Feeds:
Posts
Comments

Posts Tagged ‘Ulyana Lopatkina’

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]

Read Full Post »

Marie Taglioni. Coloured Lithograph, circa 1831. From the V&A Theatre Museum © Source: Wikipedia

Marie Taglioni. Coloured Lithograph, circa 1831. From the V&A Theatre Museum © Source: Wikipedia

From the moment Marie Taglioni put on her ballet shoes and stood on pointe the cult of the ballerina took flight. The ballerina, the female expert in the art of ballet who lives and suffers for her art, is forever associated with intrinsic qualities of lightness and grace. But just like Mr. Darcy’s remarks on truly accomplished women (“no one can be really esteemed accomplished who does not greatly surpass what is usually met with… she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half-deserved”), should we not also comprehend a great deal in our idea of a graceful dancer?

A while ago we were asked by one of our Facebook group members to write a comment on what makes a dancer graceful. This post attempts to approach this delicate topic (since not every ballerina is a synonym for gracefulness) from an audience perspective. Technique, which forms the basis, the backbone of a dancer’s art, is an objective measure. But grace, like artistry, is subjective and largely depends on the eye of the beholder. For evidence of that one only needs to take a tour of ballet on YouTube.

Pick a male or female dancer you like, watch a selection of videos featuring that dancer and try to form your own views. Then read the various comments in reaction to his or her performance: for every person who finds your chosen dancer graceful there will always be a dissenting voice. The FT critic Peter Aspden made interesting remarks on this when he wrote a very interesting article about the Mariinsky’s Alina Somova, a controversial dancer who continues to spark inflamed debate on YouTube and on ballet related web boards because of her use of extreme extensions in classical ballet. Some, like Aspden, perceive her as extremely graceful, while others see exactly the opposite.

Ballet is a contemplative art and to use another visual art parallel, there is no way to convince someone who prefers Impressionism to Cubism that Picasso is artistically superior to Monet. There are ways, however, to draw an observer’s attention to details they might have previously overlooked in a painting, to steer his or her eyes towards features which might lead to a reassessment of that work of art. So whilst we cannot define grace, here are some elements which we think would naturally emanate from a graceful dancer:

  • Good Line – as Robert Greskovic notes: “true ballet line has little to do with the dancer’s limbs and everything to do with the harmonious coordination of each part seen as a totality.” A good line emanates from the dancer’s centre to reach out to all compass points of his or her body, think a beacon irradiating from the lighthouse. For an example of a good line see Anthony Dowell executing Des Grieux‘s first act solo [link]

  • Port de Bras (carriage of the arms) – of course a good dancer must display perfect coordination between legs, feet, torso, arms, hands, neck and head, but soft, pliant arms help accentuate the gracefulness of the whole movement, to emphasize its poetry. Here one can draw an interesting comparison between male and female dancers: male port de bras is simpler and sharper to make them look more virile, stronger, their line more visible, while the female arms are more laboured, making them look more delicate (see this post for more Port de Bras comparisons). For an example of graceful arms, see Ulyana Lopatkina in Swan Lake [link]

  • Musicality – the most obvious way to define a musical dancer is to think of the music box ballerina cliché. A highly musical dancer will trick you into forgetting about the orchestra pit and thinking that his or her movement is creating the music, so well they are matched. It goes beyond being technically precise. Of course, it should be noted that choreographers will treat music differently and the dance can either be on top of the melody or purposefully dissociated from the music, as is the case in certain modern choreography (ie. Merce Cunningham). A dancer that is often acknowledged as having been extremely musical was Balanchine‘s muse, Suzanne Farrell.

  • Physical qualities – one cannot underestimate the importance of well proportioned limbs and a beautiful face in ballet. On the other hand there are dancers who have broken the mold, redefining the concept of perfect proportions. These can be some of the most exciting dancers to watch because they transform what might have been perceived as a drawback into strength and create a form of unconventional grace. For examples of dancers who break the mold, see Alina Somova and Edward Watson making the most of their elastic and slender physiques in, respectively, Ratmansky’s The Little Humpbacked Horse [link] and Wayne McGregor’s production of Händel’s Acis & Galatea [link].

And here we feature some of our favorite graceful dancers who combine all the elements above. Feel free to post yours if you have one!

Sarah Lamb as Princess Florine (Bluebird Pas de Deux)

Sarah seems to be floating on a cloud of dance, her movements so light and fluid, every step a music note.

