St Petersburg Ballet Theatre: Swan Lake, London, August 2015

[johnross]

Another unusual photocall today. Some short excerpts were presented including The Swan's entrance, the Cygnets and some set pieces with Irina Kolesnikova and Denis Rodkin. After discussion we had a short session with Irina Kolesnikova on her own and Denis Rodkin on his own. The only good thing was that we were invited to photograph the Swans on the stage from the wings.  Here are some pictures - Dave will have some of the same so here are some slightly different views of Swan Lake.

 

 

Irina Kolesnikova - Denis Rodkin and Swans 

 

 

Swans from the wings

 

 

Swans from the wings

 

More pictures on www.johnrossballetgallery.co.uk

 

[Bruce Wall]

REVIEW - ST. PETERSBURG BALLET - SWAN LAKE - COLISEUM - 13.8.15

The St. Petersburg Ballet ... and more specifically... Irina Kolesnikova ... know London.  With alarming certainty this Company and its mistress mascot have mastered their audience.  Swan Lake is writ much larger than La Bayadere on their Coliseum posters.  On the opening night of this particular take on the famed Konstantin Sergeyev production, Ms. Kolesnikova's Company delivers in expected measure.  As on the poster Irina Kolesnikova stands prime.  Still she could not have had more effective support tonight than that which was nobly administered by the new Bolshoi principal, Denis Rodkin.  

 

Everything here is in full chocolate box measure.  Seemingly that's how London seems to like it (or so one is told in some portions of the daily press).  Everything tonight was tempered by that very same expectant taste.   There's not a Jeremy Corbyn figure in sight.  Nowhere in the box sets do any of the garish colours that Yolanda Sonnabend thrust for thirty years upon the last Royal Ballet production - even now only recently departed - intrude.  The St. Petersburg production always frames its dance with taste and if the mime by the tutor and jester in the first scene border on the embarrassing (and they do) we know that such has never EVER been a Russian stronghold.  

 

The national dances too are largely muddled but then, of course, the raison detre (Ms. Kolesnikova, our hero ... sorry heroine) is not then on stage.  The swans, however, that surround her - and let's be clear this ballet is ABOUT swans - are unquestionably disciplined.  They elongate in her - and therefore our - presence.  Their eyes moisten as her tempi quicken.  Their paymasters - the audience - and the leading ballerina - respond with subsequent delight.  

 

As Kolesnikova no doubt expected, London cheers.      

 

There was, of course, never going to be any doubt SHE was the star.  Her billing tells us as much and her glamourous smile - one beaming from a somewhat over sized souvenir programme - is certainly mega watt.  Its square frame explodes.  So too does her frown of remorse in that first telling variation of the fourth act.  There her développé à la seconde are truly pungent.  They wail with a deafening thrill.  

 

You see, Ms. Kolesnikova is a master manipulator.  That is the common denominator that lies between her Odette and Odile.   (I would imagine it will inform her Nikya as well.) Tonight - with Ms. Kolenikova on board - it seemed only fitting that all should end happily ... and it did.  If her classical technique - in truth - is not always that of a world champion, she - much akin to, say, the scintillating Daria Klimentova - certainly knows how to husband her unhesitatingly stylish resources.  Kolesnikova's bourees can both spook and astound.  I, for one, doubt that anyone would argue against the obvious fact that her backbone has definite integrity of purpose.  

 

Around her the St. Petersburg Ballet Company works hard.  I was particularly taken by the dashing polish of Miho Naotsuko who not only dazzled in the pas de trois in the first act but also informed with dignity as a big swan in the second and fourth and as a persuasive princess in the third.  Tonight was very much a distaff victory.  The St. Petersburg women very much outshone their men folk on this showing.  Let's pray the males have their turn to shine alongside the Minkus.  

 

It was, however, Denis Rodkin who provided the ultimate catalyst as Seigfried and therefore tonight's glue.  With his matinee idol good looks and a brilliantly dramatic reserve which he wisely always held at the three quarters, he ensured that our imagination's middle distance was always prime.  Rodkin was (i) the very definition of good taste and (ii) - without hesitation - a masterful partner.  (One can see where Muntagirov will be just as persuasive as he shares those attributes.)  Rodkin's first solo variation in the black swan pas de deux was perhaps the finest piece of pure dance in the entire performance; one made blessedly swift not only by the close maintenance of two short intervals but by the animated orchestra playing to the rightly swift original Tchaikovsky orchestrations.  (On both those scores the Royal Ballet might well note.)  To wit: Rodkin is a find.  

