The Kirov Ballet in Graz, Austria
July 1-21, 1998

Review and Commentary
by Marc Haegeman

It was a bold move to present the Kirov Ballet for 18 performances at the Opera House in Graz, Austria’s second-largest city with a population of 250,000.

Graz has the ambition to become an important tourist center and the appearance during three consecutive summers of world-famous Russian companies (Bolshoi Ballet, Bolshoi Opera, now Kirov Ballet) are clearly meant to draw the widest possible attention to this quiet Central European, provincial town.

Nonetheless, one could hardly call the visit of the Kirov Ballet to Graz a commercial success. Even with a safe program — consisting of the ever-popular classics Swan Lake, The Sleeping Beauty, La Bayadère, and a Fokine-Gala — the expected flow of ballet-lovers from all over Europe to the Styrian capital failed to materialize.

On some evenings, notably for the Sleeping Beauty, parts of the house remained painfully empty, especially the top-priced parterre or orchestra seats. But then again, what else can be expected with ticket prices running from $29 U.S. to $120 U.S. Only in the last week were tickets selling better, though the opera house never sold out.

Beauty in distress

The Sleeping Beauty, the ballet justly hailed as the jewel in the Kirov’s repertoire, paradoxically made the weakest impression on this tour.

The company opened with it and used it as a vehicle for showing off its young stars. However, inefficiencies in some castings centered the attention too much on the weaknesses of Konstantin Sergeyev’s now stale production, and with cramped and badly lit sets the ballet as a whole failed to convince.

Beauty was performed six times in Graz. Yet, only Diana Vishneva (four times) and Svetlana Zakharova (twice), two of the Kirov’s youngest and most praised stars, danced the taxing role of Princess Aurora.

For a company that also includes Altynai Asylmuratova, Yulia Makhalina, Irina Zhelonkina, Maya Dumchenko, and Zhanna Ayupova (the last two not even appearing in Graz) among its leading dancers, this was a strangely limited choice.

Seeing Diana Vishneva again in Graz, I was struck by the progress she has made since last year. Her Aurora on the 6th of July was not only brilliantly danced, but her characterization was more subtle and developed than before. Above all the character was established in a natural, unforced way, and no longer uniquely by grinning all the way through the ballet.

In the Vision Act she found an almost ideal combination of distance and regal bearing. In the final pas de deux she may have lacked grandeur, but the performance as a whole was highly satisfying.

However, during her next appearance as Aurora (her third in less than two weeks), on the 12th, Vishneva completely fell apart after some serious balance problems in the ‘Rose adagio’. Unable to regain confidence, the remainder of her performance irreversibly turned into a catastrophe.

The rest of the cast (with the exception of Andrian Fadeyev) being similarly little inspired, sad to say, this evening ended in disgrace for the company.

What was meant to be the highlight of the tour rather became an episode everybody wanted to forget as quick as possible.

Though her last Beauty in Graz, on the 19th, showed Vishneva in better form, the young dancer never really recovered from this serious setback. Nervousness prevented her from attaining the level of the first evenings.

Anybody attending only these last performances may have harbored some serious doubts about the truth of all the praise surrounding Vishneva.

Svetlana Zakharova, who danced her debut as Aurora in St. Petersburg last March, was also uneven. Her first performance in Graz was disappointing because of her blandness and her predictable, one-dimensional acting.

Moreover, although dancing with a lot of technical assurance, Zakharova’s inclination to raise her leg to extreme heights, especially evident in the “Rose adagio” and in the pas de deux was stylistically at odds with the choreography and, ultimately, annoying.

Zakharova’s second performance, on July 13, was a lot more convincing, as if she had seriously rethought the character. The exaggerated extensions were still there, but this time her Princess radiated a youthful exuberance, while the vision scene provided a credible link to the subdued bliss of the closing pas de deux.

The casting of mainly young artists in the supporting roles of The Sleeping Beauty was not always satisfactory either. The Lilac Fairies, for example, were danced by Tatiana Amosova, Veronika Part, and Daria Pavlenko. Strangely enough, one of the grandest Lilac Fairies in the company nowadays, Uliana Lopatkina, although present, was overlooked on this tour.

