(Pic: The “Can Can-Surprise” scene from “Orpheus in the Underworld”)
KZN lovers of classical dance presented with a splendid evening of dance. (Review by Caroline Smart)
Last night, KZN lovers of classical dance were presented with a splendid evening of dance from The Imperial Russian Ballet Company. One of the most successful and well-known ballet companies in Moscow, it was founded in 1994 on the initiative of legendary Russian ballerina Maija Plisetzkaya. It was named in honour of the former immortal “emperors” of the Russian ballet stage as well as the Imperial family for their contribution to the Russian ballet culture.
Artistic director Gediminas Taranda, a soloist of the Bolshoi Ballet, has worked closely with Plisetzkaya pursuing her modern style of dance. He brings creativity and innovation to the company’s classic productions. Today, the Imperial Russian Ballet troupe includes more than 40 artists trained by famous ballet teachers in Russia and the stage repertoire combines masterpieces of classic and modern artistic explorations.
The principal dancers for the current South African tour are Anna Ivanova, Nataliya Gubanova, Nataliya Kazatskaya, Yaroslava Araptanova, Alexey Gerasimov, Michail Martinyuk, Anatoliy Kazatskiy, Alexander Volkov and Alexander Alikin.
Last night’s programme was divided into two sections, with the first half featuring Carl Orff’s Carmina Burana while the second contained scenes and extracts from classical masterpieces. Carl Orff’s scenic cantata is massive and powerful – the recording used does not seem to be identified in the programme – and deals with spring and drinking and love! The dance has to match that vigorous energy or get swamped in the process. The company impressed from the early stages - especially a few minutes into the piece with high kicks to those majestic drum beats - through the hilarious drunken scenes, to the evocative end.
The classical section was well-chosen with pas de deux from Don Quixote (Anna Ivanova and Michail Martinyuk), Sleeping Beauty (Yaroslava Araptanova and Alexander Volkov), La Corsair (Anna Ivanova and Alexander Alikin) and the enchanting Arlequinade (Alexey Gerasimov and Nataliya Gubanova). Nataliya Kazatskaya and Anatoliy Kazatskiy performed the Adagio from Act 1 of Scherezade, Yaroslava Araptanova gave haunting poignancy to The Dying Swan with Alexey Gerasimov setting pulses racing with Gopak from Taras Bulba. The final number is a delicious treat as the company presents Can Can – Surprise.
The production is played to bare stages. Portraying the Wheel of Fortune theme of the work, Carmina Burana has a powerful backdrop with surrounding circles dominated by a giant orb that changed from gold to silver depending on the lighting. The classical pieces were performed to sparkling black curtains.
The costumes are splendid, from the wispy chiffons covered in flowers for the spring section and the men’s outfits in the taverna in Carmina Burana to the exquisite tutus in the second half: icy crispness for Sleeping Beauty, flaming red for Don Quixote and luxurious burgundy for La Corsair - all covered with beautiful beadwork.
Presented by Edouard Miasnikov, Imperial Russian Ballet moves on to Johannesburg and then to East London Port Elizabeth and Cape Town. – Caroline Smart
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