© John Ross Kirov 'Swan Lake' reviews 'Swan Lake' reviews Somova in reviews Kolb in reviews recent Kirov reviews more Anjuli Bai reviews Discuss this review (Open for at least 6 months)

Only a great company can create such a stellar corps de ballet. The jewel in the Kirov-Mariinsky crown is the corps de ballet – unnamed though they were in the casting sheet. If there were any wandering legs or arms, any breaks in symmetry or sequence, in any combination of full stage or small groups – I didn’t see it. But this is the Kirov-Mariinsky and while appreciated, it is expected. Still such massed beauty is astonishing.

The sets, by Igor Ivanov, were appropriately peasant/woodsy for the first act, brooding mystical for the lake acts and palatial for the third act. The wider than most white tutus of the swans stood out beautifully against the dark streaked lake, but the mottled light on the dim stage had Rothbart (Ilya Kuznetsov) who was clothed in black disappear from view. Fortunately Siegfried (Igor Kolb) was in white tights throughout.

The palace setting for Act III is all much of a sandy (pseudo tarnished gold?) color against which the bright colors of the various national dances should have been a wonderful counterpoint. However, except for an occasional flash of red, there was little color. Even the Spanish dancers were costumed (designed by Galina Solovieva) in earthy tones; creams, tans, ecru. Where are the reds, oranges, greens, yellows, blues, turquoises of national folk costuming? Has the political correctness of the world outside the theater invaded the ballet palette so everyone and everything has to blend in? The lines and designs of the costumes were quite lovely – but except for a trim here and there just oh so colorless.

Each of the national dances was finely done – those incredible Russian backbends, the clicking heels, the freedom gained from careful schooling. But this is the Kirov-Mariinsky and one expects no less.

A nice touch was the four trumpeters in the balconies of the palace as they blared out their flourished announcement of the arrival of various dignitaries. They were a credit to the long line of sideline characters who give a ballet like Swan Lake depth. On the other hand, one can’t help but wonder what the Queen and Rothbart can possibly be discussing and why he, a strange stranger, is allowed to share her seat. But this is Swan Lake and wondering about such things is much beside the point.
 

Andrei Ivanov as the jester flashed his impish grin and spun himself around and about to the delight of both himself and his audience – on stage and off. His short compact body while foreshortening his line, fits the character. It also allows him to attain speed in turns such as his turns in second (soleil entournant) that is truly amazing. As the audience applauded, he turned up the speed. It’s the jester’s task to entertain, and so he did.

Anton Korsakov in the first act as one of the three “Friends of the Prince” gave us entrechat six with such clarity they could be easily counted at least to the First Tier of seats (where I sat) and I suspect even further to the last devotee in the furthest balcony row. Irina Golub and Ekaterina Osmolkina, the other two “friends” were also fine and fun to watch.

The Konstantin Sergeyev production of Swan Lake as danced last night has just about rid itself of most of the mime. For me that is a hole, not a gaping hole, but a loss nonetheless. Not much was made of princely ennui or even a feeling of his unsettled sense of self. He likes his crossbow gift from his mother and so he goes hunting – no friends invited. Kolb is obviously a beautiful dancer, but we don’t get to see him dance as an individual expressing himself. This production doesn’t have much of the haunting adage given to other Siegfrieds in other productions that segues Act I to Act II. I think that solo adage is one of the highlights of dance for the male in the classic ballet repertoire and I missed it. My only technical quibble is the protracted preparation Kolb takes before pirouettes, but it could be a one performance foible rather than a characteristic of his technique.

When Siegfried meets Odette in the second act there is little to indicate that his vow of true love will free her – so little mime is given. I love that “conversation.” It was indicated in the program notes, but I didn’t come to get that information from words, but from dance. And it is the crux of the story.

Kolb’s support for Alina Somova’s Odette/Odile was gallant and courteously accepted, but she really didn’t need it. She did, however, glance back over her shoulder as she left the lakeside, inviting him to follow her and that was a delicious moment. Her port de bras were lovely and a ballet could be made of that alone. However, I wanted to see yearning, passion, love, hope, sadness, desire, growing trust and instead there were six o’clock (and more) penchés and a foot by the ear in extensions a la second. I’ve never seen a swan do that except to scratch itself. It was out of place, out of time, and I wish it were out of sight. I can’t accept it as part of the picture. I heard several “ohs” from the audience around me, but no “ahs.”

On the other hand Somova’s wonderful Russian attitude derrière which when placed above the waist necessitates the foot to be above the knee instead of the reverse was exquisite and matched the swan arm she winged by her spine. That was not an excess, but a matching of line and within character.

As Odile, Somova brought a saucy edge but in oversplit supported grand jetés in second, it went from saucy to unseemly. The fouettés were interspersed with double pirouettes every third one or so which served to diminish her speed of rotation. Given the Russian method of beginning and ending fouettés in second (rather from front to side as other schools do), it was difficult for her to regain speed. I like the Russian method, but it is a challenge if the rotational speed slows down.

So I end as I began, the corps de ballet was the true star of the evening. This doesn’t subtract from the glory of the principals or the stature of the company but enhances it immeasurably.