Alina Cojocaru as Cinderella

This is probably one of the most enchanting ballet videos on YouTube, Alina is simply radiant, never exposing to the audience the pitfalls of Ashton’s choreograpy (which demands from the dancer coordination between a soft upper body and fast feet)

Gelsey Kirkland as Giselle

This is a beautiful rendition of the famous Spessivtseva solo (Giselle’s first act variation) in which every single movement is linked into a whole. Notice how softly she gets down from arabesque into penché, her arms lingering with the music.

Viktoria Tereshkina as Aurora in The Sleeping Beauty

While the dancers above represent the “ethereal and petite ballerina” we have a contrasting example in Tereshkina, a tall dancer who looks poised, elegant yet delicate in one of the most graceful choreographies in classical ballet.

Natalia Makarova as Odette (Swan Lake)

Around 3:39 you can see Odette’s variation. Makarova was the quintessential ballerina, a perfect match between technique and artistry: every step is used as a means for conveying emotion. A really graceful and touching performance.

Read Full Post »

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]

Read Full Post »

As the Mariinsky comes to the rescue of ballet-starved Londoners this week, we kick-off our series of features about ballet companies around the world, outlining their history, traditions and differences. Most readers will immediately associate the name Mariinsky to one of the premier ballet companies in the world but equally important are its links to the theatre, the city and the era where it originated, the regal and distinctive tsarist St. Petersburg.

The Theatre

Russia’s first theatrical events took place following a decree in 1742 by Tsarina Elizabeth, a patron of the arts who loved Italian opera and theatre. Initially, performances in St. Petersburg were given in the wooden stage of the Karl Knipper Theatre and in the Hermitage Theatre (for the aristocrats), but in 1783,  a bigger and better theatre, Antonio Rinaldi‘s Imperial Bolshoi (big) Kamenny (stone) Theatre, purpose built for the emerging ballet (see “The Ballet Company” below) and opera companies opened its doors with Il Mondo de la Luna, an opera by Paisiello.

The Bolshoi Kamenny theatre was renovated in 1836 by Alberto Cavos, who also conceived a neo-Byzantine building in Theatre Square (1849) first occupied by an Equestrian circus and later by Opera stagings. This other theatre burnt down in 1859 and re-opened one year later as the Mariinsky, a full-fledged opera house with more than 1500 seats and the biggest stage in the world, named after  its royal patroness Empress Maria Alexandrovna. Ballet productions alternated between the Mariinsky and the Bolshoi Kammeny (where La Bayadère and The Pharaoh’s Daughter premiered)  until 1886 when the Mariinsky underwent new works, finally acquiring its trademark blue façade and becoming the permanent home for both the opera and ballet companies.

The re-inauguration festivities were dedicated to Tsar Alexander II, and included the premiere of the first all-Mariinsky ballet, Marius Petipa‘s Les Pilules Magiques. In the years that followed, many other masterpieces would originate here: from the Petipa canon (The Sleeping Beauty in 1890, The Nutcracker in 1892, Raymonda in 1898 and Swan Lake in 1895), to a number of classic works by Rubinstein, Tchaikovsky, Rimsky-Korsakov and Mussorgsky.

The Mariinsky Theatre. Source: Books to the Ceiling. Copyright belongs to its respective owners.

The Mariinsky Theatre. Source: Books to the Ceiling. Copyright belongs to its respective owners.

During the Soviet years, the Mariinsky Theatre changed its name to Kirov Theatre, to honor General Sergei Kirov, the well-known early communist leader and Lenningrad’s party chief, but the theatre went back to its former Imperial name in 1992.

You can take a virtual tour around the theatre here (Quicktime required).

The Ballet Company

The ballet company timeline goes back to 1738, before the Bolshoi Kammeny and the Mariinsky theatres existed. It was the year Tsarina Anna Ioannovna inaugurated  the Choreographic School of St. Petersburg, training dancers at the Winter Palace to form the first Russian ballet company. These dancers, initially children of the Palace’s servants, were the first generation of the Imperial Russian Ballet, the school which eventually became the Imperial Ballet School, and later the Vaganova Academy. The school and the company attracted some of the most influential teachers (Franz Hilverding, Gasparo Angiolini, Giovanni Canziani, Charles Didelot) and famous stars from abroad ( Pierina Legnani – whiz ballerina who first performed 32 fouettées, Carlotta Brianza – the original princess Aurora – and Enrico Cecchetti), performing between 1783-1885 in the Bolshoi Kammeny and from 1860 onwards in the Mariinsky Theatre.

