Based on music from the opera by the same name but with a score recreated by Yuri Krasavin specifically for this production, Yuri Possokhov’s “Queen of Spades” premiered at the Mariinsky in July 2024. Describing the ballet, Possokhov stated, “It’s a fantasy. For me the most important thing is to give the production the meaning that I want the audience to understand.” This rather dark ballet thus focuses mainly on the story of the hero, German, his unquenched thirst for the secret of winning cards, and the concept of fatal love. Possokhov states that he offers an author’s stage interpretation of a literary work using a unique libretto by Valery Pecheykin. That libretto, seemingly set in the 19th century, takes the overall themes of the luck of fate, and the power of gambling addictions to distract human beings from the most important parts of life, and turns them into visual vignettes over a two-hour program.
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.
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.
With the White Nights Festival in full swing, some of the Mariinsky’s traditional ballets feature relative newcomers on stage, not yet seen by most Western ballet fans. The administration has dipped into the ranks providing some of th youngest dancers with opportunities to dance principal roles.
On 04 July, Daria Kulikova, a long-legged, expressive beauty still in her first season with the company and ranked coryphée, danced Medora in “Le Corsaire”. The role carries much of the weight of the libretto forward, both in terms of steps and choreography, and although no one can compare to Altynai Asylmuratova in this role, Kulikova’s extensions and joyful smile, at least in physical terms, reach some approximation.
The experienced Timur Askerov, honored artist of Azerbaijan, partnered her as the pirate Conrad with ease in both the solo and duet sections. He infused sharp accents where needed and maintained clear pantomime, seeming to enjoy his stage time and the role.
As part of a three-day festival dedicated to Igor Stravinsky and falling on the composer’s 142th birthday, the Mariinsky offered several evenings of Stravinsky-based music, including the premiere of dancer/choreographer Alexander Sergeev’s latest work, “Concert Dances”, an intelligent multi-layered ballet that highlights the structures in Stravinsky’s score and includes allusions to choreographic works from Balanchine to Ratmansky.
The premiere was nestled into a mixed bill that started with Bronislava Nijinska’s “Les Noces”, always a challenging work with unusual counts and steps that the Mariinsky dancers handled with considerable mastery. Alexandra Iosifidi performed the role of the Bride alongside the extremely tall Vadim Belyaev as the Groom, and Anna Smirnova with Maxim Izmestiev as the two soloists.
The 282nd graduating class of the Vaganova Academy demonstrated the results of their training in 3 performances on the Mariinsky’s historical stage in a three-act mixed bill in early June.
An except from “Flora’s Awakening” featured two girls cultivated by Academy rector Nikolai Tsisaridze. Ekaterina Morozova, who essayed Flora and, in Act 3, the Lilac Fairy, seemed the most polished and graceful of the bunch. She accented well-centered turns in arabesque with graceful port de bras and appropriate épaulement.
The non-intuitive sequence of tendus into à la seconde and then retiré passé did not phase Ekaterina Efimova, a graduate of pedagogue Irina Zhelonkina, whose welcoming smile added warmth to her role. Polina Parfenova, also one of Tsiskaridze’s charges, performed a driven, sharp-edged Diana and later reappeared as the Silver Fairy in the final act of the evening (from “The Sleeping Beauty”). As Geba, Veselina Ilieva from Bulgaria skimmed across the floor in ballonés and carved soaring arcs with her ronds en l’air, demonstrating a legato softness alongside strong musicality in her delivery.
“The Fountain of Bakchisarai”, referred to as a “choreographic poem” in four sections based on the work by Alexander Pushkin with a prologue and epilogue and created by Rostislav Zakharov in 1934, is a quintessentially Russian ballet in its philosophical leanings which juxtaposes the refined civilization of Slavic (in this case Polish) Europe with the barbaric practices of the Tatars. Yet overall themes of greed and grief underscore the moral obligation to temper desires and adhere to strictures that preserve life and love.
On the eve of the St. Petersburg International Economic Forum, the Mariinsky’s historical stage welcomed a full house to a rare all-star cast. Olesya Novikova, the lately appointed prima ballerina, danced Maria alongside fellow prima Viktoria Tereshkina as Zarema. Alexander Sergeev danced the dashing Vatslav, and Danila Korsuntsev, now a pedagogue and coach inside the theatre, has shifted to a handful of acting roles on stage, and he played a stern, distraught Girei, the head of the Tatar harem.
