Music: Tchaikovsky. Choreography:
M.Petipa & L.Ivanov (Revised G.Taranda)
Canberra Theatre, October 21
Reviewed by Bill Stephens
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| The Imperial Russian Ballet corps de ballet. |
A regular
visitor to Canberra over the years, The Imperial Russian Ballet Company, a
company of some 40 dancers, which
constantly tours the world presenting programs of popular ballets from the classic
ballet repertoire, has built up a large following in this city.
The founder and artistic director of the
company is Gediminas Taranda, himself a former Bolshoi Ballet soloist, but also
a gifted choreographer and director. He sources his soloists and dancers from
major ballet companies and ballet schools throughout Russia.
The ballet
being toured this year is “Swan Lake”, one of the most enduring of all ballets,
having been first performed in the Bolshoi Theatre in 1877. The Imperial Russian Ballet Company’s version
is based on the Petipa/Ivanov original, but includes the happy ending decreed during the reign of Stalin in the 1930’s. Sensitively adapted by Taranda to allow
extensive touring, this production successfully preserves the integrity of the
ballet, as well as providing a superb showcase of pure Russian ballet style and
technique.
Through
extensive use of painted backcloths, minimal props, and superb costumes, the
production looks sumptuous. It is also beautifully danced by this handsome company
in which the ensemble dancers are particularly notable for their accurate
placement, attention to detail, and ability to connect with the audience.
The ballet is
presented in two acts, each containing two scenes. The first scene, involving
almost the entire company, takes place in the palace garden where Prince Siegfried
(Nariman Beckzhanov) is entertaining friends at his coming of age party.
Taranda has
eliminated much of the mime from this act and included rather more dancing than
usual for the prince and his friends. These dances, choreographed in various
combinations, and eventually involving the entire ensemble, are quite lovely,
and performed in graceful, flowing, muted- toned costumes which the dancers
manipulate to accent details of the choreography. High point of this act is a spectacular solo
for the Siegfried, which gave Beckzhanov the opportunity to display his
virtuosic technique. Two Jokers, (Denys Simon and Alexandru Hihtii) who also re-appear in the second act ballroom
scene, also provide some especially dazzling
dancing.
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| Lina Seveliova and Nariman Beckzhanov Sigfried and Odette |
The second
scene is the famous lake scene in which Siegfried discovers the Swan Princess
Odette (Lina Seveliova). Taranda has
wisely allowed this scene to remain as Petipa and Ivanov conceived it, with the
swans costumed in traditional white tutus with only the addition of a few
sparkles to separate Odette from the others.
Seveliova is
the perfect swan queen and very much the Russian ballerina. Her dancing is
musical and her phrasing captivating. She
has an extraordinarily pliable back, reminiscent of Makarova in her heyday, long
rippling arms, high extensions, a beautiful extended line and exquisite
placement. In the famous pas de deux she performed several spectacular high overhead
lifts without a hint of strain, effortlessly achieving the appearance of
weightlessness.
Bechzhanov also impressed in this act with his
attentive partnering as well as his bravura solos. Maksim Marinin cut a fine
figure as the evil sorcerer, Baron Von Rothbart bringing elegance and
assertiveness to his interpretation. Again the entire corps, including the four
cygnets, despite a punishing touring schedule, danced with precision and
accuracy, highlighting the careful attention to detail obvious in their
preparation.
For the
dramatic third act Ballroom scene, the colour palette for the costumes is brighter
and richer. Taranda again demonstrated his flair for attractive choreography
and intelligent staging, taking full advantage of the opportunities offered to
showcase the strength of the other dancers in his company.
Anna Pashkova
brought great presence and musicality to the Russian dance, while Natalia
Zheleznova, Elena Zhadan and Maria Repetieva showed off their polished techniques
in the Hungarian and Spanish dances. The
male dancing throughout was uniformly strong.
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| Lina Seveliova and Nariman Beckzhanov Sigfried and Odile |
Appearing
also as the black swan, Odile, Seveliova immediately grabbed attention with her
striking entrance on the arm of Von Rothbart . With eyes flashing and bravura dancing
she was the antithesis of the swan queen, attacking the technical difficulties
of the black swan pas de deux with style and confidence. Particularly interesting in this scene was an
arresting male duet in which Von Rothbart mirrored the movements of Siegfried.
Finally, the
return to the lake and the swans for the final scene allowing Siegfried to free Odette
from the clutches of Von Rothbart and
presumably live happily ever after, drew this fine production of “Swan Lake” to its inevitable conclusion.
When the
cheering subsided, most of the audience had plenty of time, while waiting to escape
the chaos of the carpark which has now become an inescapable part of a visit to
the Canberra Theatre Centre, to reflect on the quality of the production they
had just witnessed, as well as anticipate
the new production of “The Nutcracker”
which The Imperial Russian Ballet Company
will bring to Canberra in 2016,
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| The Jokers Denys Simon - Alexandru Hihtii |