During the 1830’s Maria Taglioni performed with the company and impressed audiences with her virtuosity and artistry, her presence having left a profound impact. Later in 1859, Arthur Saint-Leon was hired as the Imperial Ballet’s maître de ballet. Saint-Leon created various pieces, of which unfortunately only Coppélia and Pas de Six (reconstructed for the Paris Opera Ballet) remain more or less complete, and inscribed the first ballet notation method, documenting the movements of the upper body. He was succeeded by the legendary Marius Petipa who created more than 60 ballets and introduced novel academic views.

Corps de ballet in La Bayadère. Photo: The Mariinsky Theatre © Source: Exploredance.com

The Soviet Era

At the time of the Russian revolution, under the modernist/neoclassical influence of Fokine (resident choreographer since 1910), the Mariinsky repertoire had evolved beyond the 19th century Petipa classics. Many of its stars joined Sergei Diaghilev in his European tours, collaborating with new influential artists and musicians. The 1917 revolution not only stalled this burst of creativity (Fokine and Diaghilev having left for the West), it also brought difficult times for the company, perceived by the government as unwanted symbols of the tsarist regime and depleted of many dancers (who had emigrated).

Thanks to Anatoly Lunacharsky, then minister of culture, the 1920’s saw a gradual acceptance of ballet as an art for the people. Ballet school and company, now re-established as the Leningrad State Choreographic School and the Soviet Ballet respectively, were to observe the principle that dance was a collective expression of the spirit and new ballets based on Russian literature or the struggles of the working class were created. At that time, former dancer turned teacher Agrippina Vaganova “fought tooth and nail” to preserve Marius Petipa’s and the Imperial Ballet’s legacy. During her directorship Vaganova managed to preserve some of the traditions inherited from the former Imperial Ballet while also developing new ideas into a new form of training, the renamed “Vaganova method”, which now has become synonym with the style of the Company.

The Mariinsky Ballet performs Swan Lake. Photo: Natasha Razina ©. Source: The Independent.

The Mariinsky Ballet performs Swan Lake. Photo: Natasha Razina ©. Source: The Independent.

The Soviet Ballet became the Kirov Ballet in 1934. During the Soviet years, many notable dancers emerged, including Lydia Lopokova, Galina Ulanova, Ninel Kurgapkina, Yuri Soloviev, Galina Mezentseva, Rudolf Nureyev, Natalia Makarova and Mikhail Baryshnikov. It was also during this time that Petipa’s choreographic texts were replaced with Konstantin Sergeyev‘s new versions: classics such as Swan Lake, The Sleeping Beauty and Le Corsaire underwent cuts, such as those made to mime passages, and in the case of Swan Lake (1950), a happy ending was adopted.

During the 70’s, with defections aplenty (Nureyev, Makarova, Baryshnikov) and the Company’s morale at a low, director Oleg Vinogradov (1977) sought to retain and appease his crop of dancers by expanding the repertoire. Bournonville‘s La Sylphide and Napoli were brought in and staged by Elsa Marianne von Rosen, founder of the Scandinavian Ballet. Maurice Béjart and Roland Petit were invited to create new works. The Tudor Foundation allowed Lilac Garden and Leaves Are Fading to be performed, while Jerome Robbins staged In the Night. The current repertoire also includes ballets by George Balanchine (given his direct links to the Mariinsky), Kenneth MacMillan and William Forsythe and the debated yet acclaimed Sergei Vikharev reconstructions of Petipa’s original masterpieces which now coexist with Sergeyev’s Soviet versions.

The Style

The Mariinsky dancers have always distinguished themselves in their beautiful port de bras and upper body épaulement, both features of the Vaganova training method. The overall feel is of aristocratic elegance (think Petipa’s princesses), with fluid arms and expression (even if acting is not the main priority),  perfect coordination between head, shoulders, neck and torso. Attention to the smallest detail such as positions of the fingers in the hands – that meticulous – give us a sense of movement with musicality. The corps are always praised by their unity and purity of style. Their principal dancers prioritize lyricism and nobility over bravura, qualities that set the Mariinsky apart from its peers.

