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Posts Tagged ‘Svetlana Zakharova’

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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Ratmansky Head Shot

Alexei Ratmansky. Photo: MIRA / ABT ©

As long as there are choreographers like Alexei Ratmansky around our hopes for the future of classical ballet as an art form are renewed. Now one of the world’s most sought-after choreographers, Ratmansky started his career as a ballet dancer with the Kiev Ballet in the Ukraine. Dancing soon took him out of Eastern Europe to various companies in the West where he was exposed to different choreographers and styles. Absorbing all these influences he started developing his own choreographic language, a personal mix of influences by Petipa, Bournonville, Ashton, Balanchine and Tudor woven into narrative or abstract choreography.

His achievements as the Bolshoi’s Artistic Director and a winning streak of new works, including those for New York City Ballet (NYCB), put him center stage. This led to his recent appointment with American Ballet Theatre (ABT) as Artist in Residence, a role tailored so that Ratmansky can create new work for ABT whilst continuing to choreograph worldwide.

While we follow his ABT career with interest and keep crossing our fingers for more of Ratmansky’s work in London, we leave you with some interesting facts & web notes on him.

Alexei Ratmansky in a Nutshell

Alexei Ratmansky was born in St. Petersburg in 1968. He grew up in Kiev, Ukraine where his father – a former gymnast – worked as an aeronautics engineer and his mother as a psychiatrist.  At the age of 10 he was accepted into the Bolshoi Academy (Moscow Choreographic Institute) to train under the guidance of Pyotr Pestov and Anna Markeyeva. His classmates included former ABT star and current Berlin Staatsballett Artistic Director Vladimir Malakhov, current Bolshoi director Yuri Burlaka and Bolshoi star Nikolai Tsiskaridze.

From early on Ratmansky showed an interest in experimenting with choreography but despite his talents in performing and in creating dances he was not accepted into the Bolshoi. Instead, he joined the Kiev Ballet as a soloist, dancing leading roles in the classics. During this period he met his soon to be wife, fellow dancer Tatiana Kilivniuk and juggled his dancing career with studying at the Choreographers’ Faculty of GITIS (today, The Russian Academy of Theatre Art – RATI). There he had the opportunity to stage his first ballet, La Sylphide-88. Set to Shostakovich‘s music this was a short work given in one single performance.

In 1992 while on tour in Canada, Ratmansky and his wife were invited to join the Royal Winnipeg Ballet. He continued creating small pieces, mainly for Tatiana, and became familiar with the works of Tudor, van Dantzig, Neumeier and Balanchine.

He quit The Royal Winnipeg Ballet and returned to Kiev in 1995 as a freelance dancer but left again to join The Royal Danish Ballet in 1997. During his seven years in Denmark, Ratmansky immersed himself in August Bournonville’s works. There he continued to create choreography whilst also becoming a principal dancer (2000).

Nina Ananiashvili soon spotted his talent and asked him to create short works for her international tours (the Golden Mask Winner Dreams of Japan, set to taiko drumming and flutes). The touring of these works boosted Ratmansky’s profile and led to his first commissions by the Mariinsky Theatre and the Bolshoi.

In 2002, he staged Cinderella for the Mariinsky and, in 2003, The Bright Stream, for the Bolshoi, as part of their Shostakovich celebrations. The Bright Stream had been originally created in 1935 by Fyodor Lopukhov to Shostakovich’s music but immediately discarded given Stalin‘s disapproval of “peasants on pointe”. Because of this Lopukhov was fired and Shostakovich never wrote a ballet score again. Reinventing the choreography on top of the original libretto, Ratmansky turned this “rejected ballet” into a great success.

Ratmansky full

Alexei Ratmansky Photo: MIRA / ABT ©

The Bolshoi Years

Golden Mask Prize winner The Bright Stream led to Ratmansky’s appointment as the Bolshoi’s Artistic Director in 2004. His mandate was to focus on modernising the company and reconciling the new repertoire with the classics.

