Russian Ballet Icons gala: London, March 2017

[Bruce Wall]

For the record – and from a tired memory:  A tad more smoothly run than last year ... but even then coming in at close to three and a half hours (and that was BEFORE the dinner for those wealthy enough to subscribe.)  

 

For me highlights were the ever exquisite Lucia Lacarra and Marlon Dino performing Light Rain to Adams intriguing score - here recorded; Muntagirov in the Black Swan PDD (but then I'd be inclined to say Muntagirov in anything nowadays) - [Huge congratuations to him for overcoming the Russian conductor stigma - and to the ever glorious ENB Philharmonic for putting up with it]; Salenko in a vivid account of that old favourite The Dying Swan; Steven McRae doing what Steven McRae does best in the Rubies PDD; Tyler Angle for giving a master class in partnering in the Diamonds Pas - and never once over-turning; Parish for having the skill and gumption to overcome the costume (and Makhalina's antics) in Spectre; Alexandrova's eyeing turn of enchantment in face of Lantratov's Prince in The Firebird and to Rojo for her determination to beat the Russians at the infamous DQ PDD's fouette race - aside an astutely able Hernandez - and WINNING!   

 

Obraztzova offered an Aurora of enchantment alongside her creamy smile and was well partnered by Gudanov who also bravely succumbed to a much appreciated sighting of the ever lithe Lunkina in Robbins' touching Faun - (if only these two had had a tad more rehearsal) - and, yes, Vasiliev – slightly older than before but no less mischievous - for the dedicated wit of those dazzling basilisks of bulging black eyeballs forever giving yet new meaning to 'determined camp' alongside a most fetching partner in crime - the jocularly levering Krysanova - in Sheharizade.  I have to confess Vasiliev always somehow manages to make me laugh and I thank him for that.  It is a gift.  (I would really love to see him in Mayerling.  I do think he is built for it somehow.)  I loved his curtain call:  ‘1.2.3. … and now I hold in my stomach’. 

 

A word too for some fine filigree in The Fairy Doll by the Vaganova School students.  That had a delightful pretension of innocence which certainly the 'NEW BALLET' - forget the title - could not claim.  I know it was supposed to bring the world together in a unique way and celebrate universal peace but I must just have missed it.  Sadly I did not feel my life had been saved by this 'something very special'.  For me it was poised somewhere between one of the lesser choreographic contributions by the Vienna State Opera Ballet on New Year's Day telly and a Calvin Kline underwear ad – here enhanced by a Davide Dato enriched by his Italianate 'Roberto Bolle' genes – both in dance and unmissable physique.  Sadly I did not think the Glass tribute as seen recently at the Barbican worked out of context - as mightily as everyone tried.  That said the sung French - as before - was exquisite and a definite highlight.  Sadly, Shklyarov was to some degree wasted in an somewhat over exposed take of the Petrushka solo but we will have much to look forward to from his talented self with the Mariinsky at the ROH this summer.  His curtain call was delightfully marked by his ever modest humility.  A class act all the way.  

 

This is all by way of memory.  I did not part with £10 for a programme … but was grateful for the very kind gentleman beside me for letting have a peek at his.  There were no cast lists this year ... Not even at the interval!  Guess people just gave up on complaining - in spite of the cost.  

Edited March 13, 2017 by Bruce Wall

[Jan McNulty]

Great to hear people's thoughts on this gala.

[Mary]

It sounds very enjoyable, thanks for all that entertaining detail, Bruce.

[Don Q Fan]

I agree Light Rain was fabulous with Lacara/Dino. Muntagirov stood out as best male in the first half haven't seen him for a while and he has really matured. He was just lovely to watch and got richly deserved applause and cheers. He was ably partnered by the lovely Konovalova.

Sheherezade was danced by Vasiliev and Kretova (not Krysanova). Tamara Rojo gave a lesson in perfect fouettees And her triples were stonking!!! I really liked the world premiere if Theatrum Vitae with Konovalova/Dato. A really interesting piece. I loved seeing Lunkina in Faun but had to.laugh when the fake tan on Gudanov came off all over her white tights...Oops!! Alexandrova/Lantratov never fail to entertain and it's always lovely to see them. Rubies and Diamonds were both beautiful.

There's a group photo on the net here:-

https://m.facebook.com/photo.php?fbid=1288712321189786&id=162981420429554&set=a.162985937095769.39168.162981420429554&refid=13

Edited March 13, 2017 by Don Q Fan

[Sim]

Thanks for that summary, Bruce.  Who was McRae's partner, please?

[Don Q Fan]

Sarah Lamb partnered Steven glorious to see after the online insight!

