Kirov Don Q
Posted 15 July 2002 - 08:34 PM
Amazing energy and character dancing. Just amazing...
Posted 15 July 2002 - 09:43 PM
Posted 16 July 2002 - 02:48 AM
Posted 16 July 2002 - 07:05 AM
For example. Who is this Tatiana Tkachenko, who performed the Street Dance in Act I, and where can she come from? Is she even human? My God, What an incredible performance. The archetypal soubrette pushed beyond the boundaries. That step where she whips out of a chainee turn by extending her perfectly pointed right foot to the limit and then tombees into the broadest fourth position in history before reversing on a dime and then back across the stage the other way . . . I'm not sure if it's classical but it sure is wonderful.
And all the unnamed in the program Corps girls who dance those beautiful pure variations leading up to Kitri's and in between the pieces of the Grand Pas in the last act and the fireworks elsewhere. And the groups of pastel costumed corps dancers who entertain at the wedding banquet. And the dance for the entire corps at the end of the first scene.
I'm struck by how the choreography in so many of those pure variations for the female corps dancers are a lesson in how "less steps are often more" -- in how two beats or entrechats and a perfect landing in fifth position can be so much visually clearer than six beats (or whatever number) and a rushed landing. The simpler choregraphy allows you time to see the steps. I loved it. I don't ever remember a company that made me really "SEE" poses like attitude en avant like this company lets me see them. There are a host of phrases, such as ending a diagonal with a soft pliee in tendu front, the arms gesturing down, before taking off the other way -- of which I can say the same.
Interesting that, with Vishneyva, the female roles were such a range of emploi. In ABT's Don Q, Kitri is a soubrette. Not here. Here it's the Street Dancer and the flower girls (Xenia Dubrovina and Yana Serbriakova -- stunning dancers both of them) who are the soubrettes. While Kirti, as danced by Vishneyva (who is taller) is more of a Classique role. She gets the grand pas. Then you have Natalia Sologub's beautiful performance as Queen of the Dryads (also Classique, and cleaner lines then Vishneyva, her performance appropriately brought down the house) and Elena Chmil (demicharacter) as Amour.
By the conclusion, the people sitting to my left were laughing out loud in sheer good spirits, as I was. This may well have been the best thing the Kirov has done here.
Posted 16 July 2002 - 08:17 AM
WOWWEEEEEE!!!!! The culmination of 40-plus years of watching ballets. Simply spectacular. The ultimate. And the Divine Diana was just the tip of the iceberg. If I get run over by an Al-Qaida tank tomorrow I can say that I died a happy camper. That's all I have to write.
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