Tatiana Amosova amply possesses the technique, but little of the poetry and warmth so essential for this role. Veronika Part, unfortunately, possesses neither and, frankly, completely defeated by the choreography, should never have been given the opportunity to appear as Lilac Fairy on two occasions.

Daria Pavlenko, though, made a good impression. This young dancer, new to the role, imbued it with a tender authority and brought the character to life with fluid and polished dancing.

The lovely Blue Bird pas de deux in the third act of The Sleeping Beauty headed for disaster when danced by Sofia Gumerova and Denis Firsov. Florine fared markedly better in the hands of Natalia Sologub - an interesting newcomer -, but only found an ideal interpreter in a magnificent Irina Zhelonkina. Nikita Shcheglov was rewarding as Blue Bird.

The Diamond Fairy was danced by an excellent Elvira Tarassova, and by Yulia Kassenkova, a fine soloist, who nonetheless was a bit too strenuous for this part.

The other memorable fairies in the prologue and the last act were the seasoned Irina Sitnikova as Playfulness, and the irresistible Irina Novikova as Generosity.

Islom Baimuradov looked unhappy and limited as the evil fairy Carabosse. This brilliant young character dancer deserves better roles than this.

After Igor Zelensky appeared in the opening night with Vishneva, the role of Prince Désiré was divided between Andrian Fadeyev, who partnered Vishneva, and Viktor Baranov, who partnered Zakharova.

Fadeyev, now coached by Redjep Abdiev, has developed into one of the most exciting young male dancers in the company. His variations were among the highlights of the evening — clean footwork, precise pirouettes, high jumps, soft landings, soaring manèges — showing a remarkable legato-quality in his dancing, Fadeyev conquered the audience completely. Even if he still needs to polish his partnering skills and improve his make-up a little, this man needs to be seen.

Baranov was an attentive and elegant prince with Zakharova.

Inspiration on the lake

In contrast to the uneven Sleeping Beauty the six performances of Swan Lake were a pure delight. Graz audiences were treated to four Odette-Odiles of the highest order, by four ballerina’s completely possessing and exploring the role in their own, individual way — a feast few other companies can offer.

Altynai Asylmuratova, the Kirov's senior ballerina, who danced on closing night with Farukh Ruzimatov, is considered to be one of the greatest Swans of our times. She has danced the role all over the world. Her performance has become a ritual.

Asylmuratova's portrayals of both Odette an Odile are complete. The tragic fate of the White Swan becomes deeply moving in her hands as she reveals like no one else can the subtleties of music and choreography.

Her Black Swan is the personification of beauty and deceit, a symbol of the unattainable rather than evil. A magnificent performance, notwithstanding some heavy-handed partnering by Farukh Ruzimatov.

Uliana Lopatkina danced Odette-Odile twice in Graz, first with Igor Zelensky, then with Evgeny Ivanchenko. Lopatkina too has developed into one of the major performers of the role.

Physically and plastically different from Asylmuratova, Lopatkina emphasizes the supernatural aspect of the ballet, while Asylmuratova stresses the human side. The entrance of Lopatkina’s Odile — the vibrating intensity, the flaming eyes, the nervous movements, the guileful charm — created a spellbinding aura no prince could resist.

Lopatkina’s remarkable, boundless devotion to her art has borne its fruit. Her partnership in Swan Lake with an admirable Zelensky, who flew in from London where he was guesting with the Royal Ballet, was one of the highlights of the Graz tour.

Zelensky's response and emotional involvement - not to mention his superb dancing - were unrivalled by any of the other men whodanced Siegfried this season, except perhaps Ruzimatov. It is a shame Zelensky did not appear in Graz as many times as originally scheduled.

Lopatkina’s second performance in Swan Lake was marginally less successful, arguably because of the lesser degree of emotional response of her otherwise adequate partner Evgeny Ivanchenko.

Yulia Makhalina is another great Swan, as could be seen in previous performances. She danced the ballet twice in Graz , with Ivanchenko and Baranov, but, surprisingly, this time some of the magic was missing. Her Odette remained rather distant and aloof, especially in the first act. With neither of her partners a special relationship developed.

