel Reisinger/Joseph Hansen) had been coldly received and Petipa‘s ballets were not faring well. However visionary Vsevolozhsky, a diplomat who had also served as librettist and costume designer, seeing the potential for Petipa and the talents of the Imperial Theatre,  jumped at the chance to develop a lavish production of this well loved story in the style of those staged in the court of Louis XIV.

Tchaikovsky didn’t hesitate in undertaking the commission. Immediately taking instructions from Petipa as to the particular requirements (e.g. bar lengths, type of music, character leitmotifs, etc.), he worked fast and it is thought that he completed the overture, prologue and outlines of acts I and II in less than three weeks. Tchaikovsky finished the ballet score at the end of May 1889, having spent a total of 40 days on it. In a letter to one of his benefactors he wrote: “The subject is so poetic, so inspirational to composition, that I am captivated by it”.

Rehearsals began in August of that same year. The premiere, originally scheduled to take place that December, kept being pushed forward until the ballet was finally staged on 15th of January 1890. By then the Tsar, who had been invited to the dress rehearsal, had already given it his verdict, laconically telling a puzzled Tchaikovsky that the music was “very nice”.

Vision Scene in Mariinskys The Sleeping Beauty. Source: Mariinsky.ru Copyright belongs to its respective owners.

Vision Scene in Mariinsky's The Sleeping Beauty. Source: Mariinsky.ru Copyright belongs to its respective owners.

Mixed reviews for the splendid January 15th premiere showed that the audiences had been captivated mostly by the beauty of the music, even if it was constantly referred to as “symphonic”. The libretto was seen as simplistic and juvenile, designs too luxurious (the ballet consumed a quarter of the theatre’s annual budget). Later however, the ballet would captivate the hearts and imagination of a younger generation of enthusiasts. Referred to as the Neva Pickwickians”, personalities such as George Balanchine, Alexandre Benois, Léon Bakst, Sergei Diaghilev, Igor Stravinsky and Anna Pavlova, were greatly impressed by the artistic qualities of the production, giving it a boost which helped The Sleeping Beauty become the most performed ballet in the Mariinsky’s history.

This historical 1890 production was revived in 1999, thanks to its reconstruction by Sergey Vikharev who worked with the original notations by Petipa’s assistant Nicholas Sergeyev, as well as other productions which borrowed from it (Perm Ballet’s 1922 production by Fyodor Lopukhov, the Bolshoi‘s by Grigorovich, the Mussorgsky Theatre of Opera and Ballet’s and the Royal Ballet‘s by Sergeyev himself), where necessary filling in the gaps with the Kirov’s 1952 version – the Soviet Beauty – as staged by another Sergeyev: Konstantin Sergeyev.

The Sleeping Beauty was performed outside Russia for the first time in 1896 in Milan. While In St. Petersburg, with the revolution under way, the production went into decline, it flourished in the West thanks to Diaghilev and his Ballets Russes. Their 1921 staging in London of The Sleeping Princess, in a new full-length version (they also had a 45-min shortened version, Aurora’s Wedding) with designs by Léon Bakst, new orchestrations by Stravinsky and revised choreography by Nijinska had a record 105 consecutive performances and was considered a success even though it had dire economic consequences for the company.

Beauty and the Royal Ballet

The Sleeping Beauty has a special place in the Royal Ballet’s repertoire. It was originally staged for it in 1939 by Nicholas Sergeyev who had fled the Russian revolution with the original Mariinsky notations in his suitcase, with nineteen year old Margot Fonteyn in the role of Aurora. This was also the “statement ballet” chosen by Ninette de Valois to commemorate the end of WWII, as well as her budding ballet company’s new home at the Royal Opera House. Oliver Messel was brought in for the designs and Margot Fonteyn and Robert Helpmann danced the leads Aurora and Prince Florimund/Carabosse. The ballet had its premiere on February 20, of 1946 and became a symbol of the company triumphing against adversity not only at home but on tour in the US, with Fonteyn’s Aurora acclaimed by New York audiences.

Margot Fonteyn as Aurora. Source: Dance Works Online via My Hero.com. Copyright belongs to its respective owners.

