London CoLiseum

London Coliseum
13 – 23 August 2015
Irina Kolesnikova Paris Season
Théâtre des Champs-Elysées
24 – 28 February 2016
Pyotr Tchaikovsky
SWAN LAKE
Ballet in 3 acts
24 – 25 February
Ludwig Minkus
DON QUIXOTE
Ballet in 3 acts
26 February
Pyotr Tchaikovsky
THE ST PETERSBURG
NUTCRACKER
Ballet in 3 acts
27 – 28 February
Irina Kolesnikova
Soloists, corps de ballet and orchestra of
Irina Kolesnikova is diva of dance with
whom few stars can compare.
Journal du Dimanche – Paris, France
ST PETERSBURG BALLET THEATRE
www.theatrechampselysees.fr
www.irinakolesnikova.com
Ladies and gentlemen,
Thank you for attending
performances of The Irina
Kolesnikova London Season.
I have been waiting a very long
six years for this return to the
capital of Great Britain and for
me it’s very difficult to express
the excitement that I feel.
with
Denis Rodkin, Bolshoy Ballet
Vadim Muntagirov, Royal Ballet
and
Natalia Matsak, Ukranian National Opera
Kimin Kim, Mariinsky Theatre
LONDON COLISEUM
13 – 23 August 2015
Swan Lake and La Bayadère
A world-class triumph… Irina Kolesnikova’s reputation was built in the United Kingdome,
we watched in wonder as this colossal talent blossomed year after year.
Hurry back to us, Kolesnikova, we deserve you.
The Sunday Express
The project Irina Kolesnikova
Season involves some of the
brightest stars in todays ballet
world. I would like to thank
Natalia Matsak, Prima ballerina
of the Ukraine National Opera,
Denis Rodkin, Premier of
the Bolshoi Theatre, Vadim
Muntagirov, Principal dancer
at The Royal Ballet and Kimin Kim, Premier of the Mariinsky Theatre, all of who
kindly agreed to take part in my first London season.
Moreover, I would like to express heartfelt thanks to the artists, soloists and
management of the St. Petersburg Ballet Theatre for their continued long-term
support. This Theatre believed in me, accepted me into the company at a time
when I needed to make important career decisions and then created all the
conditions for me to succeed as a ballerina.
I hope that the celebration of classical ballet on the stage of the legendary London
Coliseum will give you many wonderful moments and will let you escape from
everyday worries for just a little while!
I wish you a pleasant evening!
Sincerely yours,
Irina Kolesnikova as Odette. Photo Nina Alovert
ST PETERSBURG BALLET THEATRE
Named artists are subject to change. The management reserves the right to substitute any artist, even at short notice should the need arise
Irina Kolesnikova
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NataliaRodkin
MATSAK
Denis
Denis Rodkin
Denis was born in Moscow.
He graduated from the Moscow Academy of Choreography as part of the
“Gzhel’” Theatre, and went on become
a member of the Bolshoi Theatre where
he attracted the attention of Nikolai
Tsiskaridze, the Bolshoi Theatre’s premier ballet master.
Under his guidance, Denis learned the
roles of Blue Bird in “Sleeping Beauty”,
Taor in “The Pharaoh’s daughter”, Antoine in “Flames of Paris”, Prince Siegfried in ”Swan Lake”, Nutcracker Prince
in “The Nutcracker” and Jean de Brienne in “Raymonda”.
In 2012 he danced the role of Kurbsky
in “Ivan the Terrible” which attracted the
attention of Yuriy Grigorovich. As a result he went on to dance Grigorovich’s
Spartacus in the ballet of the same name
and Ferkhad in a Legend of Love.
The ballets in which Denis Rodkin has featured have been shown
in cinemas around the world in the “Bolshoi Ballet on Film” project. He has also successfully performed in John Kranko’s Onegin,
a classic of international dance, where he produced a very exact
portrayal of Onegin’s contradictory character.
Russian press
The premiere performance of the ballet “John the Great” by Yuri
Grigorovich was staged at Bolshoi Theater. Denis Rodkin, who
danced the role of Prince Andrey Kiurbsky , leaves little doubt that
he is a great find for this new staging of the ballet . Rodkin charmed
the audience with his very special interpretation .His individuality
and expression created real drama and he demonstrated the
breathtaking power of his dancing.
Denis Rodkin debuted with the role of Ferhad in the ballet of
“Legend of Love”. His softness of line and extremely high jumps
helped to reveal the dramatic pattern of his interpretation of the
role.
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Denis Rodkin as Spartacus
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Vadim Muntagirov
Vadim Muntagirov
Russian dancer Vadim Muntagirov is a
Principal of The Royal Ballet. He trained
at The Royal Ballet School and joined the
Company from English National Ballet
as a Principal in 2014. His roles with the
Company include Basilio (Don Quixote),
Prince Siegfried (Swan Lake), Prince
Florimund (The Sleeping Beauty), Colas
(La Fille mal gardée), Lensky (Onegin),
Des Grieux (Manon), Jack/The Knave of
Hearts (Alice’s Adventures in Wonderland), Florizel (The Winter’s Tale) and in
Symphonic Variations, The Four Temperaments and Afternoon of a Faun.
Muntagirov was born in Chelyabinsk, the
son of two dancers. He trained at Perm
Ballet School before moving to The Royal Ballet Upper School. He graduated
into English National Ballet in 2009, promoted to first soloist in 2010, principal
in 2011 and lead principal in 2012. His
roles with ENB included Apollo, Conrad
(Le Corsaire), Albrecht (Giselle), Prince
(Cinderella), Prince Siegfried (Swan
Lake in-the-round at the Royal Albert Hall), Prince Désiré (The Sleeping Beauty) and roles in
Song of a Wayfarer. He created the role of Prince in Wayne Eagling’s The Nutcracker.
Muntagirov’s awards include the 2011 Critics’ Circle Award for Outstanding Male Performance (Classical) and the 2013 Benois de la danse. As a guest artist he has danced with
such companies as the Mariinsky and American Ballet Theatre, in repertory including Solor
(La Bayadère), and at National Ballet of Japan, Bavarian State Ballet, Mikhailovsky and Cape
Town City Ballet.
“Dancing Siegfried in Swan Lake, Muntagirov shows how magnificently he’s grown into his talent.
We can take for granted, now, his floating line, his tightly finished jumps and his elegantly finessed
partnering. What’s new – and mesmerising – is the range of his musicality and acting. Muntagirov
doesn’t just show us a callow Prince yearning for romance: his entire body seems possessed by
the seductive, intoxicating melancholy of Tchaikovsky’s score. When he finds his ideal love in Daria
Klimentová’s Odette, he adds a sweetly touching register of protectiveness – awed by Odette’s
fragility, he wants to protect as much as possess her.”
Judith Mackrell, The Guardian
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Vadim Muntagirov as Prince Siegfried. Photo D. Klimentova
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Vadim Muntagirov
Vadim Muntagirov. Photo Amber Hunt
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Vadim Muntagirov. Photo D. Klimentova
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Natalia Matsak
Natalia Matsak
Honored Artist of Ukraine, the lead dancer
of the National Academic Opera and Ballet Theatre of Ukraine named after. TG
Shevchenko. In her repertoire - a gentle
and insidious Odette Odile in the ballet “Swan Lake”, a young and ambitious
Masha in “Nutcracker”, a cheerful and
playful Kitri in “Don Quixote.” She danced
magnificently beautiful slave Medora in “Le
Corsaire”, wonderfully expressed all the
emotions and feelings of Carmen in “Carmen Suite”. Her party in the ballet Raymonda won the audience. Zobeide images
in “Scheherazade”, Nikiya and Gamzatti in
“La Bayadere” Natalie managed to convey
very colorful in their own way.
If we talk about the early career ballerina
Natalia Matsak dancing started to 4 years.
From 1992 to 2000 she studied at the Kiev State Choreographic School. Natalia skill honed
choreographer and teacher-tutor wonderful People’s Artist of USSR Ludmila Smorgacheva.