The open emotionalism and sincerity of the performances with Ruzimatov last year, which made Makhalina's Swan unforgettable, were strangely lacking and the lakeside scenes looked rather academic than inspired. While in previous performances of Swan Lake, Makhalina has struck an ideal balance between the two characters, this year in Graz her Black Swan was stronger and definitely more intriguing.

Irma Nioradze emphasized, not unlike Asylmuratova, the human drama in her interpretation. Her Odette was an apprehensive creature who, at first sight, seemed to have lost all hope in the future. Nioradze is an emotional dancer and the lakeside scenes became tender declarations of love. Her contrasting, seductive Odile was brought to life with an enormous energy, that culminated in a cascade of technical fireworks.

In the rarely varying supporting casts of Swan Lake I need to mention the contributions of the soloists in the pas de trois. Irina Zhelonkina, Veronika Ivanova, and Elvira Tarassova were outstanding, while Nikita Shcheglov brilliantly shone in the difficult variation.

The tiny Kirill Simonov is an excellent jester, though Vyacheslav Samodurov or Andrei Batalov, both regrettably absent in Graz, could have brought the house down in this role.

Ilya Kuznetsov, relegated to character roles on this tour, was an exciting, powerful Rothbart in all six performances.

The ensembles of the swans in the lakeside scenes looked somewhat cramped on the small stage, though the spatial grandeur and beauty of the Kirov company's presence remains unique and is unattainable by other companies.

The national dances in the second act were performed with the usual gusto for which the Kirov seems to know the secret.

Better late than never...

One Austrian reviewer remarked that although the music for La Bayadère was written by Austrian composer Ludwig Minkus, the ballet itself had until now never been performed in Austria. With the magnificent, authoritative production of the Kirov, the Austrians could not dream of a better introduction to this ballet.

Moreover, Graz was doubly fortunate when Altynai Asylmuratova appeared as Nikiya in La Bayadère. It is one of the ballets she will be forever associated with. Her performance was a compelling moment on this tour.

Asylmuratova brings a unique, spiritual quality to the role, developing the character in even the slightest details. Everything she does — from the simplest pose or facial expression to the most dramatic gesture — is meaningful. Her ability to extract the last ounce of significance from each movement is extraordinary.

In the Kingdom of the Shades she creates the most beguiling combination of grandeur, isolation, and irresistible attractiveness, her whole being revealing an almost unnatural serenity and repose.

Uliana Lopatkina and Irma Nioradze, who headed the other casts of La Bayadère, gave superb renderings as well. Lopatkina appeared somewhat colder, though emphasized with her flexible, slender body and long arms every detail of the choreography. Especially convincing in the opening scenes as a noble and devout temple dancer, she found a striking dramatic link with her Shade in the last act.

While Nioradze’s dancing lacks the fluidity of movement in the opening scenes, her Nikiya was nonetheless passionate and utterly moving. Her dance with the basket in the second act provided a real climax, a culmination to all the anguish and hysteria that had been building up in the previous scenes. Nervousness somewhat marred her performance in the Kingdom of the Shades, though her sincerity was never in doubt.

Tatiana Amosova, who danced Gamzatti in the first cast with Lopatkina, has become dramatically much stronger than in the previous performances I saw. Especially convincing in the mime-duel at the end of the first act, Amosova cast aside her image of the cool-blonde and was desperately passionate in her confrontation with Nikiya. In the Grand pas de deux in the second act, Amosova went for spectacular athletic display rather than sophistication and finesse — the public approved with loud cheers.

Elvira Tarassova as the second Gamzatti was definitely more complete. Dramatically as credible as Amosova, her dancing was all the more impressive, ending with superbly controlled fouettés in the coda.

A nice surprise came from Irina Zhelonkina who danced Gamzatti for only the third time in her career. Anybody harboring any doubts about Zhelonkina’s suitability for the role had those doubts firmly set aside the first moments she walked on the stage.