Margot Fonteyn as Aurora. Source: Dance Works Online via My Hero.com. Copyright belongs to its respective owners.

The 1946 production was revived by the Royal Ballet in 2006, to celebrate its 75th anniversary and remains in repertoire as their current production. It is also available on DVD.

The Story

Petipa and Vsevolozhsky based their ballet’s libretto on the original fairy tale by Charles Perrault later popularised by the Brothers Grimm. Since the libretto’s priority is to blend the story with the dancing, there are modifications from the source text and, evidently, slight changes from one company’s version to the next.

Prologue: The Christening

The curtains open to reveal the Master of Ceremonies Cattalabutte busy with the final preparations ordered by King Florestan XXIV to celebrate the christening of  his daughter Aurora. He goes through the guest list to make sure he has not forgotten to invite anyone, not least all the fairy godmothers: the Lilac Fairy and

Candide, Coulante-Fleur-de-Farine, Miettes-qui-Tombent, Canari-qui-Chante, Violente or;

Tender Fairy, Carefree Fairy, Generous Fairy, Playful Fairy, Brave Fairy or;

as in the Royal Ballet’s version

Fairy of the Crystal Fountain, Fairy of the Enchanted Garden, Fairy of the Woodland Glade, Fairy of the Song Bird, Fairy of the Golden Vine

who soon arrive to bestow on the Princess gifts and virtues of, respectively, purity, beauty, generosity, musicality and vitality, each dancing a solo representing her trademark virtue. Before the Lilac Fairy has the chance to present her gift (wisdom) she is interrupted by the arrival of Carabosse, the wicked Fairy, furious with the King and Queen for not having been invited. The King calls on Cattalabutte to investigate and his Master of Ceremonies admits Carabosse had been omitted from the guest list. She grabs Cattalabutte and rips off his wig. Ignoring the fairy godmothers’s pleas and ridiculing them, she proceeds to place a curse on the princess, who will grow up to be very beautiful but ultimately prick her finger on a spindle and die on her sixteen birthday. As the court panics the Lilac Fairy, who was yet to give her gift, promises that if Carabosse’s curse ever materializes, then Aurora will not die, but fall into deep sleep for 100 years, awakening once she is found by a Prince from a faraway land who shall give her true love’s kiss.

Royal Ballets Genesia Rosato as Carabosse Source: Opusarte. Copyright belongs to its respective owners.

The Royal Ballet's Genesia Rosato as Carabosse Source: Opusarte. Copyright belongs to its respective owners.

Act I: The Spell

It is the eve of Princess Aurora‘s sixteenth birthday and the whole kingdom is celebrating. While villagers dance with flower garlands a small group of women is seen knitting, a forbidden activity which carries a death penalty since the King has banned all sewing objects from his kingdom. Cattalabutte reports them to the King, who decrees that the women should be hanged, but the Queen intervenes and pleads for mercy. Since it is his daughter’s birthday he reconsiders and the festivities resume.

Four princes arrive from far away lands (they are referred to as the French, Spanish, Indian and Russian princes) to meet the princess and offer her gifts of exquisite roses. Aurora’s friends enter and just after that Cattalabutte annouces the Princess’s arrival. As the music becomes as fast as heatbeats, Aurora bursts onto stage dancing quick jumpy steps which convey her youthful innocence. The King and Queen greet her asking her to dance with the princes as she is now old enough to marry. She receives them charmingly and dances what is called the Rose Adagio, one of the most testing pieces for a classical ballerina as she is required to do multiple balances on pointe center stage whilst being courted by each prince, making each of them completely taken with her beauty.

After this technical tour de force, Aurora returns to dance a solo for the princes, which she does in a part coquettish, part bashful way, like a typical teenager. Just then an old lady appears and presents her with a spindle, which she grabs  with curiosity since she had never seen one. She dances with it, while her mother and father watch with a mixture of apprehension and terror as Aurora pricks her finger and collapses. The old lady reveals herself as Carabosse, laughing triumphantly and vanishing before the Princes can fight her. The Lilac Fairy then appears to remind everyone that the Princess will not die. She puts the entire kingdom to sleep, to awaken only once Aurora‘s curse is broken.

