The Sleeping Beauty Review - 26 October 2004, Swansea
Strange end to a glorious Swan Lake - 26 October 2004, Bath
An enjoyable night with a much-loved classic - 27 October 2004, Bath
Flying high above the lake - 28 October 2004, Bath
Stylish Muscovites - 28 October 2004, Bath
Sleeping Beauty Moscow City Ballet Review - 29 October 2004, Bath
Swan Lake Moscow City Ballet Review - 30 October 2004, Bath
Dancer's control adds to musical treat - 30 October 2004, Bath
Sleeping Beauty Review - 2 November 2004, Bath
Fairy tale Beauty- 4 November 2004, Bath
A feast for eyes and ears - 5 November 2004, Bath
Review Moscow City Ballet - 5-14 November 2004, Bath
Breathtaking night of colourful dance - 11 November 2004, Truro
Yes Cinders, it was a ball - 23 November 2004, Halifax
Moscow City ballet@Theatre Royal - 31 January 2005, Nottingham
A dazzling Nutcracker - 22 February 2005, Stoke-on-Trent
"SIMPLY ENCHANTING"
Herald Express
Tour UK (Autumn 2003 - Winter 2004)
Swan Lake unruffled - 02 October 2003, Hull
Swan along to ballet- 08 October 2003, Hull
Sugar Plum Fairy missing from new Nutcracker ballet - 28 October 2003, Bath
Russian ballet a treat for all - 29 October 2003, Bath
Cracking good show - 29 October 2003, Bath
Sleeping Beauty - 05 November 2003, Leeds
Classical Ballet awash with talent - 13 November 2003, Canterbury
Russian Swans cast a powerful spell - 14 November 2003, Canterbury
Breathtaking skill, artistry, athleticism - 20 November 2003, Lowestoft
What ballet is all about - 4 December 2003, Milton Keynes
Swan Lake - Wycombe Swan - 9 December 2003, High Wycombe
Russian troupe make Cinders glow - 29 January 2004, Ipswich
Spirited show of real beauty - 3 February 2004, Nottingham
Prima puts rest in shade - 6 February 2004, Nottingham
Ballet night to remember - 6 February 2004, Nottingham
Outstanding performances captivate packed audience - 13 February 2004, Torquay
Magical fairytale brought to life - 13 February 2004, Torquay
Striking colour and costumes in Moscow's Sleeping Beauty - 17 February 2004, Woking
Ladies on the lake - 24 February 2004, Jersey
"SHEER
PERFECTION"
Belfast
Chronicle
Tour UK (Autumn 2002 - Winter 2003)
Giselle turns back time - 08 October 2002, Belfast
Sweetheart Giselle served with a twist - 09 October 2002, Belfast
Delightful confection - 11 October 2002, Belfast
The Russians are here to astound - 24 October 2002, Brighton
City ballet shows its effortless flair - 29 October 2002, Cambridge
REVIEWS DANCE - 06 November 2002, Glasgow
REVIEWS DANCE - 09 November 2002, Glasgow
Traditional Russian dancing at its best - 12 November 2002, Bath
Fairy tale magic keeps audience on its toes - 13 November 2002, Bath
Swan Lake is a mixed bag - 13 November 2002, Bath
The best in ballet - 14 November 2002, Bath
Smooth, but not so exciting - 14 November 2002, Bath
Ballet duo - 14 November 2002, Bath
Review - 15 November 2002, Bath
Small is beautiful as Russians get to the point with Tchaikovsky - 15 November 2002, Bath
Swan Lake is the perfect showcase - 19 November 2002, Aberdeen
Classical in every way - 19 November 2002, Aberdeen
The Magic of Swan Lake - 22 November 2002, Aberdeen
Moscow stars are on familiar ground - 7 January 2003, Blackpool
Cracker to lift bleak winter spirits - 13 January 2003, Blackpool
Moscow dancers weave fairy tale magic - 14 January 2003, Grimsby
Ballet a big hit at the box office - 24 January 2003, Lowestoft
Thrilling double from the world's top ballet - 31 January 2003, Lowestoft
Enchanting ballet never fails to enthral - 31 January 2003, Sothsea
Ballet that's a late Chritmas present - 05 February 2003, Poole
Dark dimension to a joyous ballet - 05 February 2003, Poole
REVIEW: The Nutcracker - 10 February 2003, Ipswich
Russian ballet company thrills packed house - 11 February 2003, Poole
Magic on the points - 14 February 2003, Halifax
"A
FEAST OF WONDERFUL DANCING
BY A SUPERB COMPANY"
Kentish
Gazette
Tour UK (Winter - Spring 2002)
Review Ballet - 29 January 2002, Stoke-on-Trent
Nutcracker is a ... er ... cracker! - 01 February 2002, Stoke-on-Trent
Moscow City Ballet "Cinderella" - 02 February 2002, Stoke-on-Trent
Children take pointers from professionals - 05 February 2002, Stoke-on-Trent
A graceful delight - 05 February 2002, Belfast
Timeless classic can still enchant - 07 February 2002, Belfast
Elegant swans, purple days - 11 February 2002, Belfast
Enough to banish winter blues - 12 February 2002, Chichester
Festive fantasy is a winner - 14 February 2002, Chichester
Spellbinding spectacle of Russian folktale - 21 February 2002, Milton Keynes
Review - 22 February 2002, Milton Keynes
Dance - 22 February 2002, Milton Keynes
Review - 26 February 2002, Norwich
Back to tradition - 07 March 2002, Woking
Review - 22 March 2002, Bromley
Style and substance - 27 March 2002, Canterbury
A Russian fairytale - 03 April 2002, Brighton
Leaving Brighton on a high note - 10 April 2002, Brighton
Occasionally fluttering in pink - 12 April 2002,Richmond
Review - 01 May 2002, Richmond
"A
GRACEFUL DELIGHT"
Belfast
Telegraph
Tour UK (Winter - Spring 2001)
Beauty of City Ballet - 15 February 2001, Canterbury
From Russia... with love! - 15 February 2001, Milton Keynes
A Red riot of colourful Swans - 23 February 2001, Brighton
Russian rarity brings a lively splash of colour - 1 March 2001, Liverpool
Amazing grace - 1 March 2001, Richmond (preview)
Great drama on the lake - 9 March 2001, Richmond
Moscow's rich and traditional working of engaging ballet - 13 March 2001, Chichester
Classical ballet from classical company - 16 March 2001, Chichester (preview)
Swan Lake a classic start - 22 March 2001, Woking
Not the full monty but still superb - 3 April 2001, Newcastle
Rapturous applause - 4 May 2001, High Wycombe
26 October 2004, South Wales Evening Post; Swansea - Grand Theatre
Review
Moscow City Ballet: The Sleeping Beauty
Swansea Grand Theatre
BALLET, in the same way as opera, is often perceived to be a "difficult" art form which appeals only to the privileged few - but productions such as this one, based upon the classic fairy tale and featuring music from Tchaikovskiy, do much to dispel such perceptions and to attract newcomers to the wonderful world of dance.
This was a delightful and wholly triumphant production, in which a large and youthful company of dancers excelled, demonstrating their skills against some spectacular backdrops, and accompanied by the Moscow City Ballet orchestra under the baton of conductor Igor Shavruk.
It's always good to see such a large and expectant audience at the Grand, and the crowd were rewarded with one of the most positive and thrilling experiences to have played at the venue for quite a while.
Dance fans will have a chance to savour the talents of Swansea's own Ballet Russie when the company performs The Nutcracker on Sunday December 5.
- GW .
26 October 2004, The Bath CHRONICLE; Bath - Theatre Royal
Strange end to a glorious Swan Lake
Swan Lake Moscow City Ballet Theatre Royal Bath
Moscow City Ballet's performance last night of Swan Lake, that much loved tale from ballet's golden era, was an impressive start to their week at Bath's Theatre Royal.
From the initial lead-in by the clarinet, followed by the oboe and strings, Tchaikovskiy's lovely score is full of hummable melodies, lots of tum-ti-tums and nothing too taxing for the audience.
The curtain rises and we are swept off to a land of fairytales - the court has gathered to celebrate prince Siegfried's 21st; a jester (Dmitry Shchemelinin) is master of ceremonies, buzzing about, just about landing where he should and Siegfried's best friend Benno, a lissom performance by Sergey Zolotarev, is introducing young totty to the scene, for the prince must marry.
It gives the corps de ballet score to show off its sparkling skills and a jolly time is had by all.
Siegfried (Mikhail Mikhailov) arrives, a suitably handsome prince, technically at ease with his role.
Act Two and Siegfried catches sight of Odette, Queen of the Swans, with her entourage of little swans.
Now, we all recognise that Bath has a gem of a theatre, but the stage is small. When there are 26 gorgeous creatures in stiff white tutus bent on fitting in all the pas de chats they are called to execute, then you begin to hold your breath - perhaps more sardines than swans.
Yet the classy technicality of this corps de ballet is such that each member coped brilliantly within the limitations of the stage - not a step out of place, plus a faultless Dance of the Little Swans.
Odette (Tatiana Krasnova and Siegfried looked suitably enamoured with each other, he lifting her with ease, she as fragile as swansdown.
Adel Kinzikeev made a wonderfully malevolent Von Rothbart, a supple, powerful performance, enchanced by the hissing dry ice effects from the wings.
The curtain drops at the end of the second act, with an eerie mist hanging over the lake.
As Odette's alter ego Odile in Act Three, Krasnova is at home with her jerky, brittle movements contrasting with the innocent, fresh-faced prince adoration.
The ballet ends with the hope of salvation for the lovers, yet the audience had to be satisfied with only the two principal dancers, Von Rothbart, the jester and the swan corps de ballet taking a bow. how strange... perhaps we should ask the artistic director, Victor Smirnov, where everyone else was? That apart, it was a triumphant evening of traditional ballet at its finest.
You can see Swan Lake again tonight and tomorrow and Tchaikovskiy's Sleeping Beauty on Thursday, Friday and Saturday.
Nicola Cunningham.
An enjoyable night with a much-loved classic
Review
Moscow City Ballet presents Swan Lake: Bath Theatre Royal.
Technically, this was as nice a production of Swan Lake as I have seen in some time.
It was expertly choreographed, making excellent use of the not over-large Theatre Royal stage, and a beautifully disciplined corps de ballet.
Under Igor Shavruk's sympathetic baton, the orchestra was finely balanced and completely supportive. Costumes were colorful and attractive, as were the simple but effective sets.
At the heart of the production was Tatiana Krasnova, a dancer who combined delicacy with a strong accuracy of step that made the characters of Odette-Odile very distinctive, sending out clear-cut messages of love and impending tragedy.
Mikhail Mikhailov's Prince Siegfried presented her to very good effect, but that spark that brings alive with dramatic intensity the magic of their relationship spluttered into life only occasionally.
Similarly, for all his eye-catching commitment, Adel Kinzikeev's Von Rothbart was short on menace and underlying sense of evil. There were some lovely contributions from Sergey Zolotarev, Maya Vichniakova and Evgeniya Bespalova as the courtier Benno and his lady loves.
This was an immensely enjoyable production of a much-loved classic but one in which you felt many of those concerned were playing a little too safe.
The production can bee seen again this evening and Sleeping Beauty is on Thursday, Friday and Saturday.
GERRY PARKER.
Flying high above the lake
Swan lake, Moscow City Ballet, Theatre Royal, Bath
Swan Lake is such a classic in the ballet repertoire and such a favourite with so many it's easy for companies to get it horribly wrong.
Theatre Royal Bath was packed with an audience eager to see this tale of love, sorcery and treachery performed by such a renowed company as Moscow City Ballet. Luckily, despite a somewhat slow start, it did not disappoint.
The company stuck to the basics with a beautifully painted set and stunning costumes, which made an enchanting backdrop for the superb corps de ballet and principal dancers.
Tatiana Krasnova was an outstanding odette/Odile. Opposite her, Mikhail Mikhailov playing prince Siegfried danced well but lacked charisma. Tchaikovskiy's glorious score was beautifully played by the Company's orchestra, conducted by Igor Shavruk.
Moscow City Ballet performs Sleeping Beauty tonight, tomorrow and Saturday.
SUSIE WELDON.
Stylish Muscovites
Swan Lake Moscow City Ballet Bath Theatre Royal
MOSCOW City Ballet has become a favourite in britian where it has now been making regular tours for 14 years.
Victor Smirnov-Golovanov, the artistic director and his wife Ludmila Nerubashenko, principal ballet mistress, have built a richly talented company, which has only a handful of designed soloists but strong enoughresources in the corps de ballet to entrust leading roles to its members.
They have chosen the ever popular Swan Lake and Sleeping Beauty for their week at Bath, both with Tchaikovskiy's immortal music.
They began with Swan lake - Sleeping Beauty is later in the week.
I don't think anyone will be disappointed with this interpretation. It's classical, not particularly innovative but there is great attention to detail, not least among the corps de ballet who were perfectly disciplined both while dancing and resting as an audience for the soloists.
Tatiana Krasnova Tatiana Krasnova is breathtaking in the leading dual role of Odette/Odile, Queen of the swans and bewitched princess. She is bird-like and lyrical in her movements while executing extremely difficult technical choreography. She makes the transformation from the languid and sad Odette to the seductive Odile exquisitely.
As Prince Siegfried, Mikhail Mikhailov is less spectacular but he is expressive in his gestures.
Two of the most Two of the most entertaining soloists are normally members of the corps de ballet.
Adel Kinzikeev is the evil von Rothbart, lithe, athletic and almost pantomimic in his triumph. He has all the abilities of a principal dancer.
Another from Another from the ranks who works well as a soloist is the jester, Dmitry Shchemelinin. He is an important light relief in an overall rather solemn cast. He is also used imaginatively to lead in the key soloists.
The male corps de ballet was initially a touch ragged, but later they were as finely tuned as their female counterparts, whose footwork and timing and cohesion could not be faulted.
But the men later pulled themselves together to be as eyecatching as their female counterparts, whose footwork and timing and cohesion could netbe faulted.
The costumes however are superb, especially in the national groups at the Prince's ball.
The only jarring The only jarring note in the opening performance was from a few members of the audience, one moving from her seat extremely noisily in the middle of a particularly moving solo from Tatiana Krasnova and two more returning inexcusably late to their seats in the middle of row after the interval. Who let them back in?
Jo Bayne.
Sleeping Beauty Moscow City Ballet Theatre Royal, Bath
Review
The Moscow City Ballet company had much to live up to last night.
It had completed a miraculous three-night run of Tchailovskiy's Swan Lake and now turned to the composer's other gem, Sleeping Beauty.
It did not disappoint.
An expectant hush fell as the curtains rose and the magical Lilac Fairy (Gulnur Sarsenova) - the one who saves the day, the princess and the kingdom - set the tone for the performance.
Shadowed by eerie lighting she appeared like a wisp under gossamer sets until the christening of Princess Aurora took centre stage.
Aurora (Tatiana Krasnova), as the tale goes, is the one cursed by the Fairy Carabosse, who is angry after her invite to the christening bash got lost in the post.
Within moments the stage was positively heaving with dancers and spectacle was dazzling. Without doubt, even those who may have known little about ballet would have dubbed Sleeping Beauty a corker.
The costumes were eye-wateringly fabulous and as the audience was swept into Act Two and knight-in-shining-armour Prince Florimund arrived with his hunting party and pursed lips, the excitement was unstopable. Florimund (Mikhail Mikhailov) fulfilled all the leaping and bounding expectations of the ardent ballet-goer. All skill, sinew and physical presence.
Slightly pantomime-ish at times, as when Carabosse (Dmitry Puzyrev) is carted off stage by her minions evoking booing laughter from the audience, Sleeping Beauty was still faultless.
You can see the performance again tonight and tomorrow.
Rachael Sugden.
Swan Lake Moscow City Ballet Theatre Royal Bath
Review
Moscow City Ballet's performance lasr night of Swan Lake, thayt much loved take from ballet's golden era, was an impressive start to their week at Bath's Theatre Royal.
From the initial lead-in by the clarinet, followed by the oboe and strings, Tchaikovskiy's lovely score is full of hummable melodies, lots of tum-ti-tams and nothing too taxing for the audience.
We were swept off to a land of fairytales as the court has gathered to celebrate Prince Siegfied's 21st. it gives the corps de ballet scope to show off its sparkling skills and a jolly time is had by all.
In Act Two, Siegfried catches sight of Odette, Queen of the Swans, with her entourage of little swans. Bath has a gem of a theatre, but the stage is small. When there are 26 gorgeous creatures in stiff white tutus you begin to hold your breath - perhaps more sardines than swans.
As the ballet ended the audience had to be satisfied with only the two principal dancers, Von Rothbart, the jester and the swan corps de ballet taking a bow. How strange... perhaps we should ask the artistic director, Victor Smirnov, where everyone was?
That apart, it was a triumphant evening of traditional ballet at its finest.
Nicola Cunningham.
Dancer's control adds to musical treat
Review
Theatre Royal, Bath: Victor Hochhauser presents Moscow City Ballet in Sleeping Beauty.
It may seem strange to praise a dancer's stillness but the manner in which Tatiana Krasnova held positions prior to and at the end of movements, was a delight to the eye.
It was like gazing on a series of beautiful sculpted statues who, like Pygmalion's Galatea, had been brought to life.
Tatiana Krasnova's strength and control as princess Aurora contrasted admirably with some of the more flamboyant actions of the fun-loving fairy tale characters, exellent pas de quatre and Dmitry Puzyrev's larger than life evil fairy Carabosse.
This is very much a ballet where the hero Prince Florimund has to take second place to the heroine.
Without ever diminishing his importance in the story, or missing out on solo opportunities, Mikhail mikhailov did this with expert judgement.
When he and the princess
gulnur Sarsenova also showed good judgement as the good Lilac Fairy.
Acting at times like a narrator, she linked the story with charm and grace.
There were plenty of these qualities to be found in her fellow fairies with an added underlying sense of humour lurking just below the surface.
Eliza Veta Dvorkina's attractive costumes added to the visual enjoyment and musically, under the guidance of conductor Igor Shavruk, the orchestra ensured that we enjoyed Tchaikovskiy's lovely music as much as the company enjoyed dancing to it.
GERRY PARKER.
2 November 2004, The Bath Alternative; Bath - Theatre Royal
A classical triumph
Sleeping Beauty
Moscow City Ballet
Bath Theatre Royal
There was more than a touch of pantomime albeit far more elegant in the Russian ballet company's second offering of last week, Sleeping Beauty.
In fact the man sitting next to me thought he'd come to see Cinderella also in this company's touring repertoire, but not at Bath and spent the first halt expecting the ugly sisters to appear until he realised his mistake.
But Puss in Boots, a white cat, Red Riding Hood, the Wolf and a pair of blue birds all make an appearance, and the character dancing, especially by the cats, Tatiana Kartushina and Kirill Kasatkin, was sharp and amusing.
Tatiana Krasnova and Mikhail Mikhailov again danced the lead roles. Ms Krasnova was unfailingly perfectly poised, delicate, and a delight to watch as the princess.
Her partner had fewer chances to shine as a soloist, but was superb in a supporting role and while he coped with some technically very difficult choreography competently he lacked fluidity.
The evil fairy, called Carabosse in the Russian version, was wonderfully portrayed by Dmitry Puzyrev. With the aid of a fabulous blue and silver cloak he contrived to make himself grow taller or shrink into the ground.
He had the aid of vividly imaginative choreography, accompanied by six black devils who were equally enthusiastic and energetic as they twirled themselves into a menacing cabal.
The size limitations of the Theatre Royal stage manifested themselves as members of the corps de ballet squeezed themselves around the edges as an audience for the principals. Sometimes all that could be seen was an extended arm through the drapery, which was unintentionally comic.
Well trained and attractive though the corps de ballet is, one wonders if it might not be more sensible to trim the number of dancers in such circumstances.
The costumes, by Elizaveta Dvorkina, were as ever stunning and the set, a series of different painted backdrops was breathtaking in fairy tale fashion.
The lighting left a little to be desired, occasionally switching from subtle moody shades to very bright, abruptly.
It may have been intended, it was difficult to tell.
___Igor Shavruk was in charge of a splendid orchestra, and Tchaikovsky's music, with particularly appealing cello and harp soloists.
If you missed the company in Bath it is touring Britain until next March and it is worth catching up with. Some of the dancers are clearly very young, and very talented and can only get better and better. There is enthusiasm and energy in abundance from each member of the corps de ballet to the principals.