 

Was this evening good value for your money?  You betcha.  

 

The departing smiles on people's faces very much said they had got what they came for.  

 

Can't say better than that.  

 

 

PLEASE KNOW THE CHANGES OF FONT ARE NOT MINE ... THEY ARE THE BcoF SYSTEM'S.  I TYPED THIS IN WORD AND WHEN COPYING IT OVER THIS IS WHAT HAPPENED.  I'M TOO EXHAUSTED JUST NOW TO TRY TO FIDDLE WITH IT.  

Edited August 14, 2015 by Ian Macmillan
All fixed - I've had a night's sleep!

[zxDaveM]

It certainly was a bit different at the photo call - but I for one, certainly enjoyed it! Here are a few more photos:

 

Swans (St Petersburg Ballet Theatre's corps de ballet)
© Dave Morgan. Courtesy of DanceTabs / Flickr

 

Swans (St Petersburg Ballet Theatre's corps de ballet)
© Dave Morgan. Courtesy of DanceTabs / Flickr

 

Irina Kolesnikova & Denis Rodkin
© Dave Morgan. Courtesy of DanceTabs / Flickr

 

See more...

Set from DanceTabs: St Petersburg Ballet - Swan Lake
Courtesy of DanceTabs / Flickr

[Scheherezade]

Bruce has been very eloquent about the first night performance and I could not hope to compete. Friday night had the same cast and, by the way, cast lists were freely available, with instructions to ignore the previous night's date since the castings were identical.

 

On the positive side, Kolesnikova's arms and back were beautiful and it was difficult to criticise her performance technically. On the negative side, I felt that she was projecting to the audience rather than to the rest of the cast or, more particularly, to her prince, and what a handsome prince Rodkin made, I just wish that there had been more opportunity to see him dance rather than stand around and/or look attentive or distressed. I found the jester predictably annoying, the 'happy' ending unconvincing, Rothbart somewhat underpowered and had to try hard not to laugh at the fight between Siegfried and Rothbart at the end. And was it just me or were the orchestra on go-slow during Odette's solos and pas de deux? In parts, the pace was so turgid that there was almost time for her to milk applause mid-solo.

 

I found the corps well-drilled in the lakeside scenes although, from my position up in the balcony, some of the shapes looked less aesthetically pleasing than they might. The national dances seemed mediocre and I wasn't sure what was supposed to be going on between Siegfried and the princesses.

 

Part of the problem may well have been that the last time I saw Swan Lake at the Coliseum was the electrifying ENB Rojo/Lendorf performance and there was no way that this was going to match up. For all of that, and despite appearances to the contrary, I did enjoy the evening. I am not sure, however, whether or not to risk Bayadere for the chance to see more and better things from Rodkin.

[aileen]

A bit of a curate's egg this afternoon. The swan corps was the high-light of the performance. Act 1, Scene 1 and Act 3 (in the Palace) were very average with a lot of dull dancing. In truth, Kim had very little to do in this production. His solos in Act 3 were very crisp but he didn't particularly shine elsewhere. Matsak was pretty overall good although her fouettes came to an abrupt halt which was followed by a complete break in the music and dancing (I don't know what happened there). There were other odd breaks in the music for no obvious reason as well. The biggest problem for me was the lack of drama at the end. There was no real fight between Siegfried and Rothbart, who was a rather weedy, unthreatening figure. Naturally, being a Russian production, there was an annoying jester.

[Jillykins]

We were at the Friday performance and I agree with previous posts. I hated the ending and was so disappoimnted by the national dances in the court. I also disliked the tutus because they stuck out like a frill and showed an unflattering rear view. I also found the constant applause breaks spoilt the continuity. However Kolesnikovas arms were beautiful, the Russian ' broken wrist' suits the swan movement. However I did not like Naotsukis hands in the pas de trios, however enjoyed the rest of his dancing. Rodkin made a handsome prince and as other posters have said I would have liked to see him dance more. There were a number of incidents of loss of balance from the principals. I really enjoyed seeing a different production and was pleased we went. I must compliment the Coliseum in their help with my wheelchair and with their provision of funding for my companion.