Coinciding with the birthday of the city of Saint Petersburg, the Mariinsky’s annual White Nights Festival began on 27 May with summer heat flowing through the city. A full house ushered in the start of this yearly celebration of dance, symphony, and opera delights.
Although they’ve not performed together in this ballet previously, Oksana Skorik and Nikita Korneev joined forces in the leading roles of “Giselle” on opening night. The dashingly handsome Korneev, a first soloist since 01 May this year and now regularly performing principal roles, danced an emotionally engaged Albrecht who managed to lift Skorik like a feather in Act II.
Even the most talented writer cannot find words that do justice to artists of the highest caliber, finely tuned ballet dancers in this case, who have spent years and sometimes decades of daily toil to perfect their art.
The Bolshoi Ballet troupe, now united with the Mariinsky under the same overall directorship of Valery Gergiev, launched its first set of “exchange” performances in early May 2024. The Moscow troupe brought three nights of Yuri Grigorovich’s “Spartacus” followed by another three nights of Balanchine’s “Diamonds” to the Mariinsky stage in St. Petersburg. Extra long last-minute ticket lines meant that the performances began 25 minutes after the intended curtain time, but that did not sway devoted fans – many of which who travelled north from Moscow especially to see the troupe.
Under Makhar Vaziev, who ran the Mariinsky until 2007, the Bolshoi has revamped itself. A set of younger dancers have been promoted to principal, the corps de ballet has improved its quality from a rather dismal state back in 2016, and a wide range of new works continue to plump up it’s Grigorovich-based repertoire.
Within the last 12 months, three Mariinsky dancers were promoted to prima ballerina. One of the three is Nadezhda Batoeva, who hails from the city of Volgograd. VaganovaToday first met her when she was just starting her career, and sat down with her recently to see what has changed in the last decade. Read on for the details. You can find the Russian version of this article here.
How did you get started in ballet?
My mother and father are engineers. I took classes in a children’s club for amateur performances. Modern children’s classes are very professional, but in the past they were just for general development, nothing serious. Roughly speaking, from there you wouldn’t go anywhere, if it wasn’t a professional school, you would end up going to study as an engineer.
Leonid Jakobson’s version of “Spartacus” is a monumental, three-act stylistic ballet that immediately carries the viewer to ancient Greece through its unique choreographic style. Inspired, it is said, by the haut-reliefs of the Pergamon Altar, this “Spartacus” is littered with parallel (turned in) leg and arm positions intended to reproduce the two-dimensional images on Etruscan vases, scandalous positions in their heyday which veer far from the classical lexicon. There is not a pointe shoe in sight. Instead, it is as if an ancient Roman carving has come to life.
Not everyone becomes a prince overnight, but Anton Osetrov might just be on his way. Now in his third season at the Mariinsky, the corps de ballet member recently assayed the role of Prince Siegfried in the White Swan Adagio as part of the “Theatrical Lesson” series for students from public schools citywide. In late March 2024, he debuted in the role of the Student in “Anuita”. VaganovaToday spoke to this young artist about his beginnings and aspirations. For the Russian version, click here.
Why did you start dancing?
I’ll start with the fact that I went into ballet myself, my family isn’t from the ballet world. My parents don’t like ballet. My mom loves opera and my father only likes dramatic theatre. They’re both artists though, my mother is an illustrator for books and my father restores historical paintings.
More than 30 years ago, few foreign dancers, especially those from Europe, joined Russian (then “Soviet”) ballet companies. Yes, there was the rare Baryshnikov, who hailed from Riga, Latvia, but for the most part, Russian companies retained native Russian dancers or those from its provinces. Through a strange series of circumstances, Fethon Miozzi, who hails from Italy, completed his studies at the Vaganova Academy at a time when few foreigners did so. He then performed in Petersburg, and finally became a pedagogue at the Vaganova Academy where he has taught boy’s classes for the past 16 years. VaganovaToday sat down with him to trace his life story and hear about the transition from stage to teaching. To view the Russian version of this interview, please kick here.