The Bolshoi’s five years under Ratmansky have been celebrated as a golden age. The company rejuvenated and regained artistic credibility with new works. For Ratmansky it must have been a draining period with a lot of compromising and pacifying different personalities and artistic egos,  leaving him with little time and energy to choreograph. He has said in the past that Russia is not very friendly to choreographers given its emphasis on the classics and inherited traditions, with certains dancers limiting themselves to new opportunities and holding on to the belief that they can only be creative within the boundaries of the old repertoire.

During Ratmansky’s tenure 25 new ballets were acquired for the company including works by Balanchine, Roland Petit, Twyla Tharp and Léonide Massine. In addition to The Bright Stream he also successfully restaged lost ballets such as Class Concert, The Flames of Paris and a lavish and critically acclaimed reconstruction of Le Corsaire.

In addition to developing dances Ratmansky is also credited with nurturing and creating opportunitities for such new talents as Natalia Osipova, Ivan Vasiliev, Ekaterina Krysanova, Nelli Kobakhidze and Denis Savin, while also showcasing the artistry of dancers Maria Alexandrova, Ekaterina Shipulina and Svetlana Lunkina, by casting them in new roles.

On the Dnieper 2

Veronika Part, Marcelo Gomes and Paloma Herrera in Ratmansky's On the Dnieper. Photo: Gene Schiavone / ABT ©

From Bolshoi to ABT

Early in 2008, rumours started circulating of Ratmansky departing to NYCB as resident choreographer, to follow in the steps of Christopher Wheeldon. But the terms of NYCB’s offer would have restricted his ability to create work outside the company so, instead, he decided to join ABT as an Artist in Residence, a role that gives him enough freedom to pursue other collaborations.

Ratmansky’s Ballets

For Ratmansky, classical ballet can be kept alive as long as its human content is relevant, narrative being a particular trait in his works. Ratmansky often mentions that while for George Balanchine, one of his influences, it was all about the steps and abstraction, for him the steps are part of a conversation that blends craft and passion.

His works are considered musical and fluid, probably a direct influence from his experience with Bournonville. He considers his choreography to be instinctive, the product of an analytical reaction to the score and physical response to the music (he used to put on music and film himself to observe how his body reacted naturally). That explains his preference for a more naturalistic port de bras, open chested stands, patterns that are circling, dynamic and constantly shifting, with suggestions of folk dance, as is the case with his Russian Seasons.

Some of Ratmansky’s works

  • A Fairy’s Kiss (Tchaikovsky, 1994) – Kiev Ballet
  • Capriccio (Stravinsky, 1997) – Bolshoi
  • The Charms of Mannerism (Strauss, 1997) – Postmodern-Theatre
  • Poem of Ecstasy (Scriabin, 1998) – Mariinsky
  • Middle Duet (Hanin, 1998) – Mariinsky
  • Turandot’s Dream (Hindemith, 2000) – The Royal Danish Ballet
  • Bolero (Ravel, 2001) –  International Ballet of Copenhagen
  • Flight to Budapest (Brahms, 2001) – International Ballet of Copenhagen
  • Nutcracker – Re-staging after Petipa (Tchaikovsky, 2001) – The Royal Danish Ballet
  • The Firebird (Stravinsky, 2002) – The Royal Swedish Ballet
  • Cinderella (Prokofiev, 2002) – Mariinsky
  • Le Carnaval des Animaux (Saint-Saens, 2003) – San Francisco Ballet
  • The Bright Stream (Shostakovich, 2003) – Bolshoi
  • Leah (Bernstein, 2004) – Bolshoi
  • Anna Karenina (Schedrin, 2005) – The Royal Danish Ballet
  • Bolt (Shostakovich, 2005) – Bolshoi
  • Russian Seasons (Desyatnikov, 2006) – NYCB
  • Middle Duet (Hanon, 2006) – NYCB
  • Le Corsaire – Restaging after Petipa, with Yuri Burlaka (Adam, 2007) – Bolshoi
  • Jeu de Cartes (Stravinsky, 2007 ) – Bolshoi
  • The Flames of Paris – New staging with use of original choreography by Vasily Vainonen, based on original libretto by Nikolai Volkov and Vladimir Dmitriev (Asafiev, 2008. )
  • Pierrot Lunaire  (Schoenberg, 2009) – For Diana Vishneva as part of her show Beauty in Motion
  • Concerto DSCH (Shostakovich, 2008) – NYCB
  • The Little Humpbacked Horse (Schedrin, 2009) – Mariinsky
  • On the Dnieper (Prokofiev, 2009) – ABT
  • Scuola di Ballo – Restaging after Massine (Bocherini, 2009) – The Australian Ballet
  • Seven Sonatas (Scarlatti, 2009) – ABT
  • Don Quixote – Restaging after Petipa (Minkus, 2010) – Dutch National Ballet

