Friday April 18, 2008 - When you're going to see a dance company that you're not very familiar with, it's a great asset to have as a companion someone who knows the dancers and repertory really well. Attending tonight's all-Balanchine programme offered by the Kirov Ballet at City Center with Susan was really a treat because she was able to point out details in the performance and provide insights into the dancers I am just now getting to know. This made the experience far more enjoyable than if I'd just gone on my own.
The beauteous Alina Somova led the cast of my favorite ballet, SERENADE. This was my first time seeing it danced by a Company other than my beloved New York City Ballet. The space constraints of the City Center stage really infringed on this ballet which needs an airy, unconstrained feeling to be fully effective. The dancers coped beautifully within the limitations. The orchestra played the score with more legato than we sometimes hear at NYCB. The corps were lovely though it was a bit odd not seeing the familiar faces of the City Ballet girls when I scanned the stage with my opera glasses. Somova and her very elegant partner Danila Korsuntsev looked good together; Ekaterina Osmolkina was very attractive as the 'Russian' girl and Ekaterina Kondaurova had a big success with her majestic yet lyrical dancing as the 'Dark Angel'. Alexander Sergeev was youthfully noble and the four demi-girls (unlisted) were very good.
The performance was unusual in that it was kind of a 'happy' SERENADE as opposed to a moving, dramatic or tragic interpretation. The dancers smiled much of the time and seemed to be dancing 'just another ballet'; sometimes a dutiful feeling replaced inspiration. Certain phrases lacked clarity of expression. And I was very disappointed that the women did not let their hair down for the final movement; this deprived us of the deeper sense of vulnerability that pervades NYCB's version. Nevertheless, I enjoyed it completely and thought it showed that SERENADE's beauty transcends any reservations about a particular interpretation. (Photo: Ekaterina Kondaurova).
A wave of disappointment swept thru the house when it was announced that Diana Vishneva would not be dancing in RUBIES. The scheduled Andrian Fadeyev (photo)and Ekaterina Kondaurova appeared, and Vishneva was replaced by Olesia Novikova (seen in photo as Giselle). They all danced very impressively (and Kondaurova won great enthusiasm for the grand scale and security of her performance) but overall the piece lacked the crispness and (again) attention to detail that the NYCB dancers bring to it. It wasn't jazzy or sexy or edgy; technically everything was fine but it lacked the spark and crispness that can make RUBIES memorable. Yet again, though, I did not think the 'defects' spoiled my enjoyment of watching the piece - and the Kirov's stage setting is far more refined and attractive than NYCB's current garish version.
With BALLET IMPERIAL, the Kirov dancers struck pure gold and Viktoria Tereshkina, recently promoted to Principal, gave a remarkable performance that I will never forget. BALLET IMPERIAL was the original Balanchine setting of what we now know at NYCB as TCHAIKOVSKY PIANO CONCERTO #2. A few seasons ago, I did see the "imperial" setting of this ballet at ABT in a magnificent performance led by Nina Ananiashvili and Marcelo Gomes. Since using the title BALLET IMPERIAL implies short tutus, I was surprised when Susan told me the Kirov dances it in the longer skirts. {Photos: Tereshkina, Igor Kolb and Ekaterina Osmolkina.}
Here the Kirov corps were at their best: ideal clarity in the classic vocabulary and mostly successful in dealing with the lack of space onstage. Ms. Osmolkina was wonderfully light and fluid in her role; both here and in the Petipa programme she made a very pleasing impression. Igor Kolb did find it necessary to omit one combination as he simply ran out of room; his landings tended to be a bit heavy. But he is a wonderful partner and presence, and along with demi-solistes Yana Selina and Svetlana Ivanova made the extraordinary second movement resonate profoundly.
Now we are going to run into the classic problem of writing about dance: insufficient adjectives. Because I'm not sure I can even begin to describe the performance Viktoria Tereshkina gave - certainly one of the most exquisitely musical and technically accomplished I've encountered in the past three decades. What I loved most about her perhaps was the fascinating fluency of her upper body, her poetic arms and hands, and the gorgeous way she connected with the audience. Her performance was so rich in detail yet not in the least bit fussy or merely decorative. Her turns, jump and line come straight out of the textbook but she suffuses them all with such grace and thorough musicality that the result is sheer perfection. The audience lavished her with shouts of approval and a standing ovation.