[Mary]

I went last night for two reasons- feeling ballet-starved was one, but wanting to see Denis Rodkin whose performances I so much enjoyed in last year's Bolshoi live screenings was the main one.

He did not disappoint: a truly beautiful dancer with perfect physique, stage presence  and  technique for the little , too little, he had to do.

Otherwise agree with the above posts....

Kolesnikova did not convince at all. She had the music slowed to stopping point for her emoting and speeded up for the difficult bits... at which points her arms seemed to whirl out of control last night. There was no interaction between the dancers on stage ( most damagingly in her complete disregard of Rothbart, who is meant to be controlling her) and no drama- really it wasn't like Swan Lake at all, but a star vehicle for her. A shame. The corps were very good, very together and sharp. I liked their costumes- very traditional tutus- but the 6 princesses seemed to be dressed up like the ku klux klan! bizarre!- and the national dances costumes were messy. The dancing of the national dances was also messy and almost a shambles at points.

Overall one was left feeling that noone in charge of the company cared what was happening when Kolesnikova was not on stage.

 

I totally agree,Scheherezade-I actually did laugh at the end- the first time I have ever ever laughed at Swan Lake, the fight was so absurd.

 

In sum I would say it was well worth going for Rodkin -appearing again in the run I believe.

[alison]

There was no interaction between the dancers on stage ( most damagingly in her complete disregard of Rothbart, who is meant to be controlling her) and no drama- really it wasn't like Swan Lake at all, but a star vehicle for her.

 

Interesting.  To what extent is that because it's (based on?) the old Kirov production - or have they changed it since last time I saw it?  That's what I always complain about with the Mariinsky Swan Lake.

[Mary]

Interesting.  To what extent is that because it's (based on?) the old Kirov production - or have they changed it since last time I saw it?  That's what I always complain about with the Mariinsky Swan Lake.

I think it was less to do with the production, more to do with the fact that, as Scheherezade says above, Koleskinova was projecting all the time to the audience rather than to Rothbart, or indeed her prince- heaven knows why she should thus have neglected him! and he was trying his best. But she was not enagged with the story the dance was meant to tell- only with showing herself to us with the ballet as a background.

I have seen some rather odd Kirov and Bolshoi productions, but always the production was forgiven for the wonderful dancing of the leads- and for many moments of magic thus created -not so here.

[MAB]

One of the company's dancers, Dimchik Sakhayev, is the finest Rothbart I've ever seen, not sure why he's not dancing in London, he was Lord Capulet when I last saw the company in March, I have to say I feel his absence acutely. 

[gdallas]

I went this afternoon, it was interesting but not great though I am really not an expert. We had Kimin Kim who was superb when called upon to dance but most of the time had very little to do. Natalia Matsak was a bit disappointing and didn't complete the 32 fouttes. Looked like 27 and then a stop. The ending was weird but expected, I really don't like this version at all. Some of the corps scenes were pleasing but there was I thought an overall rather flat vibe, the dancers didn't seem as engaged as you'd like them to be or expect them to be.

 

I rather think that the acoustics in the Coliseum are better than ROH, though this orchestra was a bit....grumpy sounding. A bit sort of resentful. And a few buüm notes too.

 

What was really weird was that before curtain went up there were loads of people in the wrong seats! Some of the ushers didn't seem very sure where the seats were.

 

So all in all it was...interesting. But it kind of makes you realise how lucky we are with our own companies here in London and the UK.

 

Roll on Francesca Hayward's Juliet. I am looking forward to that a lot

[Beryl H]

I was pleasantly surprised last night, thought Swan Lake looked much better than the reviews suggested, I suppose I've never seen this Company in a large theatre before where they can dance properly, but they seemed bigger and better than in the past, Irina Kolesnikova was a marvel, no signs of fatigue at all, perhaps Vadim Muntagirov as a partner helped , they are similar in height and willowy qualities , although some sections were taken very slowly indeed I thought it worked and am really glad I saw her.

 

Liked the production, old fashioned and pretty scenery and very well lit!  Was sorry not to see the Ivanov pdd in the last act, but the waltz with 2 leading swans was there at the beginning, Irina Kolesnikova made the happy ending tolerable, she illuminated the lovely quiet music at the end usually used for the "journey to the world of eternal bliss" her joy at realising the spell was broken was heartfelt and made me feel sad, looking forward to seeing her Nikiya.