Awards and Honours:

  • Golden Mask  for Dreams of Japan (1999)
  • Golden Mask for Best Choreographer, The Bright Stream (2004)
  • Knighted in Denmark (order of the Danish Flag) for his contribution to the arts (2002)
  • Benois de la Danse for Anna Karenina production for the Royal Danish Ballet (2005)
  • Golden Mask for Best Choreographer, Jeu de Cartes (2006)
  • Critics’ Circle National Dance Award for The Bright Stream after the Bolshoi’s London tour (2006)
On the Dnieper

Paloma Herrera as Olga and Marcelo Gomes as Sergei in Ratmansky's On The Dnieper. Photo: Gene Schiavone / ABT ©

Videos

The following short extracts should give you an idea of how rich and varied Ratmansky’s choreography is and how widespread it has become.

  • Extract of Russian Seasons as danced by Dutch National Ballet [link]
  • Pas de deux from Anna Karenina, danced by Gitte Lindstrøm and Mads Blangstrup from The Royal Danish Ballet [link]
  • Nina Ananiashvili in Leah, from Ratmansky Gala at the Bolshoi [link]
  • Le Jardin Anime scene from Ratmansky’s Le Corsaire, with Svetlana Zakharova as Medora and Ekaterina Krysanova as Gulnare [link]
  • Extract of Bolt, featuring Denis Savin, Anastasia Yatsenko and Andrei Merkuriev [link]
  • Diana Vishneva and Andrei Merkuriev in Cinderella [link]
  • A short feature on Scuola di Ballo for The Australian Ballet [link]
  • Alina Somova and Vladimir Shklyarov in an extract of The Little Humpbacked Horse [link]

Extracts of Reviews and Selected Praise

Of The Bright Stream:

The final offering of the season was The Bright Stream. In 1935, when Shostakovich’s sunny score was staged in Moscow with choreography by Fyodor Lopukhov (and initially much liked), it drew down Stalinist wrath as “balletic fraud”, wholly irresponsible in portraying the nature of collective farming. It has been Alexey Ratmansky’s achievement to rehabilitate the piece, by rescuing the score and taking an amused look at its narrative and, most significantly, at the aesthetic and political conventions of ballet in the 1930s. Clement Crisp at the Financial Times (2007) [link]

Alexei Ratmansky, who completely rechoreographed it for the Bolshoi in 2003, didn’t have to worry about toeing the party line and was free to do whatever he wanted with Shostakovich’s jolly music and Piotrovsky and Lopukhov’s lighthearted libretto. His new production honours them both with wit and compassion, and a stream of wonderful — and very funny — choreography…All in all, the best new ballet to come out of Russia in years. Debra Craine at the Times (2006) [link]

Of Bolt:

Though I hope other choreographers will give sharper visual style to this unusual and instantly appealing music, I feel that Ratmansky deserves the highest credit here. He may not have produced a definitive new Bolt, but he has given the full ballet score to the world to play with, a marvellous gift. Ismene Brown at The Telegraph (2005) [link]

Of The Little Humpbacked Horse

This ballet is life-affirming and rich in humanity. Ratmansky’s choreography is masterly, and has a clear form and shape. His narrative is clear, and each scene is of the right length. The final transformation scene of Ivan into a young tsar is effective and witty. The two classical duets are full of heart-warming tenderness. The duets for Ivan and the Humpbacked Horse in Act I are spirited and lively. Kevin NG at The Saint Petersburg Times (2009) [link]