The audience provided many opportunities for star-gazing as we noted Peter Martins & Darci Kistler, Abi Stafford, Sara Mearns and Amar Ramasar, Rachel Rutherford & David Hallberg, Gonzalo Garcia, Nikolaj Hubbe, Amanda Hankes and her husband; Jared Angle, Daniel Ulbricht, Karin von Aroldingen and Allegra Kent. We ran into Monica Wellington before the performance and several folks from Ballet Talk at the intermission.
Thank you, Susan - I can see why you are addicted to the Kirov!
Having fallen in love with Tereshkina, Kondaurova, Osmolkina and some of the other Kirov dancers just in the course of two evenings I was wondering what it would be like to live in another city and to have a different ballet company as an artistic focal point. What if the Kirov or the Royal or the Paris Opera Ballet or the Royal Danish were my 'home team'? Would I have my pet soloists and my corps favorites to write about like I do with NYC Ballet? It was fun imagining - as I watched the Kirov corps - which of these girls might have captured my imagination like Faye and Pauline and Ashley and Amanda at NYCB?
I love New York, but I must say that Viktoria Tereshkina makes the idea of living in St. Petersburg very attractive indeed.
I agree with your comments about Rubies. I saw the same program this afternoon and they really seemed to struggle with making it jazzy and sassy the way our own NYCB dancers can do it. They just couldn't get the style. We are so spoiled by our fabulous NYCB dancers!!
Posted by: Laura | April 19, 2008 at 07:29 PM
For all that the choreographer and composer were both Russian, RUBIES always seems like a very 'American' ballet to me. And maybe only American dancers really 'get it'. The Kirov certainly executed all the steps perfectly but that little extra touch of swagger and boldness seemed to elude them.
Posted by: Philip | April 20, 2008 at 09:11 AM
An excellent, and detailed review, Philip.
I wasn't able to go to any of the Kirov's performances (although I've seen them in London), but your illuminating review
gives us a taste of what we missed (the pros and cons). Thanks!
Posted by: Deborah | April 20, 2008 at 09:25 AM
I wish you could have caught at least one of their performances, Deborah, because they have some truly extraordinary dancers. Hopefully it won't be another 5 years before they return to NYC!
Posted by: Philip | April 20, 2008 at 12:07 PM
Philip, I'm so glad you were able to join me for the Balanchine program. I always enjoy your company and value your perspective. Although I'm sorry that you didn't get to see Lopatkina or Sarafanov the way it turned out I think you saw the performance of the weekend, perhaps of the season. I saw all 4 performances of this program and Tereshkina's Ballet Imperial was unmatched. As much as I loved Kondaurova (and will always love Lopatkina) ten years from now I think that's the performance that will remain the most vivid in my mind – she was perfect in every way.
Posted by: nysusan | April 20, 2008 at 11:18 PM
Susan, along with 'discovering' Kondaurova and Osmolkina, Tereshkina's performances in RAYMONDA, PAQUITA and BALLET IMPERIAL were what really made me love the Kirov: her technical prowess and the sheer beauty of everything she does really overwhelmed me!
It's nice to have the souvenirs of Tereshkina on YouTube but nothing compares with watching her 'live'.
I do wish I'd seen Lopatkina - next time, for sure!
Thank you again...and I'll see you on the 30th at NYCB!
Posted by: Philip | April 21, 2008 at 08:03 AM
I'm just looking at my program and realizing Tereshkina is the one who blew me away in Serenade -- she's who made me love their interpretation of that ballet. I wish I would have seen her in Imperial.
Posted by: tonya | April 21, 2008 at 11:54 PM
Tonya, I hope the Kirov will come back to NYC soon...and meanwhile I'd like to wish that Tereshkina could be a guest at ABT. Of the Kirov ballerinas I saw, she made the most profound impression.
Posted by: Philip | April 22, 2008 at 07:56 AM
I'm going to wish for Tereshkina at ABT & Kondaurova at NYCB...fingers crossed!
Posted by: Susan | April 22, 2008 at 09:26 AM
Are Jared Angle and Amanda Hankes married? I thought she was married to a non-ballet dancer?
Posted by: Laura | April 23, 2008 at 12:37 PM
I need to fix that...no, Amanda and Jared aren't married to each other...thanks!
Posted by: Philip | April 23, 2008 at 03:15 PM