She was surely the most aristocratic and subtle of the three Gamzatti’s I saw in Graz, in bearing as much as in dancing. The variation was not only breathtakingly beautiful, overall her dancing gave the choreography a depth of meaning unseen with the other artists.

Her mime-duel with the Nikiya of Nioradze - also an outstanding Gamzatti - was nail-bitingly intense. With an eye for every detail and through a perfectly-paced rhythm the two ballerina’s brought the scene to an explosive end, which had me on the edge of my seat.

Tall and boyish Evgeny Ivanchenko, who partnered Lopatkina, has certainly become a much stronger soloist, pleasing the audience with some exciting jumps. As seasoned warrior Solor he was nevertheless hardly credible.

Farukh Ruzimatov danced a romantic and warm-blooded Solor with Asylmuratova and Nioradze, even if his partnering occasionally made his ballerina’s suffer.

Nikita Shcheglov made an impressive Bronze Idol, with effortless, soaring jumps in his show-stopping virtuoso solo. The great character artist Vladimir Ponomarev was, as usual, an outstanding Brahmin.

The Kirov production of La Bayadère has an evocative power and a monumentality that few other versions can match. The beautiful sets did not suffer as much on the small stage as those from The Sleeping Beauty. It was nonetheless a pity that the entrance into the Kingdom of the Shades — one of the most compelling moments in classical ballet and the real glory of this production —had to be scaled-down (There were 24 instead of 32 shades.)

Of the three Shades soloists, Yulia Kassenkova in the first variation, and Veronika Ivanova in the third were exquisite.

The perfect ballet evening

The combination of three Fokine works, Chopiniana, the Polovtsian Dances from Borodin's Prince Igor, and Sheherazade made a rather short evening, but in the hands of the Kirov company it was a rewarding one. Of the three Fokine-Gala's presented in Graz, the last one on July 17 was a ballet evening to relish.

Irina Zhelonkina was an absolute treat in Chopiniana, ably partnered by Viktor Baranov, and surrounded by an outstanding corps de ballet. Zhelonkina comes pretty near perfection as the sylphide incarnate. With her muted expressiveness and polished plastique, she inimitably creates the poetic and dreamy nocturnal atmosphere of this piece.

Any doubts about the precision and the involvement of the Kirov's famous corps de ballet that might have been raised by some previous performances in this season (some of the Beauties) were dispelled on this occasion.

The dances from Prince Igor that followed provided a great contrast. They were, moreover, essentially a showcase for the men in the corps de ballet. Still, the Polovtsian Dances would have very little reason to exist on their own if the ensemble, dancers and orchestra, did not perform them with the greatest possible power of conviction and without any fear of exaggeration.

And that is precisely what the Kirov can do as nobody else. The musicians played Borodin’s music as if their lives depended on it. While the dancers, headed by high-jumping Islom Baimuradov, half-naked barbarians and black-haired slave girls, enthusiastically rolled in waves across the stage, with the proper mixture of machismo and sensuality. Highly enjoyable.

Altynai Asylmuratova and Farukh Ruzimatov were phenomenal in the closing piece Sheherazade, the exotic ballet-fantasy which one Austrian reviewer entitled: "Mass murder in the harem."

The role of the Golden Slave could have been created for Ruzimatov — golden turban, bare chest, a choreography filled with spectacular jumps and theatrical poses, a character object of feminine idolization, glowing exotic surroundings, and an enthusiastic audience.

Ruzimatov burst onto the stage like a leopard that has been caged for too long, emptying the cup like one possessed, leaving very little to the imagination. It was only with Asylmuratova that he found a Zobeide that matched his unquenchable passion.

Asylmuratova was irresistible as the sultan’s scheming favorite. The way she threw away the necklace for the eunuch, or the small shiver when her slave touched her, or the sparks flying all over the place when they danced together.

Asylmuratova is one of the very few ballerina’s who knows how to handle this stilted “choreographic drama” and at the same time really succeeds in sublimating its erotic aspect.

The presence of the Orchestra of the Maryinsky Theatre has always been a guarantee for high standards of music-making. In Graz, however, it was also a source of problems.

