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Mariinsky Ballet(Kirov) January 2008 Washington, Kennedy Center Opera House by Susanne |
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I saw three (very different) Nikiyas: Vishneva, Lopatkina and Somova. Vishneva was very dramatic, in the manner of a silent film star, especially in the way she used her face and eyes. She was attractive, but she failed to move me. She is a tragic Nikiya, but somehow something is missing, even though she is acting and projecting (even in the curtain calls). She lacks poignancy. She also has a way of sticking her ribs out which is distracting. Her technique is strong, and great extensions and supple back, but she goes for the big moments and some of the steps in between get sloppy or lost. Her Solor, Fadeyev, was elegant and classical, and technique fine if not overwhelming. Lopatkina was exquisite, she creates another world when she dances, poetry. Beautiful arms, lovely lines, and every movement is Nikiya. Her technique was good enough if not flashy, although she had some fine crisp turns on the diagonal in her variation, surprising attack in a very spiritual/aloof approach to the role. Her Solor was Ivan Kozlov, big and handsome, but not yet technically wonderful. Alina Somova was the final Nikiya, and was in many ways a pleasant surprise. She used her extensions more discreetly than usual, and she was the only Nikiya I saw who in the scarf solo rotated from a la seconde to arabesque while remaining on pointe. She is still a bit coltish, and lost control of her legs in some of her lifts, and her feet flopped a bit, but she had chemistry with her Solor, Sarafanov, who was technically wonderful. Her interpretation is still a bit "young" and lacking nuance, but it worked. It did seem that this was the cast with the most all around energy and chemistry, but that may be a result of having had a chance to recover from jet lag.
The Gamzattis I saw were Tereshkina, Tkachenko and Osmolkina. Tereshkina was ice cold and virtuosic, perfect for Gamzatti, and in her big variation showed beautiful control, especially in the way she stopped her double attitude turns in a perfectly placed/ balanced plie, held for a moment before going on. Tkachenko also has good technique, very secure fouettes and other turns, but she lacks artistry and focus. Sometimes she seems to revert to informal mode, as though she's going through a blocking rehearsal. But then she also has flashes of glamour and technique where it all comes together and she smiles in a way that suggests she knows it. Her acting when not dancing was great: subtle and fully realized. Of the three Gamzattis, Osmolkina may have been the most impressive. She had a shining poise, lovely musicality, faultless technique and a beautiful use of upper body.
 © Natasha Razina
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