[Don Q Fan]

I tweeted a photo of the rep from my programme here's a link

https://mobile.twitter.com/Scarfie1/status/841000095147536387/photo/1

Edited March 13, 2017 by Don Q Fan

[Fonty]

I have to say that after all the negative comments about this gala beforehand, I was rather reluctant to go.  At one point, I even debated about whether to offer my ticket for sale on here.  I am very glad I didn't because I really enjoyed it.  

 

Like Bruce, I flatly refused to pay £10 for a programme, and I was not at all pleased to find that there was no free cast list.  Unlike Bruce, the people around me up in the cheap seats seemed to have one programme between 5 or 6 people, so I felt guilty about asking to see one.  

 

With no knowledge about what was coming, I just sat back and looked on with a detached eye. Certain things struck me.  I loved the music for Light Rain, and thought it was an extraordinary performance from both dancers, but I thought Lacarra was thin to the point of emaciation.  Her legs were so skinny I was afraid they might snap any moment, especially with the ultra extreme flexibility she showed (forget 6 o'clock extensions, hers were nearly 8 o'clock ones!).  Personally, I found something slightly repellent about her appearance.  In fact, I thought a lot of the ladies appeared to be ultra thin.  Not a good look in my opinion.  

 

I didn't know anything about the Swan Lake white act sequence, with the dancers in costumes that vaguely reminded me of Matthew Bourne's swans.  Any details on this would be appreciated.  Although I quite enjoyed it, as I heard all that glorious music I couldn't help thinking I would have loved to have seen the normal classical one.  

 

The Fairy Doll ballet was delightful, lovely costumes, and young dancers who seemed to be really enjoying themselves on stage. The sequence for the two boys was especially amusing and well performed.  

 

I was utterly perplexed by, from Bruce's description, must have been the Glass tribute.  I had no idea what it was about.  The stage contained a bed, and a bath, two people lurking around fully clothed in murky darkness, two more dressed in what looked like their pyjamas and dressing gowns.  Was it supposed to be a ward in a mental hospital?  The singing was lovely, what there was of it.  Considering it took quite a long time to set the stage for this piece, it didn't seem worth it for the 2 minutes or so that they were on stage.  And I still don't get the point of the bath.....

 

I really enjoyed The New Ballet.  I wasn't sure why the man was prancing about in a state of undress, with unbuttoned shirt and boxer shorts, while the female was in a long flowing dress, but since when do a lot of costumes actually make sense?  I loved the change from classical to more modern music, and thought both dancers handled the different styles of choreography brilliantly.  

 

I've never understood why the Dying Swan seems to have changed so much since it was originally created.  There are umpteem films of Pavlova on Youtube dancing this, why does nobody perform the moves as she did?  It was all very beautiful, but never once did I feel that this swan was actually dying.   Still, always a guaranteed crowd pleaser.

 

And it was lovely to see Rojo in Don Quixote at the end.  You can always rely on her to produce stunning turns, and she certainly didn't hold back on this occasion.  Her fouettes were rock solid, with what looked like some quadruple (!) pirouettes thrown in.  Great way to end the evening.   

Edited March 13, 2017 by Fonty

[Johnpw]

I didn't know anything about the Swan Lake white act sequence, with the dancers in costumes that vaguely reminded me of Matthew Bourne's swans.  Any details on this would be appreciated.  Although I quite enjoyed it, as I heard all that glorious music I couldn't help thinking I would have loved to have seen the normal classical one.  

 

This was "Lac" by Jean-Christophe Maillot, danced by Liisa Hämäläinen and Alexis Oliveira, from Les Ballets de Monte Carlo.

[MAB]

I really enjoyed The New Ballet.  I wasn't sure why the man was prancing about in a state of undress, with unbuttoned shirt and boxer shorts, while the female was in a long flowing dress, but since when do a lot of costumes actually make sense?  I loved the change from classical to more modern music, and thought both dancers handled the different styles of choreography brilliantly.  

 

 

 

 

According to a man with a programme, she was Aphrodite and he was a shepherd she'd taken a fancy to.

[Fonty]

Ah yes, right, a shepherd, of course he was.    

 

That's exactly how I would expect a shepherd to dress, how silly of me not to work it out.  

[MAB]

Ah yes, right, a shepherd, of course he was.  

 

That's exactly how I would expect a shepherd to dress, how silly of me not to work it out.  

 

Maybe if he'd been fully clothed she wouldn't have fancied him so much. 

[Don Q Fan]

Oh yes my award for the worst costume goes to the horrible rag of a dress in Lac. Awful.

[Mummykool]

Oh yes my award for the worst costume goes to the horrible rag of a dress in Lac. Awful.

That piece got my award for the worst segment of the whole evening! This was closely followed by Makhalina's woeful efforts in Spectre.

 

Light Rain was definitely a highlight although, like Fonty, I thought Lacarra disturbingly thin. (Incidentally, as did Olivia Cowley in SB the other week).