Ukrainian ballet star is winner of international ballet competitions. Her list of awards winning
appear at the International Competition Serge Lifar in Kiev (silver medal in 2004), the International Ballet Competition in Moscow and choreographers in 2005 (bronze medal). At the VI
International Competition Serge Lifar in April 2006 Natalia Matsak won the gold medal.
Constantly takes part in the gala concert “Stars of World Ballet” with the best actors around
the world. Rostral is constantly on tour, Natalie applauded in Japan, Korea, Canada, Portugal, Spain, Italy, Germany, Mexico and other countries.
“The distribution goes beyond all expectations. Indeed, the title character, Nikiya was wonderfully
performed by Natalia Matsak, who is “Etoile” at the Ukrainian Ballet. Natalia Matsak has a very
charming sensitivity and a perfect technique. Her partner was the famous and brilliant Vadim
Muntagirov, Soloist of the Royal Ballet in London, who performed a majestic Solor. His technique,
very fluent and natural, gives him a typical aerial style.”
Christophe de Jouvancourt – Kuturkompasset, Paris
Natalya Matsak as Odette
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Natalia Matsak
Natalya Matsak as Odile
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-
Natalya Matsak as Odette
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Kimin Kim
Kimin Kim
A student of the renowned Leningrad-St Petersburg dancers Vladimir Kim and Margarita Kulik,
Kim Kimin is well trained and has a fine technique,
light leaps and, it would appear, just as easy a nature which allows him to grasp everything in midflight: with each and every new performance the
dancer improves in terms of both technique and
artistry.
PRO Dance
• Prize-winner at international ballet competitions in Rome (1st prize, 2008), Moscow (2nd
prize, 2009), Seoul (1st prize, 2009), Jackson
(2nd prize, 2010) and Varna (1st prize, 2010)
• Grand Prix at the Arabesque international ballet
competition (Perm, 2012)
• Grand Prix at the Youth America Grand Prix international competition (New York, 2012)
Born in Seoul.
Graduated from the Korea National University of
Arts (class of Vladimir Kim and Margarita Kulik). For half a year he was a trainee with the
Mariinsky Ballet. At the Mariinsky Theatre he made his debut as Ali in the ballet Le Corsaire
(coached by Viktor Baranov).
Since July 2012 he has been a First Soloist with the Mariinsky Ballet.
Repertoire includes:
Giselle (Count Albrecht, Classical Duet); choreography by Jean Coralli, Jules Perrot and Marius Petipa, La Bayadère (Solor, Golden Idol); choreography by Marius Petipa, revised version
by Vladimir Ponomarev and Vakhtang Chabukiani (Dance of the Golden Idol choreographed
by Nikolai Zubkovsky), Swan Lake (Prince Siegfried, the Prince’s Friends); choreography by
Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev, Don Quixote (Basilio);
choreography by Alexander Gorsky, the Diane and Actéon Pas de Deux from the ballet La Esmeralda (Actéon); choreography by Agrippina Vaganova, Romeo and Juliet (Mercutio); choreography by Leonid Lavrovsky, George Balanchine’s ballets Jewels (Rubies), Symphony in
C (III. Allegro vivace), A Midsummer Night’s Dream (Pas de deux from Act II) and Tchaikovsky
Pas de Deux, The Nutcracker (Nutcracker Prince); choreography by Vasily Vainonen, Le Corsaire (Ali); production by Pyotr Gusev after the composition and choreography of Marius
Petipa, Schéhérazade (the Slave); choreography by Michel Fokine, Études; choreography
by Harald Lander, Sylvia (Aminta); choreography by Frederick Ashton, The Legend of Love
(Ferkhad); choreography by Yuri Grigorovich, The Vertiginous Thrill of Exactitude; choreography by William Forsythe, Concerto DSCH; choreography by Alexei Ratmansky and Infra;
choreography by Wayne McGregor.
“Kimin Kim made one sensation after another as the hero, Solor. This tall young Korean
dancer is a new star with the Mariinsky Ballet; he jumps astoundingly, turns with prowess and
carries himself with nobility.”
Alastair Macaulay, New York Times
Photo Vladimir Zenzinov
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Kimin Kim
Kimin Kim with Alina Somova
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Kimin Kim with Anastasia Matvienko. Photo Vladimir Zenzinov
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SwanLake
P. I. Tchaikovsky
LONDON COLISEUM
13 – 21 August 2015
CAST
“…the overall pure joy of Kolesnikova’s interpretation is not only a
true reflection of some of the most beautiful and evocative music
Tchaikovsky ever wrote but an affirmation of the power and joy
of dance”
Jeffery Taylor, The Sunday Express (UK)
“Kolesnikova is a real artist whose gifts include
expressive arms, a pliant torso and a meltingly slow,
expansive yet detailed style that draws us right to
her…..Kolesnikova is a dream of an Odette.”
Odette/Odile
Donald Hutera, The Times (UK)
Irina Kolesnikova
“Irina Kolesnikova looks like a princess
straight out of Russian fairy tales….This is the
first time that the mastery of Russian ballet
is being represented not by the ballerinas
of the Bolshoi or the Kirov, but by a star
from an independent company”
13 ,14, 15, 17, 18, 20 & 21 August
Natalya Matsak
Nina Alovert, Dance Magazine (USA)
15m**, 16, 20m, 22m August
Prince Siegfried
Denis Rodkin
13, 14, 15, 17 & 18 August
Vadim Muntagirov
20 & 21 August
Kimin Kim
The management reserves the right to substitute any scheduled artist for
any reason whatsoever even at short notice should the need arise.
**m denotes matinee performance
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Irina Kolesnikova as Odile
Photo Vladimir Zenzinov
15m**, 16, 20m, 22m August
19
SWAN LAKE
Music: Pyotr Ilyich Tchaikovsky
Libretto: Vladimir Begichev, Vasily Geltser
Choreography: Lev Ivanov, Marius Petipa
Staging (1996): Yuri Gumba
Costumes: Galina Solovieva
Scenery: Semyen Pastukh
ACT I
Scene one
The terrace of castle is filled with joy and merriment - Prince Siegfried is celebrating his
coming of age, his courtiers congratulate him while his mischievous jester entertains
the assembled guests. The servants announce the arrival of his mother the queen,
she presents her son with a crossbow for the hunt. The queen reminds her son that at
tomorrow coming of age ball he will have to choose a bride. Night is fast approaching
and the guests take leave, Siegfried is finally alone with his thoughts and premonitions
of what the future may bring. In the twilight a flock of swans pass over and he rushes
to the lake.
Scene two
At the lake in the heart of the forest, the swans having stepped ashore turn into
beautiful young girls Siegfried about to draw his crossbow stops fascinated by
their beauty. Odette the swan princess is startled by Siegfrieds presence, he
assures her no harm will come to her. Odette tells him of her terrible plight. Tells
him of her high birth and how she has fallen under the spell of be a swan and
only in the hours of darkness to assume her human form. She tells him she is
bound for eternity by the spell unless an unblemished youth swears eternal fidelity
and marries her. Siegfried realizes his destiny has changed. Day is breaking, the
swans are again swimming on the lake, Odette bids a sad farewell, Siegfried is left
desolate.
ACT II
Scene Three
ACT III
Scene four
At the lakeside Odette tells her fellow swans of Rothbarts devilish trickery. Siegfried fleeing from
the ball arrives at the shore begging Odette’s forgiveness and telling of his undying love for her.
Rothbart appears and he and his black swans battle with Siegfried and the forces of good until the
light of the dawn breaks and the forces of evil are vanquished. The rising sun gives birth to new life,
happiness and love.
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Photo Vladimir Zenzinov
The coming of age ball commences at the castle. The young noblewomen whom the
Queen has chosen as prospective brides are presented to Prince Siegfried, he shows
no interest thinking only of Odette. The entertainment and merrymaking continue until
a fanfare announces the arrival of more guests. Rothbart disguised as a knight sweeps
in with his daughter Odille, Siegfried is dazzled by her beauty and her resemblance to
Odette, swears his love and fidelity..... Rothbart the sorcerer triumphs in his deception.