Ulyana Lopatkina & artists from the Mariinsky Ballet in Le Corsaire. Photo:The Mariinsky Theatre ©. Source: Exploredance.com

Ulyana Lopatkina & artists from the Mariinsky Ballet in Le Corsaire. Photo:The Mariinsky Theatre ©. Source: Exploredance.com

Their work day

Under the supervision of newly appointed artistic director Yuri Fateyev, dancers are given three-day schedules listing their activities. They attend class first thing in the morning. There are four classes, two for men and two for women with teachers switching between both. Members of the corps de ballet attend a specific class whilst soloists can attend either and then it’s rehearsals for the rest of the day. The Mariinsky continuously rehearses all the ballets in their repertoire, since the company usually stages two performances of one production in a row and then switch onto another ballet. There may be five different ballets staged in a week, sometimes with half of the company at home and the other half performing on tour (thanks to their roster of over 200 dancers). Corps members often carry on rehearsing until the last minute and end their day around 10 pm (as they appear in all ballets),  while for the soloists it’s a mixture between rehearsal-only and performance-only days.

Videos

Legends

The current generation

* Indicates dancers who are due to perform in 2009 London tour

Sources and Further Information

  1. Mariinsky Theatre Main Webpage [link]
  2. Step-by-step guide to dance: Mariinsky (Kirov) Ballet by Sanjoy Roy. The Guardian, September 2008 [link].
  3. Mariinsky Theatre Wikipedia Entry [link]
  4. Mariinsky/Kirov Ballet Wikipedia Entry [link]
  5. Superstars of Dance: The Mariinsky Ballet by Zoe Anderson. The Independent, August 2009 [link]
  6. The Mariinsky Theatre by Nick del Vecchio at Living at the Opera [link]
  7. Interview with Ekaterina Osmolkina by Margaret Willis. Dancing Times Magazine, August 2009.
  8. Kennedy Center information about the Mariinsky Ballet. [link]
  9. Light Steps from Leningrad by Martha Duffy. Time Magazine, May 1982. [link]

Share

Read Full Post »

Schéhérazade, feat. Ulyana Lopatkina and Farukh Ruzimatov. Source: The ROH ©. Copyright belongs to its respective owners.

Last Sunday I attended the “Tribute to Diaghilev”, a gala in celebration of  100 years of Ballets Russes and of its visionary mastermind, Sergei Diaghilev. The event brought together many stars of the Mariinsky, Paris Opera Ballet, English National Ballet and Royal Ballet, dancing extracts of vintage pieces made or inspired by Ballet Russes choreographers such as Fokine, Nijinska, Massine and Balanchine along with Russian-bred ballets evoking those that Diaghilev would have disseminated to Western audiences at the time (abridged versions of Swan Lake, Sleeping Beauty, etc.). It is difficult to imagine how the ballet scene would be today without Diaghilev and his determination, through which a new breed of dancers and choreographers flourished  and established some of today’s best Companies, so it is fitting that dancers and audiences pay tribute to his work.

Before I go onto the programme, a brief comment on galas. Noticing the lack of scenery and props, I wonder how hard it is then for the dancers to get into character in such events, especially in more narrative pieces. Without the props the dancing really becomes the focus, which partly explains why Balanchine favoured bare settings in his works. The second thing is that galas are precisely the occasion for star dancers to “show off their chops”, with no fear of being branded too showy. One expects great performances and that’s why Grand Pas de Deux, especially those requiring a sequence of 32 fouettées for the ballerina are standard. Sometimes I think there must be a rule out there stating that no gala should be without one.

With Fokine’s pieces taking centre stage, the opening number was the Schéhérezade pas de deux with Mariinsky’s Ulyana Lopatkina and Igor Zelensky (replacing Farukh Ruzimatov). For those of you not familiar with this ballet, the  story involves Zobeide, her slave lover, her betrayal of jealous King Shahriar who plots to expose his favorite odalisque, leading to the tragic demise of her lover. Zobeide kills herself and the ballet ends with the King raising his arms in despair, realising he’d rather trade his pride for having Zobeide back. The pas de deux between the slave and Zobeide was marvelously danced by Ulyana, stretching her long limbs in ways that are almost impossible to believe, but always keeping classical alignment (attitudes and developpés galore). Igor Zelensky was a formidable partner, and the connection between both dancers was evident from the way their movements mirrored each other. The choreography, which is all about passion and sensuality, might in the wrong hands look as  pure contortionism, but here it was rendered to great effect no doubt due to such amazing (and experienced) dancers.  On a side note, the costumes were so detailed and rich that one can only imagine how the full production would look like.

