Bolshoi Ballet: Le Corsaire -
Lyric Theatre, 30 May -
Bolshoi means “large” or “grand” and this quality of grandiosity is epitomised in Le Corsaire, the Bolshoi Ballet’s 2007 revival of the exotic, swashbuckling tale of pirates, slave traders and concubines.
The ballet’s origins go back to France in 1856, inspired by Byron’s 1814 poem “The Corsair” and reflecting society’s fascination then for all things oriental. However, since its subsequent revision in 1868 and again in 1899 by Marius Petipa, it has been associated more with companies in Russia than in the West. It is the 1899 version that is honoured in this production by Alexei Ratmansky, with the addition of his own choreography.
Le Corsaire tells an action-packed story over five scenes in three acts. From curtain up the rich visual detail in the costumes and sets alone, (which segue from a bazaar to a pirate cave, a seraglio and finally a stormy sea complete with sinking ship), indicated we were in the hands of masters.
The first soaring grand jeté by principal dancer Maria Alexandrova (Medora) confirmed the glorious elevation and broad, effortless movement for which the Bolshoi dancers are renowned. Together with an expansive and fluid use of port de bras they commanded the stage in a performance that exuded energy, while telling the convoluted and fanciful tale of the kidnapping of Medora by the pirate (corsair) Conrad with conviction and a fair dash of tongue-in-cheek humour.
The role of Medora requires a brilliant, effervescent technique and extraordinary stamina as she is on stage for most of the ballet. Alexandrova was quite glorious; technically faultless, she has a beautifully extended line, soaring elevation and needle sharp batterie, with a warm, charismatic stage presence.
The lithe Vladislav Lantratov as Conrad (who along with the other pirates sported Johnny Depp-styled beards and long hair) was also superb. His solo in the pas de deux famous for its pyrotechnics did not disappoint. Ferociously fast turns à la seconde that came perilously close to spinning out of control, were breathtaking.
This pas de deux is seen early in the second scene of the ballet, with both dancers resplendent in blood red velvet. Alexandrova again dazzled in Medora’s solo with similarly dervish-like fouette turns.
Principal dancer Nina Kaptsova as the odalisque Gulnare was also delightful with neat articulated footwork, a warm demeanour, and large jumps which she effortlessly pulled into sustained relêvés en pointe. Likewise Vitaly Biktimirov lent dash and élan to the role of the rogue pirate Birbanto.
Soloist Denis Medvedev in the first scene pas de deux Pas D’Esclaves, impressed with his flamboyant turns and soaring grand assembles into full plie, although his partner, Kristina Kretova, while technically impeccable, was expressively more reserved.
The Odalisque pas de trois with its series of solos was also a tour de force of beaten steps and sustained relêvés in some difficult choreography. Overall the movement in form and construction kept surprising, with innovative patterning and less commonly used steps.
Le Jardin Animé, the scene introduced by Petipa in his 1899 revival, is one of beautifully described patterns and lines, which while not propelling the drama one bit, acts as an hiatus, a sublimely serene segment of pure dance. Although at times it seemed that the formations were compromised by the smaller stage, the dancers’ hooped white tutus with their undulating overlay of white silk, the ornamentation of pink flowers, singly, in bunches and in garlands, all framed within a magnificent Turkish palace setting of creams, turquoise blues and orange, was visually superb.
Le Corsaire encapsulates the essence of 19th century ballet, but it does not represent the era’s best works. Overly long by today’s standards at nearly three hours, it has an old-fashioned storyline and unwieldy dramatic structure that would’ve sunk a lesser company. The Bolshoi Ballet however, with its bold, bravura dancing and dazzling interpretation rendered Le Corsaire ‘grand’.
- DENISE RICHARDSON