Jo Bayne.
4 November 2004, Wiltshire Gazette & Herald; Bath - Theatre Royal
Fairy tale Beauty
Sleeping Beauty
Moscow City Ballet
Bath Theatre Royal
There was more than a touch of pantomime albeit far more elegant in the Russian ballet company's second offering of last week, Sleeping Beauty.
In fact the man sitting next to me thought he'd come to see Cinderella also in this company's touring repertoire, but not at Bath and spent the first halt expecting the ugly sisters to appear until he realised his mistake.
But Puss in Boots, a white cat, Red Riding Hood, the Wolf and a pair of blue birds all make an appearance, and the character dancing, especially by the cats, Tatiana Kartushina and Kirill Kasatkin, was sharp and amusing.
Tatiana Krasnova and Mikhail Mikhailov again danced the lead roles. Ms Krasnova was unfailingly perfectly poised, delicate, and a delight to watch as the princess.
Her partner had fewer chances to shine as a soloist, but was superb in a supporting role and while he coped with some technically very difficult choreography competently he lacked fluidity.
The evil fairy, called Carabosse in the Russian version, was wonderfully portrayed by Dmitry Puzyrev. With the aid of a fabulous blue and silver cloak he contrived to make himself grow taller or shrink into the ground.
He had the aid of vividly imaginative choreography, accompanied by six black devils who were equally enthusiastic and energetic as they twirled themselves into a menacing cabal.
The size limitations of the Theatre Royal stage manifested themselves as members of the corps de ballet squeezed themselves around the edges as an audience for the principals. Sometimes all that could be seen was an extended arm through the drapery, which was unintentionally comic.
Well trained and attractive though the corps de ballet is, one wonders if it might not be more sensible to trim the number of dancers in such circumstances.
The costumes, by Elizaveta Dvorkina, were as ever stunning and the set, a series of different painted backdrops was breathtaking in fairy tale fashion.
The lighting left a little to be desired, occasionally switching from subtle moody shades to very bright, abruptly.
It may have been intended, it was difficult to tell.
___Igor Shavruk was in charge of a splendid orchestra, and Tchaikovsky's music, with particularly appealing cello and harp soloists.
If you missed the company in Bath it is touring Britain until next March and it is worth catching up with. Some of the dancers are clearly very young, and very talented and can only get better and better. There is enthusiasm and energy in abundance from each member of the corps de ballet to the principals.
Jo Bayne.
5 November 2004, The Bath Alternative; Bath - Theatre Royal
A feast for eyes and ears
Sleeping Beauty
Moscow City Ballet
Theatre Royal Bath
The moment the orchestra began to tune-up the anticipation began. There's some particular theatre magic in hearing a few strings and then a deeper notes of an oboe and when the performance started I would have defied anyone not to recognise some of Tchaikovskiy's music.
From the exquisite dancing of the fairies to the comical facial expression of Catalabutte, the master of ceremonies at Princess Aurora's christening, Sleeping Beauty was an evening of visual splendour.
We all know this fairy tale and it was easily recognised for the non-ballet goer. From the fairies' dance offering their gifts to the baby to the scary moment when Carabosse - the uninvited fairy - and her entourage appear vowing Aurora will die, we all knew what was happening. All helped, of course, by magnificent costumes as expected of a royal court.
Carabosse was excellent. This tiny bent old hag, sweeping and swirling her black and silver cloak around gave a threatening performance and brought hisses from the audience.
In act Two the prince finds his princess, the court comes to life and celebrations begin. I particularly liked Red Riding Hood and the Wolf - Red Ridding Hood showed real fear in her dancing as the scheming wolf leaped and prowled around.
This comparatively new company's aim is to bring ballet to as wide an audience as possible - as newcomers to ballet ourselves we found it a fine evening's entertainment.
Rita Sangster.
5-14 November 2004, VENUE Bristol & Bath's Magazine; Bath - Theatre Royal
Review Moscow City Ballet
The great thing about Moscow City Ballet is that they are, above all, a company. Watching them move seamlessly around the limited confines of the Theatre Royal's stage with confidence and grace during the course of their impressive "Swan Lake" empasised to what extent this is an ensamble piece, something in which everyone has to pull their weight. Simularity, the fact that they can pluck dancers from the corps de ballet to fill the vital roles of Von Rothbart, the evil sorcerer, and the Jester 9danced with great gusto by Adel Kinzikeev and Dmitri Shemelinin respectively) shows their strength in depth-no-one looking out of their depth even with the centre-stage roles thrust upon them. Victor Smirnov-Golovanov's staging of this classic battle between good and evil is visually strong, with the half-white, half-balck tutu of the impostor odile being used to great effect when she-s trying to convince Prince Siegfired that she is his beloved swan princess, odette. At its heart, though, this is a love story. Mikhail Mikhailov may not be the most technically brilliant of Siegfrieds, but you are never in any doubt of his devotion to the ensnared Odette. In the dual role of odette/Odile, Tatiana Krasnova brings a painful fragility to the former that is matched by the cruel strength of the latter. A fine performance from a likeable company. (Lesley Barnes).
Moscow City Ballet wows audiences with The Sleeping Beauty
Breathtaking night of colourful dance
SUCH is the reputation of Russian classical ballet that you expect to be treated to an evening of utter enchantment when one of that country's premier touring companies comes to these shores.
And that is exactly what sell-out audiences at the Hall for Cornwall got last week when the Moscow City Ballet returned in triumph to perform their truly spellbinding production of The Sleeping Beauty.
The fairytale of princess Aurora pricking her finger and falling asleep for a hundred years until being awoken by a prince's kiss has become familiar territory since it was first performed in 1890. But there can have been few more opulent stagings of the ballet than that on show last week.
The stage at the Hall was filled with breathtakingly colourful costumes and sets throughout the production from the opening party for Aurora's christening through the celebrations for her 16th birthday to her wedding to the handsome prince at the joyful end.
The dancing, of course, was sheer perfection, with the ensemble pieces featuring the corps de ballet a masterpiece of flowing movement and precision timing.
But it is the principal dancers who are the stars of the show and all were uniformly excellent, with none better than Natalia Padalko in the title role.
Encouraged by artistic director Victor Smirnov-Golovanov and his wife, principal ballet mistress Ludmila Nerubashenko, all the artists are given the opportunity to define their own character interpretations and Miss Padalko brought just the right delicacy and lightness to her role as the young and innocent princess.
Her technique was faultless, the highlight being the arabesques she performed during the scene with her four suitors at the birthday party. This most difficult of movements required here to balance on her toes as each suitor came to take her hand and was performed with masterly technique - not even the merest suspicion of a wobble.
Talgat Kozhabayev as the handsome Prince Florimund gave a thrilling display of jumps and spins in one of the many "party pieces" the choreography allowed the principals throughout the evening. But just as impressive was his support for Miss Padalko in the beautiful pas de deux they performed together in the wedding scene. There were several other lovely performances, but perhaps the most extraordinary of all came from Dmitry Puzyrev as the evil fairy Carabosse, scuttling round the stage like a demented rat with six henchmen castings a wicked spell over the birthday celebrations.
Other fairytale characters added to the magical tone of the production a series of beautifully enacted dances as they came to pay their respects to the happy couple at the concluding wedding celebrations.
It was a suitable finale to an evening of sheer enjoyment, with the dancers perfectly supported by their own orchestra under the direction of igor Shavruk.
One can only hope that the huge ovation they received at the end will lead to a return visit, one that ballet lovers in Cornwall will certainly not want to miss.
Suzanne Rutter.
23 November 2004, Evening Courier; Halifax - Victoria Theatre
Yes Cinders, it was a ball
ONE of the world's leading ballet companies, the Moscow City Ballet, made a welcome return to Calderdale last night.
With a wicked stepmother, scheming sisters and a dashing prince, not forgetting the all-important happy ending, this traditional Russian version of the classic fairytale was danced beautifully to Prokofiev's rich score, provided by the ballet's own orchestra.
Underlining wonderful performances last year in Halifax, Cinderella proved an elegant feast of colour, spectacle and excitement.
The Moscow City Ballet has 12 male dancers, which ensures the female dancers don't steal the show. The pompous king, wicked stepmother and spiteful sisters, Dumpy and Skinny, were particularly strong characters.
Costumes worn by Cinderella, the seasonal fairies and the fairy godmother were designed by natalie Pavago to create an elaborate mass of beautiful and brightly coloured tones. Compared to the slightly ludicrous gold leggings worn by much of the male cast, the costumes offered an eye-catching spectacle of glitter and elegance.
They contrasted nicely with the simple and unobtrusive, if slightly flimsy, set design which resembled a Blue Peter masterpiece rather than that of a professional stage outfit.
There is a huge emphasis on comedy value, which provided a welcome source of relief from romantic tone of prince Charming and Cinderella's scenes.
Some of the comedy scenes were genuinely funny, such as when the evil stepmother and the ugly quarrel over their tacky ball gowns.
The show had a sense of finesse and professionalism which prevented any real disappointment. The principal dancers, performances really shone through and the well-known story is told seamlessly. The only downfall to the production is that some of the scenes, particularly the prince's ball, were far too long.
The essential ballet for Christmas., The Nutcracker, will also be performed by the company tonight and tomorrow.
Underlined by Tchaikovsky's powerful score, it promises to be a feast for both the eyes and ears.
Featuring popular characters such as the Mouse King and the Nutcracker Prince, this magical ballet should allow the talents of the soloists to shine through.
Suzanne Rutter.
A dazzling Nutcracker
Once upon a time every boy wanted to be a train driver, every girl a ballerina...
It's not difficult to see why the latter should be true. Classical ballet seems impossibly elegant, poised and perfect – and it's one of the few areas of life where the ladies get top billing.
Moscow City Ballet has been touring the world since 1991, clocking up nearly 1,900 performances, bringing the best-known productions to places which might otherwise have remained tutu-free.
Tchaikovsky's Sleeping Beauty keeps the bare bones of the story, which for those who have spent too much time with the computer games, involves a princess being the victim of a witch's spell.
When she jabs herself with a needle, she falls into a hundred years sleep, to be woken up by obligatory handsome prince 100 years later.
Moscow City Ballet has made a success of giving people what they want. This is a straight down the line production with luscious costumes, colourful sets and plentiful dancers.
It has everything you associate with ballet, the sparkles, the twirls and the awesomely tight tights. The bad are dark and ugly, the good pink and frilly.
But Sleeping Beauty is the least impressive of Tchaikovsky's ballets, simply not having the same number of good tunes as either Swan Lake or The Nutcracker.
And surprisingly, the paper-thin plot really does make a difference, making it harder to forget the basic silliness of everyone bouncing up and down.
From a distance ballet is gossamer grace but get too close and you see the quivering muscles, panting chests.
The sheer physical endurance displayed is impressive – not least maintaining the same cast iron smiles for so long – but it takes much of the magic away.
And Moscow City Ballet conjures up the magic only sporadically, the wobbles coming too often, the enchantment too rarely.
Greig Watson.
22 February 2005, THE SENTINEL; Stoke-on-Trent - The Regent Theatre
A dazzling Nutcracker
Moscow City ballet's dazzling production of The Nutcracker, which opened at the Regent Theatre in Hanley last night, is the stuff that dreams are made of.
It has breathtaking costumes and scenery, the choreography is terrific, and Tchaikovsky's hypnotic music never fails to exert its old familiar spell.
The drama is strongly emphasised, too, and no matter how many times you might have seen The Nutcracker, this is one you will remember.
From the very first scene, where an enormous Christmas tree dominates the set as the children receive presents and the adults don masks, the pace never falters. Sometimes the atmosphere grows sinister, and even threatening - the triple-headed Mouse King, with his glowing eyes, is a truly terrifying figure. And the duels involving the Nutcracker Doll are intensely realistic.
The Second Act is much more gentle and relaxing with its flower fairies and their well-loved dances, and it comes as quite a relief.
The names of the principals can have little meaning outside Russia, but it has to be said that Tatiana Krasnova, as Clara, and Mikhail Mikhailov, as the Nutcracker Prince, dominate the action; Clara is rarely off stage. Drosselmeyer, played by Gennadiy Batalov, makes a scary magician and must also be mentioned.
The piece is choreographed after the famous original of Petipa, so there are no shocks, but the acrobatics of the entire enormous cast - including the corps de ballet - are simply amazing. Only the russians could do The Nutcracker like this.
Tchaikovskiy's extraordinarily effective but always uncomplicated score comes over well, and again it takes a Russian orchestra to interpret tchaikovsky as he should be interpreted. So there you have it: a properly produced Nutcracker with all its fairytale atmosphere and occasional darker overtones, which looked especially good on the huge stage of the Regent. It has something for all ages, and it would be a dull man, woman or child who could resist its charms.
The Nutcracker continues at the Regent tonight and tomorrow night, starting at 8pm, with a matinee tomorrow at 2:30pm, and with any luck, to add to the fun, it will be snowing as you leave the theatre and begin your trek home.
Eric Snape.
29 January 2004, East Anglian Daily Times; Ipswich - Regent Theatre
Russian troupe make Cinders glow
BREEDING shows. At least it does in the ballet world. The impeccable Russian schooling of this talented young company from Moscow shines in every step they take.
On a cold winter's night, the Regent audience gave the warmest of receptions to the opening performance by Moscow City Ballet, a production choreographed by the company's director; Victor Smirnov - Golovanov, of Prokofiev's magical Cinderella.
The version British ballet-goers are most familiar with is Frederick Ashton's setting for the Royal Ballet, which owes much to the Christmas pantomime tradition and has the ugly sisters played by men dolled up like grotesque panto dames. This distinctly Russian version of the fairy tale has the two sisters played by pretty girls whose ugliness is on the inside only. They are silly and spiteful, while much of the comedy is left to their social climbing mother, the high-kicking Ekaterina Tikhonova, flirting first with the Minister of Dancing and then with the spring-heeled King (Guerman Blagoveshenskiy).
The costumes are extremely colourful, and the attractive set, dominated by an ornate golden clock face, makes the perfect backdrop for a magnificent display of classical dance.
Principal ballerina Elena Osokina is a delightful Cinders; fragile and touching as the down-trodden skivvy, radiant and assured as ballroom princess. The transformation gives her every opportunity to show off her fine-limbed elegance, in her sparkling solos and in the dreamy duet with her Prince, Talgat Kozhabaev. He, too, has a strong technique, and together they bring off some amazing overhead lifts. I thought sometimes, however, that the confines of the Regent stage were cramping his style.
There is dancing of the highest quality, too, from Cinderella's fairy godmother (Tatiana Krasnova) and her graceful attendants, the Fairies of the Four Seasons, as well as the fleet-footed members of the King's cabinet, the Ministers for Dance, Music, Poetry and Art.
It was a real bonus to have a live orchestra and, under the direction of Igor Shavruk, Prokofiev's astringent, spiky score was played with tremendous flair by the National Ballet Orchestra.
It is wonderful music, particularly the giddy waltz that propels Cinderella towards the fateful midnight hour.
It is a long time since our native companies have had the resources to visit cultural outposts like Ipswich with major touring productions and Moscow City Ballet fill a vitally important gap.
Long may it continue.
James Hayward.
Spirited show of real beauty
Moscow City Ballet, proudly adhering to the values that helped forge classical ballet in the 19th Century, performs this portion memorably.
Talgat Kozhabaev is superb, oozing likeable charisma and passion as Prince Albrecht, who, with Hilarion, well-portayed by Gennadiy Batalov, is snared by these ghosts, the Wilis. The spirits are led by Queen Myrtha, immaculately played by Marina Ivushkina, whose icy stare lifts the grace of the corps de ballet another notch. Natalia Padalko is very endearing as Giselle herself, the young peasant girl who dies of a broken heart when she learns that the prince is already betrothed. The scenery in these traditional productions, usually a bit starchy, is lush and three-dimensional, even though it is basic, along with unobtrusive lighting, and just a squirt of dry ice. This production is a treat for those who love the ballet done the traditional way; not that we don't like the modern stuff. It is just wonderful to see this art form, almost frozen in time, that is at the root of most of the bewildering array of dance we appreciate today.
06 February 2004, Newmail Advertiser: Theatre Royal, Nottingham
Prima puts rest in shade
NATALIA Padalko gave a breathtaking performance as Giselle at the Theatre Royal, Nottingham, almost to the extent of making the technically brilliant corps de ballet at the Moscow City Ballet pale into insignificance.
Leading man Talgat Kozhabaev also received rapturous applause for his dashing portrayal of the gallant Prince Albrecht, but it was the diminutive young Russian primaballerina who won the hearts of the audience.
Padalko perfected the technically demanding role and added to it an Oskar deserving sense of drama, seen at its height at the end of the first act when madness descends on a despairing Giselle after learning the true identity of Prince Albercht.
A wonderfully busy first act, coloured by the lavish costumes of the rich and the bustling peasant scenes, is brought to a close by the death of heroine Giselle from a broken heart.
A darker second act opens in a churchyard at midnight - the hour when the ghosts of young women who have died of a broken heart dance unwary men to death.
The organ music and use of the harp combined with the perfectly syncronised corps de ballet, who, dressed in white, glide steadily across the stage, send shivers down the spine.
An act well suited to traditional ballet lovers follows, with Padalko and Kozhabaev dancing a captivating duet, complete with effortless lifts against a soft backdrop of perfectly poised ballerinas.
A brilliant performance was also given by the striking Marina Ivushkina, who played both Princess Bathilde in Act One and the stem queen of the ghosts in the second act.
Elena Osokina and Anton Gueiker's performance of the virtuosic pas-de-deux at the end of Act One was well timed and seemed to gain confidence with time, but harshly for them, sky-high standards had already been firmly established by the prima ballerina and her leading man. - CO
Ballet night to remember
DON QUIXOTE Theatre Royal
THE legendary knight-errant and sidekick Sancho Panza take a ringside seat in Moscow City Ballet's traditional production, letting the principals dance most of the action.
As with the company's Giselle earlier this week, the lead male role (of Basil, the town barber) is played brilliantly by Talgat Kozhabaev. The love of his art shines through every aspect of his art shines through every aspect of his performance, as he combines grace and poise with a boisterous athletism.
And his partner, Elena Osokina as Kitri, is accomplished in the role of the innkeeper's daughter who enchants Don Quixote, Basil, and the comic Gamash.
But the most striking scene is during Don Quixote's dream, where he is haunted ny the Dryads.
As a contrast from the earlier Spanish costumes, the long pointy-bearded one is surrounded by light-green-clad ballerinas, in subdued light, in front of the dreamy backdrop of the famous windmill.
The sound of life musicians, the National Ballet Orchestra, added greatly to the evening.
Chris Oxley.
Outstanding performances captivate packed audience
Theatre review, Sleeping Beauty, Moscow City Ballet, Princess Theatre, Torquay
I HAD never been to see a professional ballet performance before, and I had no idea what to expect.
As I entered the theatre, I noticed the majority of the auditorium was full.
As the lights dimmed, the live National Ballet orchestra at the front of the theatre began to play and the curtain was raised - That's when the magic started.
The opening act captivated every member of the audience, and kept them hooked until the very end.
The story is largely based on fairytale, but without the programme it would have been easy to get lost. This is because it was hard to focus on major plot developments without sitting with your mouth open, wondering how the human body could bend that way.
You could easily see that Moscow City Ballet were professionals, even if you were unaware of their reputation around the globe.
The music (composed by Tchaikovsky) basically told the story for the ballerinas, it generated an atmosphere that drew you in and made you forget there were hundreds of other people sitting around you, held in the same dream-like trance that only the ballet can create.
The scenery was effective without stealing the show, and my personal favourite, the costumes, were exceptional.
Every dancer had an outfit that surpassed the others, no matter how small their part. All performances were outstanding, but I feel that the Prince, played by Talgat Kozhabaev was particularly good. His solo pieces demand recognition for their skill and grace.
The final applause lasted for at least three minutes, but was well deserved.
Simply enchanting.
Caitlin Hanrahan.
Magical fairtale brought to life
The Princess Theatre
Sleeping Beauty
I LEFT reality behind for a couple of hours and entered a world which was like a magical fairtale when I went to watch the Moscow City Ballet perform Sleeping Beauty, with the Moscow City Ballet Orchestra, on Monday night.
