It is 50 years since what was formerly known as the Kirov Ballet — now Mariinsky Ballet — paid its first, legendary visit to London. Thanks to the commendable efforts of Viktor Hochhauser, the impresario who made that first visit possible, the company has become a familiar focal point of the London summer dance season. This year is no exception, with a rich programme of both classical and modern ballets. For its opening last week, the celebrated Russian company chose the work it is traditionally associated with: Swan Lake.
Konstantin Sergeyev’s 1950 production might not be everyone’s cup of tea, but it remains a classic in the ballet’s performance history. Pleasantly dated, it highlights with its simplicity the sheer beauty of the choreography and the magnificence of the corps de ballet’s work. The performance I saw stood out because of the elegant symmetries, perfect unison and stylistic unity. The entrance of the swans and the choral numbers that followed were everything a serious balletomane dreams of, and a far cry from those Western productions in which the swans are all different heights, shapes and…weights.
I only wish I could show similar enthusiasm for the higher ranks of the company, though, as the performance I attended presented several problems as far as soloists and principals were concerned. Although the third-act national dances were neatly executed, none of the dancers possessed that majestic charisma that character dancers from the Mariinsky/Kirov always had. Similarly, the soloists engaging in the first-act pas de trois looked competent but nothing more.
As both the Swan Princess and her wicked double, Alina Somova was also a disappointment. Her striking looks and exceptionally controlled hyperextension were not sufficient to convey the full drama of a woman under an evil spell.
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