Siegfried horrified at what he has done rushes from the ball and into the night.
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Pyotr Tchaikovsky
and the Music of Swan Lake
Pyotr Tchaikovsky
Pyotr Tchaikovsky (1840-1893) composed just three ballet scores but each has assumed a legendary status. His
enduring achievement is to have established the indelible trademark for ballet: the universal and timeless image
of the ballerina in a swan costume, dancing to his music.
Born in 1840, Pyotr spent his first eight years in the town of Votkinsk in the Vyatka province (in what is now the
Udmurt Republic). His father, Ilya, was an engineer and civil servant who had become manager of the local
ironworks; and his mother, Alexandra, was of aristocratic French descent. Both parents were accomplished
amateur musicians and Tchaikovsky began piano lessons, aged 5, although his early musical studies were not
especially distinguished. He appears to have quickly assimilated an ability to understand musical theory and
structure, but these gifts were not remarkable enough to deter his father from sending ten year-old Pyotr to
board at the School of Jurisprudence, 1,300 km away in St Petersburg; a deliberate strategy as a precursor for
a career in the civil service.
Alexandra succumbed to cholera, when Pyotr was just 14 and away at school. The pain of parting from his mother
and her subsequent death remained indelibly marked on the composer’s emotional personality for the rest of his
life. His father also contracted cholera but recovered and married again (for the third time). Tchaikovsky was the
second of five sons and he had a sister (also, Alexandra) and a half-sister from his father’s first marriage.
It seems that it was a production of Mozart’s Don Giovanni that convinced 12 year-old Tchaikovsky to devote his
life to music. The loss of his mother, two years later, led to his first serious attempt at composition, writing a waltz
in her memory on a grief-stricken family holiday by the Gulf of Finland. Music remained an important backdrop
to Tchaikovsky’s studies in St Petersburg and subsequently during his three-year career with the Ministry of
Justice. He took private lessons in music theory and composition, organised by the Russian Musical Society, the
forerunner to the St Petersburg Conservatoire, which opened its doors, in 1862, with Tchaikovsky (now, 22) as
one of its founder students. He kept his options open for a year by hanging on to his job at the Ministry.
His progress was rapid and after three years study, Tchaikovsky graduated with such distinction that the
Conservatoire’s director, Anton Rubinstein, recommended him as professor of composition at the newly
constituted Moscow Conservatoire. This opened in 1866 with Rubinstein’s brother, Nikolai, as its founding
director and Tchaikovsky as one of its first cohort of professors. Two years later, Tchaikovsky’s First Symphony
(Winter Daydreams) was completed (although it caused a rift with Anton Rubinstein who, continuing to treat
Tchaikovsky as a student, sought many changes that the composer eventually refused to countenance).
Tchaikovsky met Antonia, proposed to her and they were married – hastily in July. It was a catastrophe from the start; and Tchaikovsky is understood to
have attempted suicide, later that year. Although he had ceased to live with
Antonia by September, they remained married for the rest of his life.
1877 was also the year that Tchaikovsky composed Swan Lake, which
premiered at the Bolshoi Theatre in Moscow on 4th March. It was hardly
an overnight success and would probably have gone the way of the majority
of new ballets from the period – that is, into oblivion – had it not been for
the music. Tchaikovsky’s lack of confidence in his own ability to craft a
ballet score took a knock when he witnessed a performance of Sylvia by Léo
Delibes (1836 –1891), which had premiered in Paris, on 14th June 1876, after
which he declared that his developing score for Swan Lake was “…poor stuff
in comparison”. Two more unsuccessful attempts were made to revive the
ballet in Moscow – in 1880 and 1882 – with different choreography.
It was a combination of The Sleeping Beauty and an eternal sleep that served to eventually awaken this slumbering
swan. The perceptive director of the Imperial Theatres, Ivan Vsevolozhsky, having cleared the way for engaging
Tchaikovsky by abolishing the role of in-house ballet composer (previously occupied by Ludwig Minkus), invited
him to work with Marius Petipa in creating The Sleeping Beauty, which premiered on 15th January 1890, again to
an initial coolness from the critics, but trumped by an enthusiastic reaction from the public, eager to enter this
fantasy world. Tchaikovsky’s next ballet, The Nutcracker, which opened on 18th December 1892, also received
a mixed reception.
By this time, Tchaikovsky had international fame both as a composer and a conductor but this global success
provided no escape from his own private misery. The breakdown of his epistolary (though, remarkably intimate)
friendship with Mme von Meck was a major emotional blow to both of them, each blaming the other for ending
the relationship. His sexuality was always a cause of anxiety, linked to fears that he might be “outed” as a
homosexual at any time, and unhappiness at having to hide his true feelings in a very public life that he had come
to view with disdain.
There is no doubting that Tchaikovsky was a man of immense emotional sensitivity, not least because his
sentimentality was so often the inspiration for his greatest melodies. All told, the combination of all these
characteristics – and a feeling of “loss” that epitomised the composer’s life since the death of his mother – led
to deep bouts of depression, that became more frequent in the last years of his life.
In St Petersburg, on 28th October 1893, Tchaikovsky conducted the premiere of his Sixth Symphony (known as
Pathétique). Nine days’ later, he was dead at the age of 53. His sudden demise was initially attributed to the
same disease that had taken his mother 40 years previously, as he was believed to have contracted cholera by
drinking infected water from a local stream. It is now more popularly believed that the composer succeeded
where he had failed before; and that his death was from arsenic poisoning, most likely self-inflicted.
For more than a decade, until 1878, Tchaikovsky combined his professorial duties with a globetrotting job as
music critic, as well as developing his burgeoning career as a composer. While his First Symphony had received
a mixed reception, his next major work, a fantasy-overture on the theme of Romeo and Juliet was wholeheartedly
recognised as a masterpiece across the fragmented politics of Russian music: welcomed by both the conservative
wing (including the Rubinsteins) who took their influences from the west and the fast-emerging Nationalist school,
led by the “mighty handful” of Russian composers (Balakirev, Borodin, Cui, Mussorgsky and Rimsky-Korsakov).
Tchaikovsky swayed a little nearer to “the five” with his Second Symphony, which is dominated by the traditions
of Russian folk song but he generally steered an independent course somewhere between the vitriolic extremes
of these two factions.
Swan Lake was now also destined to snatch success from a past history of failure. A year after Tchaikovsky’s
death, a special concert was held at the Mariinsky Theatre, in his memory. It included the second (lakeside)
act of Swan Lake (with new choreography by Lev Ivanov). Inspired by its success and determined to honour
the memory of the great composer, the Mariinsky authorities decided to restage the full ballet. The music
director, Riccardo Drigo, was asked to restore the score, which he did, adding a couple of variations from other
Tchaikovsky pieces. In this refreshed format, a resuscitated Swan Lake opened at the Mariinsky Theatre on 15th
January 1895, nearly 20 years after it had been composed, and over a year past Tchaikovsky’s death. The rest
is history; and the history of Swan Lake is that of the most popular ballet the world has ever known.
1877 was more than just another year in Tchaikovsky’s life. It was the year in which Nadezhda von Meck – a
wealthy benefactress of the arts - offered him the safety net of an annual allowance (which grew over time to 6,000
roubles) so that he could devote himself entirely to composition. Her only condition was that they should never
meet and her grant continued until their relationship (conducted through more than 1,000 letters) broke down,
in 1890. In April, Tchaikovsky received a series of passionate letters from a former student, Antonia Milyukova,
declaring undying love. It was also the year in which Tchaikovsky was composing the opera, Eugene Onegin
and he became obsessed with the fate of its heroine, Tatiana. Determined not to treat Antonia as heartlessly
as Onegin had treated Tatiana, and needing a respectable façade behind which to hide his homosexuality,
Tchaikovsky elevated ballet music onto a higher plane of seriousness. Before his work, composing for the ballet
was considered to be an inferior branch of musical composition. Tchaikovsky would probably, himself, have
credited Delibes for this breakthrough. But, Tchaikovsky’s prodigious gift for melody and intuitive understanding
of how to build emotion through music that cries out to be danced, has meant that he continues to make his
music dance from beyond the grave. He may only have composed three scores for ballet but his music has been
used to make many more enduring works, such as George Balanchine’s Serenade (1934), John Cranko’s Onegin
(1965) and Kenneth MacMillan’s Anastasia (1971); and there can be no doubt that Tchaikovsky will continue to
inspire choreographers to make movement for many more years.