The ballet follows the story of princess Aurora, who pricks her finger and falls asleep after being given a spindle by the evil Fairy Carabosse. She is awoken 100 years later after being kissed by prince Florimund and lives happily ever after.
The ballet is beautifully choreographed by Marius Petipa. the graceful steps, of the 30 or so ballerinas and ballet dancers, captured my attention throughout - they appeared to almost float across the stage.
Tatiana Krasnova, who played princess Aurora, clearly stood out. She shone from the minute she danced on to the stage, and every move she made was with precision.
All the cast deserve rapturous applause, as they are all extremely talented dancers who thoroughly deserve their success.
The sets were intricate - inside the palace the gardens and the enchanted forest. No expense was spared to make the evening magical. And who could forget the amazing costumes, which glistened as they caught the light. They were simply amazing.
Tchaikovsky's music clearly brought the lovable and dramatic ballet to life.
The stage is small, and during certain routines the dancers seemed squashed, but you can't take away how talented each individual is in this production.
You can certainly see why the Moscow City Ballet has a reputation as one of the world leading companies.
Striking colour and costumes in Moscow's Sleeping Beauty
SLEEPING Beauty, which opened at the New Vic on Monday as part of the Moscow City Ballet's UK tour, was Tchaikovsky's second ballet.
His first, Swan Lake - arguably his most popular today - received a poor reception in 1877. So when the director of the Imperial Theatres in St Petersburg wrote to him in 1888 suggesting a ballet based on Charles Perrault's La belle au bois dormant, the composer was surprised how much the idea appealed to him.
Perrault's Contes de ma mere l'Oye ou Histories du temps passe was published in Paris in January 1697. For the purposes of the ballet it was edited to become almost identical to the Grimm Brothers' Dornroschen - the classic Sleeping Beauty story whose translation is told to children.
The Moscow City Ballet is used to performing the works of the Russian masters and the dancers executed their parts with skill. Anyone who can perform a 360-degree turn balancing on the toes of one foot is certainly deserving of admiration.
The most striking aspect of the production is the colour and quality of the costumes and sets. The ballet takes advantage of the fact not every dancer is required to wear a tutu - the King and Queen, Carabosse, the wicked fairy and the four princely suitors have full costumes that do not interfere with the performance.
Equally impressive are the backdrops and sets which are colourful, artistic and efficiently managed between scenes.
The music, provided by the company's in-house orchestra, was adequate but not better. Wind passages were fluent, smooth and technically assured in the typical Russian manner of other orchestras like the Russian National.
But the string playing was not quite of the same quality and was not helped by the small size of the band - although itself limited by the capacity of touring theatres. Some of the more famous numbers were taken at rather less famous speeds, usually considerably slower than usual. This minimized the impact of the beginning of Act One in particular.
However this was my only qualm in what was otherwise a colourful and entertaining spectacle without the oppressive formality often seen at evening performances of ballet.
One of the main obstacles of balletic art is the lack of language within it, which can inevitably cause confusion to the viewer. With an easily followed and well-known plot Sleeping Beauty is an ideal and accessible introduction as well as a great production is it's own right.
Simon Ashall.
Ladies on the lake
Elaine Hanning sees the Moscow City Ballet wow the audience with their version of a Tchaikovsky classic
THE audience clapped and clapped, and then they clapped some more. principal dancers Gulnur Sarsenova and Talgat Kozhabaev smiled and curtsied and bowed, and the audience clapped on, whistling and cheering and stamping their feet.
There was no doubting that the prestigious Moscow City Ballet, on their first visit to Jersey, had wowed their audience with their opening performance of "Swan Lake" at the Opera House last night. They wowed this reviewer too.
As a touring company, Moscow City Ballet is huge, with as many as 30 on the stage at one time for the ballroom scenes, 20 swans and four cygnets, 32 fouettes and 16 pas de chats.
We had Tchaikovsky's incomparable music combined with choreography that placed it firmly in the traditional Russian school of textbook steps combined with high emotion.
From the opening scene at the Prince's 21st birthday party, Talgat Kozhabaev was Prince Siegfried, believable, regal, passionate, and bemused by the insistence of his mother that he must marry. He has 24 hours to choose someone.
The ballroom, the cavorting Jester and the Prince's disinterest in the princesses presented to him became, as suddenly as if a wand had been waved, mist over a lake, with huntsmen, a glimpse of the Swan Princess, and, as Odette returns to human form, the Prince following this will-o'-the-wisp.
Spiky movements
Like the bad fairy in a pantomime, the magician Baron von Rothbert, who has bewitched the Princess and the swan maidens, appears as an owl. With his dark presence and spiky movements , he brought elegance to evil. We wanted to hiss and boo.
But it was Gulnur Sarsenova in the dual roles of Odette, the enchanted and enchanting princess, and Odile, Rothbert's daughter, who persuades the Prince that she is Odette so that, in swearing his love for her, he will break his vow to the princess and condemn her to remain forever a swan, who entranced the audience.
The scene in which the Prince is convinced that the imposter Odile is Odette was cleverly visualised when she first appeared in a tutu half black and half white, turning the white side to the prince so that he sees only Odette while the audience sees the black costume of Odile.
When he is finally convinced and declares his love, Odile, dressed now all in black, reappears, with her every glance triumphant.
There is a happy ending, of sorts, to the tale - Siegfried and Odette are reunited, although in death, not in life - and the audience spilled out into the street, still somewhat dazed and with their hands tingling from their appreciative applause.
Swan Lake unruffled
REVIEW
Swan Lake Hull New Theatre
Moscow
magic! I guarantee that this magnificent production by the Moscow City
ballet will leave you totally mesmerized.
Tchaikovsky's
ballet, one of the world's favourites, is superbly danced by a company
of more than 70 which has toured the world giving sell-out performances.
Since being
founded in 1988, it has given more than 1,500 performances in this country
alone.
Outstanding
dancing comes from Talgat Kozhabaev as the the prince who loses his
heart to a lovely young maiden in the spell of an evil sorcerer. Odette,
Queen of the Swans, is delightfully danced by Gulnur Sarsenova.
But all
the dancers, backed by the National Ballet orchestra, are dazzling,
with special mention going to the corps de ballet - the swans being
more like swans than the real thing!
Spectacular
costumes and sets are among the most colourful I have seen on any stage.
Today,
Friday and Saturday (including a matinee), the company dances The Sleeping
Beauty, which has captivated audiences for more than 100 years.
May I suggest
you treat yourself to a wonderful evening.
John Morton.
08 October 2003,THE MAIL, UK - New Theatre, Hull
Discover an art form that is easy to follow and beautifully hear and see
Swan along to ballet
Moscow City Ballet
Hull New Theatre
"YOU'RE
not going to get me to the ballet, watching a lot of men prancing around
in tights..."
This was
the response I received when I told my fiance about Moscow City Ballet
coming to Hull with two of its finest touring shows, Swan Lake and Sleeping
Beauty.
Sadly,
this is a view many people have of the ballet.
You can
guarantee these people, who are quick to tell you what it will be like
and dismiss it entirely have never witnessed one in their lives.
And that's
a real shame as their false judgements could make them miss out on a
unique experience.
Although
I had to been to see many palys in the city's professional and amateur
theatres, I had never seen a ballet until this one.
Leaving
my fiance at home with his PlayStation-2 and golf clubs to keep him
happy, I set off to see Swan lake with one of my more cultured and open-minded
friends.
Swan Lake
features many pieces of music I am sure everyone will have heard - and
this is half the battle.
When an
audience is familiar with the score it gives them a sense of ownership,
and you would have to live in a cave and cut yourself off from society
not to recognise some of the famous parts of Tchaikovsky's score.
Many people
dismiss ballets because they think they won't be able to follow what
is happening. But this is simply not true.
The stunning
sets, scenery and carefully tuned choreography leave you in no doubt
of the plot.
What's
more, the dancers are nothing short of mesmerising.
They move
across the stage in such a graceful and effortless way, yet their timing
and flexibility are proof of the tireless hours that are spent in trying
to achieve artistic perfection.
The Moscow
City Ballet is one of the most highly regarded companies in the business.
They are
being supported on this tour by the National Ballet Orchestra, who succeed
effortlessly in bringing out the beauty in the music.
So do away
with those misconceptions and catch the Moscow City Ballet before they
head back home.
And, strangely
enough, I didn't have a problem watching men in tights.
Nicola Juncar.
Sugar Plum Fairy missing from new Nutcracker ballet
REVIEW
The Nutcracker / Theatre Royal, Bath
THE
Nutcracker really is the perfect choice for somebody's first ballet.
To follow
the tale, you really don't need to be conversant in the delicacies and
nuances of balletic language and gestures, or even know your plie from
your pirouette.
Neither do
you require any great knowledge of the plot, as the traditional storyline
is pretty simple to follow, even for the younger members of the audience.
And with
this being half-term, the audience at the Theatre Royal for the opening
night of the Moscow City Ballet's interpretation of Tchaikovsky's yuletide
classic, certainly had its share of youngsters accompanying parents and
grandparents, all adding to a healthy and excited crowd.
What they
witnessed was a beautifully played, if at times somewhat confusing, portrayal
of Christmas Eve at the house of Dr Silberhaus and the extraordinary fantasy
world that is created by the imagination of his daughter Clara.
With this
production, director Victor Smirnov-Golovanov has adapted the original
and classically appreciated choreography of Marius Petipa to include a
few quite unexpected changes.
Most notable
was the surprise exclusion of the Sugar Plum Fairy, one of the central
characters to the original productions, as well as a slight restructuring
of the general storyline.
What we are
left with is the dance of the Sugar Plum Fairy being quite beautifully
taken on by Elena Osokina as Clara, the kingdom of sweets being replaced
by the kingdom of flowers and the international dancers from Asia, Russia,
China and Spain turning up completely out of the standard sequence of
events.
Still, as
a spectacle, the result remained quite magnificent.
The central
female dancers performed beautifully, particularly the lead, while the
corps de ballet quite outshone their usual position of backing performers.
Worthy of
of particular praise were the exquisite flower fairies, each of their
individual performances being greeted with generous applause from the
audience.
Certainly
Talgat Kozhabaev as the Nutcracker Prince appeared at first, dare I say,
somewhat wooden.
But this
could well have been a little first night nerves, as by the time of the
pas de deux, his performance imroved notably, albeit still lacking some
of the extravagant leaps one generally expects from a Rusiian troupe.
Sneaking
a look around the theatre, this was a performance that was clearly enthralling
the audience, no matter what their age.
And, while
I may have preferred a more traditional interpretation, the basic spectacle,
costumes and dancing on view made it clear while, even 111 years after
its first performance, The Nutcracker still has the ability to enthral
and delight.
The Nutcracker
can been seen today, tomorrow and on Thursday, with Cinderella on Friday
and Saturday.
Ian Waller.
29 October 2003,BRISTOL EVENING POST, UK - Theatre Royal, Bath
Russian ballet a treat for all
REVIEWs
The Nutcracker: Theatre Royal, Bath
THE
ballet is back in town with a tasty chocolate box selection which includes
The Nutcrtacker and Cinderella - it must be half term!
This particular
sugar-sweet confection, designed to grab grannies, pull in parents and
cheer children, is deliciously served up in mouthwatering style by the
Moscow City Ballet.
___A product of new
Russia and only formed in 1988, the company has built a touring reputation,
particularly in the English regions.
This is
strictly a traditional troduction of Tchaikovsky's work, choreographed
by Moscow City Ballet founder Victor Smirnov- Golovanov.
Elena Osokina
and talgat Kozhabaev lead the principals as Clara, the young girl, and
the Nutcracker Prince of her dreams. gennadiy Batalov is particularly
impressive as Drosselmeyer the magician who brings Christmas presents
to life.
Igor Shavruk
conducts an imposing orchestra and both the set and costumes are designed
to bring forth plenty of "oohs" and "aahs" from
the receptive audience.
The
Nutcrtacker and Cinderella run in tandem until Saturday,
with ticket priced from £14.50 to £33. telephone 01225 448
844 for details.
______
ALAN KING.
29 October 2003,THE BATH ALTERNATIVE, UK - Theatre Royal, Bath
Cracking good show
REVIEW
Tchaikovsky's Nutcracker Suite by Moscow City ballet Theatre Royal Bath
The
Nutcracker, set to Peter Tchaikovskys familiar and lyrical music,
is a fantasy that has appeal for all ages. It tells the story of a Christmas
party where a young girl, Clara, is given a nutcracker doll in the shape
of a toy soldier by her mysterious godfather.
It's an
ideal introduction to ballet for young people because it is easy to
follow, pretty and occasionally funny. It is no coincidence it has been
chosen for the half-term week.
The godfather,
Drosselmeyer transforms himself into a magician and brings the nutcracker,
a doll and a mouse king to life. Later he transports Clara to a mystical
land where she has become a princess and the nutcracker, a prince and
there are dancing flowers and amazing sights.
The choreography
and interpretation of the story are not so familiar. Moscow City Ballets
founder and artistic director, Victor Smirnov-Golovanov, has choreographed
this version, which is exciting, sometimes a little sinister and always
magical.
Elena Osokina
is Clara, an assured, perfectly poised dancer who characterises the
contrasting roles of young girl and the princess with dramatic skill.
Gennadiy
Batalov tops the list of male principals as Drosselmeyer in my view.
He can be bold and dominating as the magician and subtle and delicate
as the godfather. His acting skills match his flexibility as a dancer.
Talgat
Kozhabaev dances the Nutcracker Prince in traditional heroic style.
He has undoubted presence and charm but not quite Batalovs subtlety.
His alter-ego,
the nutcracker doll, has a very able exponent in Nurzhan Blagoveshensky.
The corps
de ballet were superbly in accord with one another, and coped with the
limitations of the Theatre Royal stage without apparent difficulty.
It is not
an ideal stage for ballet, particularly if the choreography calls for
spectacular leaps. There is always a slight anxiety that if one of them
overstretches he or she may end up in the orchestra pit.
The costumes
are dazzlingly colourful and the sets equally attractive.
The theatre
is offering some half-price tickets for children, who will love this
show.
Jo Bayne.
05 November 2003,WHARFE VALLEY TIMES, UK - Grand Theatre, Leeds
SLEEPING BEAUTY
GRAND THEATRE
THE
MOSCOW City Ballet presents this sumptuous and visually stunnung adaption
of the well-known fairytale.
A very
traditional production, this is a straightforward re-telling of the
storyu of Princess Aurora, who pricks her finger on a spindle and
falls asleep for a hundred years, awaiting rescue from the handsome
prince Florimund.
With
its layers of painted curtains framing the beautifully painted views
of forests and palaces, the set is reminiscent of a 3D pop-out story
book.
The costumes
are superb, from the sparkling gold qowns in which the courtiers are
dressed to the more traditional tutus of varying colours worn by the
fairies.
But it
is the standard of the dancing which is truly breath-taking, particularly
the performances of Florimund and Aurora. The dance by Puss in Boots
at the wedding celebratiions is a welcome touch of humour as the female
cat gets her ears boxed several times by the male cat before getting
her own back with a well-aimed paw of her own.
The only
thing which lets down this delightful production is the insistence
of the dancers to take a bow after every solo, no matter how brief.
This has the effect of regularly drawing the audience out of the fairytale
and reminding them they are merely watching a troop of dancers playing
the parts; albeit exceedingly well.
The Moscow
City Ballet is now performing its second production, The Nutcracker,
at the Grand until Saturday. For tickets and booking details, contact
the box office on (0113) 222 6222.
Kate Evans.
13 November 2003,KENTISH GAZETTE, UK - The Marlowe Theatre, Canterbury
CLASSICAL BALLET AWASH WITH TALENT
Swan
Lake
Moscow
City Ballet
The
Marlowe Theatre
THE
Moscow City Ballet opened a six-day visit to the Marlowe with Swan
lake on Monday evening, and left a packed house on its feet in tribute.
This
is a company that interprets and captures the true spirit of Russian
ballet with passion, fluecy and energy combining with the timing
and precision of a well drilled guard's regiment.
It
was impossible to pick out individuals for praise simply because
all the dancers, from the principals to the corps de ballet, showed
they are masters of their art.
Like
many classical ballets, tchaikovsky's Swan Lake is a fairy story
where although evil appears to triumph over good, it is love that
unites two souls in eternal happipiness.
It
emphasises the drama as Prince Siegfried and Odette, the swan queen.,
express their love while fighting off the influence of the sorcerer
Von Rothbart, but it is by no means all sadness and despair.
There
are times when the stage is filled with a kaleidoscope of colourful
costumes and folk inspired dancing with a jester to add a touch
of fun. Like the rest of the productions, they take the breath away.
Swan
Lake finishes its run today (Thursday) with performances at 2:30pm
and 7:30pm, with Giselle being presented tomorrow at 7:30pm and
again on Saturday with a matinee at 2:30pm.
Mike Scott.
14 November 2003,KENTISH GAZETTE, UK - The Marlowe Theatre, Canterbury
RUSSIAN SWANS CAST A POWERFUL SPELL
REVIEW
IT
WAS just as if gravity had been switched off when the Moscow City
Ballet brought their intoxicatting grace to the marlowe stage
on Monday with Swan Lake.
Here
was true perfection of an art, performed by the world's leading
ballet company. The seemingly impossible standard of gymnastic
poetry from principal soloists and corps de ballet echoed the
finest traditions of this bewitching art form.
The
story is of a prince who falls in love with Odette, Queen of the
Swans. She is under a powerful spell which can only be broken
by the pure love of a young man.
The
suitor must overcome the evil socerer Rothbart to find eternal
happiness with Odette.
She
and her friends are condemned to be swans during the day but resume
their human form at night.
Tchaikovsky's
wonderful score adds to the ingredients of romance and tragedy
in a classical spectacular of colour and movement.
The
precision of 26 swans and the astounding dancing of Gulnur Sarsenova
as odette/Odile earned lengthy applause.
Swan
Lake runs until tonight (Thursday) with
Theophile Gautier's Giselle, a traditional tale of love and betrayal,
completing the Russians' visit on Friday and Saturday. Box office
is 01227 787787.
Braian Lewis.
20 November 2003,EASTERN DAILY PRESS, UK - The Marina Theatre, Lowestoft
Breathtaking skill, artistry, athleticism
Swan
Lake, Moscow City Ballet
Marina
Theatre, Lowestoft
The
company perfectly captures the romance and tragedy of a timeless
classic, combining enchanting dance, dazzling costumes, a superb
set and Tchaikovsky's beautiful music.
Formed
by distinguished choreographer and former soloist of the Bolshoi
Ballet Victor Smirnov - Golovanov, Moscow City Ballet is one of
Russia's leading companies.
The
story is about a Princess, Odette (Gulnur Sarsenova) who is turned
into a swan by an evil magician Von Rothbart (German Blagoveshenskiy).
Every midnight she becomes human for a few hours. One midnight,
she is seen by Prince Siegfried (Talgat Kozhabaev) who falls in
love and promises to rescue her. Siegfried prepares to introduce
Odette as his bride at a castle ball. A black swan like Odette
enters - it is Von Rothbart's daughter, Odile (Gulnur Sarsenova).
Siegfried
says she will be his bride. Odetta appears, he realises he has
been tricked, Odette rushes off to the lake, and Siegfried fights
Von Rothbart. Before the Prince dies, he frees the swan maidens
and the souls of Odette and Siegfried are united.
The
skill, artistry and athleticism by the principals, corps de ballet
and soloists were breathtaking.
Rhonda Deal.
4 December 2003, MILTON KEYNES CITIZEN, UK - Milton Keynes Theatre,
What ballet is all about
CHRISTMAS
arrived in Milton Keynes on Monday when layers of transparent,
leafy curtains drifted up on Moscow City Ballet's Sleeping Beauty.
On
the stage streamed glittering royalty, colour-themed fairies and
the gorgeously costumed corps de ballet; as always the Russians
are offering their audience a classic feast of sumptuous music,
lavish costumes and the most evocative, traditional scenery.
The
dancing is superb, from the pyrotechnic leaps of Talgat Kozhabaev
(Prince Florimund) and the exquisite grace of Elena osokina (Princess
Aurora) to the discplined, perfectly drilled corps, this is what
ballet is all about - grace, perfect timing and the ability to
make the near impossible look effortless.
The
set pieces are performed in quickfire succession, a non-stop pageant
of fairies bestowing gifts, a spider-like Carabosse whirling around
the stage, beautiful Aurora's courtship dances and a huge flower-bedecked
celebration of the princess' birthday. And that is only Act One.