Of On the Dnieper:

Ratmansky, as always, produces lovely movement—the solos for both men are particularly telling. And he never loses his touch with groups of dancers, their extended passages both coherent and effective in themselves and reflecting the emotional trajectory of the story. Robert Gottlieb at The New York Observer (2009) [link]

Mr. Ratmansky gleans every bit of story possible from the Lifar-Prokofiev original and makes the most of it. (…) What Mr. Ratmansky captures beautifully with these characters (and less eloquently with Natalia, described in the program as “grief-stricken yet noble”) is what it is like to be torn by opposite emotional impulses. The choreography’s other felicities include some lovely subtleties of ensemble and striking instances of dancers standing or moving with their backs to us. Alastair Macaulay at The New York Times (2009) [link]

Of Russian Seasons

His “Russian Seasons” finally received its world premiere on Thursday evening at the New York State Theater, and it was worth the wait (…) It would be too easy to say that the choreography owes its originality to its inspirations from folk dance, though it does make happy use of such dancing. Mr. Ratmansky is a fountain of movement ideas, with sweeping stiff arms and vigorous floor-stamping and clapping and every sort of catlike pose, from freshly funny to deeply tragic. Intimations of character and personality never get in the way of pure dance. John Rockwell at The New York Times (2006) [link]

Leaving the theater, I could have danced for joy, especially if I had been choreographed by Ratmansky. A new choreographer has come to light – and the dance world is a better place. Clive Barnes at The New York Post (2006).

Of Concerto DSCH

Concerto DSCH is an endlessly suspenseful choreographic construction, with passages of breathtaking dance brilliance. Again and again, you find yourself thinking, “I didn’t realize this was going to happen after that,” and “What exactly were those steps that flashed by just now?” Better yet, it’s marked by tender pure-dance poetry. Alastair Macaulay at The New York Times (2008) [link]

Certainly “Concerto DSCH” seems at first glance – even second glance – a weird name for a ballet, but Alexei Ratmansky’s new work created for New York City Ballet on Thursday night is a gold-plated, copper-bottomed hit. Clive Barnes at The New York Post (2008) [link]

Sources and Further Information

  1. Alexei Ratmansky’s Biography from the Bolshoi’s Website [link]
  2. Alexei Ratmansky’s Biography from the Benois de la Danse Website [link]
  3. ABT’s Alexei the Mild? by Robert Greskovic. The Wall Street Journal. June 2009 [link]
  4. Interview with Alexei Ratmansky by Natasha Dissanayake. Ballet.co Magazine. July-August 2004. [link]
  5. Freelance Freedoms. Alexei Ratmansky in conversation with Marc Haegeman. Dance Now Magazine. Vol. 17, No. 4. Winter 2008/09.
  6. Ballet’s future Russian Ahead by Leigh Witchel. New York Post. October 2009. [link]
  7. Ratmansky Takes Manhattan by Marina Harss. The Nation. September, 2009. [link]
  8. Bolshoi Director May Take Job at City Ballet by Gia Kourlas. The New York Times. February 2008 [link]
  9. For Bolshoi Ballet, Two Steps Forward, One Step Back by Nora Fitzgerald. The Washington Post. February, 2007 [link]
  10. Alexei Ratmansky and the new Bolshoi by Margaret Willis. Dance Magazine, November 2004. [link]
  11. New Home, New Job and New Moves for Alexei Ratmansky by Roslyn Sulcas. The New York Times, May 2009. [link]
  12. The Bolshoi in Paris: An interview with Alexei Ratmansky by Patricia Boccadoro. Culturekiosque, February 2004. [link]
  13. Alexei Ratmansky by Roslyn Sulcas. The New York Times. November, 2009 [link]

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We are back with another edition of Bag of Steps. This time we look at every turning trick designed to make us go “whoa” and typically reserved for the grand finale, such as in the coda from a Pas de Deux .

Turns include female and male pirouettes and their offshoots. For the ballerina they are the signature bravura step, the ability to turn in 32 fouettées being her ultimate technical benchmark. For the danseur they are powerful wizardry tools, especially those multiple turns generated from a single impulse.

