Festival ó3 - BAYADERE II, or 'Tsiskaridze Evening'- Feb. 23, '03
Posted 24 February 2003 - 12:39 AM
Mariinsky Theater – St. Petersburg, Russia
February 23, 2003
Nikiya – Daria Pavlenko
Gamzatti – Ekaterina Osmolkina
Solor – Nikolai Tsiskaridze (Bolshoi Ballet)
Tonight’s performance of Marius Petipa’s 1900 version of ‘La Bayadere’, with a change in the casting of the three principal roles, allowed interesting comparisons with the dancers who performed those roles at the opening, last Friday. However, this was a very different sort of performance because of the unique personalities of the leading performers. Whereas, on Friday, we experienced the story of this ballet, and the love between Nikiya and Solor, tonight we were sitting in the audience watching a star and analyzing his expressions and interactions with others on the stage. Same wonderful corps de ballet – same excellent soloists – but a totally different sort of evening.
The audience was every bit as enthusiastic as that on the opening night, mainly due to the appearance of Nikolai Tsiskaridze of Moscow’s Bolshoi Theater, who has an enormous following here.
I’ll get to Daria Pavlenko’s Nikiya soon…but she was so overpowered by the Tsiskaridze Personna that we must deal with him first. In a way, Pavlenko, triumphed simply by overcoming the challenge of being paired with a Solor whose flamboyant temperament is at odds with the restrained elegance of this tsarist-era production.
Now, I am on record as a long-time admirer of the Tsiskaridze Personna…but in Bolshoi, not Kirov-Mariinsky, productions. From the moment of his walk-in entrance in Act I, he was like a fish out of water. One could tell that he was struggling to rein-in his temperament. There is so much mime in this Petipa-Era version, and so little in the Bolshoi-Grigorovich version, that one can understand why he was not ‘getting it.’ For example, when:
• The Rajah unveils his daughter, Gamzatti, Tsiskaridze’s Solor did a little jump, and mouthed “oooh!”
• Atop the elephant, as it crossed the stage during the Act II/sc ii procession, Tsiskaridze could not just stay sitting on the beast; he had to lift his arm in florid fashion as he disappeared into the palm trees…waving at his fan club, perhaps?
• At the end of Act III, when his attendants show him his wedding apparel, Tsiskaridze flings himself onto his opium-den couch & hides his head among pillows
The audience around me was snickering lightly at these, and many other similar, “NT Moments” tonight.
This production’s Solor cannot show-off his jumping technique until Act III’s ‘Kingdom of the Shades’ scene. We cheered his amazing past-180-degree split-jetes…then he made a mess of his double-tours, doing them, but landing every one sloppily. His Act IV Pas d’Action solo fared much better, with soaring cabrioles. Pavlenko may be a sprig of woman but, watching Tsiskaridze struggling to hold her aloft in a Swan Lift, you would think that she weighs a ton. [You could see her counting the seconds until she could get off his shoulder alive!]
In the end, one must commend Tsiskaridze, an established ‘superstar’ of Russian ballet, for taking a chance with a foreign style, in which even his manner of walking – with heavy-ish steps – was at odds with the Petersburg style…especially ‘Petersburg 1900.’
Daria Pavlenko is a lovely dancer with an exotic face that brought gasps of admiration from the audience when the High Brahmin lifted her veil during her entrance-scene. With her dark features and long earrings, she looked so much like the late Inna Zubkovskaya, it was truly eerie.
I can see huge improvements in Pavlenko’s rendering of Nikiya, compared to the unfortunate premiere outing, in this role, in May 2002. Her acting was elegant, carefully rendered, but still on one level – icy cold. (Isn’t Nikiya supposed to have some charm, enough to have both the High Brahmin and Solor go gah-gah for her?).
At this stage in her career, Pavlenko lacks the subtle emotions and physical powers of Vishnyova. Most of her solos were performed slightly behind the beat of the music…jetes were low…arabesques in the Act II dance with vina (lute) were barely held…the coda with the basket was performed in ‘low-key manner’ with barely a swivel of the hips, which is such an essential feature of this dance…yet the total-picture is one of a true artist in the making. Like Tsiskaridze, Pavlenko improved her technique as the night went on, with a spot-on solo in the Shades Scene, including a series of clean finishes in the pirouettes as she holds onto the white silk scarf held aloft by Solor. That was nice indeed…and we even saw a glimmer of a charming smile on her face as she took her bows, following that solo!