The
orchestra conducted by Igor Shavruk gives every possible nuance
to Tchaikovsky's luscious score and adds immensely to the evening's
enjoyment.
By
the time the beautiful dream sequence
had been danced, Puss in Boots and his white cat had performed
their witty little interlude and the Bluebirds produced a breath-taking
run of stunning leaps and lifts, it was hard to see how a climax
could be produced. But trust Victor Smirnov - Golovanov, the artistic
director: the final celebration of Aurora's wedding finds a stage
filled with 40-plus dancers, all in fabulous costumes and managing
to dance as if they had acres of space.
The
applause was deafening and the curtain calls many. With Cinderella
to follow on Friday and Saturday and the lights switched on the
giant tree in Theatre Square - what a perfect start to Christmas.
Carolyn English.
Swan Lake - Wycombe Swan
FOR
the lovers of traditional ballet, this performance of Swan Lake
by the Moscow City Ballet was a visual feast.
It
was danced by a surprisingly fresh-faced company, and these
highly-skilled Russian performers entertained with all the elegance
and grace required of such a famous ballet.
The
costumes alone were worth turning up for. Traditionally staged,
the range of shades and decoration was spectacular and the use
of colour to depict evil and good was simple yet effective.
The
ethereal lead dancer Gulner Sarsenova, as the good and evil
swan, shone out from the rest, as did the colourful character
of the Jester, danced by Nurzhan Iskaliev. Both carried off
the complicated choreography with panache and were a pleasure
to watch.
The
live music, performed by The National Ballet Orchestra and conducted
by Igor Shavruk, added to the special feel of the evening and
one or two slip-ups among the musicians did nothing to take
away from the overall magic of the performance.
Moscow stars are on familiar ground
REVIEW
SWAN LAKE Grand Theatre, Blackpool
PANTOMIME
has packed its bags and Blackpool's only year-round theatre
has performed one of its classic cultural U-turns by starting
the New Year with a return visit of the ever-popular Moscow
City Ballet.
Formed
in 1988, the company is the outcome of the changes in post-Soviet
Russia and since 1991 it has given almost 1,200 performances
in the UK alone - nearly 450 of them being Swan Lake.
The
current version combines six choreographic talents - including
that of company founder Victor Smirnov - Golovanov - but it
still pretty traditional in its approach to the fusion of
tragic folk tale and Tchaikovsky's musical mixture of drama
and romance.
Lavishly
costumed and with a total corps de ballet of more than two
dozen plus an orchestra of the same size, it's a full scale
production which will delight lovers of accessible familiarity.
Natalia Koungourtseva is delightful as the doomed Odette -
arms constantly fluttering like fragile wings as she heads
for her inevitable fate - and equally a coquettish temptress
as her evil alter ego Odile, wooing the flawed Prince Siegfried.
Unfortunately
Koungourtseva's grace and elegance is not matched by Nourlan
Abougaliev's Prince.
Only
in some later solo moments does he shine - much of the time
he seems to serve as little more than a pas de deux lifter;
even being upstaged by German Blagoveshensky's mocking Von
Rothbart. Fortunately, there is enough enthusiasm elsewhere
to more than hold the interest - diminutive Roman Arkhypov's
Jester combines athleticism, humour and some marvelous facial
expressions and both Natalia Padalko and Gaukhar Ussina's
Hungarian and Spanish brides add glamour and skill to their
solo interludes.
Swan
Lake is repeated tonight and
tomorrow with The Nutcracker being performed from Thursday
to Saturday.
13 January 2003, Evening Gazette; Blackpool, UK - Grand Theatre
Cracker to lift bleak winter spirits
NUTCRACKER
Grand Theatre, Blackpool
MICE
running amok amidst musicians, a stunning soldier nutcracker
chatting up a doll - it can only mean that most festive
of ballets is back to Blackpool.
The
ghoust of Christmas past lingers at the Grand until Saturday
as Moscow City Ballet bring a cracker of the production
to town.
Nutcracker
may lack the emotional intensity of the company's Swan
Lake but it's fun and that's what we need right now, lifting
bleak midwinter spirits, visually stunning, musically
delightful - a truly charming ballet.
While
the graceful corps de ballet and principal ballerinas
seldom disappoint, it's the leading men who let the side
down, charismatic but a little plodding in pace.
They're
possibly paying the price of two ballets in one week,
the principals merely changing costume (as needed do the
leading ballerinas).
The
short and simple two acts offer some of the most memorable
dance cameos and music in Tchaikovsky's work, in one of
his most populist ballets.
It's
a showcase for the National Ballet Orchestra which deservedly
won the most rousing reception.
Artistic
Director Victor Smirnov-Golovanov is to be praised for
direction and choreography of an inspired production -
the man who founded Moscow City Ballet to honour the fine
traditions of Russian classical ballet while granting
dancers artistic license within its confines.
As
ever, while principal ballerinas excel, it's fine smiling
corps de ballet which pleases the eye with the precision
and perfection of its symmetry of motion.
Jacqueline
Morley.
14 January 2003, The Gazette; Grimsby, UK - Grimsby Auditorium
Moscow dancers weave fairy tale magic
A
CHARM was cast when spell-binding ballet came to Grimsby
Auditorium.
The
Moscow City Ballet danced Swan Lake, the magical tale
of a handsome prince who falls in love with a woman held
captive by an evil sorcerer - all set to Tchaikovsky's
famous music. Ut was a rare chance to see stunning ballet
of the highest standart.
The
story opens at Prince Siegfried's 21st birthday party,
where he and best pal Benno are dancing, drinking and
making merry, with the help of a court jester whose fantastic
leaping and comedy stole every scene he was in.
Siegfried's
mother spoils the fun when she sweeps in and tells hes
son it is high time he got married. A betrothal ball is
planned for next evening.
Spotting
a flock of swans overhead, Siegfried and benno decide
they will spend their last night of freedom hunting in
the moonlit forest - and it is there that Siegfried meets
Odette...
Principal
dancers Talgat Kozhabaev (Prince Siegfried) and Gaukhar
Ussina (Odette/Odile) both danced flawlessly and expressed
the tragedy of the story through every movements and gesture.
Every
member of the company communicated with the audience through
movement which had finesse and beauty. Fantastic costumes
completed the fairy tale.
The
Moscow City Ballet Orchestra played the music of their
countryman with the feeling and drama this great Romantic
tale deserves.
The
Moscow City Ballet performs Cinderella tonight at 7:30pm
at the Grimsby Auditorium.
Eve Parish.
24 January 2003, Lowestoft Journal; Lowestoft, UK - Marina Theatre
Ballet a big hit at the box office
THE
Moscow City ballet has broken all box office records at
the Marina Theatre, Lowestoft.
Managers
announced on Monday that sales had gone beyond all expectations,
with several thousand ballet enthusiasts filling the seats
for the productions of Nutcracker and The Sleeping Beauty.
A
spoke man for the Marina expressed his delight that the
visit had been so well suported. "We knew that signs
were good when Nutcracker sold out some weeks ago, but
we have been rushed off our feet with sales for Sleeping
Beauty too," he said.
The
Moscow City Ballet is visiting Lowestoft for the first
time, along with its own 26-piece orchestra. It will be
the first time that a full Russian ballet company has
performed in Lowestoft accompanied by a live orchestra.
Technical
staff have been working round the clock to ensure that
everything goes smoothly, including alterations to the
theatre's orchestra pit to allow it to accommodate double
its capacity.
Gordon
Fitzmaurice, tour director for international ballet promoter
Victor Hochhauser, spoke of how delighted the company
was to be visiting Lowestoft.
"out
of our entire autumn/winter tour, which is visiting all
the major cities in great Britian and Ireland, Lowestoft's
Marina Theatre has had the highest percentage of ticket
sales. The tour has been going very well, with both the
Sleeping Beauty and Nutcracker receiving rapturous applause
in every venue visited," he said.
The
Moscow City Ballet is in Lowestoft for only three days
- yesterday, today and tomorrow.
31 January 2003, Lowestoft Journal; Lowestoft, UK - Marina Theatre
Thrilling double from the world's top ballet
REVIEW
Nutcracker and Sleeping Beauty, Moscow City Ballet and Moscow City Ballet Orchestra, Marina Theatre, Lowestoft
DIDN'T
he do well? Who? Martin Halliday, manager of the Marina
Theatre, of course who persuaded Moscow City Ballet
to visit Lowestoft.
When
was the last time we had a touring live orchestra accompanying
a ballet?
Hundreds
of theatre goers did not want to miss the opportunity
of quality entertainment, judging by the long fast moving
queue of people outside the theatre, waiting to fill
all the seats of auditorium.
Okay,
we've had ballet at the Marina before, but usually to
taped music - a tiny bit like comparing a karaoke act
to a live band. Although maybe these is no comparison.
Ballet
without an orchestra just doesn't have the same depth
and magic. We wore therefore in for a double treat in
Lowestoft having not only one of the best ballet companies
around, but a great orchestra too.
The
Nutcracker was wonderful, with a tremendously festive
feel. A 20ft Christmas tree adorned with lights and
candles, combined with lighting suggesting the constant
fall of snow, was amazing. Then, together with wonderful
costumes was a visual delight, only spoiled by the busy
backdrop of Act II which distracted from the colour
and texture of the costumes.
Clara,
Maia Vichniakova, danced superbly with Nutcracker Prince,
Talgat Kozhabaev, although she appeared a little vulnerable
when alone. Nonetheless, we were treated to excellent
dancers throughout the memorable performance, who coped
admirably with a small stage. Surely nothing could beat
the Nutcracker which had appeared to my non-ballet loving
comparison?
Perhaps
Sleeping Beauty had added impact because of the reaction
of my young companion who had never seen a ballet or
live orchestra. Her face was an absolute picture throughout.
She
chose which costume she would like to own and had in
her soul when nasty Fairy Carabosse, superbly played
by Dmitri Romanov, caused havoc, although he was her
favourite character overall.
We
were thrilled with the dancing of the Corps de ballet
and soloists and the principal dancers were out of this
world. Nourlan Abougaliev as prince Florimund was faultiness
but Natalia Koungourtseva, Princess Aurora, floated,
making every movement appear effortless in a stunning
performance.
Artistic
director Victor Smirnov - Golovanov deserves applause
for his direction of this superb company.
We
should, however, also applaud Martin for bringing quality
entertainment to the area.
Fantastic.
Sara Higgins.
Enchanting ballet never fails to enthral
FRONT ROW
The Nutcracker, King's Theatre
A
PACKED audience thoroughly enjoyed The Nutcracker, performed
by the Moscow City Ballet.
The
ballet was perfect for post-Christmas - the excitement
of present opening was seen all over again, this time
with ballerinas in colourful costumes.
The
audience did not stop applauding at the end of Victor
Smirnov-Golovanov's Nutcracker, which produced laughter
as well as awe.
At
times, the dance did not perhaps match the drama of the
well-known music of Peter Tchaikovsky.
But
with excellent performance from Natalia Koungourtseva
as Clara, Nourlan Abougaliev as the Prince and Dmitry
Romanov as the godfather Drosselmeyer., it was well worth
watching.
The
second act was
more enchanting than the first with beautiful dancing,
costumes and backdrop - the audience were enthralled by
famous dances, such as the sugar plum fairy.
There
will be another chance to see the Moscow City Ballet when
it performs Swan Lake tonight and tomorrow night from
7.30pm.
EMILY TWINCH
Ballet that's a late Christmas present
The Nutcracker - Moscow City Ballet, Lightouse, Poole
YOU
can't just help yourself. As soon as that familiar
theme beging. Frank Muir's voice pipes up in your
imagination: "Every one's a fruit and nut case...".
The
Dance of the Reed Flutes, of course, is just one of
many well-loved episodes that have ensured the enduring
popularity of this ballet.
As
you'd expect from Moscow City Ballet, the work, showcased
in the grand, traditional manner with choreography
by Victor Smirnov-Golovanov, is presented with commitment
and flair.
And
festive setting, emphasised here by almost panto-style
scenery, makes this a late Christmas present to cherish.
Tchaikovsky's
gorgeous orchestration is complemented by delightful
dancing from principals, soloists and corps de ballet.
On
opening night, Natalia Koungourtseva was elegant and
expressive as Clara but Nourlan Abougaliev seemed
a little hesitant at times as her Nutcracker Prince.
Dmitry
Romanov was charismatic as Drosselmeyer, the Godfather
who introduces Clara to a magical world on Christmas
eve.
An
erotic tension between the pair, which is not usually
underlined, added an intriguing edge of danger to
a relationship.
Elswhere,
highlights of the evening included the high-energy
Chinese Dance, an enchanting Waltz of the Floers and,
of course, the Dance of the Sugarplum Fairy.
David Ross.
Dark dimension to a joyous ballet
MOSCOW CITY BALLET The Lighthouse, Poole By MARION COX
JUST
when you thought you knew a well-loved classical
ballet backwards, along comes a renowned company
who bring to a whole new dimension to the Nutcracker
story.
Gone
is the cosy family tale of children playing with
new toys presented by Drosselmeyer, an avuncular
godfather with a penchant for magic tricks.
In
this production, the godfather has altogether
different designs upon the child Clara and the
sexual element between the two brings a darker,
disturbing aspect to this otherwise joyous work.
And
the Nutcracker Prince is not so much troubled
by the Mouse King as his godfather creator, the
pair of them being rivals for the attentions of
the lovely Clara, definetely not the stuff of
bedtime stories in the nursery.
Wonderful
costumes and a full company of dancers make this
a splendidly lavish production on a stage that
has trouble accomodating everyone at times, not
to mention the numerous musicians in the orchestra
pit.
The
dancers are put through their paces in some excellent
solo classical performances, not least that of
Drosselmeyer who, in a wicked turn of events,
gives a male rendering of the Dance of the Sugar
Plum Fairy.
The
production continues untill tomorrow, with Cinderella
taking to the stage for the rest of the week.
Review: The Nutcracker
The Ipswich Regent, 10th February 2003
Moscow
City Ballet, one of the world's leading ballet
companies, performed The Nutcracker at The Ipswich
Regent. Katy Evans
went along to see if they did justice to Tchaikovsky's
masterpiece.
Moscow
City Ballet pulled out all the stops at the Ipswich
Regent to create a lavish, optically indulgent
performance of the Great Russian Nutcracker; delighting
the eyes just as a rich, calorie-laden chocolate
cake pleases the palate.
Spectacular
scenery and sumptuous, Technicolor costumes combined
with stunning solo performances to provide any
lover of ballet with a night of pure fantasy and
escapism, worth every penny of the ticket price.
As
the curtains part you are transported to a make-believe
world where mice fight toy soldiers and flowers
dance and dolls come to life.
Produced
and choreographed by Victor Smirnov-Golovanov,
the 50-strong cast of dancers execute every movement
with the finesse expected of a professional, international
ballet company.
Clara,
danced by the talented and lithe Natalia Koungourtseva,
is captivating, while Nourlan Abougaliev leaps
and pirouettes impressively as the handsome Nutcracker
Prince.
Tchaikovsky's
score creates a perfect balance between light
and shade, elegance and energy. The first act
opens with a joyous Christmas party that transforms
into a furious battle scene between mice and soldiers.
Following this, a moving duet between Clara and
her Godfather, Drosselmeyer, which fades into
the ethereal dance of the snowflakes, perfectly
capturing the magic of a fairytale winter wonderland.
The
Moscow's interpretation is slightly different
to my recollections. For example, the dance of
the Merlitons or Red Pipes (to the music made
famous by a certain fruit and nut chocolate bar)
is danced not by ladies in tutus but by Drosselmeyer.
What is usually the Land of Sweets is the Land
of Flowers and the famous pas de deux, in this
case, is danced by the Nutcracker Prince and Clara,
not the Sugar Plum Fairy.
However,
these minor details matter not because the dancing
is so spellbinding that the story takes a supporting
role. My only slight criticism was the number
of bows taken. Don't get me wrong, it was certainly
worthy of great applause but there's such a thing
as quitting while you're ahead. I felt the soloists
stayed on stage perhaps a tad too long, squeezing
every last clap from the audience.
All
in all a spectacular night.
Rating: 9
/ 10
Katy Evans.
Russian ballet company thrills packed house
Cinderella, Moscow City Ballet, Lighthouse, Poole
When
a performance has the capacity audience cheering
to the rafters, unwilling to let the company
leave the stage, you can be sure they have
witnessed something very special indeed.
And
special it was, with superb dancing, brilliant
characterisations, spectacular costumes and
an orchestra who brought out all the richness
of Prokofiev's score. There were countless
innovation in Victor Smirnov-Golovanov's inspired
production., including an outstanding 'human
clock' denoting the passing of time. And,
unusually, the male corps de ballet was used
just as much as the female, most impressively
as inhabitants of the Island of the Corsairs.
Comic
scenes abounded, particularly in the wonderfully
expressive antics of Stepmother Alexandra
Moiseenko, with daughters Skinny (Maria Savina)
and Dumpy (Inna Spiridonova),
and also in Dmitri Romanov's personality-filled
King and Gennadiy Batalov agile Dance Minister.
And gravitas, charm and beauty were personiied
in the characters of Fairy Godmother (Marina
Ivushkina), Prince (Talgat Kozhabaev) and
Cinderella (Maia Vichniakova). The clock has
struck and there's no going back this time,
but when MCB are here again please go along.
You won't be sorry.
Linda Kirkman.
14 February 2003, Halifax Courier, UK - The Victoria Theatre
Magic on the points
REVIEW - Cinderella, Moscow City Ballet, Victoria Theatre, Halifax
AFTER
bringing the magic of classical ballet to
many parts of the country Moscow City Ballet
concludes its current visit to the Victoria
Theatre in Halifax with a superb production
of "Cinderella".
The
traditional Russian version of the story
With
Prokofiev's expressive score, beautifully
played by the National Ballet Orchestra conducted
by Igor Shavruk, strong characterisation,
lots of glamour and plenty of humour, the
production is a triumph and cannot fail to
delight.
In
last night's performance Maia vichniakova
was totally charming in the title role. With
secure technique and assured, well phraised
dancing her touching sincerity tenderly expressed
her change from vulnerable, ill-used drudge
to the prince's betrothed.
She
was splendidly partnered by Talgat Kozhabaev,
a strong and gallant Prince with great style
and elegance and their passionate pas de deux
in the final act was magnificently performed.
Alexandra
Moiseenko, Gaukhar ussina and Inna Spiridonova
were very entertaining as Cinderella's selfish
and cruel step-mother and step-sisters and
marina Ivushkina as the Fairy Godmother, attended
by the Four Seasons Fairies, presided with
serene authority over the magic.
The
choreography gives plenty of opportunities
for skillful and diverting character dancing
and there are some fine roles for the male
soloists while the large and talented company
is renowed for the perfection of its corps
de ballet.
The
magnificent costumes and attractive sets were
designed by natalia Povago and the imaginative
fairy tale scene is enormously enhanced by
the lighting scheme of Svetlana Kaganovich.
The
last performance of the company's current
UK tour will take place in the Victoria Theatre
tonight. It would be a shame to miss the opportunity
of seeing an outstandingly good production
featuring such wonderful talent.
PHYLLIS GARTELL.
Giselle turns back time
REVIEW
Giselle / Moscow City Ballet: Grand Opera House
IT must be a long time since Belfast ballet fans saw a performance of Giselle, and last night the first of four performances by the Moscow City Ballet in the Grand Opera House attracted the older generation to see what was for them clearly a trip down memory lane.
This was an attractive performance with excellent scenery and costumes and the playing of the National Ballet Orchestra under the baton of Igor Shavruk gave a very supportive account of Adolphe Adam's tuneful score.
For ballet dancers the major roles in Giselle have always represented the high water mark of their art, with not only demanding first rate dancing technique but considerable dramatic ability as well and many legendary dancers such as Pavlova and Markova were world traveled.
The role of Giselle is a demanding one since she is required to change from being a down-to-earth peasant girl who goes mad and dies on discovering the duplicity of her lover and as Giselle last night we were treated to a first rate performance by Natalia Padalko. This was a performance that rightly aroused the audience to considerable enthusiasm and particularly in her solos this fine artist did the role proud.
Her Prince was Talgat Kozhabaev who proved splendidly supportive as well as adding his own contribution to this role. Also giving a fine account of himself was Gennadiy Batalov who give an excellent account of the role of Hans.