Thanks to the good acoustics of the opera house there was much to enjoy. But on a few occasions, especially with Alexander Titov holding the baton, the orchestral sound was severely unbalanced, the tempi were disagreeable to some dancers, and there was an overall lack of concentration in the orchestra-pit, resulting in some scratchy playing.

Titov paid little attention to cultivating the sound, preferring loud, often coarse outbursts. Worse, with inflexible tempi he seemed to have little respect for the dancers on the stage, as was quite obvious in the Swan Lakes and Sleeping Beauties he conducted.

The other conductor present in Graz, Boris Gruzin, succeeded better in keeping the musicians on their toes, without neglecting the sonority or the dancers.

The ever-popular Viktor Fedotov, considered to be one of the greatest ballet conductors of his generation, was announced as third conductor, but never showed up in Graz.

Coda

No company in the world can boast of such a profusion of talented artists as the Kirov.

The three weeks in Graz have undoubtedly shown the strength of the Kirov Ballet, providing ample proof that even in the late nineties this is still the leading classical ballet company in the world.

The performances of Altynai Asylmuratova, most obviously her Sheherazade with an incomparable Farukh Ruzimatov, were in a class of their own. One can only regret that Asylmuratova danced no more than three times in Graz, losing her Sleeping Beauty to one of the younger stars.

Equally unforgettable was the Swan Lake with Uliana Lopatkina and Igor Zelensky, as was the Chopiniana with Irina Zhelonkina and Viktor Baranov.

And one could single out many more dancers or performances, that made a strong or favorable impression — Irma Nioradze as Nikiya, Irina Zhelonkina again as Gamzatti and as Florine, Elvira Tarassova as Gamzatti and as Diamond Fairy, Andrian Fadeyev as Prince Désiré, Diana Vishneva in her first Beauties, Yulia Kassenkova in her many variations, Daria Pavlenko as Lilac Fairy, Nikita Shcheglov as the Bronze Idol. These are only a few.

It may say a lot about the richness of the company that not all the soloists were shown in Graz. Most notably Zhanna Ayupova, Maya Dumchenko, Margarita Kullik, Andrei Batalov, Vyacheslav Samodurov, Andrei Yakovlev, and Sergei Vikharev remained in St. Petersburg.

The Kirov was unanimously well received by the public and the local press, who praised the overall high quality of dancing by the Russians. Many Austrian reviewers used the word “perfect” in their enthusiastic descriptions. One newspaper even stated after attending the premieres of the four programs: “The Kirov conquered Graz by storm”.

Yet, one has to admit, the season also exposed some limitations. There were instances in Graz when the superior level was damaged by either indifferent or faltering soloists, or by an uninspired corps de ballet dancing on automatic pilot, or even by unattentive musicians. In addition, some of the new faces in the company failed to make any impact at all.

Part of the problem arguably resides in the casting policy. As in previous tours the younger artists featured prominently in many of the casts. For demanding leading roles as well as for supporting parts youngsters were often preferred to more experienced dancers. In Graz with uneven results.

The performances of The Sleeping Beauty, monopolized by the generation under 23, were not exactly the best Kirov imaginable. Was it lack of experience, fatigue, stress caused by a heavy touring schedule, whatever, but some of these precocious talents simply failed to deliver the goods or left me with a feeling of unfulfilment.

Moreover, as could already be deduced from previous tours in the last years, the confrontation of the younger dancers with the older, more seasoned artists in the company only emphasized the artistic gap that exists between them, and in fact raises serious questions about the desirability of a policy heavily leaning on the youngest elements in the company.

The lack of examples, the discontinuity of “the chain”, was once again painfully apparent. And though nobody will question their talents and merits - or indeed of the ballet masters who coach them -, the young artists dance too much on their own, without the necessary help of experience to guide them, without the “living examples” in front of them. This does not only result in obvious stylistic differences within the company, it can also lead to artistic error.

As an insider remarked one day backstage in Graz: “Nowadays, there is the Kirov Ballet, and there is the Maryinsky Ballet. I like the Kirov Ballet better”, he added with a smile.

I sincerely hope for the company’s future that he was not all that serious.