Carabosse's curse as depicted in The Royal Ballet's Sleeping Beauty. Photo:V&A Images © Source: V&A Collections

Aurora falling under Carabosse's spell in The Royal Ballet's Sleeping Beauty. Photo:V&A Images © Source: V&A Collections

Act II: The Vision

One hundred years have passed and Prince Désiré/Florimund is hunting with friends. They try to entertain him with games and dances but he does not seem interested. As his party departs in pursuit of a stag, he lingers behind alone in the forest. The Lilac Fairy appears and shows him a vision of Princess Aurora, and as he dances with this vision he falls in love. He pleads to be brought to the Princess, and the Lilac Fairy takes him to a castle hidden beneath layers of ivy. At the gates they encounter evil Carabosse who tries to prevent the Prince from entering, but the Lilac Fairy repels her and the Prince finally awakens Aurora with a kiss. Désire/Florimund declares his love for her and Aurora agrees to marry him.

Marianela Nuñez as the Lilac Fairy. Source: OpusArte. Copyright belongs to its respective owners.

Marianela Nuñez as the Lilac Fairy. Source: OpusArte. Copyright belongs to its respective owners.

Act III: The Wedding

Festivities are held to celebrate the nuptials of Princess Aurora and Prince Désiré/Florimund. Various fairy tale characters join the festivities including Puss in Boots and the White Cat, the Bluebird and Princess Florine, Little Red Riding Hood and the Wolf among others, the highlight here being the Bluebird Pas de Deux, in which the male soloist has to perform a fiendish diagonal of Brisés volés mirroring a bird in flight. The beautiful grand wedding Pas de Deux ensues, the choreography showing us a more mature Aurora – more poised and confident than the 16 year old from Act I – and her elegant, danseur noble, prince. They are joined by their guests in a mazurka and the ballet ends with the The Lilac Fairy blessing the newly wedded couple.

The Music

Tchaikovksy’s score lasts 3 hours so it is usually cut for the ballet. There are two main leitmotifs, one for Carabosse (the angry sounding first part of the overture) and other for the Lilac Fairy (the calming second part) and both often develop from one another. This review of ABT’s Sleeping Beauty by NY Times dance critic Alastair Macaulay contains some great insights into the musical themes set by Tchaikovsky.

An essential Sleeping Beauty playlist for your ipod should include the below tracks, which are listed as in the original 1890 version. Since track names in the various commercial CD releases might vary (ie. “Grand pas de action: Grand adage à la rose, No 8.” might become “Track 9. Act 1: The Spell. No. 8. Pas d’action”), we have also added the originally corresponding numbers, thus:

Prologue: Overture/Intro (No. 1)
Prologue: Variation La Fée des Lilas–voluptueuse (From the Pas de Six) (No. 3, Variation VI)
Act I Grande Valse Villageoise (The Garland Waltz, No. 6)
Act I Pas d’action: Grand adage à la rose (Rose Adagio No.8)
Act I Scène et Finale (No. 9)
Act II Scène de la chasse royale (No. 10)
Act II Panorama (No. 17)
Act II Scène du Chateau de sommeil (N0. 19)
Act II Scène et Finale. Le réveil d’Aurore (No. 20)
Act III Marche (No. 21)
Act III Polonaise Dansée (No. 22)
Act III Pas de caractère Le Chat Botté et la Chatte Blanche (No. 24)
Act III Pas de deux de l’Oiseau Bleu et la Princesse Florine (No. 25)
Act III Variation de la Princesse Florine (No. 25)
Act III Variation de l’Oiseau Bleu (No. 25)
Act III Pas De Deux. Aurore et Désiré (No. 28)
Act III Coda Générale (No. 30)
Act III Apothéose (No. 30)

Mini-Biography

Original Choreography: Marius Petipa
Music: Pyotr Ilyich Tchaikovsky
Original Design: Henrich Levogt (Prologue), Ivan Andreyev (Act 1), Mikhail Bocharov (Acts 1 & 2), Matvey Shishkov (Act 3) with costumes by Ivan Vsevolozhky
Original Cast: Carlotta Brianza as Aurora, Pavel Gerdt as Prince Désiré, Marie Petipa as the Lilac Fairy, Enrico Cecchetti as the Bluebird and Varvara Nikitina as Princess Florine.
Premiere: St. Petersburg, Imperial Mariinsky Theatre, 15 Jan 1890.