The programme also listed nine artists who filled other roles with distinction and needless to say the dancing was of a high standard and with the Corps de Ballet in excellent form the picture presented was both entertaining, rewarding and very professional.
An important ingredient of Giselle is, of course, Wilis, the spirits of girls who die before their wedding day and from time to time add to the general effect of the performance.
I hope that the younger generation of ballet fans, brought up on a diet of innumerable performances Swan Lake will take this opportunity to see a great classical ballet that deserves their support. Curtain down by the way at 9.45pm.
Rathcol.
09 October 2002, NEWSLETTER; Belfast, UK - Grand Opera House
Sweetheart Giselle served with a twist
REVIEW
Giselle @ Grand Opera House
If you are a fan of US high school flicks, you'll already know Ellie's story.
The prettiest girl in her small town, she has a loving aunt and a congenital heart defect. However, that doesn't stop her falling for Al; the tall dark and handsome hunk who drives by in his open-top Caddie with his fixer friend Prinz.
That's despite her being, in everybody's eyes, not Bobby's, but Hillie's, girl. Maybe there's just the hint of a gold digger about her or maybe she just wants to go to the big city and live the life Hillie the forest ranger couldn't afford.
Of course, it all ends in tears when Al lets his roving eye fall on Hilde, daughter of the local landowner and as the two boys square up for a fair fight she dies in the excitement.
The guys have to high-tail it out of the burg as dusk falls and - souped up on drink or worse - they get bogged down in that mean old haunted graveyard (home to mad Martha) from which only one emerges.
Of course, things were different in composer Adolphe Adam's time, when the original girl was called Giselle, big Al was Albrecht, Prinz really was a Prince and Hilarion just a gamemaker.
The dancers also danced just exactly as they in the Moscow City Ballet's production, with a cast of almost 50 on stage against a fairytale chocolate box Ruritanian set and the same steps and gestures as laid down originally by Marius Petipa and others all those years ago, not a finger out of place, decade upon decade.
Giselle is danced ever so prettily by the doll-like Natalia Padalko, but the statuesque, muscular Alexander Gavrilov (seen in the MCB's last outing here) is too self-regarding to spark any emotion between the two. So it is left to Gennadiy Batalov's spirited back-woodsman to provide what feelings there are in evidence.
Fans of classic ballet will luxuriate in the prettiness of the whole affair, while those who look for a director's intelligent interpretation in the light of the last hundred or so years of psychological sophistication may not.
Ian Hill.
Delightful confection
REVIEW
The Sleeping Beauty, Grand Opera House
There was little in the news yesterday to raise a smile but those who had booked a seat in the Grand Opera House for the ballet Sleeping Beauty found in this delightful balletic confection the perfect therapy for the blues.
The Sleeping Beauty first saw the light as a ballet in the Royal Maryinsky Theatre, St Petersburg, in January 1890 and since then there have been many different versions by various choreographers. Last night's enthusiastic audience were obviously not concerned about whose version they were seeing in a performance which was colourful, entertaining and very well danced.
Dressing and scenery was again excellent and if the brass was a little loud at times for the small strings sections, Tchaikovsky's delightful score came across splendidly. Incidentally, full marks for a splendid cello solo.
The cast was a good all-around one with an excellent pair of principals in Natalia Koungourtseva whose dancing was a delight as the Princess Aurora and she was admirably partnered by Nourlan Abougaliev, whose command of jumps and spins delighted the audience. Admirable duo to top this all-round cast.
All smaller parts were well taken and added splendidly to the performance.
These included Marina Lvuskina, The Lilac Fairy, Dmitri Batalov, Carabosse and German Blagovenhensky as Temperament and Maia Vichiakova.
The small ensembles were very well danced and the Corps de Ballet made major contribution to the performance throughout the evening.
The entire performance was clearly a delight for the audience who not only applauded every dance but even attempted to provide a standing ovation at the end. A rewarding evening.
Rathcol.
The Russians are here to astound
MOSCOW CITY BALLET,
Theatre Royal, New Road, Brighton
IF you have ever wanted to be totally enchanted and moved then head to the Theatre Royal this week for the Moscow City Ballet season.
Be warned, no matter how old and fit you are, you will end up feeling very unfit and very much older. The young cast is as toned as a whole raft of butchers' dogs. They leap around like gazelles, are lifted like feathers and they must have springs in their heels.
The early part of this week saw these splendid Russians in performances of Giselle to the music of Adolphe Adam.
They were elegance in tights, in chiffon outfits of white and costumes of autumnal pastels and vibrant reds and crimsons.
This splendid peasant story of love, death and resurrection is impeccably done. The movements are lithe and smooth, virtually flawless.
And these dancers, both the boys and girls of the corps de ballet and the principals are pretty good actors too. Beatific smiles give way to more solemn gazes as the story is told.
The Russians do take their ballet seriously and it shows. The jetees, the plies, the pas-des-deux are all beautifully executed and they dance before a set that is truly magical, not least the likeside clearing where Giselle is buried and protected by the fairies.
Young and old make their applause firmly felt, not surprising as this is a company to brighten the dullest, coldest and dampest of days.
Swan Lake ends this week's season - probably Tchaikovsky's finest score. But on the evidence of Giselle alone, artistic director Victor Smirnov-Golovanov and Igor Shavruk, the man behind the beautifully-played music, should be proud.
Mike Howard.
City ballet shows its effortless flair
The Moscow City Ballet is at the Corn Exchange until tomorrow.
Review by SUREKA FERNANDO
THE Moscow City Ballet's performance of Giselle last night was a truly spectacular experience. Flawless footwork combined with imaginative choreography and passionate delivery to produce a magical and emotive performance.
The enchanting story tells of a peasant girl, Giselle, courted by a handsome young man, only to find that he is Count Albrecht, betrothed to a duchess. Dying of grief, she joins the Wilis of the forest, ghosts of women who have died of a broken heart.
A remorseful Albrecht returns to reclaim her and under the Wilis' spell he is forced to dance to the death, but he is saved from his fate by Giselle's love for him. He escapes broken-hearted, taking his leave of Giselle forever.
Victor Smirnov-Golovanov's imaginative version of this powerful tale was complemented by stunning costumes and superb sets.
Giselle's (Natalia Padalko) transformation from gleeful girl to a grief-stricken creature was astonishing and Alfrecht's (Talgat Kazhabaer) difficult footwork was executed with effortless flair.
The Moscow City Ballet's production of Swan Lake runs tonight and tomorrow at 7.30 pm.
REVIEWS
DANCE
SWAN LAKE, KING'S THEATRE, GLASGOW
Mary Brennan
A PACKED house and rapturous applause - during, as well as after the performance - would suggest that there is definitely an audience for classical ballet in Glasgow. But then Swan Lake is one of those heritage classics, familiar by repute (and through Tchaikovsky's evergreen score) even among those who've never seen it on stage or screen.
Here is not the place to return to the simmering question of Scottish Ballet's future repertoire: but clearly companies such as Moscow City Ballet will be only too willing to add Glasgow's King's to their touring circuit if this the kind of responce - and box office - they can expect.
So, was the applause deserved? Yes and no. Yes, absolutely, for the corps de ballet Swans. The very sight of those massed white tutus, filling the entire with immaculate geometries, is forever otherworldly and magical. But the effect is significantly heightened when, as here, the Swans move as if controlled by one mind, one sensibility.
Every inclination of head, shoulder, arm - right through to angle of a resting foot - is harmoniously exact throughout the ranks of dancers.
They also have a crispness that isn't overly mannered either, which edges us towards the Jester, I'm afraid. There's no denying the athletic prowess of Roman Arkhypov as he leaps, bounds, and capers, but his attention-seeking antics, frankly, grate, especially when they threaten to upstage other dancers.
Nourlan Abougaliev's Prince Siegfried seemed a little stiff at first, but he partnered strongly and acted intelligently.
Gaukhar Ussina's long, long legs cut a fierce and wonderfully wicked dash as Odile; her Odette was less persuasive through technically adept. Not all of Victor Smirnov-Golovanov's choreographic tweaking are effective or attractive but overall this Swan Lake more than passes muster.
It runs until tomorrow night, followed by Sleeping Beauty on Friday and Saturday.
REVIEWS
DANCE
SLEEPING BEAUTY , KING'S THEATRE, GLASGOW
Mary Brennan
A GLANCE at the company biography page reveals that Natalia Koungourtseva - last night's Aurora - only joined Moscow City Ballet this year. They must do all they can to hold on to her: her technique sparkles and delights, as does her acting. Her first appearance, as the 16-year-old Princes, has none of the saccharin girlishness that you sometimes see, especially from ballerinas too old to know any better. Koungourtseva (who's still in her twenties) allows Aurora a lovely, lively glow at being the centre of attention, even a little hint of minxish mischief as she flirtily dances form one smitten suitor to another. But none of this ever at the expense of the choreography, and when it comes to the crucial elements of the Rose Adage - those unsupported balances on one pointe - Koungourtseva is totally poised, unwavering. Her performance throughout is similarly assured, articulate in every detail and full of enchanting personality.
No wonder Nourlan Abougaliev is such a smiling Florimund - a role that seems to suit him better than Siegfried. Here, he is relaxed, debonair, eating up the stage with circling leaps that have good height and line.
In so many ways, this is a thoroughly handsome and enjoyable production. Marina Ivushkina's elegant Lilac Fairy, the witty nursery rhyme divertissements - with Khasan Usmanov's Bluebird and Gaukhar Ussina's Florina quite outstanding - and, as in Swan Lake, the meticulous synchronicity of the female corps-de-ballet, is a pleasure to watch. So much so, that minor quibbles, such as some of the odd choreographic "adjustments" or the orchestra's tendency to go for gusto over subtlety, are easily pushed aside.
The production's sets and costumes are distinctly classier than of yore, and that, together with an influx of very able new talent, has certainly transformed Moscow City Ballet from a company I didn't care for into one I will forward to seeing again. Run ends tomorrow.
Traditional Russian dancing at its best
Swan Lake
Moscow City Ballet
Theatre Royal, Bath
REVIEW
IT is, of course, wonderful to see some great new work which one has never seen before. There is something very special about the dizzy excitement of theatrical anticipation.
But perhaps the best entertainment in the world is provided by something which we know and which we love, no matter how often we see it.
Something like Swan Lake, perhaps.
With Moscow City Ballet, which is in Bath with two different ballets this week, we have the extra advantage of seeing it beautifully danced.
It would hardly be an exaggeration to say that we are unlikely to see the role of Odette, Queen of the Swans, danced better than she was by Gaukhar Ussina last night. Those who were there soon realized that they were seeing something pretty special.
But it is a beautifully put together work all round with lots of vivid colour, sparkle and snowy whiteness. There is also, of course, Tchaikovsky's music which always sounds like an album of classical music's best known tunes.
Moscow City Ballet is famed for the perfection of its corps de ballet in the best tradition of the Russian school of classical ballet. Here are no gimmicks but ballet simply and beautifully performed as traditionalists would have it.
Swan Lake can be seen again on Thursday, Friday and Saturday. Tonight the company dances Sleeping Beauty.
Christopher Hansford.
Fairy tale magic keeps audience on its toes
Sleeping Beauty
Moscow City Ballet
Theatre Royal, Bath
REVIEW
IT is amazing to reflect occasionally on just how fortunate we are in Bath to have the kind of reputation that brings some of the best entertainers in the world right to our very doorstep.
World class musicians, actors and dancers come to visit us on a regular basis playing, singing and dancing - for those fortunate enough to live in the city centre - within a few minutes' walk of our own sitting rooms.
This week we are fortunate that dancers from Moscow City Ballet have brought two of our favorite ballets to Bath including Sleeping Beauty, with wonderful music by Tchaikovsky, which opened last night.
True, if one wanted to be ultra critical, the stage is on the small size to hold such a large company but there was space enough to see some wonderful movements from this talented company, famed the world over for absolute perfection of its corps de ballet.
Rather lower key than Swan Lake with its dramatic ending, Sleeping Beauty is full of beautiful music and provides enough flexibility for the company to stamp its own personality on the well known fairy story.
But although dancing is what ballet is all about, it is also about weaving a bit of magic and, to that end, the look of the thing is vitally important too.
Here we have beautiful costumes and romantic, fairy tale sets which all combine to give an evening of pure escapism.
Moscow City Ballet dances Sleeping Beauty again this afternoon and this evening.
Christopher Hansford.
13 November 2002, EVENING POST; Bristol, UK - Theatre Royal, Bath
Swan Lake is a mixed bag
REVIEW
Swan Lake, Moscow City Ballet
Theatre Royal, Bath
Artistic director Victor Smirnov - Golovanov formed the Moscow City Ballet in 1988 with the aim to promote the original ideas of the great 19th century choreographer.
Dancers are encouraged to define their own individual characters but always to stay faithful to the original choreography. Strangely with that in mind not all the choreography made full use of Tchaikovsky's wonderful score. Once or twice you felt that the tremendous excitement within the music was under-used.
At the heart of any production of Swan Lake is the dual role of Odette and Odile. A challenge to even the most experienced of ballerinas, this task fell to 22-year-old Gaukhar Ussina.
Technically her dancing may not yet be quite fully developed but her grasp of the dramatic elements in the twin roles was outstanding. She played Odile with a sensuality that made you long to see her play Carmen even if that is not considered to be a classical ballet.
The contrast with the warmth and love of Odette was striking. Talgat Kazhabaev provided strong support, his slightly self-effacing Prince Siegfried showing off Gaukhar to fine effect time after time.
The battle with German Blagoveshensky's a little less flamboyant than usual as Von Rothbart lacked a little fierce passion.
If your taste is for humour broadly played then Roman Arkhypov's performance will please you, if not you will find his Jester a little intrusive.
The company are justifiably proud of their corps de ballet who did excellent work on a stage that really wasn't quite big enough to allow them to completely show off their undoubted talents.
The production can be seen again on Thursday, Friday and Saturday and Sleeping Beauty tonight.
___* THE Moscow City Ballet performs Swan Lake tonight and tomorrow at 7.30pm, the Sleeping Beauty from Thursday to Saturday at 7.30pm, with a Saturday matinee at 2.30pm.
GERRY PARKER
14 November 2002, SOMERSET GUARDIAN; Bath, UK - Theatre Royal, Bath
The best in ballet
By Pip Larkham
THE MOSCOW City Ballet is visiting Bath for the first time this week to perform a sparkling double bill of Tchaikovsky's Swan Lake and Sleeping Beauty.
___The acclaim given to Moscow City Ballet's international tours has established its reputation as one of the world's greatest ballet companies.
The ballet, together with the Moscow Ballet Orchestra, is at the Theatre Royal in Bath until Saturday.
The Moscow City Ballet is famed for the exquisite perfection of its corps de ballet in the best tradition of the Russian school of classical ballet.
The dazzling spectacle of a large cast of supremely skilled dancers, gorgeous costumes and magnificent staging combine to create a magical experience.
Victor Smirnov-Golovanov established Moscow City ballet in 1988.
During his career, he danced as a soloist with the Bolshoi Ballet for more than 20 years and served as chief ballet master at the Odessa Opera and ballet Theatre between 1970 and 1989.
Swan Lake is perhaps the best-loved classical ballet of all.
Tchaikovsky's score, coupled with the famous story of love, deception and tragedy, provides the perfect showcase for the artistry, grace and precision for which the company is renowned.
The enchanting and and romantic story of Sleeping Beauty inspired Tchaikovsky to write some of his most glorious music and this ballet has captivated audiences for more than 100 years.
A fairy-tale in the best Russian tradition, Sleeping Beauty features the delicate princess Aurora, her gallant prince Florimund, the Lilac Fairy and a host of magical characters.
Smooth, but not so exciting
Theatre Royal bath: Moscow City Ballet
presents Sleeping Beauty
THIS was Moscow City Ballet's 370th performance of Sleeping beauty and it showed in the smooth, deceptively effortless-seeming way in which this production unfolded.
Even on a stage which cramped their style a little this was a company who had every move well planned and completely under control.
Beautifully costumed and played in an attractive set designed by their artistic director, Victor Smirnov-Golovanov, the stage was full of ever-changing colourful patterns.
Natalia Koungourtseva brought a delicate doll like quality to her portrayal of Princess Aurora, which disguised the fact that she was a dancer with great physical strength as well as tremendous natural elegance.
There were few lifts in Marius Petipa's choreography between the Princess and Prince Florimund, which was just as well because Nourlan Abougaliev appeared far less confident in that department than he did in the rest of the partnership.
Apart from one or two moments when inhibited by a shortage of space, his solo work added excitement to the production.
As Dmitri Romanov added excitement as the evil-minded Carabosse to a production which was a little short on that ingredient but never lacked interest or elegance of movement.
The production can be seen again this evening and Swan lake tonight, tomorrow and Saturday.
GERRY PARKER
14 November 2002, WESTERN DAILY PRESS; Bath, UK - Theatre Royal
Ballet duo
REVIEWS
Swan Lake & Sleeping Beauty
Bath Theatre Royal
VICTOR Smirnov-Golovanov, artistic director of the Moscow City Ballet, certainly knew what would attract audiences when he chose this double bill of Tchaikovsky ballets.
The contrasting styles complemented each other, encouraging the public to sample both productions. At the heart of them were two very different ballerinas.
In Swan Lake, Gaukhar Ussina was full of dramatic power and feline elegance in the dual role of Odette and Odile, while Natalia Koungourtseva brought cool, controlled graceful movement to her delicate portrayal of Princess Aurora in Sleeping Beauty.
In both ballets the ladies have the more dominant roles and their respective lovers, Prince Siegfried and Prince Florimind, had to rely on their few solo opportunities to show their talents to the full - opportunities which Talgat Kozhabaev and Nourlan Abougaliev readily took.
This is a company that in the few short years it has been in existence (it was only formed in 1988) has already built up a reputation for fine work by the corps de ballet and in both productions at Bath they enhanced that reputation.
It takes hours of hard work to reach the standard of ensemble dancing that we saw with not even a finger, let alone a hand, arm or leg, out of position.
Like so many Eastern European companies these used their arms and hands to great effect, helping to bring an elegance of line to every movement.
These were not the most exciting productions but, steeped in tradition, they were always a joy to look at and brought great pleasure to their audiences.
RICHARD ADAMS
15 November 2002, The Bath Alternative; Bath, UK - Theatre Royal
Swan Lake - Tchaikovsky
Moswcow City Ballet
Theatre Royal, Bath
The composer is Russian, the original choreographer was Russian, so who better to perform Swan Lake than Moscow City Ballet.
Much of Marius Petipa's original choreography remains in this colourful production with the music of Peter Tchaikovsky, his contemporary and collaborator.
The limitations of the Theatre Royal stage were slightly inhibiting factor, particularly for the male dancers, who one felt were capable of spectacular leaps and spins, if only they had a space.
There were moments when composure of the corps de ballet was threatened by some extremely close calls with the flying limbs of passing soloists.
But the judgement was pin sharp and we were treated to some exciting exhibitions of the art.
At first Gaukhar Ussina in the principal dual role of Odette/Odile seemed a little expressionless, although technically superb. But she switched on warmth and charm in the Odile role and the passion seemed to spill over into her later interpretation of Odette.
Talgat Kozhabaev who played Prince Siegfried, is a particularly tall man, who I am sure would have benefited from a much larger stage to show his true potential. Nevertheless he delivered a strong performance, full of feeling.
As his friend Benno, Khasan Usmanov showed grace and technical excellence which made some very complex choreography look deceptively easy.
No one worked harder, whether dancing or being an onlooker, than Roman Arkhypov as the Jester, a particularly Russian inclusion in the cast. His dance and clowing skills were superb, but in addition he never stopped communicating with the audience and with his fellow dancers with gestures and facial expression.
Artistic Director Victor Smirnov-Golovanov was responsible for some of the choreography and no doubt the almost perfectly co-ordinated corps de ballet. There really were no weak links.
Vissually it was exciting including the costumes and sets. The National Ballet Orchestra performed vigorously under the baton of igor Shavruk.
Swan Lake alternates with another Tchaikovsky favourite, The Sleeping Beauty during the week.rite,__
Jo Bayne
Sleeping Beauty - Tchaikovsky
Moswcow City Ballet
Theatre Royal, Bath
SUPERB as everyone else was, you have to give star of the show, Sleeping Beauty, award to the Moscow City Ballet Corps de Ballet: Unnamed, but justly highly applauded by a packed theatre.