 

No cast lists unless you bought the programme, I actually liked the jester, or at least his dancing, very airy, and the Japanese girl was lovely in the pas de trois and a leading swan in act 4, Dimitri Akulinin was another face from the past and it was just good to see him, didn't think his Rothbart was any worse than the others, don't take Rothbart too seriously I'm afraid.

[barton22]

What was really weird was that before curtain went up there were loads of people in the wrong seats! Some of the ushers didn't seem very sure where the seats were.

I have found what I call seat squatters more of an issue at the Coli than anywhere else. On a number of occasions I have arrived at the last minute and found people in my seats who were clearly not there by mistake and seemed pretty annoyed at being caught out and turfed out at the last minute and having to run to where they knew they were supposed to be sitting.  Really hasn't happened to me in other theatres.

[alison]

Well, in all fairness, having suffered from the need to be "re-seated" myself, I would say that if time is pressing the ushers may spot an unoccupied seat and ask you to sit in it while they sort out something more permanent.  The whole of the couple of minutes it took to change the scenery between Acts I and II last night seemed to be taken up entirely with getting latecomers to their seats - and that after what I'd have thought would be a record number of people arriving after 7.30 and being shown to their seats anyway!

 

Incidentally, can someone who had a cast sheet please tell me who the two Big Swans in Act IV were?  (Do I gather there was no budging on the cast sheets this week, unlike with La Sylphide?  I'm sure there were just as many balletomanes catching different casts as there were for that one.  How did you manage?)

[Beryl H]

I have found what I call seat squatters more of an issue at the Coli than anywhere else. On a number of occasions I have arrived at the last minute and found people in my seats who were clearly not there by mistake and seemed pretty annoyed at being caught out and turfed out at the last minute and having to run to where they knew they were supposed to be sitting.  Really hasn't happened to me in other theatres.

 

Might be Russians, they just sit in a seat they fancy and hope the owner will go somewhere else, they used to do this in Russia when I went to the ballet there , I've noticed it in London too and particularly at the Coliseum, you have to be firm!

 

Wasn't the noise in between acts 1 and 2 awful last night, I was looking at some of the orchestra who were trying to play above it, they couldn't believe it.

 

And the late start resulted in me not getting home until 1.15am, happy days!

Edited August 21, 2015 by Beryl H

[billboyd]

Tchaikovsky must be turning in his grave.

 

....He must do a lot of turning....!

Edited August 21, 2015 by billboyd

[Don Q Fan]

Saw Swan Lake on Friday - very nice but the ending is indeed the oddest one I have ever seen.  That apart the ballet was quite nice, Irina was good, although I did not warm to her Odette.  She was better as Odile and whipped off some very fast single fouettes with on a couple of doubles one at the start and the end.  Vadim Muntagirov was good in what little he had to do - I think he barely broke a sweat - such a shame to have this super young man on the stage and so little for him to do.  I agree with other posters no one else really stood out from the corps.  Nice costumes and sets though.  

Cast sheets were only with £8 programme though some were left at the end to pick up - bit late though.  I did buy the programme as it was full of bios etc and hardly any adverts (hurrah!!)  the ads were mainly for the company anyway they will be in Paris in February 2016 and back to London in September 2016 I believe and they will bring Don Q - yayyy!!!! - as well as Nutcracker and another ballet I can't remember( poss Swan lake).

[SheilaC]

I saw Swan Lake on Friday and Saturday matinee. The production is poor, and there are no good female soloists. Kolesnikova was unlyrical and her grin as Black Swan was the most hideous I have ever seen. I think she danced better technically on her previous tours here, not that I rated her then as an artist. But the trip was worth it for seeing Vadim and Kim, two danseurs nobles, who both had real style and elegant technique and acted better than her or Matsak (whose acting was even worse than Kolesnikova's, and who was only competent technically - yet was good the same night as Gamzatti)

 

However, the main reason for posting is to comment on a strange anomaly in the ticket prices. I sat in exactly the same seat for both Swan Lake performances, yet I turned out to have paid £7.50 more for the matinee than for the evening performance with Kolesnikova. The box office and the front of house manager could not understand the difference; but as the matinee was one of the additional performances, it may be that the promoters sneaked in price rises for the extra performances.

[alison]

How sneaky.

[Bruce Wall]

How sneaky.

 

I believe it's called 'dynamic pricing', Alison.  It is used by some other theatres both here and abroad.  