For the Royal Ballet’s current production (the 2006 revival of 1946 production by Ninette de Valois)

Production Credits: Monica Mason and Christopher Newton after Ninette de Valois and Nicholas Sergeyev with designs by Oliver Messel and Peter Farmer

Choreography: Marius Petipa, with additional choreography by Sir Frederick Ashton (Act II, Aurora’s Variation and Prince’s Variation and Act III: Florestan and his sisters after Petipa), Anthony Dowell (Prologue: Carabosse and Rats and Act III Polonaise and Mazurka assisted by Christopher Carr) and Christopher Wheeldon (Act I: Garland Dance).

Sources and Further Information

  1. Wikipedia Entry for Sleeping Beauty [link]
  2. BalletMet Sleeping Beauty Notes by Gerald Charles [link]
  3. NYCB Sleeping Beauty Notes [link]
  4. Performance Notes and Programme for The Royal Ballet’s Sleeping Beauty (2008) including The Sleeping Beauty by Clement Crisp, A Cinderella Story for a Sleeping Princess by Tim Scholl and The Good, the Bad and the Symphonic by John Warrack.
  5. For Ballet Lovers Only feature on the Reconstructed Beauty by Doug Fullington [link]
  6. The Sleeping Beauty (The Royal Ballet) DVD. Recorded Performance from 2006, featuring Alina Cojocaru as Aurora and Federico Bonelli as Prince Florimund. BBC/Opus Arte, 2008 [link]
  7. The Magic of Sleeping Beauty. Royal Opera House Podcast, presented by Deborah Bull. 2007 [link]
  8. Wake up Princess, the Movies are Calling. Dance review by Alastair Macaulay for the NY Times [link]
  9. CD: Tchaikovsky: The Sleeping Beauty London Symphony Orchestra directed by André Previn, 2004. EMI Classics. [link]

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The Mariinsky visit to London a few weeks ago and in particular the fact that they brought mime-less Soviet adaptations of ballet classics with them, generated much discussion among Covent Garden audiences about the importance of mime in ballet. When Konstantin Sergeyev revisited works such as Swan Lake, The Sleeping Beauty and Le Corsaire in the 50’s, balletic mime was largely scrapped in Russia as it was considered that new audiences did not need to be exposed to something as old fashioned and reminiscent from Tsarist times. The West would follow suit later on when it considered that dancing should be a complete means of storytelling with no additional form of narration.  Mime became moot.

But well performed balletic mime can be as artistic and as beautiful to watch as the dance itself. It carries forth the story, putting it into context. For instance audiences watching the Mariinsky’s Sleeping Beauty will be given no clues that the Lilac Fairy reverts Carabosse’s curse to princess Aurora by reassuring the whole court that if she pricks her finger she will fall into deep sleep but not die. Of course there is an argument that many of us will be  familiar with this fairy tale and that we do not need such level of detail in performance. On the other hand, omitting the Lilac Fairy mime means depriving audiences of one of ballet’s most moving sequences as this passage assists in developing her character, conveying a full sense of the Lilac Fairys warmth, kindness and wisdom as well as the contrast between good and evil, her calming gestures opposing Carabosse’s jerky, angry movements. All this is achieved by working the upper body, with face, arms and hand gestures that are completely integrated to Tchaikovsky’s beautiful score. Balletic mime is a stylish work of art.

