Prokofiev : Cinderella
Mariinsky Ballet
Mariinsky Theatre Orchestra
Valery Gergiev
It's interesting that Prokofiev's "Cinderella" has not yet found a definitive version. Every time I see it with a different company, it's in a different choreography, which certainly adds spice to life. This version was created for the Mariinsky in 2002 by the current Golden Boy of Russian ballet (even though he doesn't work much in the country anymore) Alexei Ratmansky. It's loosely set in the 20s, but retains a semblance of the fairy tale, without pressing the point much; there's nothing especially magical about this Fairy Godmother/bag-lady and her attendant (male) Seasons.
Ratmansky's choreography is firmly rooted in the classical tradition, but with a little twist, often humorous, and frequently remarkably expressive. I felt that in the first act he missed one or two points, musical ones mainly, like the 'clock' music, when Cinderella is warned to be back home on time. On the contrary, I was rather intrigued by the fact that at that instant (and later in Act 2, when it does strike midnight) the Fairy Godmother's choreography, stomping around in her size 15 shoes, reminded me very distinctly of Rostislav Zakharov's original choreography (or what I believe is such, from the 1961 film with Struchkova in the title role) at the same moment. Act 2, on the other hand, was pretty much superb from start to finish, and what was really striking was that the three successive pas-de-deux for Cinderella and her Prince give a real sense of developing dialogue between the characters, without reverting to any form of traditional mime.
The lovely Diana Vishneva, gossamer-light and at the top of her form, was perfect as Cinderella. Her entry in Act 2, with its shimmering orchestral accompaniment, was not, as is usually the case, shown as the court and the Prince wondering at this enchanting stranger, but the wonder of Cinderella herself on entering the palace, of her surroundings and her changed appearance. The image of Vishneva peeking shyly around one of the columns of the palace will remain vivid for a long time. As the Prince, Igor Kolb isn't perhaps the most technically spectacular of dancers, but he's an excellent partner, making it look effortless, he has, for a male dancer, a singularly beautiful port de bras, and he presents a charismatic figure, which is nice to see. However, they were both very nearly upstaged by the bold, brash, predatory Stepmother of Ekaterina Kondaurova, who benefitted from some extremely distinctive, explosive choreography, all sharp points and elbows, and cat-like leaps.
All that said, and the general excellence of the company as a whole aside, what really made tonight stand out for me was the orchestra. I love this score; I knew the music a long time before ever seeing a staged version. It's less accessible than Romeo and Juliet, but much more subtle, and it places considerable demands on the orchestra. The last time I saw a Cinderella live, it was with Birmingham Royal Ballet, and with all due respect to their orchestra, and Koen Kessels, their current conductor, who are both perfectly competent, nevertheless, there is no possible comparison. Tonight, we were being driven in a Rolls Royce. The timbre, the colour, the detail, the richness of texture, the clarity and purpose of every note, everything was exemplary in Gergiev's hands. Had the dancing been any less good, I could happily have closed my eyes and revelled in the music alone.
[Next: 19th September]
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