Greetings to the forum.
The main feature I want to point out in Maria Alexandrova is her devotion to ballet, her eagerness to dance. Watching her on stage one immediately notes that she really enjoys to perform, moreover that she must be impatient in having a new role, just like a kid unwrapping a birthday present. At the same time she is intelligent enough to learn not only the steps but also any materials concerning the ballet she is preparing to dance in. That’s why each of her roles is richly decorated with nuances. Ramze in “La Fille du Pharaon” was already mentioned here, and this is really a good example. Two variations, each lasting not more than one minute, a bit of dancing with Aspicia in the first act and only mime scenes later on. But Masha was so brilliant that was nominated for the prestigious Golden Mask.
Alexandra is completely right saying that Masha `can build a role and change its dynamics’.
I will add that each of them have her personal unique stamp. The role may fit her more or less but you are guaranteed that you will never be bored with Alexandrova on stage. Thus, her determination to dance “La Sylphide” seemed too challenging. And she wasn’t conventional Sylph, but 100% convincing. Inga mentioned the eagle – for me Masha created a parallel with a swallow when she crossed the huge stage of the Bolshoi in three lightest jumps. I was a bit anxious that she may excessively use her jumping abilities in the 2nd act. But she was OK, never flying but fluttering in the Sylph forest. Somebody remarked after the premiere: “Well, sylphs are daughters of the air but Mr. Air has many daughters and who told that all of them should be similar?”
She danced Aegina in “Spartacus” last spring. In a provocative red wig, which shocked even her fans, Masha danced a woman who can look at men with such a challenge that they put their eyes down in confusion. Her brave and impudent courtesan captured the audience, inspired Marc Crass (who wasn’t the best match for her in this performance) and saved ancient Rome. Two Moscow newspapers mentioned her debut among the most interesting ballet events of the season (ballet critics in Russia are not aimed at routine debuts, paying attention mostly to premieres).
`Why is Alexandrova not a principal’? Well, Masha has the second position from above – she is leading soloist - as well as Maria Allash, Svetlana Lunkina, Elena Andrienko, Nina Kaptsova. But the problem is not in the position she holds and certainly not the fees. The problem is that she has incredibly few main roles for a ballerina of her rank and qualities. Why? I can only answer “Because”. She is one of the most favorite dancers of Moscow public. She always has perfect press on tours. Nevertheless I can readily count her performances: Kitri (twice) and Aegina (once) the last season, the Sylph (twice) the current season. Of course, she dances second and even coryphée roles: Myrtha, Hamzatti, Spanish fiancée and Siegfried’s friend, Street Dancer and the interpolated variation in the 2nd act of DQ. So she often appears in the ballet performances. But this February, for instance, Masha was engaged only in two performances - “Giselle” (Myrtha) and “Dreams on Japan” (1 act ballet by Ratmansky). Esmeralda in Petit’s “Notre-Dame” was to my wonder also considered not a role for Alexandrova.
Sorry for the long post. But Masha Alexandrova is worth a novel:).
