.............................................Ballet Imperial
.....................................................
Rich in traditional classical steps, this later work of Balanchine echoed Petipa. But only vaguely so. While Petipa never seizes to amaze you with seemingly infinite variety of steps and combinations, Balanchine’s theme appeared largely repetitive. But there is that certain nostalgic mood to this piece, reminiscent of passed splendor of Russia's Imperial court. And the abundance of
batterie steps afforded a male lead a chance to shine in his own right. And what a lead it was!
Vladimir Shklyarov who appeared at the mattinee of the 19th danced better than I've ever seen him dance before. Possessor of the body of a Greek hero and a face to die for, Vladimir has acquired impressive partnering skills, the skills that often escaped him in the past. The lyrical part of his dancing was as impressive as his sterling
sissonnes, entrechats and
échappés. It was obvious that the lad enjoyed himself on stage and one couldn’t help but feel happy for him.
The night of the 18th featured a newly crowned Mariinsky prima ballerina Victoria Tereshkina. On several occasions she awed me with her technique bordering on para technique. Yet of recent Victoria has acquired the valuable sense of style, be it Petipa, romantic or neo-classical. While she reminded me of a finely tuned violin, Alina Somova who took the lead at the matinee performance, was like an orchestra. And even though her rather blank smile marred overall impression, her multi-dimensional and impossibly flexible body, so often the focus of fascination, appeared to extend rather predictable choreography of
Imperial to the realms of which Balanchine possibly never dreamed of. A large bouquet of pink roses spontaneously thrown at her feet, spoke volumes of the grip that this wonder girl has over audiences.
.............................................................................................................Yours truly
