Debut in La Bayadere – Mariinsky Theatre – 13 July 2024

This year’s White Nights festival has included numerous changes at the Mariinsky Theatre:  the troupe’s second “tour” to the Bolshoi stage set for mid-July with “Fountain of Bakchisarei”, the appointment of the troupe’s first “artistic director” in many decades, the premiere of a new version of “Coppelia” (coming July 25th) and also a few debuts in the existing classical repertoire.

On 13 July, Evgeny Konovalov performed the role of Solor for the first time alongside prima ballerina Renata Shakirova. (We have an interview with Renata in the coming weeks, please stay tuned). Konovalov, a graduate of the esteemed Gennady Seliutsky and now in his 12th season with the company, is a polished performer with lovely lines, supple arches and considerable flexibility. His princely onstage demeanor plainly depicted Solor’s noble rank. In the Act 2 variation, crisp, elevated  double cabrioles soared above the stage, and his tours à la seconde displayed a steely leg with a perfectly pointed foot finishing the line. His partnering was faultless, especially the challenging Act 1 overhead lifts (Solor must not overstep the fire pit, which has happened with other performers). And Act 3’s final manège of double assembles brought goosebumps.

Renata Shakirova, known to many for her talent in soubrette-type roles, essayed Nikiya in an impressive demonstration of her dramatic and technical range. In the first duet of Nikiya and Solor, the two pursue a playful chase of love, Shakirova radiant in her expressions and Konovalov unambiguous in his pantomime. In Act 2, her monologue began as one of sorrow and grief, a deep port de bras back arching her back 90 degrees underscoring her torment. Languid arabesques displayed her talent in legato movements —  unusual for an “allegro” girl. As her gestures of mourning reach out toward Konovalov’s Solor, seated next to Gamzatti, they then quickly shift to joy with the staccato steps en pointe after she receives the flower basket. That staccato, echoed later in the brisk set of piqué turns in Act 3, brought roaring applause from the audience. Shakirova’s Nikiya in the final act is one of cool spirituality. The scarf duet –finished flawlessly–  was a moment of virtuosity accomplished by both her and Konovalov with this difficult prop.

Upon his first entrance, stern-faced with proud carriage, Nikolai Naumov’s Brahmin emits the image of a powerful but tormented leader. As he fans the flames of the stone-encase fire pit, spread fingers allude to the power of the fire, and for a minute, one wonders if he is attempting to absorb the power of the flames through his fingertips in order to achieve his will. Those hands then cover his eyes at numerous points in his pantomime, revealing his growing agony. With fist to his forehead in an expression of anguish, it’s as if he cannot contain his passion, which seems to be a boiling mixture of desire and anger. When he attempts to declare his feelings for Nikiya, he first ensures that no one is watching, and then approaches boldly, with a look of desperation. Of course she refuses, but as the music changes to more lyrical notes, his gestures change too: they soften to pleading movements, attempting to persuade Nikiya of his desire for her, as he ultimately places his “crown” at her feet. Even this display of humility is insufficient, Nikiya will not budge, and that refusal further enrages the leader. But in Naumov’s Brahmin we repeatedly catch glimpses of the softer side of humanity: he snatches up Nikiya’s scarf, caressing it with longing after the King as declared he will kill her. Naumov’s Brahmin ultimately intends to be the hero of the day with the vial of antidote, which as we know from the libretto, also fails. When he offers the vial, she turns to look at Solor first, and then refuses. At that moment Naumov’s jaw drops in shock and shifts quickly to despair. He has lost her for good.

Elena Evseeva danced a cool, privileged, haughty Gamzatti which, on the heels of her warm Gulnara in Le Corsaire, provided a stark contrast in her own acting range. Her “cat fight” with Shakirova’s Nikiya demonstrated cold focus and unwavering selfishness. She played the part of a spoiled princess who has to fix the flaw that interrupts her bubble world. She doesn’t just tear a necklace off and shove it in Nikiya’s face, she bends lower and pleads with her to take it, desperate, because bribing her with riches simply has to solve the problem. Likewise during Nikiya’s Act 2 monologue, Gamzatti ensures that  Solor kisses her hand right in front of Shakirova’s Nikiya, and  Evseeva gestures to the latter, palm up, as if to say “See? He is mine!” Overall, the July 13 performance revealed top level dramatic acting from performers in all of the leading roles, which is a rare occurrence, but to be expected with the talents at the Mariinsky.

Boris Gruzin conducted a well-rehearsed orchestra that was a pleasure to hear.


Photos by Mikhail Vilchuk (c) 2024 courtesy of the Mariinsky Theatre.