© Graham Watts
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23
SWAN LAKE
Marius Petipa (1818 – 1910)
Born in Marseilles, he had a substantial career
as a dancer and was the monarch of the Tsar’s
Imperial Ballet for about thirty-five years. His
Russian debut was in Paquita in 1847 in St
Petersburg. In 1850 for Carlotta Grisi, Petipa
produced Giselle in accordance with Jules
Perrot’s instructions, adding some of
his own work in the second act.
As Perrot’s assistant, Petipa
learnt many of the secrets of
great choreography
In
1862, he was appointed
ballet master in St
Petersburg. During
his career, he created over 46 ballets including
Swan Lake, Nutcracker and Sleeping Beauty.
The Russian dancer, ballet master and
choreographer, studied in both Moscow and St
Petersburg, where one of his teachers was Marius
Petipa’s father, Jean.
He joined the corps de ballet of the Maryinsky
(later Kirov) Theatre in 1850 and did not retire
from dancing until 1893 (latterly character
parts). He was appointed régisseur –
rehearsal manager – in 1882 and
second ballet master in 1885.
His first choreography in 1885
was a new version of La Fille
Mal Gardée. In 1892, he choreographed the first production
of Marius Petipa’s Nutcracker, Petipa having taken ill. The
lyricism of the snowflake scene is usually attributed to
him. He choreographed part of a 1895 revived Swan
Lake, giving a soft quality to the lakeside scenes two
and four.
He was a man of much sensitivity and musicality and
is regarded today as the pioneer of the symphonic
ballets that emerged in the beginning of the twentieth
century.
Photo Vladimir Zenzinov
Petipa’s work in ballet and his compositions
influenced the development of ballet
choreographically and technically, and the
best of his compositions continue to appeal
to audiences all over the world today. His
legacy is certainly one of the greatest
achievements in ballet history.
Lev Ivanov
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25
SWAN LAKE
Irina Kolesnikova as Odile. Dmitry Akulinin – Prince Siegfried. Photo KT
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Irina Kolesnikova as Odette. Denis Rodkin - Prince Siegfried. Photo Vladimir Zenzinov
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SWAN LAKE
Irina Kolesnikova as Odile. Denis Rodkin - Prince Siegfried. Photo Vladimir Zenzinov
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Denis Rodkin as Prince Siegfried. Photo Vladimir Zenzinov
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SWAN LAKE
For anyone who had never seen a white swan, this vision of Irina Kolesnikova emerging as Odette,
the Swan Queen, would remain imprinted forever.
Her every movement, from the languid entwining of her long, slender arms and
expressive hands to the tremulous shaking in her legs, as she portrays
her fear of the stranger and gradually transforms from swan to
exquisitely beautiful woman, is hypnotic poetry in motion.
It is that talent for interpretation that made Margot
Fonteyn famous and it makes your heart leap
to see it happen again, in spades, so many
years later.
Barbara Booth – ArtsHub –
Melbourne, Australia
Irina Kolesnikova as Odette. Dmitry Akulinin – Prince Siegfried. Photos Sergei Konstantinov
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THE HISTORY OF SWAN LAKE
“If at first you don’t succeed, try, try again” is a moral that could have
been written to describe the early history of Swan Lake.
A man called Vladimir Begichev deserves credit for the world’s most
famous ballet. Begichev, the director of the Imperial Theatres of
Moscow, was determined to secure a ballet score by Tchaikovsky
and it is generally believed that he wrote the libretto for Swan Lake by
adapting folk legends and fairy tales from across Russia and Central
Europe. Tchaikovsky was easily persuaded and threw himself into the
project, beginning to compose the ballet in 1875.
An alternative version of these events is that Begichev courted
Tchaikovsky with the idea of making a ballet score and invited the
composer to set the theme. A nephew and niece of Tchaikovsky wrote
that their uncle had made a small ballet for their enjoyment at home,
entitled The Lake of the Swans, in 1871. In which case, it seems too much
Anna Pavlova
of a coincidence not to acknowledge that the composer must have had
a major stake in choosing the subject for the Bolshoi’s ballet; although it remains likely that Begichev
wrote the full libretto. Incidentally, he was probably helped in some respect by a Bolshoi danseur,
Vasily Geltser (since his name appears on original manuscripts). This has a neat synergy with the fact
that Geltser’s daughter, Ekaterina, who was just 3 months’ old at the time of the premiere, became
the first ballerina to dance the complete dual role of Odette/Odile in the USA.
Having signed up the composer, Begichev then approached the Czech choreographer and ballet
master, Julius Reisinger, to create the ballet. Reisinger had been born in Prague, in 1828. His first
major ballet engagement was as ballet master in Leipzig, coming to Moscow in 1871 as a guest
choreographer to make Cinderella. He became ballet master at the Bolshoi in 1873, remaining in post
until 1878.
Tchaikovsky and Reisinger worked largely in mutual isolation during the creative process and this
inevitably led to tension, requiring several rewrites of the score before it was in a fit state to perform.
They had scant regard for one another. It is understood that Reisinger even tried to substitute some of
Tchaikovsky’s score with the work of others but Tchaikovsky insisted that his work be reinstated.
The first performance of Swan Lake was a testimonial performance held at the Bolshoi Theatre in
Moscow on 4th March 1877. The ballerina being honoured by the proceeds of the show was Pelagia
(sometimes also known as Polina) Karpakova, who was therefore the first woman to portray Odette,
the swan queen. It is likely – but not known for certain – that Karpakova also portrayed the role of
Odile (the black swan). The first Prince Siegfried was the Bolshoi’s premier danseur, Victor Gillert,
and the inaugural Rothbart was Sergey Sokolov.
Karpakova’s performance evidently left the audience unmoved, perhaps because she was not the
ballerina on whom the role of Odette was intended; and perhaps because – as a ballerina well past
her prime – she insisted on interpolating safe choreography from other ballets in her repertoire to
replace the new work she was supposed to perform. The dancer originally scheduled for the premiere
was the Bolshoi’s leading ballerina of the time, Anna Sobeshchanskaya. But, she was pulled from the
role when a leading civil servant complained that Sobeshchanskaya had accepted expensive items of
jewellery from him, only to marry another dancer and sell his gifts for cash!
That first performance was beset with problems. Tchaikovsky’s score was regarded as being too
difficult and several alterations were made – by both ballerina and conductor – in the days and hours
leading to the premiere. Unsurprisingly, the performance was not well received. Audiences were
unimpressed by the choreography and the set design. Herman Laroche – a well-known critic and
composer – wrote: “…I had never seen a poorer presentation on the stage of the Bolshoi Theatre. The
costumes and décor did not hide in the least the emptiness of the dances”.
32
Both Karpakova and Reisinger had otherwise undistinguished careers and but for their shared
involvement in the premiere of the world’s most famous ballet, it is likely that their names would have
both been consigned to the merest of footnotes in ballet history.
Tchaikovsky’s score came in for less opprobrium but was considered, by some, to be heavy and
oppressive, even described as “Wagnerian” by one critic (an ironic allusion, since Tchaikovsky, himself
a music critic, had declared that he was “bored” by the premiere of Wagner’s Ring Cycle at the first
Bayreuth Festival, just seven months’ previously).
