© Natasha Razina Kirov 'Giselle' reviews 'Giselle' reviews Kirov 'Jewels' reviews 'Jewels' reviews Vishneva in reviews Fadeyev in reviews recent Kirov reviews more Kevin Ng reviews

No other major ballet company in the world nowadays has such a large pool of young talented dancers in their early twenties, especially female dancers, as the Kirov has. On the opening night of "Giselle" the leading roles were danced by a beautiful partnership of two of the Kirov's leading stars in their mid-twenties - Diana Vishneva and Andrian Fadeyev. Vishneva, a foremost classical ballerina in the world today, was a touching village girl in Act 1, full of tenderness in her love scenes with Albrecht. In Act 2 she was divine, dancing with a moonlit lustre, an inner calm, and a spirituality that was transcendent. Vishneva, like Altynai Asylmuratova and other Kirov ballerinas in the past, has distilled the ballerina role to its pure essence.

Vishneva was ideally matched with Andrian Fadeyev, a young danseur noble with a pure classical style as well as an intense dramatic presence that makes for a star. In the Act 2 pas de deux they were sublime and touched everyone's heart. Fadeyev's grief was heartfelt and moving. His solo was impeccably danced, dazzling in virtuosity as well as in emotional intensity. This is one of Fadeyev's greatest performances that I've seen in his career so far, which I rank alongside his London performances of "Apollo", "The Sleeping Beauty" (Vikharev's reconstructed 1890 version), and his performances in St. Petersburg of "The Nutcracker" (the Kirov's 2001 version) and "Romeo and Juliet".

As performed by the Kirov, Act 2 of "Giselle" is a dance poem. The Kirov's glorious corps de ballet of 24 Wilis, dancing so harmoniously and uniformly that it evokes a vision of infinity, is still the finest in the world. Myrtha was danced by Elvira Tarasova, a formidable technician who danced with a classical grandeur. Other highlights in this performance included Vasily Scherbakov's clean double tours en l'air ending in fifth position and his high soaring jumps in the peasant pas de deux, and the villagers' ensemble dances which were exhilaratingly performed by the company.

Kirov corps in Giselle
photograph by Natasha Razina ©

There was a rewarding cast change on the third night, in which Albrecht was danced by a new 20-year-old recruit to the Kirov, Leonid Sarafanov. It was actually his debut in this role, and he danced very well indeed on this occasion. I see lots of star potential in this talented tall dancer who was a prizewinner in the Moscow competition. He has a very strong technique, especially in his high elevation, and also a charming personality. His long limbs cut a nice line in his dancing. His acting in Act 1 was quite spontaneous, but in Act 2 he couldn't yet convey much emotion. His solo was brilliantly danced, his jumps were so high and effortless. His Giselle was Maya Dumchenko, a beautifully schooled dancer who was very expressive in Act 2. Her mad scene in the earlier act was psychologically intense.

On the final day which was a Sunday, there were two performances with the same cast of Balanchine's "Jewels", which I have reviewed before from Covent Garden. As in their London and New York seasons, the Kirov's glorious dancing illuminated Balanchine's masterly choreography, and I very much doubt if the New York City Ballet in its present state can field as many young talented women in the ballerina roles. In "Emeralds", senior ballerina Zhanna Ayupova danced serenely with style, her upper back was particularly beautiful. And Sofia Gumerova (who has grown considerably as an artist in the past year or so) was very expressive as the second ballerina, especially in the pas de deux when she moved on pointe most of the time as if drifting on clouds. However I still miss Veronika Part's unique perfumed performance in this role. Young 22-year-old Anton Korsakov was brimming with joy in his series of jumps in the 'pas de trois', one of his best roles.

In "Rubies" Andrian Fadeyev as the male soloist was, as usual, flamboyant with plenty of charisma. Elvira Tarasova showed less flair in the ballerina role than Diana Vishneva whom I last saw in the Kirov's New York last summer, while Maya Dumchenko had a right mysterious allure in the second female role, who at one point had her legs manipulated by four cavaliers like a puppet.

In "Diamonds", the whole company danced wholeheartedly from the two lead soloists down to the four demi-soloists and the corps de ballet. In the pas de deux, one of the most exposed in the classical ballet repertory, Sofia Gumerova danced with a refreshing spontaneity, a melting softness, a palpable joyfulness, as well as a fine musicality. However her performance could not eclipse my memories of both Svetlana Zakharova and Uliana Lopatkina in this ballet, not to mention the New York City Ballet principal dancer Kyra Nichols whom I saw in this ballet a decade ago. Danila Korsuntsev was her noble cavalier. As always Balanchine's glorious choreography in the final Polonaise sent everyone home happy.

Several nights later the Kirov gave two more gala performances in the nearby city of Macau at the Macau Cultural Centre. The first half of this well-chosen programme consisted only of "Rubies", while the second half consisted of seven divertissements including a seldom seen pas de trois from "The Fairy of Dolls" choreographed by the Legat brothers, in which Elena Sheshina was delectable. Sofia Gumeroa danced the Soviet version of "The Dying Swan" instead of Fokine's original choreography. Maya Dumchenko was ecstatic in the "Romeo and Juliet" pas de deux (Lavrovsky's version); and in the waltz in "Chopiniana" she was exquisite, her delicate 'releves' on pointe were most ravishing.

In terms of technical fireworks, there was Balanchine's "Tchaikovsky pas de deux" which was dazzlingly danced by Zhanna Ayupova, who was sharp and incisive, and Anton Korsakov, who was making his debut in this ballet. His 'manege' of coupe jetes, and his diagonal of jetes passes were effortless and breathtaking. Korsakov clearly revelled in executing the difficult steps in Balanchine's choreography, as shown by his winning smile on his face at the end of his solo. In the other evening this same couple also danced grandly in "The Sleeping Beauty" pas de deux (K. Sergeyev's version). Elvira Tarasova and Andrei Batalov brought the house down with their spectacular performance of "Le Corsaire" pas de deux to end one evening, and their "Don Quixote" pas de deux in the following evening was as glamorous.

Such stellar dancing hasn't been seen in Hong Kong since the American Ballet Theatre's tour in 2000. Both gala evenings were sheer joy, and triumphantly concluded this Kirov tour, which is undoubtedly the greatest dance event of the year in Hong Kong.

(A part of this review first appeared in the South China Morning Post.)