Pirouette

Spin. A complete turn of the body on one foot. The supporting foot can be either on pointe or demi-pointe, with the working leg positioned sur le cou-de-pied, in arabesque, à la seconde, in attitude, etc. Legs give the impulse from a deep plié in preparatory position, arms control the turning speed and the head is the last part of the body to turn away from an imaginary “spotting” point and the first to hit the point again once the body completes the turn.

Pirouette en dedans: a pirouette which turns inwards. The body turns towards the supporting leg, so if the dancer turns on the right foot, the dancer turns to the right.

Pirouette en dehors: a pirouette which turns outwards. The body turns towards the raised leg, so if the dancer turns on the right foot, the dancer turns to the left.

A dancer from Pennsylvania Ballet demonstrates a sequence of pirouettes en dehors.

Grand Pirouette, Pirouette à la seconde (also, Tours à la seconde): Pirouette with one leg raised at 90 degrees. These are typically performed by men. Starting from fifth position with a grand battement into second position, legs lower into demi-plié to propel the turns. The arms start in second position and close in first, the right leg is raised into second with a swift movement for each turn en dehors.

Mikhail Baryshnikov does a Grand Pirouette in this video of ABT’s Don Quixote.

Fouetté

Whipped. In this step the raised foot undergoes a short “whipped” motion as it passes in front of, or behind, the supporting leg to the opposite direction. There are many types of fouettés. Here we will focus on those en tournant (ie. while turning).

Grand Fouetté en Tournant (Italian Fouettés): Starting in arabesque, the dancer goes from a deep plié into a series of relevés en pointe or demi-pointe while swinging the back leg to the front. The arms move from first to fifth position. In a half turn, the body moves away from the lifted leg and ends in arabesque (or attitude, with the back to the audience). In a full turn, the leg is held devant until the body shifts through arabesque to start the movement again with the leg swept from the back.

Yekaterina Kondaurova does a series of (full) Italian Fouettés in the Queen of the Dryads Variation of Mariinsky‘s Don Quixote. Move forward to the 1:21 mark.

Fouetté Rond de Jambe en Tournant (Russian Fouetté turns): Starting on fourth, the dancer does a pirouette en dehors and then a demi-plié (fondu) while the working leg is thrown à la seconde. While the supporting leg relevés to pointe the dancer turns bending the working leg’s knee and passing the foot from behind to the front of the supporting leg. At the start of the series the arms open in second position to follow the leg and are brought into first while turning.

Svetlana Zakharova throws a sequence of fouettés en tournant during the coda of Don Quixote’s Grand Pas de Deux.

Fouetté Rond de Jambe en Tournant (Cecchetti Fouetté turns): Instead of extending the working leg à la seconde, the dancer throws the leg towards croisé devant en l’air, sweeps it à la seconde and turns while bringing the working foot from the side to the front of the supporting leg.

Tamara Rojo executes Cecchetti style Fouetté turns in the same Don Quixote coda (adding a couple of multiple pirouettes). Move forward to 9:52 to watch.

Piqué Tours

Piqué means Pricked or Struck.

Piqué Tours en dedans (or Pirouette Piqué): the dancer steps en pointe onto a straight leg and turns while the opposite leg is brought into passé (so the turn is done towards the supporting leg).

Polina Semionova does a series of piqué turns (en dedans) en manège, at the 1:34 mark, in Giselle’s first act variation.

Piqué Tours en dehors (or “lame ducks”): the dancer steps en pointe onto a straight leg, half turns to place the opposite leg on the floor and picks up the original leg into passé. The turn is then done away from the supporting leg.

Svetlana Zakharova does a series of “lame ducks” at the 1:47 mark in Swan Lake’s Odette’s Variation.

Tours Châinés (or Tours Châinés Déboulés)

A chain of “rolling balls”. In a diagonal, straight line or in circles, the dancer does a series of rapid turns on pointe or demi-pointe. When moving to the right, the turn is on the right leg and at the end of the turn the left foot is placed on the spot where the right foot began.