The ballet didn’t disappear from Moscow. Sobeshchanskaya lobbied to get her role back and she
got her wish, a few weeks’ later, on 26th April 1877. But, she also struggled with the choreography
and disliked the music. She felt so strongly about it that Sobeshchanskaya travelled to St. Petersburg
to meet the Imperial Theatre’s principal ballet master, Marius Petipa, asking him to choreograph a
whole new pas de deux to replace Reisinger’s pas de six in what has become the third act. Petipa
complied with her request, commissioning music from the in-house ballet composer, Ludwig Minkus.
However, Tchaikovsky got wind of this proposed change and refused to allow another composer’s
music into his score. Instead he offered to choreograph a new pas de deux, using Minkus’ music as a
guide (since he was unable to see Petipa’s choreography, which had already been created in another
city). Incidentally, this extra pas de deux was soon dropped and it lay, unnoticed in the archives, until
being discovered in 1953. It is this music that George Balanchine used to great effect in creating his
much-loved Tchaikovsky Pas de Deux (1960).
As Tchaikovsky’s reputation began to soar, notably after the success of his opera, Eugene Onegin (in
1879), the Bolshoi authorities determined that they should once again attempt to revive Swan Lake
in the hope of making it a success, second time around. Reisinger had left the Bolshoi and he was
succeeded as ballet master by Joseph Hansen, who choreographed a revised version of the ballet
for his own benefit performance, on 13th January 1880. The dual role of Odette/Odile was danced by
a student of the Moscow Imperial Ballet School, Evdokia Kalmykova, with Alfred Bekefi as Siegfried.
The occasion was convivial although the ballet was by no means a great success.
Hansen made further revisions – including a new set of dances for what is now the third act – for a
further version, which premiered on 28th October 1882, again with Kalmykova as Odette/Odile. But,
it remained unsuccessful, receiving only four performances before being dropped from the repertory
after its final outing on 2nd January 1883.
All-in-all, over its seven-year stint in Moscow, these three versions of Swan Lake, totalled 33
performances. It is likely that the major reason for its demise may have been practical. A friend of
Tchaikovsky (N. Kashkin) wrote at the time: “Swan Lake remained in the repertoire until the scenery
was worn to shreds”. Incidentally, in that same account, Kashkin alleged that - by the time of the final
performance in 1883 - only two-thirds of the music in Swan Lake remained as originally written by
Tchaikovsky.
Another short-lived production followed later in 1883, in Prague (just 8 performances), with
choreography by August Berger. And, that really should have been that. The Russian and French
companies of the 19th Century were full of ballets that were premiered, had a brief run of performances,
and were then consigned to oblivion. But none of these had a score by Tchaikovsky.
Having invited Tchaikovsky to make The Sleeping Beauty and The Nutcracker in St Petersburg
(respectively in 1890 and 1892), both Petipa and the director of the Imperial Theatres, Ivan Vsevolozhsky,
were set on reviving Swan Lake at the Mariinsky Theatre. Tchaikovsky died before this plan could be
put into action and so the in-house music director, Riccardo Drigo, was forced to revise Tchaikovsky’s
score to suit new choreography by Petipa and his assistant, Lev Ivanov. It is this reworked Tchaikovsky
score by Drigo that most versions of Swan Lake have used ever since.
33
THE HISTORY OF SWAN LAKE
The first of two memorial concerts for Tchaikovsky – in February 1884 – showcased Ivanov’s
choreography for a new second act (although, at this time, it was described as the second scene of
the first act): the lakeside setting which brings Odette and Siegfried together for the first time. The
role of Odette was danced by the Italian prima ballerina, Pierina Legnani, who had taken St Petersburg
by storm the year previously when making her debut at the Mariinsky in Cinderella, by performing her
famous 32 fouettés; the first time this feat had been seen in Russia.
Both her performance and Ivanov’s choreography was received with great acclaim and, just to be
sure, Petipa arranged the whole performance to be repeated at a gala evening and placed his own
name ahead of Ivanov’s as choreographer. Legnani’s own benefit season was in 1894/5 and so it was
an easy next step to action Petipa’s plans and create a new full-length Swan Lake for her to dance. An
unexpected luxury of having time to develop the new ballet came with the death of Tsar Alexander III on 1st November 1894 - which closed all ballet performances during the lengthy period of mourning
and enabled Petipa and Ivanov to devote more attention to their new production. They shared the
honours with Ivanov retaining his second act (from the memorial concert) and adding the fourth,
while Petipa took responsibility for Acts 1 and 3.
The new Swan Lake received its premiere at the Mariinsky Theatre on 27th January 1895 with Legnani
in the dual ballerina role and Pavel Gerdt as Siegfried. Legnani couldn’t resist throwing in her 32
whipped spins, adding them to the coda of the “black swan” (3rd act) pas de deux, where the 32
fouettés have remained ever since. The performance was a great success (although still not matching
the immense popularity of The Sleeping Beauty). A further 15 performances followed in the 1895/96
season, although there were none in the following year, and only 4 more in 1898/99. No-one but
Legnani portrayed Odette/Odile until the ballerina returned to Italy, in 1901. The dual role was then
taken over by the Mariinsky’s prima ballerina assoluta, Mathilde Kschessinskaya who also danced
Swan Lake to great acclaim.
Since 1895, the reputation and affection for the ballet has continued to grow, bringing it into the
repertory of every classical ballet company in the world. This inevitably means that there have been
many attempts to restage – and even re-choreograph – the ballet. Mostly, changes are made around
retaining the key iconic elements created by Petipa and Ivanov (the white and black swan pas de
deux, the cygnets’ pas de quatre and so on) but, often, the recasting has been wholesale.
In Russia, the most notable stagings were by Alexander Gorsky. He made no less than five attempts
to change the ballet but it is his 1901 version for the Bolshoi – the first Moscow revival since 1883 - that
provides the basis for the majority of later productions. Agrippina Vaganova (the great pedagogue
and founder of the Soviet ballet school) produced a long-lasting version in 1935; and a significant and
influential staging was made for Moscow’s Stanislavsky Ballet by Vladimir Bourmeister, in which he
sought to return to the ballet with the music in its original order, as conceived by Tchaikovsky in 1875/6.
This version was taken into the repertory at the Paris Opéra Ballet and the London Festival Ballet. One
innovation of the Bourmeister choreography was to introduce a prologue showing Odette’s abduction
by the sorcerer, Rothbart; a device which still appears in Kevin McKenzie’s production for American
Ballet Theatre.
The complete ballet was not seen in the West until a version based on notations smuggled out of
Russia – after the Bolshevik Revolution – by the ballet master, Nikolai Sergeyev, was staged by
the Sadler’s Wells Ballet (the forerunner to The Royal Ballet) on 29th November 1934. Since this
staging by Sergeyev himself was based faithfully on his own notes, it was rightly seen as an authentic
interpretation of the ballet as it was in Imperial Russia before the revolution, which set it apart from the
many changes that had been made to Swan Lake within the Soviet Union.
The first performance of the complete ballet outside Europe took place at the Metropolitan Opera
House in New York, in 1911, given by Mikhail Mordkin’s All-Star Imperial Russian Ballet with Ekaterina
34
Geltser as Odette/Odile. However, it wasn’t until 1940 that San Francisco Ballet became the first
indigenous US company to stage a full-length Swan Lake, with William Christensen’s choreography
based on the Petipa-Ivanov production.
A number of popular interpretations of Swan Lake have crossed boundaries in dance. Some have
come from far left field, the most successful stayers being Matthew Bourne’s pop-art interpretation
with its flock of male swans, regularly performed around the world since 1995, and Mats Ek’s baldheaded, barefooted, androgynous swans in his interpretation for Sweden’s Cullberg Ballet, dating
back to 1987. Another Swedish innovation was Fredrik Rydman’s reworking of the legend as a mix of
contemporary street dance styles; and then more recently, there is the superb modern interpretation
by rising South African choreographer, Dada Masilo, who deconstructs the legend of Swan Lake as
comprehensively as she might expertly fillet a fish.