Their unanimity, musical responses, en masse movement and elegant cohesiveness was the bedrock on which a stunning, graceful performance depended.
Small can be beautiful; and restrictive. And it was the way in which the company, liberally aided, no doubt, by the resourcefulness and professionalism of the Theatre Royal production team, overcame the limitations of the theatre that elevated this production to something out of the ordinary. Musically, too, there are limitations of size, but conductor Igor Shavruk, brought Tchaikovsky unobtrusive way, brought Tchaikovsky to mercurial life, highlighted by delicacy of flute, tingling harp and the soulful playing of leader Vadim Zilper.
The scenery was as seductive as the whole; there was a mirrored magic, an inimate warmth in miniature about the sequences and, despite the physical inhibitions, a personal interplay that was quintessential Russian romanticism.
Reg Burnard
15 November 2002, THE WILTSHIRE TIMES; Bath, UK - Theatre Royal, Bath
Small is beautiful as Russians get to the point with Tchaikovsky
Swan Lake/Sleeping Beauty
Moscow City ballet
Theatre Royal, Bath
Russian Ballet has always been the standard to which dancers aspire. Judging from the Moscow City Ballet's sublime performance of Swan Lake, it does not take a genius to work out why.
These dancers display a depth of talent you feel fortunate to witness. Swan Lake was not only brought to life, but taken to whole new level.
The artistry, the costumes, the electricity - it was all there with plenty left over.
Russian born dancer Gaukhar Ussina was scintillating as tortured swan princess Odette. Her stage presence was unbelievable.
Dancing scenes are grand beyond belief with the court jester's antics breaking-up the feel of pomp and circumstance. His amateur gymnastics often left the audience in fits of laughter.
Moscow City Ballet Company has performed Swan lake 437 times - practice really does make perfect.
CE ___
SUPERB as everyone else was, the star of Sleeping Beauty award goes to the Moscow City Ballet Corps de Ballet: Unnamed, but justly highly applauded by a packed theatre.
Their unanimity, musical responses, en masse movement and elegant cohesiveness was the bedrock on which a stunning, graceful performance depended.
Small can be beautiful; and restrictive. And it was a way the company, liberally aided, no doubt, by the resourcefulness and professionalism of the Theatre Royal production team, overcame the limitations of the theatre that elevated this production to something out of the ordinary.
Musically, too, there are limitations of size, but conductor Igor Shavruk, brought Tchaikovsky unobtrusively to mercurial life, highlighted by delicacy of flute, tingling harp and the soulful playing of leader Vadim Zilper.
The scenery was as seductive as the whole and despite the physical limitations, a personal interplay of quintessential Russian romanticism.
Reg Burnard.
19 November 2002, The Press and Journal; Aberdeen, UK - His Majesty's Theatre
Swan Lake is the perfect showcase
REVIEW by Roddy Philips
The Moscow City Ballet is renowned for its highly disciplined, beautifully-formed Corps de Ballet and I can't think of a better showcase for them than Swan lake. Watching them dance at HM Theatre in Aberdeen last night you would almost have thought they were gorgeous clones, each one as fragile as the next.
True, there is tradition here, pomp and ceremony - classical ballet enthusiasts know Swan Lake almost as well as the dancers, but there is also integrity in this production and plenty of magic.
Roman Arkhypov's Jester almost steals the first scene but the evening belongs to Natalia Koungourtseva as Odette and Odile.
Swan Lake plays again tonight and tomorrow night at HMT.
19 November 2002, EVENING EXPRESS (final edition); Aberdeen, UK - His Majesty's Theatre
Classical in every way
REVIEW
SONJA RAMSMUSSEN saw Moscow City ballet
perform Swan Lake at His Majesty's Theatre
THERE'S not much Russia needs to learn about classical ballet. And as for Swan Lake - well, let's face it, they invented it.
Danced to the much-loved music of Tchaikovsky, played sensitively by The National Ballet Orchestra, everything about this production makes it a classic.
Row upon row of exquisitely-dressed dancers make up the corps de ballet, rehearsed to perfection and performing as one in the Dance of Swans and the ballroom scenes.
Prince Seigfried is portrayed by Nourlan Abougaliev, whose chiselled features and athletic physique give him a commanding presence, while Natalia Koungourtseva is quite captivating as Odette/Odile.
Staged on backcloths painted in Bolshoi Studio and choreographed in true Russian style by Victor Smirnov-Golovanov, this is the stuff little girls' dreams are made of.
22 November 2002, ADVERTISE; Aberdeen, UK - His Majesty's Theatre
The Magic of Swan Lake
THEATRE REVIEW
by the Culture Vultures (Karin Coltart and Jane Clark)
FOR MOST ballet fans, Swan lake usualy appears at, or near, the top of their favourites list.
Therefore the crowds at Monday's production by the Moscow City Ballet, under the artistic direction of Victor Smirnov-Golovanov came as no surprise. His interpritation was spectacular and very traditional, eith lavish, sugar-spun confecions for costumes and sumptuously detailed backdrops to set the scenes.
The use of lighting took the audience from a bright party to the hauntingly beautiful wooded lakeside with ease.
Thchaikovsky's famous score was handled well by the orchestra, and particularly the harp, which evoked a combination of love and distress as Odette/Odile (natalia Koungourtseva) and Prince Siegfried (Nourlan Abougaliev) struggled in vain with the wonderfully evil Von Rothbart (german Blagoveshensky).
One cannot fail to admire the Corps de Ballet in Swan Lake, as they spend the bulk of Acts 2 and 4 not dancing, but standing gracvefully still. Last night they were like beautiful statues cast from the same mould.
The Moscow City Ballet are also performing Sleeping Beauty during their week long stay in Aberdeen.
If Monday night is anything to go by, it would be well worthwhile to look them up if you have the chance.
29 January 2002, THE SENTINEL; Stoke-on-Trent, UK - Regent Theatre
REVIEW
BALLET
The Nutcracker
Regent Theatre, Hanley
MOSCOW
City Ballet's production of The Nutcracker, which opened last night, was
thoroughly traditional and highly enjoyable.
The
company was launched by Victor Smirnov-Golovanov - now its Artistic Director
- in 1989 and his direction showed in the crisp, flowing artistry of the
dancers.
The
Regent's big stage certainly helped. There was ample room for all the action,
which helped the pas-de-deux and the divertissements.
The
divertissements were all spectacular, but the Chinese dance was quite dazzling.
Elena
Osokina and Talgat Kozhabaev made an attractive pairing as Clara and the
Nutcracker Prince.
Igor
Shavruk, who conducted the English National Orchestra, obviously knows Tchaikovsky's
glowing score inside out.
The
Nutcracker continues at the Regent until Thursday. On Friday and Saturday,
Moscow City Ballet perform Prokofiev's Cinderella.
Eric Snape.
01 February 2002, STOKE - Stage;Stoke-on-Trent, UK - Regent Theatre (http://www.bbc.co.uk)
BBCi
STOKE Stage
January 2002
Nutcracker is ... er ... cracker!
Chris Ramsden falls in love with a ballet - and a ballerina... ==============================================
___Christmas
came a little late to Stoke-on-Trent this year. Let's face it, Christmas
TV was awful, and I haven't been to a panto since I figured out he was always
behind you. But Moscow city Ballet's Nutcracker makes up for all that.
___And
there is so much good music in this ballet - not just the numbers we know
and love like the Sugarplum Fairy. Tchaikovsky's are the ballets you can
go to just for the music. Still, the band may be small but it is perfectly
formed; it was only really a problem in the overtures. I am not qualified
to talk about the dancing. I always thought that if they didn't fall over,
it must be good. But last night, the prima ballerina did fall over - and
it didn't matter.
Not
only did she recover quickly but she was so beautiful, fragile, and graceful
that, like me, most of the men in the audience were prepared to go on stage
to comfort her, given half a chance.
This
was the very first night of a run that takes the ballet to Belfast, Chichester,
Milton Keynes, Norwich, Woking, Canterbury, Bromley, Poole, Brighton and
Richmond by mid-April, and the company's not quite adjusted to Britain yet.
But
if you want Christmas all over again - or to celebrate next Christmas early
- get Santa to give you a ticket to the Regent.
Chris Ramsden
And how did the Moscow ballet's other
production - of Prokofiev's Cinderella - go? Chris e-mailed us this update...
By Friday, the Moscow City Ballet were
on Stoke on Trent time -- and full form.
Prokofiev's music is spiky and modern -- so it suited the smaller orchestra
much better than the Tchaikovsky. The dancing was less classical and much
more athletic, and the dancers plainly enjoyed the extra challenge.
The shoe fit, by the way.
02 February 2002, BALLET.CO MAGAZINE review; Stoke-on-Trent, UK - Regent Theatre (http:\\www.ballet.co.uk)
BALLET.CO MAGAZINE
MOSCOW CITY BALLET
"CINDERELLA"
January 2002
Stoke-on-Trent, Regent
by Trog
(The following is as it appeared on the Ballet.co Postings Page)
A
quick spin up the motorway in the driving rain found Trog in Stoke-on-Trent
to see the Moscow City Ballet at the Regent Theatre. The Regent is one
of the better provincial theatres; it has a old world elegance, which
is missing from many of the newer theatres.
Moscow City Ballet are currently touring Nutcrackers and Cinderellas untilApril, with a couple of Swan Lakes thrown in. The idea of The Nutcracker appearing in April means they are either trying to extend last years Christmas spirit for as long as possible, or make damn sure they first cab off the rank for this year.
Most of these smaller ballet companies have a one good male dancer, while the rest of the chaps do little more than hold the ladies hands. The MCB features a full complement of male dancers, at least 12 by my counting. While one of the chaps is definitely a much better dancer than the rest, the others do a reasonable job. I especially liked the role of the ballet master, one of the King's advisers. The Prince is quite a strong dancer, showing good elevation. Sadly there were no cast sheets on offer, so I can't put names to the faces.
This particular Cinderella is presented in two acts with eight scenes. Choreography is Victor Smirnov-Golovanov, the AD of the company. The costumes are gorgeous, very brightly coloured, mostly in shades of purple. This just happens to be Trogs favourite colour, so no complaints by me in the design department. The set is a nice simple painted affair, consisting of a central archway, with a large clock face above. For the scenes in Cinderella's cottage, a fireplace appears stage right and a dressing table stage left.
The ugly sisters are far too pretty; Trog would have been happy to have taken them home. Actually Trog would like to take all of the dancers home, but that is another story. The only other production of Cinderella I have seen had the ugly sisters danced by two men. This reminded me too much of pantomime dames, so perhaps the good looking ugly sister is a better idea. The step-mother does a good job of being the maitre de; acting very formidably. She looked to me as though she relished this role and was giving it a good go. Cinder's dad is suitably down trodden. I can' say I remember him appearing in the story my Dad read to me as I was tucked up in bed.
The company use a live orchestra, which is a very nice touch, especially as most smaller companies uses CD's. Touring with a full orchestra and a full ballet company is a logistic nightmare. Very well done I say. This is a Prokofiev score that you don't hear every day of the week (unlike R&J) so it made a very nice change. In fact I had forgotten what a lovely score it is.
The grand pdd danced by the Prince and Cinderella at the ball is very nice; in addition to the usual penchees and pirouettes, there are some very pretty low lifts. We usually only see high lifts in a pdd, on account of them being more spectacular. The low lift is so under-utilised. This is one of the nicest pdd's I have seen in a long time. Very romantic and almost tender in places.
The clock is represented by dancers in gold tights and boots, and tunics with Roman numerals on them. They circle, holding hands, with every alternative dancer (the girls), holding their leg over their arms. It is quite a surreal scene, especially the final pose. I though it worked well in representing a clock. There was the works (the dancers circling with interlocked hands), the dial (their costumes) and the chiming of midnight (the final big lift).
After Cinders dashes out and looses her slipper, the Prince and the King go on a world tour to find the foot that fits the shoe. This scene is quite silly, with them ensconced in a carriage at the back of the stage, the four advisers dancing centre stage and some chaps doing repeated plies in second down the wings as horses. I was immediately reminded of Monty Python's Holy Grail (lots of silly knees-bent running about), and I don't think I was alone.
The first destination is the Island of The Corsairs, which consists of some chaps with boleros and short scimitars, and one lady in a Spanish-style skirt and hairdo, and a bare midriff. While this was a nice scene, it did nothing for the story. The Prince rushing out of the coach, waving the shoe at the lady dancer and rushing off again. A similar scene was repeated with the Middle East featuring a harem girl.
The final pdd was really an ensemble, with the fairies, the ugly sisters, the step-mother and, of course, Cinderella and the Prince all taking a turn. A tableau to end a nice ballet.
While not up to the technical standard of the other touring companies (BRB, ENB and NBT), the MCB presented a nice evening of ballet. If they are in your area, they are worth a look.
05 February 2002, THE SENTINEL; Stoke-on-Trent, UK - Regent Theatre
CHILDREN TAKE POINTERS FROM PROFESSIONALS
___CHILDREN from two dancing schools saw the professionals in action when they got the chance to witness the Moscow City Ballet during rehearsals and performances.
Company
director Victor Smirnov invited pupils from Perfect Pointes in Northwood
and the Gloria Harrison School of Dance in Tunstall to watch rehearsals
for The Nutcracker at The Regent Theatre in Hanley.
The
ballet company was so impressed by the enthusiasm of the five to 14-year-olds
that they invited them back again to watch rehearsals for Cinderella.
_Perfect
Pointes teacher Sarah Kearney said: "It was the first time anyone in
the UK had seen this version of Cinderella and the children were thrilled.
It was absolutely fantastic."
05 February 2002, BELFAST TELEGRAPH; Belfast, UK - Grand Opera House
REVIEW
A graceful delight
Swan Lake
Grand Opera House
The
last time I was at the ballet, I owned my own pumps and wanted to be Margot
Fonteyn when I grew up. Last night's opening of Tchaikovsky's Russian classic
brought back some of the magic.
The Moscow City Ballet performed a classical rendering of the immortal love
story, complete with willowy, fluttering swans, handsome muscular courtiers
and an Odette - the tragic Queen of the swans - to engage the audience's
emotions.
To my untrained eye, Odette (Elena Zhavoronkova) was the mature dancer opposite
her young Prince Siegfried (Talgat Kozhabaev). She soared and spread her
wings in a series of demanding, but beautifully executed, solos.
He remained eclipsed by her, but nevertheless exuded a boyish charm and
grace of movement that complemented her starry quality well.
The
supporting dancers lent a strong contribution, in particular the Jester
(Roman Arkhpov), Benno (Sergey Zolotarev) and the eight cygnets who delighted
a packed house with bursts of innovative choreography. Their bodies mimicked
the arching beauty of swans so closely at times, necks craning, arms beating
the air, that you were willingly drawn in to the fantasy.
It's probably fair to say the the Moscow City is not the Kirov, in terms
of sheer panache. A few hairy moments had me on the edge of my seat, especially
when the Jester pirouetted for what seemed like an unnaturally long amount
of time. I couldn't believe he would not be dizzy by the end and, sure enough,
he had to reach out a hand to steady himself.
But let's not look a gift horse (swan?) in the mouth. Belfast has little
enough ballet or opera as it is. It was lovely to sit in our own GOH
among an excited crowd and watch the curtain go up on something so different
and ambitious.
Judging
by the enthusiastic response of the audience, the GOH can probably look
forward to busy run.
Una Bradley.
07 February 2002, NEWSLETTER; Belfast, UK - Grand Opera House
Arts By Ian Hill
Timeless classic can still enchant
What's a lad to do when faced between true love and having a good time?
TCHAIKOVSK'S
ballet Swan Lake, set mainly to Ivanov's and Petipa's original choreography,
can become a mechanical affair in the wrong hands, the chorus but a platoon
of rictus smiles, the principals self-regarding divas.
But not so with Moscow City Ballet's delightful production, directed with
empathy by Victor Snirnov-Golovanov, playing the Grand Opera House.
For
here the settings is some rural Ruritanian Camelot where the handsome
prince, back from his public school, has little taste for anything but
huntin', shootin', fishin' and drinkin' till, out on a midnight wander
in the woods after a sackful of sack, he imagines a white swan turning
into the stunning virginal Odette in the obverse of the Greek legend where
the male swan ravishes the human maiden.
But
the devisish Von Rothbart, German by name, black by costume, would rather
her married his daughter, the racy Odile, who, just by chance, is Odette's
double. So, what's a lad to do when faced between true love and having
a good time?
The
costumes by Elizaveta Dvorkina are ravishing, from the candy floss pinks
of the courtiers to the whiter-than-white feathery tutus of the swans,
whose every elegant movement speaks of the noble birds.
The
English National Orchestra, under conductor Igor Shavruk, adopts a suitably
provincial tone, particularly in the brass, and the score is packed with
teasers of tunes later appropriated by Hollywood and West End musicals.
But
it is surely Elena Zhavoronkova's poignant, doomed Odette and her seductive
Odile who run away with the evening. For,
an accomplished actress as well as a most elegantly persuasive dancer,
she stole the audience's collective hearts, when they weren't being enchanted
by Roman Arkhypov's scene-stealing court Jester. Purists weren't sure
if they counted the requisite 32 fouettes in the seduction scene.
Talgat
Kozhabaev's Prince, some will find too ill-integrated in the action. Others
wondered why Arkhypov takes no curtain call, but these are minor distractions.
Till
Saturday, Grand Opera House.
11 February 2002, IRISH TIMES; Belfast, UK - Grand Opera House
Elegant swans, Purple days
After
the lean years of the past decade or so, what a joy it is to see substantial
resources going back into Russian ballet, so that sumptuous productions
like this can tour the world and bring the magic of classical white
ballet to new international audiences.
Moscow
City Ballet's traditional Swan Lake starts to work its spell from the
ground up, beginning with artistic director Victor Smirnov-Golovanov's
dramatic, gloriously painted backcloths, clearly inspired by Leon Bakst
and the Ballets Russes.
They find
perfect accompaniment in Elizaveta Dvorkina's swirling costumes of embroidered
russet velvets, pearly tulle and the heart-breakingly pure, unadorned
white of the swan maidens.
Then comes
the corps de ballet, young, focused and perfectly in harmony. Some may
not be the conventional build for classical dancers, but they perform
as a well-drilled, coherent ensemble, with some budding principals in
their ranks.
Surprisingly,
it is within the starry ranks of the soloists that the emotional level
drops a notch or two. Elena Zhavoronkova dances with absolute control
and technical brilliance, her Odette ice-cold and devoid of emotion,
her Odile spikily bewitching. She is advanced in years and experience
and shows up Talgat Kozhabaev's rather wooden Siegfried, whose solos
reveal the fine dancer beneath the nervous exterior and who, eventually,
convinces in his portrayal of a young man caught up in an unattainable
sexual fantasy.
But one
senses little passion or connection between the two, and it is left
to the enchanting Elena Osokina to light the touchpaper on the evening,
performing both the Spanish solo and her role as the girlfriend of Sergey
Zolotarev's pixie-like Benno with thrilling tensile strength and beguiling,
confident charm.
12 February 2002, PORTSMOUTH NEWS; Chichester, UK - Festival Theatre
Enough to banish winter blues
FRONT ROW
The Nutcracker
Chichester Festival Theatre
IT
may be February but we are not too far away from Christmas to enjoy
a festive treat like this.
The
Moscow City Ballet present this classic tale which has long been a favourite
with families.
It's
bright and cheerful, with a simple plot and a hearty dose of magic to
banish winter blues.
The
first half is hectic and flies by but there is too much going on and
the principal dancers are sometimes drowned out by all the comings and
goings of the corps. The second half is altogether more stylish and
relaxed, showing off the dancing talents of Ekaterine Selskaya as Clara
and Nurlan Abugaliev as the Nutcracker Prince.
However,
Victor Smirnov-Golovanov's choreography is stilted and unadventurous.
But
these low points are soon forgotten when you combine Tchaikovsky's score
with highlights like the flower fairy solos. Until Saturday.
PHILLIPPA ARNELL
14 February 2002, CHICHESTER OBSERVER; Chichester, UK - Festival Theatre
ARTS & ENTERTAINMENTS
Festive fantasy is a winner
REVIEW
A
glittering production of Tchaikovsky's Nutcracker added sparkle
to bustery February night and brought Christmas back to Chichester.