The other real treats were Vadim's Black Swan PDD and Tamara rattling off those fouettes at the end. We were left in no doubt as to exactly whose stage they had all been dancing on!

 

I also really enjoyed Konavolova, Lunkina and Alexandrova's performances.

 

Glad I bought a programme and all in all a good (but expensive) night.

[aileen]

Ooh, I remember those scraggy tutus from Lac when it was performed at the Coliseum a couple of years ago. Part of the charm(?) of theses galas is the occasional way out piece. I remember Tamara Rojo dancing with a goldfish in a bowl one year.

[MAB]

Adored Ms Rojo's goldfish pas de deux!

[Johnpw]

A very enjoyable evening. 

 

Among my favourites were performers who also dance with the eyes. Lantratov and Alexandrova have this quality in spades. Vasiliev too. And I could really believe in the "invisible mirror" to which Gudanov and Lunkina directed their eyes in Robbins' "Afternoon of a Faun" which I hadn't seen before.

 

Dmitry Gudanov's youtube videos in various roles have given me a lot of pleasure. From the date of his graduation into the Bolshoi company, he must be near the retirement age zone, so I was especially glad to have caught him in a live performance. Still a fine and elegant dancer.

 

I thought the Vaganova students were excellent. Eleonora Sevenard gave a poised and confident performance as the Fairy Doll: it must be in the genes, apparently she's a descendant of Matilde Kschessinska. She was ably supported by the two Pierrots who not only did the steps but also showed off their character training.  Well done! Given the negative reaction at the time of his appointment, it seems Tsiskaridze is doing a good job at the school. I'm pleased he allowed them to travel.

 

The excerpts from "Rubies" and "Diamonds" made me glad I'd booked for the coming run of "Jewels". Tyler Angle impressed me.

 

Finally it was good to see Tamara Rojo and Isaac Hernandez  match any of the others - and in a Russian classic!

[LinMM]

Am absolutely whacked out just got back about an hour ago and now have Spanish homework to do will try to report back later on but I really enjoyed this gala and very much agree with Johnpw above.....though there were some strange costumes....pyjamas........underpants ( but gorgeously displayed) and that weird Lac costume!!

[Mary]

Would love to see some photos, these descriptions are all so intriguing!

[Fonty]

Well, as far as Lac is concerned, the lady looked as if she had suffered a crisis with her laundry, and had been forced to dig out an elderly vest and frayed knickers from a bag marked "Rags."  A quick internet search has thrown up this:

 

http://www.criticaldance.org/wp-content/uploads/2014/03/Jean-Christophe-Maillot%E2%80%99s-LAC-After-Swan-Lake.-Shown-Anjara-Ballesteros-as-The-White-Swan-Lucien-Postlewaite-as-The-Prince.-Photo-Alice-Blangero.jpg

 

Edited to add that it was such a marked contrast to the gorgeous, glittering tutus of some of the other ladies.  

Edited March 13, 2017 by Fonty

[Mary]

!!!

Reminds me of the time the puppy got hold of my nightie and ate it. She shouldn't have left that costume lying around......

[zxDaveM]

I was at the tech rehearsal in the afternoon before the performance - so here are some photos. Please be aware that the dancers were only in semi-costume at best, with no hair/makeup done, and plenty of leg warmers/trakkie pants in evidence! Despite that, class will out, and all that...
 

Theatrum Vitae (Xenia Weist): Liudmila Konovalova, Davide Dato
© Dave Morgan. Courtesy of DanceTabs / Flickr


Swan Lake (Marius Petipa): Liudmila Konovalova, Vadin Muntagirov
© Dave Morgan. Courtesy of DanceTabs / Flickr


The Sleeping Beauty (Marius Petipa): Evgenia Obratsova, Dmitri Gudunov
© Dave Morgan. Courtesy of DanceTabs / Flickr

See more...

Set from DanceTabs: Russian Ballet Icons - in the steps of Ballet Russes
Courtesy of DanceTabs / Flickr

[now voyager]

 

 

I thought the Vaganova students were excellent. Eleonora Sevenard gave a poised and confident performance as the Fairy Doll: it must be in the genes, apparently she's a descendant of Matilde Kschessinska. 

  

 

I believe that Kschessinska had only one son (Vladimir or "Vova"), and that he died without issue. Sevenard is perhaps a collateral descendant, as MK's brother, Joseph, did have children.

[Mary]

Beautiful thanks so much  zxDaveM.

[Johnpw]

I believe that Kschessinska had only one son (Vladimir or "Vova"), and that he died without issue. Sevenard is perhaps a collateral descendant, as MK's brother, Joseph, did have children.

 

Thank you. That's a lesson in not believing everything that one reads on the internet! Perhaps it got lost in translation and "related" would describe it better. She herself says that the family have some of Kschessinska's old costumes. The relationship is one of those "fun facts": she'll need to make her own way and, on the basis of last night, should have a good chance of doing so.

