Løvenskjold : La Sylphide
Artists of the Bolshoi Ballet
Orchestra of the Bolshoi Theatre
Pavel Klinichev
La Sylphide is not one of the great, passionate pieces that were to illuminate the art later in the century. Ballet hadn't reached that level yet, and it's actually a little difficult to garner a great deal of sympathy for the characters. James is a dreaming fool, Effie's flighty and self-absorbed, Gurn isn't anybody's idea of a good friend, Madge is a vindictive cow (albeit a very good-looking one here, thanks to Johan Kobborg's revisions) and the Sylphide, of course, isn't exactly real to begin with. In addition, it's saddled with a very second-rate score, pretty but eminently forgettable, and therefore devoid of the ability to convey the stronger emotions. It's a little astonishing Bournonville's work was as good, and as significant, as it turned out to be.
I did wonder, fleetingly, whether this was actually going to be Bournonville's La Sylphide, because Bolshoi and Bournonville aren't the most obvious of matches to me. Of course he was one of the most significant figures in the development of classical ballet; nevertheless, stylistically speaking, he's pretty far removed from the Russian tradition, and particularly the Bolshoi's often muscular approach to ballet. Bournonville spells elegance and restraint, and something a little 'folksy' - meant with no disrespect - and a strong hint of the 18th Century not so far behind him. As it was, the company turned out a most respectable performance, but one that I'd have to categorise as fairly low-key, on the whole. Excellent group numbers, particularly the female corps de ballet in the second act, but just a little too restrained.
I also felt there was something lacking in Ekaterina Krysanova's interpretation of the title role. While maintaining a careful line and a gentle, thoughtful demeanour, she never quite seemed to achieve the truly ethereal quality you want for this part. On the other hand, the James of Vyacheslav Lopatin was outstanding; he was a lithe, mercurial, vibrant figure, always in the instant, clearly never a thought for consquences, but he made it work for him, particularly in the second act, and the last pas de deux, with the fatal scarf.
This was, therefore, generally a performance of quality work, but emotionally somewhat cool and distant.
[Next: 11th October]
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