A Tale of Two Giselles

Friday, February 11, 2011

Friday night starring Alina Somova and Evgeny Ivanchenko transcended sketchy sets and bordering on gaudy peasant costumes to become one of ballet most memorable nights. While the first act was well acted and beautifully danced, it was the Willis act that hold me transfixed, lifting my spirits and brining to a new level of art appreciation. As if an old etching depicting Romantic ballerina of the 19th century came to life on stage of The Kennedy Center and mind you, this was not a mere stylization of the revered Romantic ballet, but a living breathing scene of extraordinary beauty and stylistic purity.

I can’t even attempt to describe Samovar’s light as breath sautés and breath extending to the tips of her fingers, melting quality of her landings, the softest possible plie and the quintessential Giselle 2nd arabesque extending into space and time. No words can describe the magic of this exceptional performance, that could be experienced only in the setting of life theatre.

Photo courtesy of Mariinsky Theatre

Evgeny Ivanchenko, always a solid partner, shared rather than shadowed Alina’s interpretation. More a dreamy youth from Les Sylphides than Count Albrecht, he too rose to the occasion in the 2nd act to enhance the partnership which was both sensitive and organic. Both Ivanchenko and Somova were technically flawless throughout. Mariinsky legendary corps de ballet was remarkably uniform and subtle, while Myrtha, Alexandra Iosifidi and the two lead Willis, Daria Vasnetsova and Oxana Skorik put in both polished and sensitive performance. Hans, acted by Konstantin Zverev stood in stark contrast with weak-willed and not very aristocratic Albrecht-Ivanchenko of the first act.

Several standing ovations from a sold-out crowd ended the night to remember.

A Tale of Two Giselles

Saturday afternoon, February 12, 2011

Where this performance featuring Victoria Tereshkina and Vladimir Shklyarov lacked in magic of the previous evening, it more than made up with brilliance of all major performers – starting with the leads and finishing with picture perfect lines of Mariinsky’s Willis. Perhaps the supporting cast in the Duke’s hunting party could express more participation. Not inclined to look for spots in the Sun, however, I am quite convinced that Kirov-Mariinsky, the company that gave the world Anna Pavlova, Vatslav Nijinsky, Olga Spesivtseva, Galina Ulanova, Uliana Lopatkina, not to mention the best known ballets that currently grace world’s finest stages, remains guiding light for what constitutes classical ballet.

Victoria Tereshkina was very convincing in the role of peasant girl, perhaps with a streak of chance noble blood in her veins. Vladimir Shklyarov brought all the ardor of his Romeo while still maintaining aristocratic demeanor. They both were so engaged in their respective roles, that their partnership, though well rehearsed remained somewhat studied. The highly charged Mad Scene which culminates the first act was performed marvelously and not by the leads alone, but everyone involved in it.

Victoria favored less in the 2nd act, perhaps because of the statuesque Myrtha-Kondaurova who arrested the attention of the audience with her sailing pas de bourree and majestic 1st arabesques. Ekaterina looked incredibly beautiful that night! Seeing the two Giselles on subsequent days provided opportunity for comparison. While the palm in the act of Willis unmistakably belongs to a more Romantic Somova, Victoria had an edge in most dramatic scenes of the 1st act. I also thought that Valeria Martinyuk (according to the program), partnered both performances by Alexei Timofeyev pocessed more of stage presence than Elizaveta Cheprasova of the night before. “Duel of the Hanses” ended in solid tie as both Konstantin Zverev and Yuri Smekalov stood as living proof to Mariinsky’s excellence in mime and drama.