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London Coliseum
28 August-5 September
and touring in Dublin from 20 November
Julia Pascal
How thrilling to see the state Baller of Georgia in London for the first time. The Company is lucky enough to have mega star Nina Ananiashvili as Artistic Director. She has a huge international reputation and has been recognised as one of the major world-class ballerinas of her generation. I very much enjoyed the interesting changes she made to the ballet’s dramaturgy which were refreshing.
Swan Lake is a war horse. To see it freshly interpreted by Ananiashvili and Alexei Fadeyechev is a relief. The narrative’s fairytale element, originated by Marius Petipa and Lev Ivanov, is of course, true to its Imperial Russian origins and yet there are moments of contemporary reference so subtle they might be missed. In the Black Act’s pre-nuptials the national dances usually include Cossack dancers or some form of traditional Russian dancing. Here this element seemed to be replaced by a Ukrainian moment where the principal dancer was dressed in a winning yellow and blue costume. Surely this Ukrainian flag colour scheme was no accident. After Ukraine, is Georgia next in Putin’s sightlines?
I liked Oleg Lihai’s Siegfried. I have never seen a happier prince. Lihai is boundless and his elevation is extraordinary. It is only by the end of the second act that his landings are less than secure.
Siegfried’s homo-erotic friendship with Benno, richly danced by Efe Burak, is delightfully playful. It offers a loving, fraternal duo who have to deal with the demands of women pushing marriage.
Most interesting in the changes to traditional male performances in this ballet is the portrayal of Baron von Rothbart. He is often pantomimic which I find simplistic. This is the first time I have seen such a humanised characterisation of the malign force. Marcelo Soares von Rothbart the power of an impresario calling his dancing girls onstage as he summons and dismisses his swan-maiden chorus. The humanisation of the character is developed further into the Black Act as the Baron arrives with his Spanish Dancers as a marriage gift to the Court. The Spanish Dancers, Tata Jashi, Ana Modebadze, Giorgi Bestavashvili and Filippo Montanari are olympians as they hit the deck with their back-bends eliciting a collective audience ‘wow!’
As Odette, Nino Samadashvili is a fine technician but it is as Odile that she really shines. This role releases her into a bravura performance that is transformative. Within the long second act, I felt that the choreography might have offered more to the magnificent Ina Azmaiparashvili, as the Queen Mother. Current choreography on;y allows her to walk a little, mime a little and sit around a lot. As von Rothbart has been allowed more humanity, surely choreographers might allow the Queen some moments of interaction with others. She might even flirt with von Rothbart to make her more of a flesh and blood woman and less of a waxwork figure.
The end of Swan Lake is traditionally tragic as the Prince has betrayed his true love and she must die according to the legend. Georgian Soviet dictator Joseph Stalin wanted a happy end so as to send out his audiences happy. Consequently, the ballet’s traditional finale was changed to a happy end. This version also ends in Soviet-style redemption as the Swan Princess is turned into a living woman ready to be the Prince’s Princess. Is this a Communist or a Hollywood end? Or both?
State Ballet of Georgia – Swan Lake
London Coliseum
28 August-5 September
and touring in Dublin from 20 November
Julia Pascal
How thrilling to see the state Baller of Georgia in London for the first time. The Company is lucky enough to have mega star Nina Ananiashvili as Artistic Director. She has a huge international reputation and has been recognised as one of the major world-class ballerinas of her generation. I very much enjoyed the interesting changes she made to the ballet’s dramaturgy which were refreshing.
Swan Lake is a war horse. To see it freshly interpreted by Ananiashvili and Alexei Fadeyechev is a relief. The narrative’s fairytale element, originated by Marius Petipa and Lev Ivanov, is of course, true to its Imperial Russian origins and yet there are moments of contemporary reference so subtle they might be missed. In the Black Act’s pre-nuptials the national dances usually include Cossack dancers or some form of traditional Russian dancing. Here this element seemed to be replaced by a Ukrainian moment where the principal dancer was dressed in a winning yellow and blue costume. Surely this Ukrainian flag colour scheme was no accident. After Ukraine, is Georgia next in Putin’s sightlines?
I liked Oleg Lihai’s Siegfried. I have never seen a happier prince. Lihai is boundless and his elevation is extraordinary. It is only by the end of the second act that his landings are less than secure.
Siegfried’s homo-erotic friendship with Benno, richly danced by Efe Burak, is delightfully playful. It offers a loving, fraternal duo who have to deal with the demands of women pushing marriage.
Most interesting in the changes to traditional male performances in this ballet is the portrayal of Baron von Rothbart. He is often pantomimic which I find simplistic. This is the first time I have seen such a humanised characterisation of the malign force. Marcelo Soares von Rothbart the power of an impresario calling his dancing girls onstage as he summons and dismisses his swan-maiden chorus. The humanisation of the character is developed further into the Black Act as the Baron arrives with his Spanish Dancers as a marriage gift to the Court. The Spanish Dancers, Tata Jashi, Ana Modebadze, Giorgi Bestavashvili and Filippo Montanari are olympians as they hit the deck with their back-bends eliciting a collective audience ‘wow!’
As Odette, Nino Samadashvili is a fine technician but it is as Odile that she really shines. This role releases her into a bravura performance that is transformative. Within the long second act, I felt that the choreography might have offered more to the magnificent Ina Azmaiparashvili, as the Queen Mother. Current choreography on;y allows her to walk a little, mime a little and sit around a lot. As von Rothbart has been allowed more humanity, surely choreographers might allow the Queen some moments of interaction with others. She might even flirt with von Rothbart to make her more of a flesh and blood woman and less of a waxwork figure.
The end of Swan Lake is traditionally tragic as the Prince has betrayed his true love and she must die according to the legend. Georgian Soviet dictator Joseph Stalin wanted a happy end so as to send out his audiences happy. Consequently, the ballet’s traditional finale was changed to a happy end. This version also ends in Soviet-style redemption as the Swan Princess is turned into a living woman ready to be the Prince’s Princess. Is this a Communist or a Hollywood end? Or both?
Julia Pascal © 2024.
By Julia Pascal • dance, music, year 2024 0 • Tags: dance, Julia Pascal, music