© Natasha Razina Kirov 'Apollo' reviews 'Apollo' reviews Kirov 'Spectre de la Rose' reviews 'Spectre de la Rose' reviews recent Kirov reviews more Kevin Ng reviews Discuss this review (Open for at least 6 months)

"La Valse" in the Balanchine programme had a fine new cast. Anastasia Kolegaova, formerly of the St. Petersburg Ballet Theatre and who joined the Kirov this season, danced beautifully as the lady. Her lover was danced by Andrei Yermakov, a tall dancer in his second season with the company. Yerkmakov strongly partnered Kolegova in the pas de deux and conveyed a yearning passion. However I still cannot forget Daria Pavlenko and Andrei Merkuriev in the leading roles when this ballet was premiered in St. Petersburg in 2004. Among the soloists, Sergei Popov stood out with his romantic presence.

The dances for the soloists and corps de ballet were marvellously danced. The macabre ending was a terrific tour de force. As usual Soslan Kulaev was imposing as the death figure.

The other two Balanchine ballets were not however in as good a condition. In "The Prodigal Son" Andrei Batalov was adequate in the leading role and danced solidly. But his performance was nowhere as moving as Andrei Merkuriev, who was the best Kirov interpreter of the role. Yulia Makhalina was totally bland as the siren.

In "Apollo" Evgeny Ivanchenko had a heroic presence, but his dancing didn't have any expressiveness at all. Zhanna Ayupova's Terpsichore unexpectedly didn't quite register on this occasion. The best dancing came from Tatiana Tkachenko who danced vividly as Polyhymnia.

Zhanna Ayupova was much more in her element as the main ballerina in "Chopiniana" which opened the Fokine programme on another evening. Her dancing was exquisite, pure and graceful. In the pas de deux (seventh waltz) Ayupova was meltingly tender. Her runs and releves on pointe were as light as feather. Ruben Bobovnikov was a fine poet. His beaten steps were crisp. The Kirov's wonderful corps de ballet danced in perfect uniformity as usual. Elvira Tarasova was superb in the mazurka.
 

Tarasova was lyrical as the maiden in "Le Spectre de la Rose". That night saw the debut in the role of the Spectre by Maxim Eremeyev, a most promising dancer in his second season with the Kirov. His Blue bird in the Mariinsky Festival in March had already impressed me greatly. Eremeyev made a confident debut in a clearly outlined performance. His technical virtuosity was quite dazzling. His arms could however be more flowery and flowing.

Sofia Gumerova was soulful in "The Dying Swan". In the third and final part of this Fokine programme was "Polovtsian Dances" from "Prince Igor" which lasted only 10 minutes, making this evening unusually short. Mikhail Berdichevsky made a sound debut as the Chief Warrior, but didn't make as much impact as Islom Baimuradov whom I last saw in the role.

At the end of last season it was worrying to learn of the departures of a number of extremely talented Kirov dancers, such as Natalia Sologub and Andrei Merkuriev. But I am somewhat reassured after seeing on this trip several extremely talented new dancers take on leading roles with success.