[LinMM]

Absolutely Johnpw....a lovely dancer already.

[capybara]

I’m afraid that my take on last night’s Gala is less benign than that expressed above. The very word Gala implies ‘celebration’ and ‘something special’ (certainly at the prices charged) and, while I hesitate to be critical, overall, I don’t feel that this lived up to its name.

 

Firstly,  the plusses. Unusually for these annual occasions, there was more than a passing nod to the focus of the evening, in this case the Ballet Russes, with several pieces firmly located in that era. The programme notes (by Clement Crisp and Graham Watts) were unusually good. The presentation was quite slick and there were no long-winded verbal introductions (thank goodness). The first half in particular was well-balanced and it didn’t feel (as it so often does) as if most dancers were simply presenting whatever happened to be in their current rep. There were some excellent performances: in order of appearance Vadim Muntagirov (Black Swan pdd); Lucia Lacarra and Marlon Dino (Light Rain); Xander Parish (Spectre with a none too easy to handle partner!); and Tamara Rojo and Isaac Hernandez (bravely essaying the Don Q pdd at after 10.20pm).

 

But did we have “the cream of today’s finest dancers” as promised by Lilian Hochhauser in one of the many messages in the programme ? Not in my view. There were ‘big names’ a-plenty but some of them simply did not deliver. Indeed the dancing of some ‘top stars’ felt leaden and floor-bound when they should have been flying. Others came across as rather bland and, for me, the Robbins Faun lacked the essential sexual tension. The contribution from the Vaganova Academy was nicely done but its length made the audience very restless and talkative (around me at least).

 

Am I so wrong in thinking that, with that array of world talent, I should have come away feeling wowed and uplifted? Some of the individual performances I have seen recently (at all levels) in the RB’s Sleeping Beauty have done that for me. But, save for the lovely offerings of a handful of notable exceptions, this Gala did not.

Edited March 13, 2017 by capybara

[LinMM]

http://www.danceeurope.net/gallery/russian-icons-gala-2017

 

Some piccies from the gala on Sunday including one of the very bendy Italian lady.

 

An extraordinary dancer but the piece was just a bit to on the gymnastic-y side for me but it was very well received by the audience.

 

I'm not making a full comment yet but I do,think Tamara Rojo and Hernandez definitely more than "bravely essayed" the Don Q pdd

They were a real WOW ....I'm sure Tamara may have even surprised herself as all those balances and turns came off so brilliantly she was in fantastic form a great end to a long evening.

[assoluta]

Thank you. That's a lesson in not believing everything that one reads on the internet! Perhaps it got lost in translation and "related" would describe it better. She herself says that the family have some of Kschessinska's old costumes. The relationship is one of those "fun facts": she'll need to make her own way and, on the basis of last night, should have a good chance of doing so.

 

For many years it was assumed that Celina Krzesinska, born in 1911, was a daughter of Mathilde's brother. More recently an archival evidence has appeared that she was in fact a daughter of Mathilde herself.

 

http://www.nnov.kp.ru/daily/26626/3644679/

[Lindsay]

So let me see if I have this straight - the story is based on a photo of Kschessinska looking lovingly into a pram.  Then her descendant goes to the family crypt and accidentally 'stumbles' upon a hidden decree by which the Tsar married Kschessinska in 2017 and legitimises their daughter as his heir.  He leaves the documents there, doesn't photograph them and tells the KGB to copy them for him but they never do.  He is later given copies but they are stolen from his flat.  

 

I wouldn't call that evidence so much as fake news.  

[@ballet_sweat_n_tears]

The full gallery from Russian Ballet Icons 2017 of photographs backstage can be found here:

http://client.sian-trenberth.com/russianballeticons2017/

[Jan McNulty]

Thanks Sian, terrific photographs.

 

This should be a clickable link: http://client.sian-trenberth.com/russianballeticons2017/

[MAB]

So let me see if I have this straight - the story is based on a photo of Kschessinska looking lovingly into a pram.  Then her descendant goes to the family crypt and accidentally 'stumbles' upon a hidden decree by which the Tsar married Kschessinska in 2017 and legitimises their daughter as his heir.  He leaves the documents there, doesn't photograph them and tells the KGB to copy them for him but they never do.  He is later given copies but they are stolen from his flat.  

 

I wouldn't call that evidence so much as fake news.  

 

Indeed, if we are to believe historians the Tsar's marriage to Alexandra was a love match and Kschessinska was history by the time of the wedding.  Impossible to keep a pregnancy secret in a ballet company by the way.  I doubt very much that a grand duke would go on to marry her had there been the slightest doubt she may have been married to the Tsar

 

Of course modern DNA tests can solve all these debates as it has in the case of Anna Anderson..