It is impossible to divorce the concept of Swan Lake, or Tchaikovsky’s music, from the image of the
ballerina, as first the white swan (Odette) and then her black swan imposter (Odile). It remains the
epitome of the ballerina’s art and is the most sought-after casting in the repertoire. Every great ballerina
has conquered the challenge of the dual role in their own way, from Legnani and Kschessinskaya,
through Anna Pavlova, Galina Ulanova, Maya Plisetskaya, Margot Fonteyn, Natalia Makarova, and
Sylvie Guillem to the great ballerinas of today, such as Irina Kolesnikova, Ulyana Lopatkina, Veronika
Part and Natalia Osipova.
Perhaps the best known woman dancing as a swan in recent years is not a ballerina at all, but an
actress. Natalie Portman won the Academy Award for Best Actress for her portrayal of fictional
ballerina, Nina Sayers, in Darren Aronofsky’s 2010 film, Black Swan, a psychological thriller that
takes place in the context of a new production of Swan Lake by a ballet company based in New York.
Portman’s character is overwhelmed by the pressure of competing for – and then preparing for – her
role as Odette/Odile, primarily because she does not have the dark and sensual qualities required
as the black swan. She progressively loses her tenuous grip on reality and descends into a deluded
state that coincides with the ballet’s premiere.
On 17th January 2013, Sergei Filin, the artistic director of the Bolshoi Ballet was severely injured when
an assailant, Yuri Zarutsky, threw acid into his face, outside his home. As the subsequent trial unravelled,
the anger of a Bolshoi dancer, Pavel Dmitrichenko, regarding Filin’s refusal to cast his then girlfriend,
Angelina Vorontsova, as Odette/Odile was cited as a motivation for Dmitrichenko ordering an attack
on the Bolshoi’s director. Filin has endured over 20 operations to restore his eyesight. He remains in
his post at the Bolshoi despite the huge damage to his eyes and restriction in his sight; Dmitrichenko
is currently serving a six-year sentence in a maximum security prison. Zarutsky received ten years.
Vorontsova, meanwhile, has left the Bolshoi to become a principal dancer at the Mikhailovsky Ballet
in St Petersburg where she has made her long-awaited debut as Odette/Odile. Here is perhaps a case
of fact becoming as strange – and as horrible – as fiction.
Recently, within a matter of days, both The Royal Ballet and
Scottish Ballet announced new productions of Swan Lake for
next season. There will be others. No other ballet is seen so
much and no other ballet represents the art form in the public
consciousness to anything like the same degree. Writing on
the occasion of the seventy-fifth anniversary of the very first
performance, on 4th March 1952, the US writer, Anatole
Chujoy, summarised the ballet’s significance as being “…
the greatest romantic-classic ballet of all times. Swan Lake
stands at the highest point of the curve which represents the
history of the source of all ballet as we know it today”. As the
ballet closes in on its 140th anniversary, these words remain
entirely appropriate.
© Graham Watts
Irina Kolesnikova
35
THE HISTORY
OF THE ST PETERSBURG BALLET THEATRE
The Saint Petersburg Ballet Theatre (SPBT) has quickly established itself as one of Russia’s leading
classical ballet companies. It was founded in 1994 by Konstantin Tachkin who has continued to direct
the company over its 21-year history. SPBT is housed in a magnificent studio complex on Liteiniy
Prospekt, situated in the heart of St Petersburg, which in Imperial Russia had served as the House of
Officers.
This ensemble of sixty dancers is the only major classical ballet company in the world that exists and
thrives without reliance on state subsidy or private sponsorship. To be independent of government
funding or any major sponsor is a remarkable and unique achievement in the modern age.
Although the company performs frequently in its home city and throughout Russia it also has an
enviable reputation for its international touring, giving up to 250 performances each and every year.
SPBT tours have ranged over six continents, travelling to Spain, Germany, Belgium, The Netherlands,
Great Britain, Ireland, France, Italy, Austria, Finland, the USA, Brazil, Turkey, South Africa, South
Korea, Singapore, Australia, New Zealand, Japan, China, Macau and Taiwan.
The Company has a repertoire that includes all the masterpieces of classical ballet:
Giselle, Don Quixote, La Bayadère, Les Sylphides, Paquita; and, of course, the
Tchaikovsky classics from St Petersburg - Swan Lake, The Nutcracker and The
Sleeping Beauty.
The company’s sixty professional ballet artists are all either graduates of
the world famous Vaganova Ballet Academy in St Petersburg or from one
of several other significant Russian ballet schools. Famous dancers of
the past now work as ballet masters and mistresses, coaching the
company’s principals, soloists and corps de ballet: People’s Artist
of Russia, Lyubov Kunakova; Merited Artist of Russia, Yuri Gumba;
and Tatiana Linnik are just three of these renowned former star
dancers now passing on their knowledge and expertise to today’s
performers.
SPBT is proud to have created many home-grown stars of its
own over the past two decades. Among the principals, soloists
and character dancers who have come to maturity within
the company are artists such as Anna Samostrelova, Dmitriy
Akulinin, Mykhailo Tkachuk, Dymchik Saikeev, Maria Velikaya,
Miho Naotsuka and Valeria Andropova. They represent the kernel
of the company’s creative achievement as well as the continuing
guarantee of its ongoing success.
The sparkling jewel in the company’s crown is Irina Kolesnikova
whose name alone sells out theatres throughout the world with
unvarying regularity. Devotees of ballet, not to mention demanding
dance critics, continue to marvel at her outstanding talent.
Kolesnikova is flambouyant. She is delicate. She is a true Prima
Ballerina Assoluta, the very pinnacle of balletic artistry.
SPBT remains the centre of attention for the world’s press, performing
as it does in such celebrated theatres as the London Coliseum, the Royal
Albert Hall, the Théâtre des Champs Elysées in Paris, the Bunkamura Hall in
Tokyo, the National Theatre of Taipei and the National Theatre in Beijing.
36
Founding Director of the St Petersburg Ballet Theatre
Konstantin Tachkin was born on 9th May 1967 in
Kropotkin, a town in the Krasnodar Krai region on the
right bank of the Kuban River, which sits at the foot of the
rich Stavropol plateau at the southern tip of Russia. The
town – originally Romanovsky Khutor - was renamed to
commemorate the death of Peter Kropotkin (a prominent
economist and anarchist), in 1921.
Konstantin was educated in St. Petersburg, a city
that touches every resident and visitor with it’s rich
sense of culture, beauty and art. After military service,
Konstantin’s first employment was within the tourist
industry which allowed him to gain an intimate
knowledge and a great attachment to his
adopted home city.
During his army career, Konstantin
was a member of Russia’s elite
Special Forces and he trained
as a specialist parachutist.
After completing his military service, in the early 1990s, Konstantin
returned to St. Petersburg exactly as the city was rediscovering it’s past
and intent on reclaiming the status as a major global cultural centre
across all the arts.
Rekindling his love for culture and aware of a booming interest in
performance art, Konstantin determined to become an impresario
and to take his city`s culture to the world. So it was that, on 10th
November 1994, he brought into being the St. Petersburg Ballet
Theatre. Seven weeks later - on New Year’s Eve 1994 - this nascent
Company of youthful and talented graduates from the Vaganova
Academy of Russian Ballet, referred to during Soviet times as the
Kirov Ballet School, gave its world premiere performance.
That opening production was Giselle and, since that night, the St
Petersburg Ballet Theatre has progressively built an impressive
repertoire of full-length classics. Konstantin’s intuitive recognition
of popular public demand has taken his company on a remarkably
successful journey over the last 21 years. These travels have taken
the St Petersburg Ballet Theatre to six continents and many countries
that have seen the St Petersburg dancers visit multiple times. In
all of these places St. Petersburg Ballet Theatre has been received
enthusiastically by audiences and press alike.
His achievements with the St Petersburg Ballet Theatre led Konstantin to
be appointed as a Counselor to the St. Petersburg Department of Culture
between 2008 and 2011.
Konstantin is married and has two sons and two daughters.
37
SOLOISTS
SOLOISTS
Liudmila Mizinova
Anna Samostrelova
Born in Saratov in 1987, Ludmila graduated from
the Saratov Region Institute of Arts. From 2005 to
2014 she worked at the Leonid Yakobson Ballet
Company where she became a soloist in 2009.