Set
on Christmas eve, the well-loved tale of festive fantasy captivated
the audience with with wonderful performances from Moscow City Ballet's
young cast.
To
the many young girls watching in awe at the Festival Theatre, elphin-like
Ekaterina Selskaya, who played lead Clara, must have seemed like a
princess.
More
so when she danced dazzlingly with her Nutcracker Prince, movingly
performed by Nurlan Abugaliev.
A
lively first scene crackled with colour and energy, enlivening a rather
uninspired set, as Clara's godfather Drosselmeyer - a charismatic
Dmitry Romanov - performed his magic, bringing toys to life.
Clever
choreography gave maximum menace to a gang of mice with glittering
eyes and saw entertaining fights between the Mouse-King and Nutcracker.
Act
2, set in the Kingdom of Flowers showcased the talents of the lead
performers and brought the evocative music of the accompanying English
National Orchestra into its own.
The
sumptuous costumes looked more ornate and exotic set against the sugar
almond prettiness of the superb supporting ballerinas.
Comic
turns, enchantment and classic Chocolate box ballet scenes made this
the perfect winter pick-me-up.
Sue Gilson
21 February 2002, MILTON KEYNES CITIZEN; Milton Keynes, UK - MK Theatre
Spellbinding spectacle of Russian folktale
PREPARE
to be transported to the magical land of Russian folktale by Moscow
City Ballet at Milton Keynes Theatre this week with their spectacular
productions of The Nutcracker and Cinderella.
With
sumptuous costumes and scenery, The Nutcracker is a fairytale ballet
in the best Russian tradition, an influence that is skillfully and
artistically imparted by the Moscow City Ballet performance.
The
spellbinding spectacle of the Corps de Ballet performing the Dance
of the Snowflakes at the end of Act I, together with the Flower
Fairies Dance in Act II, is only to be eclipsed by the wonderful
skill and style of Elena Osokina as Clara and Talgat Kozhabaev as
the Nutcracker Prince, while Dmitry Romanov, as the enigmatic Drosselmeyer,
exhibits masterly command of proceeding as the enchanting tale of
The Nutcracker unfolds.
Special
mention must be made for the Cherry Flower Fairy's escorts, whose
whiriling aerial acrobatics elicited spontaneous applause from an
entranced audience.
By
popular demand Moscow City Ballet has eturned to Milton Keynes Theatre
with 'a perfect treat for first time attenders to ballet and dedicated
fans' alike with two 'beautifully danced' productions.
You
still have time to catch the final performance of The Nutcracker
this evening, and the classic tale of the put-upon Cinderella on
Friday and Saturday, which, if The Nutcracker is anything to go
by, will be a must for all traditional ballet lovers. Enjoy.
For
details of performance times and to book tickets call Milton Keynes
Theatre on MK 606090.
Laura Sobey.
22 February 2002, Buckingham and Winslow Advertiser; Milton Keynes, UK - MK Theatre
REVIEWS
_____MAGNIFICENT
sets and costumes, favourite characters like the Nutcracker Prince
and the Mouse King - they are all the elements of the classic
ballet The Nutcracker.
___Mix those
with the stunning dancing of the Moscow City Ballet and a beautiful
score by Tchaikovsky and you have a spectacular evening's entertainment.
___And The
Nutcracker, at Milton Keynes Theatre, until tomorrow, Saturday,
certainly doesn't disappoint!
___Costumes
and sets are truly sumptuous, while the interpretation by choreographer
Victor Smirnov-Golovanov is stunning.
And
with the accompaniment of the English National Orchestra, this
performance is a real treat.
The
audience were truly enenthralled by the energy and enthusiasm
of the dancers, while the principals are terrific.
Elena
Osokina as the heroine Clara is exquisite and magical, while Talgat
Kozhabaev as the Nutcracker Prince produces a performance full
of zest and athleticism.
And
with Dmitry Romanov supporting those two with a superb exhibition
as Clara's godfather Drosselmeyer, it is definetely one not to
miss.
Barry Abraham.
22 February 2002, Oxford Times; Milton Keynes, UK - MK Theatre
Good looking... Moscow City Ballet offered a very decorative production of The Nutcracker at the Milton Keynes Theatre earlier in the week. Tonight and tomorrow the company dances Cinderella.
Dance
___________
MOSCOW CITY BALLET
The
council may long since have collected your Christmas tree for
recycling, but a full house for The Nutcracker at Milton
Keynes Theatre proved that Tchaikovsky's ballet doesn't need
to be packed away with the decorations on Twelfth Night.
___Talking
of decorations, Moscow City Ballet's set boasts a fine collection
(designer, Natalia Povago), ranging from multicoloured twinkling
lights on he tree to giant silver balls hanging overhead. And
snowy, painted backcloth completes the picture - although, curiously,
snowflakes actually fall in an unusual shade of yellow. On comes
Clara (a beautifully light-footed,
enthusiastic performance from Elena
Osokina), followed by her godfather Drosselmeyer. Dmitry Romanov's
Drosselmeyer is never an old man muttering over his magic spells,
he's tall and handsome and leaps every bit as high rival, the
Nutcracker Prince. But there are definitely two sides to his
character: happy smiles and a knowing wink when dancing with
girls are replaced by a dangerous leer, worthy of Alan Rickman
at his most sinister, when he's crossed. Talgat Kozhabaev's
Prince starts a little woodenly but soon develops an impressively
fluid partnership with Clara. Victor Smirnov-Golovanov makes
quite a few changes to Petipa's original choreography. On the
minus side, the Sugar Plum Fairy is strangely dumped altogether,
with her dance being allocated to Clara. On the plus side, he
has great fun with his army of scurrying mice, at one point
frightening them off the stage with a spectacularly exploding
cannon. Selected mice are then recalled to the front of the
stage to check out what is going on in the orchestra pit; quite
appreciate this, as the band does have its shaky moments, although
it displays an admirably light touch too. But perhaps Moscow
City's principal current asset is their large female corps de
ballet. Discipline here is truly impressive, yet the dancers
still appear to enjoy their work. This augurs well for Prokofiev's
Cinderella, which is being staged tonight and tomorrow.
Giles Woodforde.
26 February 2002, Eastern Evening News; Norwich, UK - Theatre Royal
REVIEW
Moscow City Ballet's Swan Lake at Theatre Royal
MORECAMBE
and Wise afforded about as much dignity to their treatment of
classical ballet as they did to poor old Grieg's piano concerto.
___The Generation
Game has equally derived much pleasure from forcing its hapless
contestants to clod-hop their red-faced way through the best-known
sequences.
___But such
is the spellbinding quality of the real McCoy that it is more
than capable of withstanding a little light-hearted lampooning
- especially when placed in the athletic hands, legs and feet
of the brilliant Moscow City Ballet.
___Few
things in life turn out to be how you imagined them - last night's
lavish production of Swan Lake was very much the exception.
The
enchanting music of Tchaikovsky's first ballet contains many
familiar favourites beautifully played by the English National
Orchestra.
And
the breathtaking palace and lakeside sets plus a galaxy of dazzling
costumes contribute to the magic and colour of a grand spectacle.
Throw
in the grace, poise, power and balance of the 30-strong cast
and the show is a sure-fire winner. Undisputed stars are Elena
Zhavoronkova as the Queen of the Swans, Talgat Kozhabayev as
handsome prince Siegfried, and Dmitri Romanov as the evil sorcerer
Von Rothbart.
Swan
Lake continues tonight and twice tomorrow followed by Cinderella from Thursday to Saturday.
Trevor Burton.
07 March 2002, Woking News & Mail; Woking, UK - New Victoria Theatre
STATE
OF THE ARTS
_____________________
Back to tradition
IT
was a very grown up interpretation of the Nutcracker
that delighted Woking audiences at the New Victoria Theatre
this week.
___On a
stage rich in colour and bathed in light, the natural quality
of dancers trained in the grand Russian tradition enabled
the true theatricality of the work to shine through.
___Much
of the pantomime and child indulgent pastiche of classical
ballet, seen in some seasonal renditions, was swept away in
this honest to its tradition production by the Moscow City
Ballet.
___The
company's short visit to Woking, part of an extensive UK tour,
will see Cinderella with music by Prokofiev fill the
ample stage of the New Victoria on Friday and Saturday.
Get
tickets if you can and you will experience a precious gem
of Russia's national heritage.
Founder
of the Moscow City Ballet, Victor Smirnov-Golovanov, says
that he formed the company with the aim of promoting the original
ideas of the great 19th century choreographers.
He
describes his choreography of the Nutcracker as being "after the original by Marius Petipa".
It
certainly felt right to a lapsed balletomane, with the confident
soloists displaying bags of character and charisma in their
roles, speaking out to a happy and enthralled audience with
smile, snarl and meaningful gesture.
___Of course,
the renowned corps de ballet is the proud creation of chief
ballet mistress (and Victor's wife) Ludmilla Nerubashenko.
___It must
be a great discipline building environment for young ballerinas.
___Listening
to Tchaikovsky's music played by an orchestra of chamber proportions
is itself revealing.
___We get
so used to hearing recorded versions of the more popular numbers
blasted out by symphonic armies of lush strings, brass and
wind it becomes a special experience to hear the detail again.
___Sacrilege
I know, but suddenly it explained my affection for Duke Ellington's
jazzy interpretation of the second act solos.
___One
quibble I am afraid.
___Considering
this is a company on the road the sets work astoundingly well,
but the opening scene revealed a bulb out on one of sconces.
___I know
I suffer from a light fetish, but the missing twinkle grabbed
my attention for far too long.\\\\
Roger Ramage.
22 March 2002, Croydon Advertiser; Bromley, UK - Churchill Theatre
REVIEW
_____________________
This
company's version of The Nutcracker was the sort
of production which makes little girls dream of growing
up to become ballerinas.
___It
was a fairytale spectacle: glittering with opulence, romance
and above all technical artistry which made one gasp in
wonder.
___The
Russian girls in the large corps de ballet are exquisitely
lissom, fantasy creatures at their pretties in rose pink
for the second act, during which they provided so much more
than mere set dressing.
___Every
choreographer has his own ideas and brings a new interpretation
to this timeless story of a little girl's magical Christmas.
The
ballet opened with a lavish party scene at which Clara's
godfather (Dmitry Romanov as a characterful Drosselmeyer)
appeared first disguised as Santa Claus with a sack of toys
for the children, and then as a magician with three life-sized
dolls: a Nutcracker soldier, a Mouse King, and a delightfully
stiff-limbed doll.
The
festive atmosphere of childlike excitement was very strong
and the growing Christmas tree festooned with lights looked
wonderful.
After
a nightmarish battle between armies of mice and soldier,
Clara found herself in a pine forest where the dancers portrayed
ranks of snowflakes with beauty and precision.
This
ballet contains some of Tchaikovsky's best loved music (played
here by the English National Orchestra), with that for the
brief but exiting national dancers among the most memorable.
___The
Cossacks were less vigorous than some I have seen but the
Arabians were sensual and hypnotic while the smiling Chinese
were wonderfully inventive with some gravity-defying leaps.
___Ekaterina
Selskaya was more than equal to the role of Clara and also
danced the sequence traditionally performed by the Sugar
Plum Fairy.
___By
the time this review appears The Nutcracker will
be over, but the same company present Cinderella,
with music by Prokofiev, tonight (Friday) at 7.45pm and
Saturday at 2.30pm and 7.45pm. Word is that there are very
few tickets remaining.
___
Diana Eccleston.
27 March 2002, Kentish Gazette; Canterbury, UK - The Marlowe Theatre
Style and substance
The
Sleeping Beauty
Moscow City Ballet
The
Marlowe Theatre
WHAT
a feast of wonderful dancing by a superb company!
___In
this traditional production of an old favourite, the
dresses and costumes delighted the eye with paste colours
in the first half and more positive hues in the second.
___Add
plush set designs, effective lighting and a splendid
orchestra and the result was a most pleasing evening.
___Most
of this company's dancers are young and The Sleeping
Beauty offers the chance for many soloists to show their
paces. Almost all of them displayed a rock-solid technique,
the result of years of rigorous training in the classic
Russian tradition.
The
overall standart was high with self-discipline manifest.
From so much impeccable, stylish dancing it is perhaps
unfair to highlight a few dancers but for me praise
is due to Elena Osokina, a petite, lovely and highly-accomplished
dancer who captivated the full house in the demanding
role of the Princess.
Elena
Zhavoronkova's Lilac fairy was appropriately cast in
a different mould, with measured and immaculate dancing.
Equally
good was Talgat Kozhabaev's Prince, whose physique and
style has some echoes of Nureyev. And a special mention
should go to the animated dancing of Nurzhan Iskaliev
as Bluebird.
But
I have a serious niggle, from my seat (E31), I looked
straight into the wings at front stage right. Busy stage
hands and waiting artistes were a big distraction.
This
would be inexcusable in amateur production - it is deplorable
in a professional company.
Donald Hollins.
27 March 2002, Daily Echo; Poole, UK - Poole Arts Centre, Towngate Theatre
REVIEWS
_____________________
Stomp Lake still a delight
Swan Lake - Moscow City Ballet, Towngate Theatre, Poole
IF
you've never been to the ballet before, then now's the
time to break the habit of a lifetime.
___For
here's an excellent company showcasing its talents in
one of the best-loved ballets ever.
___Swan
Lake is a highly accessible work of great beauty and poignancy
- but there's also spectacle, sparkle and joyful high
spirits. And when it's danced as well as this, the experience
is one to cherish.
___I'd
expected a scaled-down affair but this Swan Lake has very
much the stamp of a big production. It looks great, the
costumes are sumptuous and the sizeable orchestra gives
a fine account of Tchaikovsky's sublime music.
Talgat
Kozhabaev is a handsome, supple Prince Siegfried who dances
with youthful fervour and expressiveness while Elena Zhavoronkova
brings great eloquence and subtlety to dual roles of Odette
and Odile.
Roman
Arkhypov makes a big impression as the Jester with a gleefully
camp performance which put me in mind of Graham Norton,
while Dmitry Romanov exudes a suitably malevolent air
as Von Rothbart.
The
dance of the four cygnets and those of the would-be brides
and their retinues are among other pleasures.
Perhaps
the only drawback to enjoying this performance in the
relatively intimate setting of the Towngate is that we
sometimes hear the footwork as well as admire it - an
intrusion that detracts from one or two of the larger
ensemble sequences.
David Ross.
A Russian fairytale
Moscow City Ballet: The Nutcracker and Cinderella, Theatre Royal, New Road, Brighton, until April 6
THE
Russians are back and they have certainly captured my
heart.
___These
Russians are in the very shapely form of the Moscow
City Ballet and they are in Brighton with new productions
of the Nutcracker and Cinderella.
___The
new Nutcracker is a slightly updated version of Tchaikovsky's
fabulous work.
___The
updating won't upset traditionalists too much - it's
just some of the costumes in Act One seem to be from
the Twenties.
___It is
noisy, highly colourful
and great, great fun with some of the finest dancing
I have seen in a long while.
___The colours
are beautifully fresh: Lots of scarlet, blues, mauves,
greens and whites that are so white they come across
like freshly-formed ice - ice with that bluish tinge.
___This
is a fast and furious Nutcracker.
Possibly too furious in that the music is quite
heavily amplified which delivers some distortion from
the horns of the English National Orchestra.
___But
conductor Igor Shavruk keeps up a fast pace and his
dancers are at one with him.
___Tchaikovsky's
tunes come from the heart and any hearer cannot help
but be ravished by them.
___Overall,
this production is a breathtaking, whirlwind of colour
and vibrant dance. Legs flash, feet seem like a blur
and everything is fine with the world.
___This
Christmas Eve tale of toys coming alive and dolls leaping
around like gazelles has always been a favourite and,
whether you are nine or 90, you will be swept up in
the magic.
___It
is an ensemble company but I fell in love with Katerina
Romanov's Clara, who dances as beautifully as she looks
- and she looks stunning.
___And
one of the great delights of this company is that it
has eschewed the generally angular looks of ballet dancers,
giving us women who are soft and beautiful as well as
being highly skilled.
___The
men, too, are no slouches when it comes to the skills
required, easily tossing the women around and matching
them step for step.
___You
get a great deal of dance for your money in the Nutcracker
and the various national dancers are done to perfection.
___This
is great, high-energy stuff that will amaze and delight.
It left me breathless.
The
Nucracker continues until tomorrow. Prokofiev's Cinderella
is on Friday and Saturday. Call 01273 328488.
Mike
Howard.
features@theargus.co.uk
Leaving Brighton on a high note
CINDERELLA: MOSCOW CITY BALLET, Theatre Royal, New Road, Brighton, last week
MOSCOW
CITY BALLET as it had arrived, on a high note and
with my heart in its pocket.
___Its
closing piece, Sergei Prokofiev's Cinderella, was
one of the most pleasing ballet productions I have
seen in a long while.
___It
told the story traditionally but with lashings of
energy, colour and enthusiasm.
___Mime, too, played
a great part as the dancers used not only their steps
but every part of their body to make their point crystal
clear.
___Of
special note was the King, danced by Dmitri Romanov,
who seemed to have springs in his ankles, and the
stepmother, Alexandra Moiseenko, a fine comedy dancer
of great fervour and poise.
___Indeed,
she and her appalling
daughters Skinny and Dumpy (Maria Savina and Inna
Spiridonova) stole virtually every scene they were
in, threatening to eclipse the beautiful and delicately-played
Cinderella of Elena Osokina.
___With
the amplification that marred The Nutcracker earlier
in the week now solved, the English National Orchestra,
under Igor Shavruk, did magnificent stuff in the pit.
___Please bring this
company back soon.
Mike Howard.
Occasionally fluttering in pink
THERE
is enchantment on offer at Richmond Theatre this
week because the Moscow City Ballet in town.
___For
the first half of the week they were presenting
The Nutcracker with the glorious music
of Peter Ilyich Tchaikovsky and which received a
terrific reception on Monday evening.
___Although
the stage area at Richmond Theatre is not vast,
this ballet was performed in the grand manner with
a large number of dancers on stage most of the time
- and a terrific fist they made of it.
___This is a ballet
in two acts - starting magically on Christmas Eve
in a glorious set with cleverly styled backcloth
bearing a superb Christmas tree complete with twinkling
lights. This is just the start
of an amazing story about Clara and her adventures
concerning her godfather and the Nutcracker in the
pine forest, in the Kingdom of Sweets and in the
Kingdom of Flowers.
___There
are some very sinister elements along the way -
there's a scene where Clara wakes to find herself
surrounded by grey mice which has a real chill factor
- there are so many of these masked creatures and
they dance and move in such a slinky threatening
manner you instinctively recoil.
___The
lighter scenes however are very many and very varied.
One flowery sequence where the stage seems to be
fluttering in pink is breathtakingly pretty. There
are some joyously humourous scenes with toys and
dolls jerkily dancing a storm.
___The
music is magnificently performed by a large orchestra
occupying the pit area - and various tunes are so
well known I sensed the audience humming along in
delighted recognition.
___On Monday evening
one dancer fell - oh-so-gracefully and quickly resumed
her steps but such was the audience's involvement
with the ballet there was a concerted intake of
horrified breath - and at the end of her particular
solo, loud and heartfelt applause of concern and
sympathy.
___This evening and
for the matinee and evening performance tomorrow
Moscow City Ballet will be presenting Cinderella
with music by Sergei Prokofiev - and I have
no doubt that ballet too will be a feast of pleasure
to the senses.
Helen Taylor.
Moscow
City Ballet
The Nutcracker
Richmond Theatre
As
part of Richmond's annual dance festival, Leap
into Dance 2002, Moscow City Ballet offered The
Nutcracker (followed by Cinderella later in the
week).
___It's
good to see big, classical companies tacking the
challenges of smaller stages, giving a wider audience
the opportunity to see them. They succeeded in
compressing this average sized production on to
Richmond Theatre's smallish, raked stage and after
some initial jostling the company seemed to settle
into the squeeze quite comfortably.
___Difficult
as it was to glean much information from the programme
notes, other than a reference to it being based
on Petipa's original. I was unable to decide which
period Victor Smirnov-Golovanov, the choreographer/director
and his designer Elizaveta Dvorkina or Natalia
Povago (depending on which section of the programme
you chose to read) had fixed upon. Costumes were
colourful, possibly 1890s, but hairdos were a
mixture of the traditional and a bunch of distinctly
modem coiffures including a Mary Quant, a Doris
Day and a "Posh". The Prologue and transformation
scene muddled along at a hectic gallop. Whilst
the story was clearly told, the large cast at
the start made for some rough edges to the dancing.
