As a precursor to their week-long run of “The Fountain of Bakchisarei” at the Bolshoi Theatre in mid-July, the Mariinsky troupe presented three performances of this ballet at home first, which included a handful of debuts. On 12 July, Camilla Mazzi portrayed a gentle and tender Maria who was clearly in love with her fiancé, and projected the emotions of a princess while maintaining clean lines and careful positioning. Despite some partnering glitches between the two of them in the initial sequence of supported sissones, Alexei Timofeyev proved a strong partner and gracious prince as Vatslav, with the requisite epaulement in the right places. When his chivalrous attempt to protect her during the battle with the invading Tatars unfortunately fails, Mazzi’s fear was palpable as they snatched her away from the burning palace. Sparks literally flew onstage during the sword fight between the Poles and Tatars; and this impressive choreography reveals its complexity in the number of people onstage all fighting in different places at once.
Oksana Skorik offered a deeply expressive Zarema from her first entrance onstage, as we witnessed her character’s self admiration and deep love for Girei, the head of the harem through her soft gestures and excited preparations for his return from the “battle”. That love quickly shifted to curiosity and confusion in hesitating, questioning gestures, and then to insistence and anger using lightning fast chainé turns and sharper movements.
Her enviously pliable back made each arabesque a sheer delight, highlighting the endless swan lines that she brings to any role, no matter how dramatic it may be, and even clothed in the pants of this Eastern costume.
The stately Soslan Kulaev embodied both the powerful, brutal nature of Girei and his selfish nature. Plenty of ignorance and later, harshness, toward Zarema turn to clenched fists as Kulaev stomps and strides offstage. Although Girei doesn’t have much physical dancing, Kulaev completed the shoulder lift with Skorik as if she were feather light – which, she nearly is.
Vladislav Kohdasevich debuted in this performance as the compact, infatigable Nurali. The spice, energy and attack that he infused into all sections of his role made him an excellent choice for this casting. While not tall, he is able to complete all manner of athletic jumps. It will be interesting to see him grow in this role.
The sprightly Eva Nasadovich performed the dance with the bells, a famous role in this ballet, lighting up the stage with a smile that glowed like the sun.
“Fountain”’s libretto offers much food for thought: the idea that jealousy can kill and that we bloom best where our hearts lie, are just two overriding themes. The Muscovites, too, will have enjoyed a treat when the Mariinsky brings this ballet their way.
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Photos from top: Oksana Skorik, Vladislav Kohdasevich and Camila Mazzi (below), all by Natasha Razina (c) 2024 courtesy of the Mariinsky Theatre.