Posts Tagged ‘Valery Ovsyanikov’

Laurencia, with Osipova and Vasiliev, Mikhailovsky Ballet, London Coliseum, April 2013

3 April, 2013

Soviet Realism meets Don Quixote, with the good Don replaced by an evil Commander whom the peasants destroy. He abducts the beautiful Laurencia, imprisoning her lover Frondoso, and there is a nasty sexual assault by two soldiers on a peasant named Jacinta. The women are both badly used and emerge with dirty torn skirts, but there is plenty of wonderfully happy dancing by the peasants, choreographed by famous Georgian dancer and choreographer Vakhtang Chabukiani.

Frondoso and Laurencia, all images ©MikhailovskyTheatre

Frondoso and Laurencia, all images ©MikhailovskyTheatre

As a powerful presence on stage himself, he wrote steps for a strong male dancer in the leading role of Frondoso, and Ivan Vasiliev made the most of it. With his extraordinary ability to perform multiple pirouettes that slow down and come to a perfect stop, his brilliant leaps en tournant, and his fine stage presence, Vasiliev was well matched by the technical brilliance and musicality of Natalia Osipova. Did I see a quadruple fouetté en tournant? Certainly there were some triples, but it is her dramatic commitment and attention to detail that make her so exciting to watch. The two of them together are a marvel.

2.Laurencia. Natalia Osipova and Ivan VasilievYet the whole company gave this huge sparkle, and Sabina Yapparova as Pasquala was a delight. It was she and Osipova who cleverly scuttled away from the soldiers in Act I, and her classical dancing in Act II, when the village celebrates the union of Laurencia and Frondoso, was outstanding. At the other end of the pleasantry spectrum, Mikhail Venshchikov portrayed the Commander as a thoroughly nasty piece of work, and he stayed in character for the curtain calls to receive the welcoming boos.

If you want to see an old Soviet ballet, this one from 1939 is well worth the ticket, and if you want to see some spectacular male dancing this is a must-see, with Vasiliev and Osipova giving a second performance on April 3. Set and costume designs by Vadim Ryndin are lovely, and Valery Ovsyanikov in the orchestra pit gave a strong impetus to Alexander Krein’s music. This composer seems to have adapted rather well to the Soviet system, and his music serves its purpose, but the reason to go to this, and it’s an excellent reason, is to see Chabukiani’s choreography performed with enormous panache.

Following a second performance of Laurencia with Osipova and Vasiliev on April 3, the Mikhailovsky Ballet will perform other productions until April 7 — for details click here.

Giselle, with Osipova and Vasiliev, Mikhailovsky Ballet, London Coliseum, March 2013

27 March, 2013

What a pleasure this was. I’ve not seen the Mikhailovsky Giselle before, but it’s a fine production created in 2007 by Nikita Dolgushin, with excellent designs by Vyacheslav Okunev well lit by Mikhail Mekler. And the orchestra under Valery Ovsyanikov played with huge spirit, giving a performance far better than some of his work with the Royal Ballet. The dancing on the first night was led by Osipova and Vasiliev, who were both lured away from the Bolshoi in December 2011.

© Mikhailovsky Theatre

© Mikhailovsky Theatre

Natalia Osipova as Giselle was extraordinary. Her control, her wonderful jumps with gentle unhurried beats, and above all her musicality. Every tiny movement of her body showed how she felt the music. Of course, this is how it should be, but it so rarely is and even with some of the most brilliant dancers the music may be nothing but background. Here it is the essence. Yet it should not be supposed that Ms. Osipova is merely a very musical dancer with perfect technique — she is an actress, and her death in Act I following her shock that her lover is the Count, already betrothed to another, was heartbreaking.

As the Count himself, Ivan Vasiliev also showed fine dramatic talent, so sure of himself at first, yet horribly uncertain when the Gamekeeper, who adores Giselle, summons the hunting party to unmask him. In his powerful Act II solo, as fine fortissimos from the Russian orchestral brass demanded he dance to death, he showed himself to be almost exhausted before dawn rose at stage rear and the wilis power faded. The two of them together showed her to be a mere wisp, floating in the air as he moved on the ground, and her ability to float already showed itself with her solo dancing in Act I.

The other dancers gave fine support to these two principals, with good ensemble work from the corps in Act II, and full engagement by all dancers with the action in Act I. Ekaterina Borchenko as Queen of the Wilis in Act II performed fine jetés, and her borrées as she glided around the stage were a delight. Vladimir Tsal as the Gamekeeper was wonderful in his mime and his forceful interaction with the Count, and Anna Novosyolova as a rather young looking mother of Giselle showed grief at the end of Act I reminiscent of a Lady Capulet. And in the Act I peasant pas-de-deux, Sabina Yapparova showed glorious control and her musical dancing was a delight.

Altogether a terrific performance, and though you may not get the same two principals, this is a lovely production. Beautiful costumes, and the sets give a feeling of a world beyond, with a winding road to the castle in Act I, and a moonlit stream in Act II. The performance itself shows attention to detail that seems to have been lacking in some London shows by big Russian ballet companies in recent years. A great success for the Mikhailovsky ballet.

Performances of Giselle continue until March 29, followed by Don Quixote and other productions until April 7 — for details click here.