The corps de ballet, however, showed their true
mettle at the end of the act by producing a well
rehearsed snow scene.
___Act II gave us
a chance to see some of the soloists of which
the Fairies (as they are in this production) all
gave of their best. I have never seen the Mirliton
dance interpreted as a solo for Drosselmeyer.
Nor have I seen a male dancer execute so many "gargouillades" in so few musical phrases.
The fact that Dmitry Romanov (otherwise an excellent
proponent of the role) seemed able to see the
humour in his predicament, rather saved the moment.
___Ekaterina
Selskaya was an ebullient Clara, whose first tentative
steps soon gave way to an accomplished performance.
She was competently supported by Nurlan Abugaliev
as the Prince, who clearly has the physique for
the role if not yet the subtlety or maturity to
totally convince.
Deborah Weiss.
15 February 2001, THE KENTISH GAZETTE; Canterbury, UK - The Marlowe Theatre
WHAT'S On
Beauty of city ballet
Swan Lake and The Sleeping Beauty
Moscow City Ballet
The Marlowe Theatre
___The Moscow
City Ballet was founded in 1988 by the ex-soloist with the Bolshoi Ballet,
Victor Smirnov - Golovanov.
___In this
comparatively short time he has, as artistic director, achieved extremely
high standards.
___From the
start Swan Lake totally bewitched and entranced as the the young people
celebrated Siegfried's birthday.
___It was obvious
this company has high quality - from the principals to the humblest
dancer.
___Not just
impeccable techniques but assured style that made light of difficulties.Similarly
with the Sleeping Beauty; in both productions I was delighted by the
wonderful painted backcloths that so well enhanced the dancing. Again,
the lighting of Castle and Palace ballrooms was magical.
___Outstanding
both as Odette/Odile and as the Lilac Fairy was the distinguished ballerina
Elena Zhavoronkova whose dancing exuded confidence and style.
___In Swan
Lake Roman Arkhypov was an amusing and beguiling Jester, Anatoli Emelianov
a lithe and impressive Benno and Ekaterina Voevodina a quite exquisite
Spanish bride. Superbly chilling and fluent was Dmitri Romanov as Von
Rothbart.
___In Sleeping
Beauty Elena Osokina (Princess) was quite outstanding. I felt privileged
to have watched two such wonderful productions and marvelled at the
exceptionally high standards of this company. Please
come again!
15 February 2001, MILTON KEYNES CITIZEN; Milton Keynes, UK - MK Theatre
From Russia... with love!
By Sam Ward
THE excellent Moscow City Ballet are in town this week wowing audiences at Milton Keynes Theatre with two classics - Swan Lake and Sleeping Beauty.
I was fortunate enough to get tickets for Swan Lake - both ballets were sold out - and what a treat it was.
Virtually a ballet beginner, having only seen The Nutcracker before, I was worried I might be out of my depth.
But the classic love story, which I vaguely remembered from my school days, came flooding back.
Basically, for those who do not kno the tale, it is about a prince, Siegfried, who on his 21st birthday is reminded by his mother it is time for him to marry.
But he shuns the princess paraded before him, after his attention is captured by a swan who is transformed into a beautiful maiden - Odette, Queen of the Swans.
But the evil sorcerer Von Rothbart holds her under his spell and she must remain a swan by day and a human at night. Only the pure love of a young man can remove the curse.
Elena Zhavoronkova was graceful and stunning as Odette and Talgat Kozhabaev strong in the role as Prince Siegfried.
Other characters of note were the Jester (Anatoli Emelianov) who brought some humour to the somewhat sombre story and Dmitri Romanov as the wicked Von Rothbart.
The costumes were exqisite and the sets were very cleverly done and last but certainly by no means least, the National Ballet Orchestra was excellent in performing Tchaikovsky's wonderful and stirring music.
What a performance!
23 February 2001, EVENING ARGUS; Brighton, UK - Theatre Royal
A Red riot of colourful Swans
MOSCOW CITY BALLET,
Theatre Royal,
Brighton,
until Saturday
THE RUSSIANS are in the city and they are glorious. Moscow City Ballet has captured my heart in its production of Swan Lake which you can see today and tomorrow.
I don't think I have ever seen such a colourful show at the Theatre Royal. The stage becomes a riot of colour in the court scenes and changes to a gray - blue, eerie half darkness in the eyes as the colours are almost in overload.
The first thing that strikes you is the backdrop. It is a curtain containing two magnificent paintings, bright and vivid, as though they had just been completed.
Then there are the costumes - all the imperial colours are here. Bright reds and scarlets, vivid blues, deep browns, whites so white that they have a tings of blue, even the grays look bright.
The costumes must have kept the seamstresses in work for months and months and the company's laundresses must work overtime to keep them looking so fresh.
And, of course, there is the dancing. These dancers do not so much dance to Tchaikovsky's music as inhabit it. Not one movement, not one gesture is made that does not come from the music.
The dancing is energetic without seeming to cost any effort. It is seamless, beautifully fluid, incredibly graceful and, above all, it looks natural.
You believe the court dancers are real, you believe the swans are real.
The principals, Elena Zhavoronkova as Odette / Odile, Talgat Kozhabaev as Siegfried and Dmitri Romanov as Von Rothbart - and he must have the slimmest legs in the business - are all excellent. But do watch out for Roman Arkhypov's Jester who is infectiously pleasing, stealing the opening act.
The corps de ballet is strong, too. Even the four cygnets in their dance, which has been parodied so often, make it fresh and uncliched.
Musically, the company orchestra takes Tchaikovsky's score and wrenches the heart with it. Conductor Igor Shavruk knows exactly what he is doing and does so magnificently.
SWAN LAKE finishes on Thursday evening and is followed by another Tchaikovsky piece, The Sleeping Beauty. Both can be seen in March at the Festival Theatre, Chichester, where there is an added bonus of some performances of Prokofiev's ballet Cinderella.
MIKE HOWARD
Russian rarity brings a lively splash of colour
BALLET
Don Quixote
Liverpool Empire
AT LAST, a classical ballet in Liverpool that has not been performed umteen times before.
For that we have to thank the visiting Moscow City Ballet who are giving us two nights of choreographer Marius Petipa's colourful work during their week-long stay.
First staged in Moscow in 1869, it has notalways been popular in the West, possibly because it does not have music by Tchaikovsky.
That's a shame as the music by Ludwig Minkus is just as lively as Tchaikovsky's and has the foottapping quality of a Johann Strauss. To be frank, though, there isn't a lot of plot, more a series of country dances through which Quixote wanders, looking baffled much of the time. This production is based on ideas by a number of choreographers including those of Petipa himself and Moscow City Ballet's own artistic director Victor Smirnov - Golovanov.
The result is a sunny, colourful evening of dance with some splendid costumes and sets, and enormous amounts of energy.
The ballet is repeated tonight and tommorow the company start two nights of another city rarity, Prokofiev's Cinderella.
Philip Key.
RICHMOND THEATRE
PRESS RELEASE
hitLIST...........................................previews
Amazing grace
Russians seem to be synonymous with all things graceful.
Not only can they boast world-class gymnasts and ice-skaters, but they are also renowned for their ballerinas.
Next week, Moscow City Ballet comes to Richmond Theatre as part of its UK tour, during which time it will clock up its 1,000th show on our shores.
From Monday until Thursday, the group will perform Swan lake, by Tchaikovsky, which tells the story of Queen Odette, a woman who has been turned into a swan by an evil sorcerer. The spell will only be broken when a man declares his undying love to her.
Following this, on March 9 and 10, they will perform Sleeping Beauty, also by Tchaikovsky, the popular tale of the princess who is pricked by a spinning needle poisoned by wicked fairy, and falls into a deep sleep until she is kissed by her Prince Charming.
According to Lillian Hochhauser, who has helped organise the tour, these are probably the two most popular ballets ever written.
"People know the music," she said. "They also have fantastic stories and are stunning to watch."
Since it was founded in 1988 by Russian choreographer Victor Smirnov - Golovanov, the company tried to make ballet accessible to as wide an audience as possible, with a particular focus on young people.
Its dancers typically spend six months a year on tour.
About 60 performers take part in the production, half of which are female. One of them is Zhavoronkova Elena, 35, who plays the roles of Odile and Odette in Swan Lake, and Princes Aurora and Lilac Fairy in Sleeping Beauty.
Her love of ballet was born when she was four years old and saw ballet dancers on television. When she was eight she enroled at the Saratov Choreographic Institute. A typical day would see her studying in the classroom during the mornings then receiving ballet tuition during the afternoons.
Nowadays she can't imagine doing anything else for a living.
"My dreams have become true," she said. "I dance the roles which I dreamed about, such as fairies who wish to bring kindness for everyone.
"Of course, I get nervous when I go on stage, but I love the self expression and happiness it gives me."
The productions are part of the tenth annual Richmond festival, Leap Into Dance. The coming weeks will bring styles ranging from Spanish flamenco to ballet, Irish, tap, ballroom, tea dances and contemporary.
JENNIE JONES
RICHMOND THEATRE
Great drama on the lake
LUSH and sumptuous are two of the words which spring to mind when I ponder the Moscow City Ballet Company's presentation of Swan Lake at Richmond Theatre on Monday night.
The drama started before the curtain rose - in a very dark auditorium the grand and accomplished orchestra played the overture redolent with wonderful tunes - and then with a sharp intake of breath and much blinking of the eyes we gradually adjusted to the ultra-bright stage area.
In the ballet the court scenes are very important for setting the characters in their true setting.
For the opening dance, the colours are all gold and chestnut and apricot and with tremendous grace we are swept into the scene. This court comes complete with a jester who is extremely agile - leaping, bounding and gesticulating and somehow clowning and miming jokes which have the audience laughing out loud.
The principals present their characters and the complicated footwork seemingly effortlessly and one is thus enchanted. However it is the chorus work which sets my factors tingling.
Truly there is something totally wondrous about a large group of men, beautifully costumed jumping and cavorting about a stage in marvellous unison... and as for large flocks of talented young women as swans with their neat feathered heads, gorgeous white tutus with skirts veritably parallel to the floor... delight is complete.
At the opening of the second half of the ballet, the dancers are all dressed in gorgeous court costumes with headresses and cloaks for the women, floppy hunting beret adorned with jewel - affixed feather for each of the men - and heck, that's just the chorus. The principals are in even finer finery complete with jewelled head - dresses.
The drama on the lake itself is beautifully done - I believe the audience was uniformly appreciative and there were several curtain calls. I enjoyed the evening immensely.
HELEN TAYLOR
Moscow's rich and traditional working
of engaging ballet
REVIEW
Swan Lake
Chichester Festival Theatre
SWAN LAKE is an engaging ballet with a sumptuous score.
It has an easy - to - follow narrative, making it the perfect production for those who may not be a fan or familiar with the art form.
Prince Siegfried is enjoying his 21st birthday when his mother reminds him of his responsibility to chose a wife.
With thoughts of his carefree youth slipping away, he becomes morose, and is friends, spotting a flock of wild swans, suggest a hunting expedition.
The swans are in fact a group of maidens enchanted by a spell cast by the evil sorcerer Von Rothbart. Siegfried falls in love, but it is a love that is doomed. Moscow City Ballet present a rich and traditional working of the tale, with some fine dancing and finely tuned musicality. Elan Zhavoronkova's Odette is minimal, with clean lines and an easy elegance. Talgat Kozhabaev takes the role of Siegfried.
He is a wonderful dancer when alone but in his duets often appeared apprehensive. The pair were at their best at the denouement, leaving the audience on a high.
The corps de ballet was strong while Anatoli Emelianov gave a sprightly performance as the jester.
Tchaikovsky's stunning score was played with finesse and sensitivity by The National Ballet Orchestra. Despite a small stage, the set-pieces were carefully crafted.
Until Saturday.
PHILLIPPA ARNELL
16 March 2001, CHICHESTER OBSERVER; Chichester, UK - Festival Theatre
Classical ballet from classical company
Classical ballet from a classical company comes to Chichester Festival Theatre this week.
Moscow City Ballet performed Swan Lake on Monday and Tuesday; The Sleeping Beauty on Monday and Tuesday; The Sleeping Beauty is the show on Wednesday and Thursday; and Cinderella completes the week on Friday and Saturday.
Moscow City Ballet was formed 16 years ago by Victor Smirnov - Golovanov whose aim was to teach his young dancers the original ideas of the great 19th century choreographers while encouraging them to express themselves artistically.
The Sleeping Beauty introduces characters such as the comely Princess Aurora, the gallant Prince and the Lilac Fairy.
Inspiring Tchaikovsky to write some of his most glorious music, this classic perfectly demonstrates the talents of the company's soloists.
Perhaps the most celebrated fairy tale of them all, Cinderella has all the ingredients for a truly magical experience. Bearing the brunt of her scowling sisters' temper tantrums and her stepmother's malice, Cinderella is transported to paradise by her handsome Prince.
A lavish ballroom scene, plenty of comedy and a happily ever after ending are all danced to Prokofiev's beguiling score.
Gordon Fitzmaurice, concerts manager with company, is delighted o be part of its success.
"Victor was an ex-dancer himself, and he wanted o form his own company. They have gone from strength to strength since then.
"They are based in Moscow, but they do a great deal of touring work outside Russia. They have just finished a very successful tour to the Far East.
" They are primarily a very classical company. They are mostly performing classical work in quite a traditional way. They follow a very definite Russian way, a very classical Russian style of performance. I don't really know how to describe it. It's just very, very classical.
"They are great to work with. They are fun. And they are dancers of very, very high quality. They are very distinguished dancers and they enjoy this country. They come back every year. They always tour this country and it is always very well received. They always have good audiences and it always goes down well.
"I may well come down to see them in Chichester, but I don't spend all my time with them. They are very self-sufficient company. They are well used to being in this country."
22 March 2001, NEWS & MAIL; Woking, UK - New Victoria Theatre
Swan Lake a classic start
As Russia was the birthplace of ballet, it was appropriate that the Moscow City Ballet should open the New Victoria Theatre's contributions to the delights of the Woking Dance Umbrella.
And the Monday night audience was not disappointed by this company, which is one of Russia's greatest exports, as it spends so much time abroad.
Swan lake was the complete classical ballet experience.
Richly decorated sets, sumptuous costumes and the flowing music of Tchaikovsky combined with exquisite technique in dance that, on occasions, made one gasp.
It was once suggested to this critic that when going to see classical ballet, the audience is paying to see people torture themselves.
But, of course, with dancers of this calibre, the breathtaking technique makes the torture look easy, positively graceful.
Moscow City Ballet is very much the child of Victor Smirnov - Golovanov who founded the company in 1988.
His aim is to bring this important part of the national heritage of Russia to as wide a public as possible, especially the new generation of young ballerinas, said the programme note, and there were a good number of them in the audience, perhaps seeing Swan Lake for the first time.
Watching the face of a child, totally absorbed, would have made him and his colleagues feel they were achieving their aim. And no doubt mum will be involved in the Saturday morning rush to ballet class with a lighter heart this weekend.
Elena Zhavoronkova was a graceful Odette and a seductive Talgat Kozhabaev a handsome prince. There was an appealing jester from Anatoli Emelianov and a brooding Von Rothbart from German Blagovechenski. Certainly the bad boys and girls have the best dances, not necessarily the best tunes in Swan Lake.
But the supreme stars of this production, who rightly took the curtain call along with the principals and their artistic and musical director, were the corps de ballet.
There was pinpoint precision of movement and textbook static poses, held in total stillness, so that they were a part of the setting, from this flock of swans.
Matthew Bourne who choreographed a Swan Lake with an all male corps de ballet has a lot to answer for, however, as the thought "they don't really look like swans" slipped into my mind. What heresy, but at that point I would have liked a little more passion amidst the precision.
Then the glorious music swept in and with it away went all such heretical thoughts.
The Dance Umbrella covers a wide range. This is where it all springs from.
Christine Smith
Not the full monty but still superb
Don Quixote by Moscow City Ballet at Newcastle Theatre Royal
When I reviewed MCB's version of this rarely - seen piece three years ago, I expressed a wish for its speedy return. I'd like to think I was influential, but probably not. Let's just be grateful.
Don Q - or Keeshot to the Russians - is one of those classics which are so infrequently performed in this country that it can be forgotten that they exist. It has a rich heritage back to the 19th Century, but is most often represented in the repertoire of non-Russian companies by an extracted pas de deux.
This version is not Marius Petipa's "full monty" which is a four-acter. The action here is distilled to two acts. As none of the audience is likely to have seen the full-length Don Q, it doesn't matter.
We have the heart of the matter in Kitri and her Basil attempting to maintain their relationship against her father's wishes and dear old doddery Don Quixote mistaking the girl for his beloved Dulcinea, a windmill for a dragon to be vanquished and living in the weird place of his imagination.
In two respects - one rewarding and the other increasingly irritating - this is a typical Russian production. The corps de ballet is stunning, all straight back and soft arms and impossibly young. They come close to stealing the show.
Irritation mounts with repeated examples of Russian dancers' love of applause. After each solo or piece of technical flair, the performers take their flamboyant bows, milking the applause beyond reason. It is unnecessary and a hesitation in the performance.
In Elena Osokina as Kitri and Stanislav Bukharaev as Basil, we have two principles who grab the roles with great energy and feeling. The pedants in the audience - of which I was one - counted Kitri's fouettes in he great final pas de deux and reached the magical 32. This time, the applause was justified.
It amounts to a splendid evening.
On Wednesday and Thursday, Don Q is replaced by Sleeping Beauty and on Friday and Saturday by Cinderella. If they are as good as this first production, it will be a memorable week.
Dick Godfrey
14 April 2001, THE SENTINEL; Stoke on Trent, UK - Regent Theatre
Review: The Sleeping Beauty
TCHAIKOVSKY'S most brilliant ballet, The Sleeping Beauty, received a magical presentation at the Regent Theatre, Hanley, last night.
It was given by the very young but very experienced Moscow City Ballet company and, like their Swan Lake - staged at the Regent earlier in the week - bore the hallmarks of enthusiasm and class that Russians invariably bring to performances of Tchaikovsky.
The backdrops were remarkable for a touring troupe, having hallucinatory depth and lighting, and the orchestral playing was well balanced.
The dancers showed elegance as well as enthusiasm, especially the many principals, and the corps-de-ballet - despite one tumble - swirled merrily round the stage.
Sleeping Beauty is a better ballet than Swan lake: the scenario follos Perrault's fairy tale clsely and the sets dances always point up the drama, no matter how marginally.
Even the wedding pieces - Little Red Riding Hood, Bluebird, Puss-in-Boots and the rest - have significance to the plot.
It proved impossible to attach names to characters, and it wouldn't have meant much anyway, but the Princess Aurora managed her taxing role with easy grace, and her Last Act pas-de-deux with the athletic Prince Florimund was a triumph.
Ballet always seems to do well at the Regent, and fans must now wait until June for Romeo and Juliet.
Sleeping Beauty has its last performance at the Regent tonight (8 pm).
04 May 2001,FREE PRESS; High Wycombe, UK - Wycombe Swan Theatre
BFP FREETIME REVIEWS
Rapturous applause
Swan Lake
Wycombe Swan
THIS was a superb production performed by the Moscow City Ballet. Elena Zhavoronkova made the transformation from the fargile Odette to the haughty sinister Odile with perfection. Talgat Kozhabaev was a dashing Prince Seigried with German Blagovechenski portraying the sinister Von Rothbart and Roman Arkhypov gave a stunning rendition as the Jester.
The story of Swan Lake is so familiar that it needs no interpretation. The costumes were magnificent as was the set and the ballroom scene with its gorgeous colours ofered a complete contrast to the scenes by the lake with the lighting giving the effect of riipping water.
The haunting music of Tchaikovsky played by the National Ballet Orchestra added to the enjoyment. The sight of 26 white swans on stage was breathtaking and the choreography and dancing technique were outstanding throughout.
The audience showed their appreciaion of this excellent ballet with rapturous applause as the principals took several curtain calls. This was an evening for all ballet lovers and if you were not fortunate enough to have seen Swan Lake, the Moscow City Ballet is performing Cinderella tonight and tomorow. Another triumph for The Swan.
Rita Carpenter