Deirdre Chapman as Carabosse Photo: Johan Person/Royal Ballet © Source: Dansomanie

Deirdre Chapman as Carabosse Photo: Johan Person/Royal Ballet © Source: Dansomanie

Although we hardly ever see mime in modern pieces, classic works that have been preserved or reconstructed by ballet companies such as ABT, the Royal Ballet and the Royal Danish Ballet (the latter boasting a pure mime tradition that goes back to the Bournonville schooling) tend to contain substantial mime sequences. As we just wrote a post on going to the ballet for the first time we thought the mime basics would also help prepare you for the performance ahead. Chances are you will come across lengthy declamatory, narrative or conversational mime passages if you are going to see a 19th century ballet classic and if you know the basics you won’t be left scratching your head:

Most commonly seen mime gestures:

  • Dance

Hands circle one another above the head, the arms moving from first to third position.

Ex: in The Sleeping Beauty, just before Aurora’s solo, when King Florestan asks his daughter “will you dance for us?”

  • Forget/Think

Character touches the forehead with the index finger.

Ex1: in The Sleeping Beauty, when the evil fairy Carabosse asks the King and the Queen “did you forget to invite me?”

Ex2: in Giselle, before Hilarion calls Albrechts bluff he asks a bewildered Giselledo you really think he loves you?”

  • Die

Crosses arms in front of body in a low position.

Ex: when Giselle‘s mom (Berthe) says to the villagers “the Wilis will make wandering men dance till they die.”

  • Beautiful

Character makes a circle around the face with the palm of the hand.

Ex: in The Sleeping Beauty, before showing Prince Florimund (or Desiré) a vision of Aurora, the Lilac Fairy asks him “do you want to see something beautiful?”

  • Promise

Point two fingers, held together (like a peace sign) upwards in the audience’s direction.

Ex: in Swan Lake, when Prince Siegfried promises to Odette that he will marry her and thus break the swan curse.

And also:

  • Why – both arms open outwards towards the other character
  • King/Queen – taps forehead with hand three times
  • Princess – taps forehead with hand two times
  • I/Me – point to own chest
  • You – point to the other person
  • Love – crosses hands over heart
  • Listen/Listening – cups hand over ear leaning towards the sound or taps the face close to the ears
  • Anger/Angry – bend elbows with fists pointed towards the sky, shaking them
  • Stop – Palm out
  • Engaged or Married – Point to the ring finger

A brief mime dictionary can be downloaded from the Pennsylvania Ballet website from this link

See balletic mime in action:

  • Giselle: Berthe narrates the legend of the Wilis

Move forward to 2:30 to see the full mime sequence where Berthe (Genesia Rosato) tries to warn Giselle (Alina Cojocaru) about the dangers of  too much dancing. She will tell all villagers of the presence of Wilis in the forest who come out late at night to prey on wandering men. Note the miming of: cemetery/burial grounds (the crosses), wilis (the wings, the hand on her chin) dance and die.

  • The Sleeping Beauty: Carabosse and the Lilac Fairy

In the prologue of the Royal Ballet’s current production of  The Sleeping Beauty you can see the complete sequence where Carabosse crashes Aurora’s christening and curses her, miming the gestures: forgot, listen, say, grow up, beautiful, die. The Lilac Fairy interrupts (“now you listen to what I have to say“) miming that if Aurora pricks her finger she will sleep until awakened by a kiss from a faraway land Prince.

  • Swan Lake: Odette and Siegfried
  • Move to 1:40 to see the full mime sequence in this video of Kevin McKenzie’s Swan Lake production for ABT. The promise sign is mimed twice, first by Odette (Gillian Murphy) when she is telling her story to Prince Siegfried (Ángel Corella) and then by the Prince. Odette also uses mime to explain she is the Queen of the swans.

    • La Sylphide: Madge, Effie & her friends

    Royal Ballet’s Johan Kobborg characterised as Madge tells James’s fiance Effie and her friends their fortunes in this Bolshoi staging of La Sylphide (Move forward to 0:35). Notice how Madge predicts that Effie shall marry Gurn instead of James.

    See Mime Rehearsals:

    Sources and Further information:

    1. The NYCB website contains useful learning materials for the same Nutcracker mime sequence shown above [link]
    2. Pennsylvania Ballet [link]
    3. Ballet 101: A Complete Guide to Learning and Loving the Ballet by Robert Greskovic. [link]
    4. Ballet Mime for Little Ones via Neo Blog [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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