Anna was born in 1986 in Vsevologsk. In 2003, she
graduated from the School of Classical Dance in
Moscow. From 2003 to 2007, she was with the St
Petersburg State Conservatory Ballet. From 2007
to 2008 she worked with the Leonid Yacobson
Ballet Company.
She danced the lead roles in Nutcracker (Clara)
and Giselle (Giselle). She also danced roles from
the Yakobson repertoire including Paolo and
Francesca from the Rodin cycle, Sextet and The
Marriage Cortège. She has taken part in many
contemporary productions created by Russian
and overseas choreographers.
Since 2014 she has worked with the Saint
Petersburg Ballet Theatre.
Her repertoire includes Swan Lake,
Don Quixote, Giselle and The
Sleeping Beauty.
Ludmila is a many sided
individual. She is a professional
diver and rope jumper. She
studies history and the theory
of painting, reads literary and
scientific works and loves
to travel. Her penchant for
classical music blossomed
after meeting a young
person who is a violinist by
profession. In her spare time
she has appeared in student
documentary films. She loves
traditional cuisine but can’t
cook. She can’t live without
contact with her friends even if
they live in different countries.
Since October 2009, she has been a member
of the Saint Petersburg Ballet Theatre. “I love to
spend my spare time with my relatives and close
friends. I listen to different types of music, have
an interest in interior design and I try to
read as much as possible; my favourite
books are A Hundred Years of Solitude
by Gabriel Marquez and Vanity Fair
by Willliam Thackery.
I find it interesting to meet
people not involved with ballet
as it helps self development.
I like watching sports
both summer and winter,
especially figure skating,
artistic gymnastics and
biathlon! I always try and
put myself in a positive
frame of mind and tell
myself everything will
work out. This is a very
helpful approach in our
complex profession. You
should always believe in
the better!”
Anna Samostrelova was absolutely
beautiful in the title role of Giselle. Her
performance was a major highlight of
the production.
Dancetrain Magazine, Perth
Ludmila Mizinova as Fairy Brilliant. Photo Vladimir Zenzinov
38
Anna Samostrelova as Princess Aurora. Photo Vladimir Zenzinov
39
SOLOISTS
SOLOISTS
Mykhailo Tkachuk
Dmitri Akoulinin
Mikhail was born in Donetsk (Ukraine) in 1990.
In 2008, he graduated from the Kiev State
Choreographic School (class Lakhtionov S.V).
From 2008 to 2011 he was working with the
Leonid Yacobson Ballet Company. From 2011 to
2012 he was working in the Boris Eifman Ballet of
St Petersburg.
Dimitriy was born in the town of Sterlitomak,
Bashkortostan in 1983. From 1986 to 2001, he
studied at the Rudolph Nureyev Choreographic
School of Bashkir.
Since 2012 he has been a first soloist
with the Saint Petersburg Ballet
Theatre. Repertoire: Swan
Lake – Prince Siegfried, Pas
de Trois, The Nutcracker
– Prince Zephir
Upon graduation, he joined the Konstantin
Tachkin’s Saint Petersburg Ballet Theatre. In 2004,
he was promoted to soloist and, in 2005, to
principal dancer. He has toured extensively
and has achieved great critical success
in the UK, Australia, Taiwan, South
Africa and France.
Repertoire:
Swan
Lake,
Giselle, The Nutcracker, La
Bayadère, Sleeping Beauty
and The St Petersburg’s
Nutcracker.
Dmitri is interested in
computers and cars.
He likes to relax in an
active way: skiing in
winter,
swimming,
fishing and football in
summer and says he
only feels completely
at home when he is
in the company of his
close friends.
Dimitri Akulinin, as Count Albrecht, is
as regal and majestic as any patrician
can be. He portrays the character
with a compassionate sensitivity that
perfectly heightens the tragedy of
Kolesnikova’s demise.
Photo Sergei Konstantinov
40
The Star, Johannesburg South Africa
Pinto Ferreira
Dmitry Akulinin as Prince Siegfried. Photo Vladimir Zenzinov
41
SOLOISTS
SOLOISTS
Мiho Naotsuka
Sergueï FEDORKOV
Мiho Naotsuka 9 August 1995 in Nagoya, Japan
Born December 1989 in the city of Saratov,
Sergei studied at the Saratov Regional College
of Arts, graduating in 2008, he is Laureate of the
Adashevsky regional competition 2003 and Winner
of the Saint Petersburg “Alternative” completion
2011. He served in the Russian Armed Forces Song
and Dance Ensemble.
From 2004 to 2011 was studying in Theatre the
Ballet Academy in Japan.
From 2012 to 2013 was studying in Vaganova
Russian Ballet Academy.
Class of professor Ludmila Kovaleva.
In 2014 joined the St. Petersburg Ballet
Theatre.
Awards
Bronze medal –
Youth America Grand Prix.
2009
Repertoire
Swan Lake Pas de trios
Don Quixote –
Street dancers,
Qupide,
La Bayadere –
Trio of Shades
Giselle –
Pas de deux.
Photo Vladimir Zenzinov
42
Sergei’s Repertoire includes: Mercutio and
Benvolio in Romeo and Juliet, the Peasant pas de
deux in Giselle, Pas de trois in Swan Lake and
the Blue Bird in Sleeping Beauty.
In his free time likes cooking
and learning how to prepare new
dishes. Favourite cuisine Italian.
Sergei loves travelling the world.
Some of his favourite countries
are Spain where his favourite
city is Barcelona, Italy (Sicily),
Thailand and of course his own
country where he considers
the most beautiful city to
be Saint Petersburg. In his
own profession he dreams
of dancing all the leading
roles. He spends a lot of
time on physical preparation
and perfecting his physical
and acting technique since
he considers himself to be
first and foremost an actor/
artist and only after that a
dancer. He has appeared
as an extra in several
Lenfilm Studio productions.
Sergei loves his cat called
Sid.
Sergei Fedorkov as a Jester. Photo Sergei Konstantinov
43
SOLOISTS
SOLOISTS
Andrei Fedorkov
Mariia Velikaia
Born June 1994 in the city of Saratov, Andrei enrolled
at the Saratov Regional Choreographic Institute
of Arts in 2004. While studying, he appeared in
many school concerts and performances. After
graduating in 2012, he served in the Russian armed
forces. In 2013 he joined the Leonid Yakobson Ballet
Company which has generally a contemporary
repertoire.
Mariia Velikaya was born in 1987 in the town of
Vologda and graduated from the Saint Petersburg
State University of Culture and Art. She has worked
as a dancer in the Milita Song Acadamie Ensemble
and the Leonid Yakobson Ballet Company, joining
the Saint Petersburg Ballet Theatre in 2014.
Mariya is married and has a 5 year old son. Her
hobby is needlework which she finds calming
after a hectic day of rehearsal and
performance Her repertoire includes
Sleeping Beauty, Nutcracker,
La Bayadère.
Since 2014 he has been dancing with the Saint
Petersburg Ballet Theatre as a soloist. He
dances the Jester in Swan Lake on this
2015 tour and also appears in Giselle
and Don Quixote.
Repertoire: Swan Lake, Nutcracker,
Spartacus. Andrei is a Laureate of
the Adashevsky Inter-regional
dance competition.
Andrei Fedorkov as a Jester. Photo Vladimir Zenzinov
44
Photo Vladimir Zenzinov
45
CHARACTER SOLOISTS
CHARACTER SOLOISTS
Natalia Smirnova
Dymtchik Saïkeev
Born in Brest, Natalia graduated from the
Novosibirsk State Choreographic Institute in 1996.
From 1996 – 2013, she worked at the Boris Eifman
Ballet of St Petersburg. Since 2013, Natalya has
been working with Konstantin Tachkin’s Saint
Petersburg Ballet Theatre.
