Kirov 'La Bayadere' reviews 'La Bayadere' reviews Tereshkina in reviews Sarafanov in reviews recent Kirov reviews more Kevin Ng reviews

Viktoria Tereshkina, a talented 20-year-old dancer still in the corps de ballet, danced Gamzatti for the first time quite convincingly in the final performance of "La Bayadere" last Saturday night. More significant was the debut in Solor made by another 20-year-old dancer, Leonid Sarafanov who only joined the Kirov last year from Kiev. (Several months ago Sarafanov had danced only the Shades Act during the Kirov's tour to Washington DC.) Sarafanov, whose debut in "Giselle" I saw last winter, was a most heroic Solor; his dancing was on a big scale and he was technically brilliant. At the end of the Shades Act, his six double assembles en tournant were impeccable and absolutely breathtaking to watch. His acting was simple yet heartfelt. Sarafanov will be an exciting talent talent to watch out for in the Kirov's Covent Garden season in July.

Daria Pavlenko's portrayal of Nikiya has improved since I last saw her as Nikiya in the Mariinsky Festival in Vikharev's reconstructed version. On this occasion Pavlenko had more warmth and tenderness in Act 1 contrasting with her spiritual quality in the Shades Act, and she was technically more secure. The corps de ballet of shades danced magnificently. The third shade soloist Xenia Ostreikovskya in particular was excellent.

The version of "La Bayadere" seen at The Lowry Theatre was the 1941 Soviet version by Vladimir Ponomarev based on Petipa's original 1877 version. It is dramatically inferior to Vikharev's reconstruction last year of Petipa's 1900 version, which will be seen in Covent Garden this summer. The final act climaxing in the destruction of the temple, which has now been reconstructed, was missed in this Ponomarev version. The pas de deux for Nikiya and her slave in Act 1 Scene 2, though well danced, made no sense at all.

In Vikharev's reconstructed version the pageantry in the celebrations in Act 2 is far grander and more spectacular, enhanced by the lavish costumes based on the original designs. The suite of processions of the various religious orders and castes of Indian society is most colourful and sumptuous. In the Shades Act, I now find the lighting too dark in this Soviet production. I prefer the moonlit rocky landscape in the reconstructed version, as well as the wigs and the beautiful muslin costumes for the corps de ballet of shades.

The Kirov's touring is endless. After dancing this week in the opening performances of the three-month-long White Nights Festival back at home in St. Petersburg, the Kirov company will tour Mexico City next week with "Romeo and Juliet" and "Manon". The Kirov dancers' tireless energy is most admirable.