The next piece was Ashton’s Daphnis and Chloe (video link), included as a nod to Fokine’s older, discarded version using the same Ravel score, and danced by Birmingham Royal Ballet’s Natasha Oughtred (in lieu of Alina Cojocaru, in a last minute cast change) and Federico Bonelli, back from injury and in good shape. Though Ashton’s very distinctive choreography shined, somehow it also clashed with the programme’s strong emphasis on Fokine. The dancing was solid with Natasha showing her mastery of Ashton’s fast paced footwork including some  impressive hops on pointe, but I didn’t get emotionally involved in the performance, which might indicate that either this piece is not adequate for a gala setting or that Alina’s withhdrawal at short notice left these dancers little time to work together.

Federico Bonelli and Jamie Tapper in Daphnis et Chloe. Photo: Dee Conway ©. Source: Danceviewtimes

Petrushka followed, with ENB’s Dmitri Gruzdyev playing the puppet with feelings who falls for a ballerina. But the fragment was so short and the setting so bare there was not enough time to register and those unfamiliar with the story might have been left scratching their heads. Thankfully this didn’t happen with Ashton’s La Chatte, which was fantastically danced by Alexandra Ansanelli (whom we miss already). The Diaghilev connection to this ballet, based on the Aesop fable of cat’s metamorphosis into woman & back into cat (upon encounter with mouse), comes from Balanchine’s own 1927 version for the Ballets Russes. Alexandra’s portrayal, both funny and impecable dancing-wise and the feeling that she seemed to be enjoying herself so much as to make most people in the audience wonder why she is retiring from dance, added to the fact that she actually meow-ed when the mechanical mouse made its climatic appearance at the very end made this piece one of the evening’s highlights.

The second act pas de deux from Giselle, conveniently marked as “arranged by Fokine” to secure its place in the gala, was danced by Paris Opera Ballet’s recently promoted wunderkind Mathias Heymann (a 21 year old principal!) and young soloist Mathilde Froustey. They looked the part as Albrecht and Giselle (she has a beautiful oval shaped face with dark tresses) with all the right lines and très français Romantic air. There were some technical glitches, her promenade in arabesque wobbly everywhere, his tours en l’air (granted those are hard!) sloppy. This disappointed me, for as hard as it is for dancers to pull off these moody pieces in a gala setting, given the crème de la crème of dancing present, one does expect to see something close to flawless. More so in a “bread and butter” piece such as Giselle. They had brilliant technical moments: Mathilde’s jumps (soubresauts & entrechats) reached great heights and soft landings, while Mathias’s diagonal of cabriolés was outstanding (such height!). But with all due allowances, including  an extra for nerves (young dancers having to share the spotlight with such established stars as Lopatkina, Zelensky, etc.), I could not find the emotion in the performance. It fell on me that Giselle is really a role for more experienced dancers, or at least they are the ones I tend to enjoy the most in this ballet.

The low point of the gala came with Tamar, a ballet about a cruel Queen “who lures passers by to her bed and their death”, danced by Mariinsky’s Irma Nioradze and Ilya Kuznetsov. I cannot list all the wrongs with this piece in one post, but for starters the music was recorded (no explanation given), the costumes were awful (hers a sparkly leopard print catsuit), and the choreography, which was presented as Julius Smoriginas version of the ballet, just looked like a mixture of half-steps and nothing else. To the offending list one must also add Irma’s distractingly noisy shoes.

The first act ended with Fokine’s Le Spectre de la Rose, danced by the darling Yevgenia Obraztsova and Dmitri Gudanov. The story is very simple: a debutante who falls asleep after her first ball and dreams about dancing with the rose she has just received, until it escapes through the window. Here some soaring jetés and pirouettes en attitude thrown in by Gudanov, but Yevgenia not having much to do but waltz and smile prettily (it is not difficult to like her!). I am partial to other interpretations of this piece and dislike the male dancer’s pink wig, so I didn’t rate it as highly as other numbers in the gala. For those in the “pointe shoe watch”, here was the only time I thanked the ballet Gods for Gaynors as they were mute compared to Irma’s shoes, even if they didn’t look very nice in Yevgenia’s feet.

Igor Zelensky as Apollo. Photo: Tristram Kenton ©. Source: The Guardian.

