Mariinsky Ballet & Paris Opera Ballet: “Ballet Gala at the Mariinsky” -
Mariinsky-II, St Petersburg, 22 March -
Dance Australia correspondent Irina Kuzminsky recently travelled to St Petersburg and had the opportunity to catch a program of work by the Mariinksy Ballet and the Paris Opera Ballet.
I was fortunate that my first ever trip to St Petersburg coincided with the close of the XV International Ballet Festival at the Mariinsky (13-22 March), a collaborative venture between the Mariinsky Ballet and soloists from the Paris Opera. Paris and St. Petersburg. Ballet is unthinkable without these two great centres of the art, the first in which the art-form was founded, the second where the French school was adopted and where it flowered magnificently under the direction of the Frenchman Marius Petipa.
This Festival had, as one of its stated aims, the forging of new contacts between these two historically linked companies. Having said that, while some of the previous programmes had showcased principals from the two companies working together, the Gala contained no such mixed casts and was predominantly a showcase for the Mariinsky dancers, with the French stars contributing three pas de deux in the divertissements part of the evening.
The programme was nicely structured starting with two one-act ballets, one abstract, one narrative, followed by nine divertissements.
The Adagio Hammerklavier for three couples, by Hans van Manen, opened the evening. Reminiscent in its form and demand for synchronicity of Ashton's Symphonic Variations it lacks Ashton's lightness of touch, fluid dynamics and inventiveness to maintain interest. What it does call for is sustained control and synchronicity of movement, and the Mariinsky dancers were perfect in this respect, with Nadezhda Batoeva particularly impressive amidst a pretty even cast. But even they could not relieve the dullness of the choreography. Nor could they invest the piece with any emotional involvement.
In fact, a lack of emotional involvement overall was both an overriding and surprising factor in the gala and the Sleeping Beauty, which I saw on March 19. Refinement, class, a jewel-like perfection of execution and line, and complete technical mastery - all these abounded but emotional involvement seemed a lower priority, which could create a curious distancing effect between dancers and audience.
There was however one notable exception, and that was the peerless Ulyana Lopatkina as Marguerite in Ashton's Marguerite and Armand. Choreographed for the partnership of Fonteyn and Nureyev, Ashton reputedly did not wish this ballet to be performed by anyone else, and it is safe to say that no one has come close to recreating the magic and frisson of their particular chemistry. Nonetheless, Lopatkina's Marguerite was compelling. Her portrayal was exquisitely nuanced, intelligent and subtly moving - an aristocratic Marguerite if ever there was one - and the artistic highlight of the evening. Here was a mature and beautiful artist at work who transcended 'steps'. Lopatkina combines incredible softness and strength in all her limbs, her expressive arms particularly striking. Partnering Lopatkina, Xander Parish danced with elegant lines as Armand. But really, the triumph was all Lopatkina's.
The divertissements presented a varied cross-section of contemporary and traditional ballet, beginning with the Russian dancers providing a light dig at internet profiles in Keep Calm. The French stars contributed two pieces by Benjamin Millepied, Leonore Baulac making a great impression in Amoveo with her delicate fluidity. She returned later as Juliet with Josua Hoffalt as Romeo in MacMillan's balcony pas de deux, but it was a hard ask to generate much drama out of context, despite fine dancing by both. Marie-Agnes Gillot was a commanding presence in We Were Two despite indifferent choreography. Long-limbed and powerful, she is always distinctive and compelling to watch.
But it was the big classical numbers performed by Mariinsky stars which were the real highlights, starting with the Grand Pas Classique. Oksana Skorik and Timur Askerov sailed through the huge technical challenges, with Askerov the first in a line up of men to exhibit that quality of hanging in the air in the middle of a jump - exhilarating to watch. Balanchine's Tchaikovsky Pas de Deux was once again flawless with great energy and momentum, Kimin Kim breathtaking in his leaps. The Mariinsky dancers take to Balanchine and give him their own special flavour and refinement. In short, another highlight.
Just when one thought it couldn’t get any more spectacular, Viktoria Tereshkina came along to conclude the evening in the pas de deux from Le Corsaire, partnered by Vladimir Shklyarov. The queen of the stage from the moment of her entrance, Tereshkina was all complete self-assurance, combining regal bearing and power with Mariinsky refinement. In comparison to Lopatkina's softness and strength, Tereshkina has the hard-chiselled brilliance and perfection of a flawless diamond, bringing the evening to a thrilling conclusion.
In the end the evening belonged to the hosts, the Russian stars. It was their stage and their show and they were scintillating. No complaints from the perspective of the audience, though from the perspective of the Paris Opera dancers and forging new contacts between these two companies, a more equal mix in the programme could have been welcome.
Also, a small gripe about programmes. They sold out very quickly with many in the audience missing out and resorting to the kindness of neighbours to find out casts and content. Surely an easy failing to fix. But even this in no way dampened a memorable evening at the new Mariinsky-II.
- Irina Kuzminsky