A New Star of the Kirov Ballet:
Maya Dumchenko
She danced her first season with the Kirov in 1995-96 and was dubbed the “Bambi” of the Mariinsky Theatre. She had such fine features, so delicate: her face, her arms, her legs. She is tall and incredibly thin -- a waif, without an extra ounce anywhere.
Now, as Maya Dumchenko begins her second season, the well-known Russian ballet critic, Marina Ilichyova, writes for the Russian newspaper Rush Hour about the transformation of Maya from “Bambi” into “Princess Aurora” (the principal role in “Sleeping Beauty”).
Transformation from "Bambi" to "Princess Aurora"
by Marina Ilichyova April 24, 1996
from the Russian newspaper Rush Hourtranslated by Julia Bourlina
edited by Jack WalkerST. PETERSBURG, Russia. Before she graduated from the St. Petersburg Vaganova Academy, she was winner of the “Vaganova Prize,” -- an international competition.
The judges, headed by Irina Kolpakova, scored Maya higher and higher each round of the contest. She danced with unmatched clarity and purity, with a base of impeccable training and technique.
Balletomanes have noticed that the dance style of Maya Dumchenko in Sleeping Beauty and Giselle is reminiscent of the authentic St. Petersburg style previously embodied in the dancing of Irina Kolpakova.
After the Vaganova competition, Ms. Dumchenko experienced great success in Japan. There she danced with Farouk Ruzimatov two difficult classical pas de deux’s from La Bayadere and Le Corsaire.
In her first season with the Kirov, Maya made some very favorable connections. She was put in the class of famous teacher Ninella Kurgapkina, and she began work with rehearsal director Olga Chenchikova. [Editor's Note: Chenchikova is wife of Makharbeq Vaziev, company manager of the Kirov Ballet.]
The meeting with Chenchikova was not accidental. The retiring ballerina was concerned about her teaching future and scoured the Vaganova Academy for senior students with potential.
She was attracted to Maya because of the young dancer’s feeling for the music, effective breadth of movement, and her precise execution of the classical style of ballet.
In September, they each began their new careers: Maya as principal ballet dancer and Chenchikova as ballet coach. It was difficult at first, but finally they learned how to work together, and they successfully completed a large amount of work.
Their first success was with the role of Aurora in Sleeping Beauty. In Dumchenko’s dance the St. Petersburg ballet tradition found new, fresh life. In performance Dumchenko did not make a single movement that was dissonant with the canon of St. Petersburg’s ballet style. And she did it with such an attractive and gentle appearance that the picture was perfect.
After Sleeping Beauty Maya began to learn the choreography of Jerome Robbins and George Balanchine. Step by meticulous step, Chenchikova passed down her role in Balanchine’s In the Night.
In performance Dumchenko was brilliant again. There were no technical mistakes. There were no style errors. Her dance sparkled like rock crystal. Her dance was in harmony with the optimistic symphony of Bizet.
In the crown of the Kirov Ballet, there is one more diamond. In a couple of years Maya Dumchenko should be a new true star of the Mariinsky Theatre, with a complete repertoire at her command -- a new courier of the finest of the St. Petersburg ballet tradition.
Back to Kirov Stories & Pictures Comments are welcomed at
jack@kirov.com
Copyright © 1996-7 Jack Walker. All rights reserved. P.O. Box 2826, Hollywood, CA 90078, U.S.A. E-Mail: jack@kirov.com