Thanks, Leonid, and welcome back!!!
Yes, the critics seem to be in agreement about the impoverished attempts to reproduce the glories of the Ballets Russes.
Here are two other reviews, which agree:
Thank you for the welcome back.
It is a great shame as both "The Firebird" and "Scheherazade" could have been given a more authentic production if a liaison had been established with the Royal Ballet in the first instance and English National Ballet in the second.(see below)
Overall and most disappointing, was the recreation of both costumes and sets. Whilst not an absolute offence, almost all the sets lacked vibrancy and subtlety as did the costumes, which one knew from earlier recreations, various auctions and exhibitions over the last 49 years.
Having said that, I was thrilled to see the realisation of "Thamar", in which the recreation of Bakst’s designs, brought us closer to the original production, previously known from photographs and design illustrations.
Throughout the Kremlin Ballet’s productions, one was aware that the height, slimness and musculature of their dancers, diminishing the design effect and what one assumes was the original effect of the costumes movement conceived for smaller and stockier built dancers.
I was glad to have seen the productions, but could not recommend them without a caveat.
The Kremlin Ballet used the Alexander Golovine original designs for "The Firebird" whilst The Royal Ballet use the later
Natalia Goncharova designs. The Royal Ballet's advantage is that it was staged for the company by Sergey Grigoriev and Lubov Tchernicheva with Tamara Karsavina coaching Margot Fonteyn and Michael Somes in the leading roles. English National Ballet's production of Scheherazade is descended from the Diaghilev production via the Ballet Russe de Monte Carlo and London Festival Ballet with exceptional performances given by Vassili Trunoff and Dudley von Loggenburg,for whom it seemed to be, entirely in his blood.