At 1.21, Alina Cojocaru zips through a series of châinés (and some piqué turns sur le cou-de-pied) in this fragment of Ashton‘s Cinderella.

Note. We recommend you also have a look at videos featuring such notable “human-spintops” as  Maria Alexandrova, Gillian Murphy, Natalia Osipova, Tamara Rojo and Viengsay Valdés, not forgetting male dancers Carlos Acosta, Misha Baryshnikov, Ángel Corella and Leonid Sarafanov.

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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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Veronika Part. Source: ABT. Copyright Ballet Theatre Foundation ©.

Veronika Part. Source: ABT. Copyright Ballet Theatre Foundation ©.

On one side her admirers and knight-in-shining-armour defenders. On the other those who see her as an inconsistent performer. It doesn’t matter on which side one stands,  all this debate  has helped American Ballet Theatre‘s newest Principal dancer Veronika Part become the equivalent of a ballet cross-cultural phenomenon. Other than achievements such as her success whilst still a soloist-doing-principal roles,  being hailed by London critics in the most recent ABT Coliseum season and forming together with ABT guest artist Roberto Bolle one of Ballet’s most picture perfect partnerships, Veronika has also  managed to electrify jaded ballet-goers, bring new audiences into the theatre, and bag an invitation to The Late Show with David Letterman, one of the US’s hottest talk shows, giving ballet a much needed mainstream boost, charming audiences with her grace and personality, not to mention her gorgeous face.

Londoners had the pleasure of seeing Veronika last March before her promotion to Principal dancer. She performed here amid rumours that she might be leaving the company in the absence of an overdue promotion. The British critics fell under her spell and she wowed me too: watching Veronika as one of the three odalisques in ABT’s Le Corsaire, it was not only clear that she outshined the other two women (ABT soloists Maria Riccetto and Kristi Boone), but she also commanded the stage like few do. It was no surprise to learn shortly after Part’s London stint that she had finally been promoted.

Product of the Vaganova machine, Veronika exhibits all the traits that  are so distinctive in Russian dancers: wonderful port de bras, a musical and plastic upper body, regal and elegant lines. She might not be so much the technical whiz as some of her ABT colleagues (like Gillian Murphy, Paloma Herrera or Michelle Wiles), nor did she get to the top as fast as her former classmates Svetlana Zakharova and Daria Pavlenko, however, as a tallish (5’8” = 1.72 m) womanly bodied dancer, she  knows how best to use her physical gifts to convey artistry: she makes you feel Odette’s pain, follow Odile’s flirtatious face and make the audience, rather like prince Siegfried, forget about everyone else on stage.

The best description I found of what Part brings as a dancer and why she has gathered so many admirers is by Tony Mendez, a former professional ballet dancer, turned guest finder for Letterman, who is, of course a huge Veronika fan:

Inconsistency kind of gives a dancer an edge. When I go and see Gillian (Murphy) and Paloma (Herrera), I know they’re going to be perfect… So when I see Veronika Part, there’s a little more of a human thing about her—you don’t know how well she’s going to do, and when she does really well, it’s exciting. And her beauty onstage— she’s beautiful to look at. I don’t think that Veronika Part looks like a ballerina. She looks like a beautiful woman who dances.

Veronika Part in a Nutshell

Born in St. Petersburg, 1978 into a family with no ballet connections. A nurse mentioned to her mother that she had pretty and long legs, so she might make a great ballerina, though before taking up ballet, Veronika trained in artistic gymnastics.

She started ballet at age 10 after being accepted at the famous Vaganova Academy to study under the guidance of Inna Zubkovskaya.

Veronika graduated in 1996, joined the Mariinsky as a member of the corps de ballet and was promoted to Soloist in 1998. Her first major role was Myrtha in Giselle, which she danced just months after having entered the company (January 1997).

Veronika Part as Myrtha. Source: Broadwayworld.com. Copyright belongs to its respective owners.

Veronika Part as Myrtha. Source: Broadwayworld.com. Copyright belongs to its respective owners.