After the interval we got Balanchine’s Apollo (his oldest surviving ballet) with NYCB’s Maria Kowroski as Terpsichore and Igor Zelensky (formerly with NYCB) as Apollo. The performance was flawless with Maria commanding the stage and making use of her long lines (so distinctive to see a Balanchine trained dancer against the more conventionally classical crowd) and Zelensky looking very god-like. My favourite part was when Maria was stretched across Igor’s back, arms wide open, it could have happily lasted for a decade.

A replay of last week Les Sylphides sans corps de ballet, came via Tamara Rojo and David Makhateli. Those of us who attended the Royal Ballet’s recent triple bill, had the opportunity to see the waltz played at a more appropriate tempo (Valeriy Ovsyanikov did the honours, with the Orchestra of the ENB). This piece suffers without the surrounding sylphs in perfect poses, but Tamara showed lightness, technical prowess (her balance as the music ends lasted forever) and a had a good rapport with Makhateli. Then Dmitri Gudanov re-appeared to dance an extract of Léonide Massine’s Le Tricorne (a good background article here) which captures its Spanish shades in the score and in colourful designs by that little known artist, Picasso. Gudanov managed to somehow deliver a bit of drama and stage presence against the odds of a very short extract and playback music.

Another (sort of) repeat came with The Firebird, with Mariinsky designs and dancers Irma Nioradze and Ilya Kuznetsov. Despite the solid dancing, I was  severely distracted by Irma’s acting. Geared up to compensate for the fact she wasn’t wearing the usual “Firebird” stage makeup, her facial expressions came across as weird or even worse, (gasp!) comedic. Next, Mara Galeazzi and Bennet Gartside from the Royal Ballet in Bronislava Nijinska’s (aka Nijinsky’s sister) Les Biches which does 1920’s chic with comedic flare in its depiction of rich people enjoying pool parties in the Mediterranean. Mara as the girl in blue, showed comfort in those bends and cooly flirted with Bennet’s character. It was quite enjoyable and a good appetizer for the next sizzler: Marianela Nuñez and Thiago Soares in the mother of all classics, Swan Lake. How is it that the evening’s hottest number was not an original Ballets Russes piece, you ask? Well, Swan Lake is a proven commodity. Even Diaghilev knew it. It is a masterpiece and that is why it still sells tickets and attracts audiences (for the record I am not advocating ballet Companies should do runs of 20+ Swan Lakes with not enough dancers to give it justice every night) while some of tonight’s pieces have fallen out of favour since they just don’t measure up to “the classics” or don’t stand the test of time.  What makes a classic? Maybe one should have a good look at Swan Lake, its long enduring appeal and see what lessons future generations of choreographers can learn from it.

Marianela Nuñez and Thiago Soares in The Royal Ballet's Swan Lake. Photo: Dee Conway ©. Source: BFI.

Back to Marianela, who was just incredible. She made Odille her own, poor Siegfried had no chance. It is amazing to witness how Marianela’s artistry has grown and how fresh she looked kicking those fouettées (singles interlaced with doubles and triples). Thiago’s Siegfried could only watch in awe and let himself loose into those treacherous arms. The house broke in thunderous applause and it was one of the loudest ovations I’ve heard recently (only Lopatkina’s below was equally loud) and Thiago graciously let Marianela take centre stage since she was the showstopper here.

Following this piece was going to be hard, but fortunately the gentle Le Carnaval brought some welcome contrast to calm our hearts and minds. Yevgenia Obraztsova returned from Spectre in a similar full-skirted costume portraying a well-matched Columbine to Andrei Batalov’s Harlequin. But the last real highlight and evening closer was the über famous Dying Swan. This quintessential gala piece can easily sway from over-the-top, unnecessary drama to plain corny and cliché. Not with Lopatkina. She was all fragility, beauty, sadness, elegance. The vision of what a melancholy swan should be. Her arms moved softly and her torso delicately bent over her waist really evoked the movements of a bird. The way in which the stage looked blue-ish and the spotlight barely fell over Ulyana, made the performance even more dreamlike. Judging from the crowd response she got, you would be hard-pressed to find anyone in the house not moved by her dancing.

Ulyana Lopatkina in the Dying Swan. Source: The Mariinsky Theatre via ExploreDance.com. Copyright belongs to its respective owners.

To sum it all up, the evening was a pleasurable experience and we were treated to some great performances and exposed to rarer pieces. In any case, it was a good reminder of how much classical dance owes to Diaghilev and his Ballets Russes.

Read Full Post »