With over 20 years of stage experience, Mariinsky soloist Grigory Popov is still performing, but has recently added new forms of dance to his repertoire. The Mariinsky has recognized his skills in ultra contemporary movement and features him in a new educational program called “Theatrical Lesson” in which he performs his own choreography influenced by various modern masters. VaganovaToday sat down with him to discuss the trajectory of his career, this new direction, and what the future holds. Click here to read the Russian version of this interview.
Impeccable training in the city of Perm, clean lines, and loyalty to classical traditions won Ksenia Ostreikovskaya entry to the Mariinsky Ballet after her studies.
As the first swan, and first Bayadère shade, to enter the sacred Mariinsky stage thousands of times during her 25 years dancing with the Mariinsky, Ostreikovskaya also performed numerous solo roles in an extensive repertoire of works ranging from Petipa to Balanchine to Hans Van Manen.
She recently retired from dancing and began coaching other dancers as a pedagogue. VaganovaToday joined her to discuss her stage years and her new role coaching others.
Dear Readers,
Happy New Year! As 2024 begins, we look forward to more articles, reviews, premieres and general ballet news from Russia! VaganovaToday is starting a new article series this month called “Branching Out”, focused on Vaganova graduates who, reaching 20 or more years of dancing on stage, branch out in other directions, sometimes overlapping their stage time with new pursuits. These new directions may include pedagogy, choreography, modern dance, character roles, or even directing new productions. We hope you enjoy the new series. Please stay tuned for the best of Russian ballet, and greetings from the northern capital! – VaganovaToday
Although the legendary Bolshoi Ballet star Vladimir Vasiliev first created his ballet “Anyuta” 37 years ago, its premiere at the Mariinsky on 08 December proved the work is as fresh and relevant today as it was then. The famous Chekhov tale is set to a memorable, addictive score by Valery Gavrilin that combines depth with musical themes that recur, underscoring the appearance of various characters. The libretto too speaks of eternal themes: the seduction of wealth and power often at the expense of family values and true love. This colossal staging effort featured three casts of performers, all of whom were honed by Vasiliev himself. The choreography, based on the version first created for television, is richer than most contemporary story ballets staged at major companies worldwide.
VaganovaToday had the honor of interviewing the legendary Vladimir Vasiliev, the Bolshoi Ballet star who later ran the Bolshoi Theatre for 5 years as its General Director, opened a school in Brazil, and continues to work as balletmaster, coach, and sculptor. Read below for the interview. Click here for the Russian version.
It is said that you started dancing in small children’s classes. Was your start in ballet your own desire, or the wish of your parents?
V. Vasiliev: It was probably providence, or my profession chose me. Because when I was 7 years old, I happened to end up in a dancing class when I went along with my friend “to keep him company” to the Kirov House of Pioneers in Moscow. They noticed me during the very first class, and the wonderful pedagogue Elena Romanova Rosse complimented me. She later advised my mother to send me to the Choreographic School since she thought I had talent.
You’re one of the greatest male dancers in the entire history of ballet. Which teachers helped you along the way, and what did each of them give you?
The overarching themes of prostitution, theft, violence and murder form the backdrop to “The Miraculous Mandarin”, a 45-minute ballet whose title refers to the bright cobalt blue Mandarin-collar suit worn by the main hero. The production first greeted the Mariinsky stage in June 2023 after its initial premiere in Cleveland in 2017. VaganovaToday managed to attend the production in late November for the first time.Yuri Possokhov’s avant-garde work feels more like a musical production than a ballet, per se. He brings the orchestra to the upstage space, with the sparse cast dancing downstage.
Winter came to Saint Petersburg early this year. For Americans, Thanksgiving weekend, celebrated during the third weekend in November, meant streets covered with snow and temperatures that dove to -10 Celcius. But inside the warm halls of the Mariinsky’s historical theatre building, a full house on Saturday night offered a Christmas-like atmosphere with a mixed bill featuring many terpsichorean treats.
“Carmen Suite”, a specific type of ballet, is not everyone’s cup of tea. With three leading males, a corps de ballet of 8 more men, a trio of ladies, and the heroine, it contains a relatively minimal cast that nonetheless manages to pull the viewer into the world of Spanish bullfighting in less than an hour.