In fairness to Daria Palenko, her icy emotions, even in the Act I flirtations with Solor, probably had something to do with the partner assigned to her. I bet that, if paired with a Jose-Manuel Carreno or Ethan Stiefel some day, her Nikiya could truly ‘melt’ and fall in love! Then we would be able to lose ourselves in the story and enjoy Pavlenko’s artistry to the fullest.
As Gamzatti, Ekaterina Osmolkina was fine in her Act IV dancing solo and the coda with 32 fouettes…although these traveled a bit across the stage. This production’s Gamzatti is mostly a mime role and, here, she was not quite up to the clarity and distinction of Friday night’s Elvira Tarasova.
All other solo and demi-solo roles tonight were ‘repeats’ from last Friday and these were all fantastic, from the High Brahmin to the kiddies in the Lotus Dance of Act IV! Let it be noted that, with the exception of Tsiskaridze’s claque, the evening’s biggest ‘bravos’ went to the Infernal Dance, once again performed with gusto by Galina Rakhmanova, Islom Baimuratov and the tom-tom-drum boys.
St. Petersburg, Russia
Posted 24 February 2003 - 12:50 AM
Posted 24 February 2003 - 01:07 AM
At least NYCB's Maria Kowroski will get to dance with, IMO, a partner who can complement her Odette/Odile...Danila Korsuntsev.
Posted 24 February 2003 - 01:43 AM
Posted 25 February 2003 - 02:32 AM
even more than Zobiede's! :eek:
Posted 25 February 2003 - 03:08 AM
I remember when, in Washington, DC, he stole the spotlight as Mercutio in the Lavrovsky 'Romeo & Juliet'. It was his one role on that tour and he made the most of it, come hell or high water. LOL!!
Posted 25 February 2003 - 03:12 AM
I you go and see Kobborg and Cojocaru, you'll know what I mean.
Posted 25 February 2003 - 03:18 AM
Posted 25 February 2003 - 04:38 AM
French audience was completely under charm and wait for one thing, that he comes back to POB to dance, because when he dance, he has something so exciting, so "charming" :rolleyes: .
I know that he was completely charmed by POB and want to stay with our etoile. I'm happy that Bolchoi came next year in Paris and I hope we will see Tsiskaridze more often in Paris.
Posted 25 February 2003 - 09:52 PM
Posted 05 March 2003 - 07:38 PM
I saw the premiere of the old/new "Bayadere" year ago. I didn't make any comments that time, because the performance was very raw- costumes weren't ready, dancers didn't know where to go, the machinery didn't work well. Now everything is working fine, but my impression is even worse. Boring, dated performance, which proved to me that all reconstructions of "original" choreography has to be stopped immediately. All great choreographers, Petipa and Balanchine included, did change choreography, costumes, even music with every new staging of their (and not their) ballets, adapting it to the new time, new artists. The current version of "Giselle" in Mariinsky doesn't have even one (!) scene similar to the first production in Paris. So what, go back to "original' and forget all brilliant innovation, which made this ballet still alive? I don't think so.
Posted 06 March 2003 - 08:01 AM
I would quibble, though, with the comment that there's not one scene remaining from the original "Giselle." There are quite a few scenes, and actual dances, remaining from the French production; there are sketches from the first performances, not just of stage action, but of dances -- Giselle's solo, Albrecht and Giselle's pas de deux -- that match what we see today. I think we know what the changes were (There's an excellent book out now, "Ballet and Opera in the Age of Giselle" that details them.) Hordes of mime has been cut, and Giselle's final solo is Petipa's, as well as the grand pas of the Wilis. But there's a lot that remains.
That doesn't have anything to do with the validity or stage interest of this Bayadere, of course.
Posted 07 March 2003 - 01:13 PM
You are absolutely right to say that these innovations kept classical ballet alive throughout the 20th century. The new/old "Bayadere" seems to be an example of when the loss of those innovations is too tangible.
Now I have to pluck up my courage to 'march', on my own, against three opponents who wrote about "La Bayadere". See the next posting.
Posted 07 March 2003 - 01:22 PM
I agree that Tsiskaridze 'was struggling to rein-in his temperament'. Nothing new, he often has to do it. Fadeyechev as his coach and Roland Petit admitted more than once that Nikolai is both an excitable and exciting dancer. He is a spontaneous, impulsive artist, - this quality sometimes deprives him of stability (oh, those double assemblés!) but at the same time makes him so interesting and appealing. For occasional slips he compensates lavishly with such upward flights which others can not produce in their lifetime. I agree with Clement Crisp who wrote about this performance that "Tsiskaridze's opulent, ecstatic view of Solor nearly tore the ballet to pieces, but he has such conviction, such frenzy in his playing that you believed for the moment in the drama as in the extravagant dance."
For those who have not seen it yet:
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