[alison]

Yes, but I didn't expect to see it being used for a late addition to a programme at the Coliseum.

[alison]

Matsak was pretty overall good although her fouettes came to an abrupt halt which was followed by a complete break in the music and dancing (I don't know what happened there).

 

I suspect that was planned: it was what we got with Kolesnikova, too.

 

I also disliked the tutus because they stuck out like a frill and showed an unflattering rear view.

 

Not only that, but apart from Odette's they were totally devoid of any "swan" features.  They could have been taken from a production of "Suite en Blanc" for aught that I could tell.

And the Coliseum are very good with the disabled, in my experience: when I turned up at something on crutches many moons ago they happily upgraded me to a convenient place in the stalls.

 

Vadim Muntagirov was good in what little he had to do - I think he barely broke a sweat - such a shame to have this super young man on the stage and so little for him to do.  

 

Totally agree.  I was really regretting that it wasn't ENB's - or even the Royal's - production.

 

Kolesnikova was unlyrical and her grin as Black Swan was the most hideous I have ever seen. I think she danced better technically on her previous tours here, not that I rated her then as an artist.

 

I'm not sure I'd seen her prior to this: given the company's tendency to perform out of London when they were touring regularly in the UK, I tended always to get the "second strings".  I mean, I think I had to put up with Elena Glurdjidze's Giselle at a matinee in Woking once - although I didn't recognise her back then   How terrible, eh?

[MAB]

The company has performed La Bayadere at the Coliseum before, but it may have been a single performance.

[alison]

Ah.  Maybe it was on a Sunday, or something?

[Jacqueline]

Ah.  Maybe it was on a Sunday, or something?

Yes, it was a Sunday evening performance and a one off as part of Irina's 2009 European Spring Tour and apparently, La Bayadere is Irina's favourite ballet. Not a lot of people know that. 

[MAB]

As a long time fan of St Petersburg Ballet Theatre, I'm going to swim against the tide and admit to having enjoyed their visit to London very much.  Their productions of both Swan Lake and La Bayadere are actually very good and closely resemble the versions currently danced by the Kirov, likewise the sets and costumes are traditional and easy on the eye.
The company's rank and file are much to be admired, dancing virtually every night with a number of matinees thrown in too, the girls of the corps de ballet never let their standards slip and on Saturday were actually called upon to be swans and shades on the same day, which in my book is quite an achievement.

Their star of course is Irina Kolesnikova and it seems her style of dancing hasn't been to everyone's taste here.   There is an unihibited quality about her with emotions very much to the fore.   Her Odette is regal and romantic and is a unique blend of woman and swan, her scheming Odile is almost savagely evil.  Yes, her first night was a little affected by nerves, but her later performances were far more confident and totally memorable.

Her two partners, Denis Rodkin and Vadim Muntagirov are of course stars in their own right, though Rodkin is possibly less familiar to London audiences than the RB's popular star.  Rodkin is that rarest of ballet types - a perfect danseur noble, the prince par excellence and attentive cavalier with exemplary partnering and stage manners.

Second cast Natalia Matsak, although having stepped into the breach before with this company, was a last minute replacement as the big name originally pencilled in was still nursing an injury.  This accounts for the height discrepancy between her and her partner.  Ms Matsak was perhaps more Odile than Odette and far better suited to her other role, Gamzatti.  Kimin Kim came into his own in Act III, with remarkable technique but also the highest jump since Andrei Uvarov.  The audience rightly went crazy for him.

La Bayadere saw Kolesnikova in the role she loves best where her acting skills came to the fore.  her partner, Rodkin, though never putting a step wrong, lacked the exotic quality that all the best Solors have displayed, definitely more prince than warrior.  The corps barely wobbled after what must have been a gruelling day and the solo shades, in variations that are far harder than they look, were excellent.

 

The audiences loved them and I sincerely hope it is the memory of their appreciation that stays with them.

[alison]

Rodkin, though never putting a step wrong, lacked the exotic quality that all the best Solors have displayed, definitely more prince than warrior.  

 

That begs the question of who you think are "all the best Solors", then, MAB?

[MAB]

That begs the question of who you think are "all the best Solors", then, MAB?

 

Nureyev, Ruzimatov, Mukhamedov and Tsiskaridze could all be described as exotic in their interpretations, but that quality is becoming rare.