Kirov in New York Continued -- Swan Lake
Posted 15 July 2002 - 10:01 AM
a program printing mix-up re: swan lake casting somehow had Dmitri Zavalishin confused w/ the dancer performing the jester. for the record, according to a correction in the sat. program following the uncorrected thurs. 11 july prog. rothbart was performed by Dmitri Zavalishin (he of the long legs, long face, long nose) and the jester was danced on thurs. 11 jul. by Andre Ivanov; on 13 jul. mat it was zavalishin, again as rothbart and Kiril Simonov as the jester. (i assume zavalishin did rothbart again at the eve. perf. but i can't say for sure as i was not in attendance.)
Posted 15 July 2002 - 01:36 PM
Posted 15 July 2002 - 01:55 PM
Now if only they'd post some updated casting!!
Posted 15 July 2002 - 09:13 PM
The performances I saw were La Bayadére on Friday night and S. Lake on Sat. evening.
In particular I wanted to see Vishneva (she seemed interesting on photographs to me) or Aypova (whom I adore since I saw her on tape of Swan Lake- doing Pas de Trois). Due to some change in casting, I got to see one of them, Visneva in La Bayadere. To me she is very charismatic and has wonderful presence on stage. But, I couldn't get over extreme arching of her back and expressing almost every emotion with sticking her ribcage so far out. Of course, her infamous leg extensions were distracting to me, especially in developées a la seconde, which were every time ruining her placement. However, my other impressions are that she turns heavenly and jumps very beautifully. I can see that she must be wonderful as Kitri or in Rubies.
Fadeyev as Solor had shown beautiful technique (imo.) but I wished to see more depth to his character. Of all main characters, Tarasova to me was probably the most nuanced in her characterization of Gamzatti. She truly showed all emotions that are involved, and showed that Gamzatti was more complex then some stereotypical "bad girl". As many mentioned already, her dancing was of very high standard.
The production itself I thought was very lovely, but I kind of new what to expect (funky looking animals, etc- before I left, I read some reviews here and they helped me imagine the production ). I am agreeing with most things said already about details of it.
Of course, whatever you may read or hear, nothing can prepare you for the beauty of Kingdom of the Shades in this production. The set design, costumes and design of light are just magical. In other productions that I'm familiar with, Kingdom of the Shades seemed in colder colors, snow-white tutus and sets with lot of dark blue, similar to second act of S.Lake (I never saw Paris Opera production, which I'm sure also looks stunning) Well, this Kirov production was just unbelievable, with dark grey hills/caves and mauve sky in a background, and shades appearing behind those caves in those wonderful off-white, almost eggshell color tutus. It seemed like each one of them (Shades) was individually lit by some wonderful, warm light. Now, imagine all of those elements together with dancing of the Kirov corps, and you could feel like you were dreaming yourself.
The other night was equally interesting. Production of Swan L. that Kirov does, I already know from video tapes. I like it, the ending is silly, ok, but the rest of the production is I think beautiful. I also saw Gumerova, but I have mixed feelings about her. I really wish she works on softening of her upper body and port de bras and I hope that she'll get better in time with her characterization. I had feeling that she was most relaxed and enjoying herself in IV act, as if she maybe was too nervous about her fouetées earlier.
Overall, I did love her sense of pull-up and musicality, beautiful subtle frazing, especially (as Juliet already mentioned) in use of her wonderful legs. I also loved how she was taking her time, not rushing anything.
Igor Kolb was very good, but somehow not stellar that evening. I'm sure that it wasn't his best night.
On both evenings, I was very impressed with Irina Golub. She was dancing in pas de trois in S.Lake and first Shade variation in La Bayadere. I'm looking forward to seeing how she'll develop in the future.
Overall, I enjoyed myself immensely, even though I felt that some things could be improved (as I'm sure many of them eventually will). And every time I thought of something that I maybe didn't like, it always popped in my head: who cares, I'm actually watching Kirov!
Posted 16 July 2002 - 06:38 AM
Posted 20 July 2002 - 09:00 PM
Posted 21 July 2002 - 07:45 AM
As Odile, she was softly seductive and let the audience in on her duplicitious triumph. I thought her variation was rock solid, although (maybe I'm wrong) she made too much of a pause in preparation to some of her turns. Her fouettés got off to a rocky start, but she began to crank them out pretty good --alternating singles and doubles. I'm not crazy about singles/doubles in Swan Lake, they should probably be all singles -- just my opinion. Not a big deal, though.
As has been the case during the entire run, the corps was wonderful. Manhattnik is right, it's really is as if they've got a magnetic force pulling their limbs to all the right positions -- perfect every time.
Posted 24 August 2002 - 07:57 PM
What I was most struck by about the performance I saw (Thurs eve, 7/11 Zakharova/Korsuntsev) was the characterization Korsuntsev gave to Siegfried. Someone asked me what I thought of him at intermission, and I could only think, "Watta guy." I'm sure they are out there, but this is my first "watta guy" Siegfried; robust, well-adjusted and essentially happy, and it made no sense with my own conceptions of Swan Lake, but they all involve the original tragic ending. I wonder how much it had to do with Korsuntsev's acting abilities or characterization and how much it had to do with the Sergeyev conception of the entire ballet.
This is my first Soviet Swan Lake with a happy ending, and it felt like Siegfried's character had to be reverse-engineered from the politically decreed finale. There's no need to cast a prince with the seeds of tragedy in him because there is no tragedy. Korsuntsev was not aristocratic in demeanor either, and I wonder if this is also a result of a political history; a people's prince to smooth out the anathema of the hierarchy of a court. As Alexandra has mentioned on earlier discussions on emploi, Soviet employ slowly shifted so that leading men were no longer classiques or nobles; a new type of "heroic" lead came into play. I really felt that at the end of the Sergeyev Swan Lake, where I just felt that even if it broke period, Siegfried and Odette ought to have exited triumphantly on a tractor.
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