Posts Tagged ‘Roman Petukov’

Review – Serenade and Giselle – Bolshoi Ballet at Royal Opera House

July 27, 2010

Last night I busted the piggy bank and went for a last-minute return ticket (in the stalls!) to see the Bolshoi Ballet perform Giselle at the Royal Opera House. I hadn’t planned on seeing Giselle: Bolshoi ticket prices have been just too high (three times my normal amphitheatre prices) and I prefer to see new and interesting programming rather than the same old warhorses. But then, well, first Zakharova was going to be performing, then she dropped out but Osipova jumped into her place – and suddenly I had the possibility of seeing (or missing) a truly outstanding Giselle – well, my resistance dissolved with that dangling carrot and off I trotted like the ballet groupie I am.

However, my unexpected treat for the evening was the triumphant version of “Serenade” presented as an amuse-bouche to our main course. The orchestra’s opening bars made the hair stand up on the back of my neck – it sounded so gorgeously modern and lush and sad. And the curtain rose, and there stood a flock of gorgeous ballerinas clad in white, glowing against a blue backdrop. The piece started, and it was just the simplest of gestures, gentle transitions into standard ballet positions – but all so much more. This piece is Balanchine at his greatest – paring ballet back to pure, simple movement that all comes together into so much more, in no way lacking in emotional content because of the lack of story. I compared it to the “Apollo” I’ve seen revived so many times and can’t believe how much more depth this has – one man and several women come together but the (male) ego has gone, and instead we have gorgeous lines of arms and legs, and the heartbreaking reach of Ekaterina Krysanova for a man who, with another ballerina draped over him, seems doomed to never be able to meet her grasp and support her as she needs. Krysanova was brilliant throughout this – pliable, weightless, fully present – and as she was carried off at the end with her back arcing seemingly impossibly far back, I felt that she was being borne away to her death – while she, as a dancer, appears to be headed to greater heights. This performance will be the benchmark against which I shall judge all future “Serenades” (and many future Balanchine performances, no doubt).

Then it was on to Giselle. This was described as a “Russian staging,” and I’m not entirely sure what that means – less mime, certainly (which is good as Giselle can leave me a bit lost), but different dances in act one. A truly new bit was the dance of the engaged “peasant couple” (Anastasia Stashkevich and Viacheslav Lopatin) – dramatically creating a model against which Giselle’s disappointment with Albrecht’s duplicity can be measured. I also seemed to recall the royalty (Bathilde and her father, and, I think in some productions, Albrecht’s mother) sitting down to watch the various dances leading toward the end of act one – but other than the peasant pas de deux above and some sousing around with a keg of beer and tambourines, there was little in the way of group dancing in this production. Bonus tacky points for Bathilde’s necklace, which doubtlessly left a Christmas tree naked, and for the courtiers’ stuffed “falcons,” which I loved but were as fake as the dancing mice in the Nutcracker.

But what this was really about was Giselle. And Natalia Osipova, wow. I have never seen such perfection in the creation of character in ballet. Aside from her amazingly expressive face, which was so much more than the cartoon of acting most ballerinas pull on stage, she had the body movements down to unconscious perfection – a little head lean against Albrecht said so much – and her dance steps really illustrated the character – the way she just barely moved her feet when she was struggling created more of an impression of illness than any “fist clenched to heart” I’d seen before. This subtlety is to me what made this a great performance. I loved her brilliant whirl onto stage as a freshly risen ghost in Act 2 – her newfound strength but lack of control seemingly perfect for Wili-Giselle but an interpretation I don’t seem to have seen before. I was also blown away by her great death scene – it was as if I could see her heart exploding just before Albrecht caught her in his arms, and she was gorgeously, hopelessly dead when she landed. But these moments were merely capital letters in a long essay of an ideal performance – it was the whole of it, the words, the sentences, the thoughts – that made it all come together in a way that’s convinced me that I must, now and forever, attempt to see Ms Osipova in any story ballet she ever deigns to perform in. How lucky we were to have had her come to visit!

However, I find my enthusiasm for the rest of the show more reserved. It seemed that it just generally lacked in brilliant dancing, the kind of showcase stuff I always expect the Russians to toss in just because they can’t help but make a spectacle of themselves and their talent. I’m sure I’ve seen Myrtha look less like a tanned version the evil queen from Snow White; but Maria Allash made this character a panto villain, more like an insect than a creature with thoughts. The Wilis danced nicely but not memorably; both Albrecht and Hilarion’s “dance to the death” were lacking. This is particularly sad for Ruslan Pronin, who, as Hilarion, was utterly denied the opportunity to show his brilliance during his star turn on stage (as Roman Petukov did in the Mariinsky version). I felt Ruslan Skvortsov also missed out, as Albrecht’s last scene, dancing for his life with the Wilis, just didn’t feel nearly like he was being forced to drip every last ounce of energy out of his body (to our benefit!). So ultimately, this will not go down as the best Giselle ever, but, in fact, a lacking Giselle – except for our actual Giselle, Ms Osipova, who has given me a performance against which I think I will be judging all dancers in the future, not just performers in this role.