Coached by Gabriella Komleva she danced her first principal role: Swan Lake’s double act of Odette/Odile, but her favourite classical role is  actually Raymonda, where she drew favourable comparisons with former teacher (and coach for the role) Inna Zubkovskaya.

In 2002, during a Mariinsky tour to New York where she received glowing reviews for her performances as the second soloist in Balanchine’s Emeralds, Veronika accepted Kevin McKenzie‘s invitation to stay in the US and join ABT as a Soloist.

Veronika has mentioned several times that those initial years in NY, with no friends or family, made her a stronger person. Word is that she learned English while watching episodes of the popular TV series Seinfeld.

A string of uneven performances in 2006/2007 (including Nikiya in ABT’s 2007 Paris Tour) prompted much discussion about Veronika’s stamina, technique, and whether or not nerves were getting in the way, reviews shifting between positive and negative from one season to the next (For instance, this review by Alexandra Tomalonis and this one by Gay Morris, both from Danceviewtimes).

Her big break with ABT happened in 2007, when she was cast as Aurora in the opening night of the McKenzie/Kirkland/Chernov new production of The Sleeping Beauty. Although she still got mixed reviews for this notoriously challenging role and some questioned her technical suitability for it, she generally started to get more attention in soloist and principal roles alike.

Despite the overall good reviews and an ever increasing fanbase, ABT still seemed reluctant to give her a promotion or to throw more principal roles at her (besides Odette/Odile, Nikiya and the Sugar Plum Fairy), so rumours were that she would leave in 2008. Luckily for her fans this never materialized and it is thought it was perhaps the appointment of Alexei Ratmansky as ABT’s resident choreographer which contributed to Veronika’s change of heart.

Veronika performed Odette/Odile during ABT’s London tour to outstanding reviews, rekindling the debate amongst critics and audiences about her overdue promotion. Veronika was finally made a Principal dancer in April 2009.

She is often partnered by Marcelo Gomes a tall, handsome dancer and a good match for her physique. Recently she also found another match for her “in looks” as a much commended sold out performance of Swan Lake alongside Roberto Bolle was labeled by avid fans “the best looking partnership in the history of ballet”.

Veronika is a spokesperson for Gaynor Minden Inc. and a wearer of their pointe shoes since 2002.

Veronika Part and Marcelo Gomes in Le Corsaire. Photo: Gene Schiavone/ABT ©. Source: Danceviewtimes

Veronika Part and Marcelo Gomes in La Bayadere. Photo: Gene Schiavone/ABT ©. Source: Danceviewtimes

Videos

  • A very young Veronika dances a Fairy Variation [link]
  • 1992’s 4th Year class of the Vaganova Academy. We can see her taking class together with future Mariinsky Star Daria Pavlenko. [link]
  • Veronika’s recent appearance in The Late Show with David Letterman [link]
  • Part dances the lead role in the Mariinsky’s production of Raymonda. Performance videos, parts 1 [link] and 2 [link].
  • Veronika as Odette with Marcelo Gomes as Siegfried in ABT’s Swan Lake. [link]

Extract of Reviews and Praise

Of her Odette/Odile

Ms. Part, whose clean style is tinged with an intriguing blend of languor and voluptuousness (…). She offered a superbly tender and sad Odette. With eyes down, lips parted and head thrown back, she evoked a spellbound princess. Her adagio in Act II was conventionally lyrical in the best sense: she wreathed Mr. Korsuntsev’s head with her arm with the softness that colored all her gestures. Yet sharply bent forward, she was a swan maiden with a broken wing, wounded by love and fate. Anna Kisselgoff at the NYTimes [link]

Ms. Part’s performance is always about the irreducible structural components of classical ballet. She pruned away mannerism as much as is possible or desirable to do an art form that is itself somewhat manneristic. She was technically sound, but her “Swan Lake” was not technical acrobatics; nor was it about realistic drama or animal imitation. She preserves the stylistic imprint of the role without a lot of flapping or pecking. She maintains a rare equilibrium between the linear and sculptural elements of classical ballet. Joel Lobenthal at the NYSun [link]

Veronika Part, with her broad-shouldered Joan Crawford looks, gave the most assured and intense performance I have seen from her in a major ballerina role. Her Odette, full of yearning backbends, is awash with feeling; her Odile glamorously exultant. Alastair Macaulay at the NYTimes [link]

Part offers dancing and interpretation of a voluptuous grandeur, Odette’s tragedy saturating movement and pose, Odile’s malevolence an intoxication of the spirit that will dazzle Siegfried utterly. The role is luscious in phrasing, ever expressive, true. Clement Crisp at the Financial Times [link]

Of her debut as Nikiya in ABT’s La Bayadère (May 2007)

Ms. Part is a great adagio technician, perhaps the greatest in Kirov lineage since Natalia Makarova and Alla Osipenko 40 years ago. During her lamenting variation in the Pas d’Action… we saw a marvel of scale, ease, and refulgence. No one onstage today better demonstrates the Russian ideal of movement originating from the back, radiating to the extremities and beyond… She is part of an epic ballet spectacle, and her outpouring of emotion is as lush and grand as her physical production. Joel Lobenthal at the NYSun [link]

and of a more recent performance of the same role (2008)

Ms. Part is a highly individualistic dancer who represents several traditions in addition to her own individuality. She epitomizes the Russian emphasis on legato movements, a bel canto all its own… Very few others have succeeded artistically as well as Ms. Part. She lets her height and flexibility expand, but not traduce, the architecture and poetics of classical ballet; her taste is exemplary. Joel Lobenthal at the NYSun [link]

Nikiya the temple dancer – or bayadere – was the St. Petersburg-born Veronika Part, dancing with poignant eloquence and impeccable style. Clive Barnes at the NYPost [link]

Of her roles in The Sleeping Beauty:

First, as Aurora

Veronika Part’s lush, emotionally eloquent dancing as Aurora in the Vision Scene was the sole unarguably wonderful element in ABT’s new version of “The Sleeping Beauty”…The Kirov-trained ballerina’s work in the arduous first act had been admirably strong and clear. But here — seemingly impalpable, yet making it clear that she is longing for the Prince as much as he is for her — Part worked the real ballerina magic of transforming steps into atmosphere and feeling. Tobi Tobias at Bloomberg [link]

and as the Lilac Fairy

She (Part) reclaimed her rightful role as the Lilac Fairy, for which she’s perfect and in which she has lengthy experience. Ms. Part danced and declaimed magnificently. As exciting as the sweep and aplomb of her movement were the many shades of character she brought to the role, appropriate for a deity who should ideally encompass all the attributes that are presented to the infant Aurora in the Prologue by Lilac’s attendant fairies. Joel Lobenthal at the NYSun [link]

Clement Crisp comments on Part’s various appearances in London:

Balanchine’s Symphonie Concertante

…The corps was nattily exact, much given to eager smiles as if trying to jump a queue, and it was the presence of Veronika Part (as the viola’s representative) who brought the piece, and the evening, to glory. We remember her as a young divinity with the Mariinsky Ballet and the dignity and amplitude of her St Petersburg style, the voluptuous, luscious grace of her every action, pouring some noble and heady wine for us, breathed life, meaning, into her role. She was a diamond set amid rhinestones, Pouding Nesselrode as an alternative to water ices. Clement Crisp at the Financial Times [link]

and as one of the three Odalisques in Le Corsaire, last March:

Veronika Part appeared, a divinity in exile, as an odalisque. Clement Crisp at the Financial Times [link].

Sources and Further Information

  1. Veronika Part’s Official Website [link]
  2. Profile for Kirov Ballerina Veronika Part by Marc Haegeman, from For Ballet Lovers Only [link]
  3. Gaynor Minden Dancer Profile, written by Eliza Minden and Karen Lacy [link]
  4. Veronika Part interviewed by Graham Watts. Ballet.co Magazine, March 2008 [link]
  5. A Reason to Go on Living, blog post by James Wolcott. VanityFair.com [link]
  6. Assoluta by Laura Jacobs. Dance critic for The New Criterion [link]

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