(This review is for a performance that took place on July 26th, 2010. The production continues today and July 27th – casting for today here and Wednesday here.)

Review – Giselle – Mikhailovsky Ballet at the London Coliseum 2010

July 26, 2008

I’ve realized there’s little point in posting a review of a show that’s already finished up as most people look for them to help determine whether or not to go, but I will say just a bit about this show, sparing you the details about trying to find someone to go with me when my date for the evening said, “But … but … I totally forgot about you buying me those tickets for my birthday!” (Grr!)

Last night we saw the Mikhailovsky Ballet performing Giselle at the London Coliseum, part of a five night/three show visit by this group. I’m not sure if they’ve ever been to London before, but I was pretty eager to check them out … I’ve enjoyed the visits by the Bolshoi and was quite sad when I found out they weren’t coming to London this summer. The prices were quite high (again), so I decided against seeing more than one show, but I’ve noted that they’ve had tickets available at the half price booth everyday so some concessions have been made to keeping ticket costs in the breathable part of the atmosphere. I guess part of the issue is also that the Coliseum is really just such a barn – it’s hard to fill every seat, and, really, many of them aren’t that good; still, I suspect there are far few crappy seats at the Coliseum than there are at the Opera house (and let me tell you, when they say “standing room, restricted view,” they mean “enjoy the music because for between 60 and 40 percent of the time, that’s all you’re getting). The Coliseum also just has more damned seats, but this is good as it means less sell outs (which is how I wound up in lame standing side seats at the ROH).

At any rate, due to having most of the rest of the week booked (notice the near daily postings here, and, truth be told, I’m actually a day behind as I’ve already seen another show but not had time to write about it yet), Giselle was the winning show. I had seen this done by the Cuban National Ballet in Seattle some years ago and loved it; the story is quite fun (young girl falls in love with prince and then dies of a broken/faulty heart; ghost of young girl finds prince in wood and tries to KILL KILL KILL him – or something close enough to that, basically act two has evil fairies, which is enough for me to love the show) and the music is good. The surviving 19th century ballets are really just quite good and since every company plays them differently, it never gets old to see them (especially when they have great scores).

The show starred Anastasya Matvienko, who is apparently famous. I, of course, didn’t know her, because I am not up to date on dancers around the world; I just try to learn the ones in the local groups. She was really just extremely good – light hearted and lovely as a young woman; beautiful and powerful as a Wili (evil fairy). I was really amazed by how expressive she was with her feet – watching her dance during the second half, after the prince has been caught by the Wilis, was really impressive. She also brilliantly captured the “mad scene” after the prince’s identity (and non-availability) was revealed. Suddenly with her big eyes and her thin face she looked every bit the broken hearted, out of control, sickly teenaged girl who really just wasn’t going to make it past the end of act one. So Matvienko pulled off the thing I rarely see in Russian dancers – great acting married to the (expected) excellent technique – and she didn’t show off so much that it distracted from the story being told. I applaud her, and add this: I could not take my eyes off of her when she was on stage. What a treat!

She was paired with Denis Matvienko, who did a good job of being both arrogant, fearful, and, finally, tender and loving. His bravado leaps in the first act (which I always tend to think of as “showing off to the girl to prove how virile he is”) were high and sharp, including the ones with the half-turn in the air (God, can I please talk to somebody who can actually help me learn more about ballet so I can describe what’s going on with the right words?), but he also seemed to really understand how his dance conveys character and situation, so when he’s being forced to dance by the Queen of the Wilis (Oksana Shestakova), the smoothness and, well, lack of passion in his dancing – a bit hard to convey when you’re also trying to show that you’re being forced to dance very hard – really nicely conveyed the idea of being bewitched. Good on you, Denis, and as a side note, very nice work by Roman Petukov in the role of the the man who does have to dance himself to death. Actually, I’m a bit amused, because both Giselle and “The gamekeeper” die, but instead of feeling moved at the tragedy, instead I was excited by how good their dancing was. It seemed morbid, but, what can I say, I loved watching them and they gave great performances!

Anyway, in short: gorgeous. My only complaint is the lighting design – it was irritating to watch the dancers walk from light into shadow when merely going across the stage, and some places in which the dancers were standing were positively dark. The follow spot operator also did a poor job of keeping the light on the person who was the center of attention in any given scene, something which would have helped overcome the deficiencies in the lighting of the set. And, truth be told, I preferred the choreography that the Ballet Nacional de Cuba used, which had much more forceful Wilis – I just didn’t get the kind of shivers up my spine that I did when watching theirs (though I was happy to say goodbye to the cheesy 70s sets). That said, I am sorry I am not going back to see the triple bill tomorrow but my wallet failed to make the grade. With luck we’ll see them again next year!

(This review is for a performance that took place on Friday, July 25th, 2008.)