Dymchik was born in 1969 in the town of UlanUde. In 1990 he graduated from the Vaganova
Choreographic School of Leningrad in the class
of People’s Artist of Russia, Laureate of the State
Prize of the USSR, Professor Boris Bregvadze.
Upon graduation he joined the Odessa State
Theatre of Opera and Ballet.
Repertoire: Swan Lake, Sleeping Beauty, Don
Quixote, Romeo and Juliet. In 2007 Natalya
graduated from the Vaganova Academy of Russian
Ballet. She has participated in the filming of Red
Giselle, Anna Karenina, Onegin and Rodin.
Her wide range of hobbies include
photography, yoga, single combat,
cinema, dogs, travel, interior design,
culture and oriental history. Her
favourite music include Jazz,
classical Louis Armstrong, Edith
Piaf, Vladimir Vysotsky, Zaz,
Mozart and Astor Piatzzolla.
Her favourite books are
Three comrades; A time to
Live and a Time to Die by
Erich Maria Remarque!
And her favourite foods are
Georgian, Mediterranean,
Odessan, with her favourite
dish being Kharcho soup.
Natalya Smirnova as Lady Capulet. Photo Vladimir Zenzinov
46
In 1998 he joined Konstantin Tachkin`s
St.Petersburg Ballet Theatre. Dymchik possesses
a striking individuality. The characters he creates
remain long in the memories of both audiences
and exacting reviewers; whether the character
be Hans the Woodman from Giselle, or the
evil magician Rothbart from Swan Lake.
However, even small, episodic roles
such as the huntsman from Sleeping
Beauty take on substance and
become
interesting,
bright
personalities in the hands of
Dymchik Saykeev.
He is a
fine character dancer and his
repertoire includes the Spanish
and Hungarian dances from
Swan Lake, and the Spanish
Dance from The Nutcracker.
His Espada, Fandango and
Gipsy from Don Quixote are
equally as fine as his main
roles mentioned above.
Dimchik Saykeev as Lorenzo. Photo KT
47
BALLET COACHES
AUTUMN 2015
AT ENGLISH NATIONAL OPERA
Puccini’s
LA BOHÈME
16 Oct – 26 Nov
Tatiana Linnik
Yuri Gumba
Tatiana Linnik in 1986 has entered the
Academy of Russian Ballet of A.Y. Vaganova
in class of E.V. Kokorina.
Ballet master Yuri Gumba was born in 1952.
He studied ballet at the Spendiarova Theatre
of Ballet in Armenia. After graduation in
1972 he worked at the Moscow Classical
Ballet Ensemble before joining the Kirov
(now Mariinsky) Ballet Company where he
danced until 1990 .
Upon leaving she was accepted by
Mikhailovsky Theatre (former Musorgsky
Theatre) where she has executed a number
of solo parts in Swan lake, Harlequinade,
Antony and Cleopatra, Giselle.
ENGLISH
NATIONAL
OPERA
48
La bohème, Dutch National Opera. Photo by Monika Rittershaus
She was the invited ballerina in Vilnius Opera
and Ballet Theatre (Lithuania)
London Coliseum
Tickets from only £12*
Book now
020 7845 9300 | eno.org
Find us on
*Booking fees apply
From 1988 to 2009 Tatiana worked in
Mariinsky Theatre. She danced a numbers
of solos in ballets Bakhchsarai fontaine,
Paquita, Swan Lake, Don Quixote, The
Sleeping Beauty, etc…
In 2009 she was a teacher at the Vaganova
Academy.
In 2010 – Tatiana became a coach with St
Petersburg Ballet Theatre.
Yuri first joined the St Petersburg Ballet
theatre in 1996, shortly after it was formed,
filling the vital role of teacher and coach.
Between 2007 and 2013 he worked as a
teacher with the Mikhailovsky Theatre in
St Petersburg before returning to SPBT in
2013 where is experience and knowledge of
the classical repertoire is greatly valued..
As a dancer Yuri Gumba’s on stage
repertoire included soloist and character
roles in Don Quixote, Swan lake, Le Corsaire,
La Bayadère and in many legendary ballets
of the Soviet era such as The Fountains of
Bakshisherai, the Little Humpbacked Horse
and Walpurgis Night.
49
BALLET COACHES
Lubov Kunakova
A ballerina’s success is in many ways dependent upon the level of talent of her
teachers. I have been fortunate to work with true masters.
Lubov Kunakova, an honored artist of
Russian Federation, People’s artist of
Russian Federation (1983) was born on
the 8th of August 1951.
Thank you! Thanks to everyone at the Vaganova School who helped me take
my “first steps”, to those who have participated in my becoming a professional
dancer and to those who today generously continue to give me the benefit of
their experiences and priceless knowledge.
Ballet Mistress
She graduated from Perm College
of Choreography in 1970 (class of G.
Kuznetsova).
Irina Kolesnikova
During 1970-1974 in Perm Theatre she
performed parts of Milady and Queen
(Three Musketeers), Swanilda, OdetteOdile (Swan Lake), Kitri (Don Quixote),
Fairy of Lilac and Aurora (The Sleeping
Beauty) etc.
In 1974 she entered the Mariinsky theatre,
where worked until 1992.
Her repertoire was diverse and voluminous.
She tried herself in such diametrically
- opposed parts such as Giselle and
Mirtha, Gamzatti and Nikia. In these
parts she demonstrated her own style,
perfecting her individuality. Kunakova
had a joyful talent, and that made all her
parts lyric, romantic and genuine. Her own
personality, her open nature and shining
smile helped her in creating images of
Aurora, Fairy of Lilac, Raymonda, Diana,
etc. Her heroines danced with dignity,
brilliance and refinement.
With Margarita Kullik
During 1997-2002 Kunakova worked as a
classic ballet tutor in the Russian Ballet
Academy named after A.Vaganova. She
has staged a several ballets (Mariinsky
Theatre`s version): in Minsk («Don Quixote,
Shopiniana), Athens, (Don Quixote, The
Sleeping Beauty), Brazil (Giselle).
With Svetlana Efremova
In 1997 she began working as a coach
at State Academic Mariinsky theatre
and since 2001 at St Petersburg Ballet
Theatre.
With Lobov Kunakova
50
Photo Vladimir Zenzinov
With Alla Osipenko
Photo Vladimir Zenzinov
51
BALLET COACHES
Margarita Kullik. Photo Vladimir Zenzinov
52
Irina Kolesnikova and Dmitry Akulinin. Rehearsal of Romeo and Juliet. Photo Vladimir Zenzinov
53
La Baydère
Ludwig Minkus
LONDON COLISEUM
22&23 August 2015
CAST
Nikiya
Irina Kolesnikova
Solor
Denis Rodkin
Princess Gamzatti
Natalia Matsak
“…. The SPBT possesses a star
ballerina in Irina Kolesnikova. She
is, without doubt, the complete
article: exquisite port de bras, great
feet and efficient footwork, an elastic
back, long, elegant neck and above all a
radiant stage presence which shone even
when seen from the far side of the cavernous
Albert Hall”
Graham Watts, London Dance (UK)
*The management reserves the right to substitute any scheduled
artist for any reason whatsoever even at short notice should the need arise.
54
Irina Kolesnikova as Nikiya. Photo KT. Photo Andrei Klemeshev
55
LA BAYADÈRE
Music: Ludwig Minkus
Libretto: Marius Petipa, Sergei Khudekov
Choreography: Marius Petipa
Staging (2004): Elena Vorontsova, Albert Mirzoyan
Costumes: Galina Solovieva
Scenery: Semieon Pastukh
ACT II
Great celebrations for Gamzatti and Solor’s impending wedding take place in the Palace grounds, As a
temple Bayadere, a grief stricken Nikiya must dance in celebration of Solor and Gamzetti’s union. She
is given a basket of flowers to dance with and she happily assumes they are from Solor. In fact they are
from the Rajah and Gamzatti and conceal a poisonous snake which fatally bites the Bayadere. As she
lies dying and betrayed, the High Brahmin offers her an antidote to the poison in return for her love.
She refuses and dies in agony.
ACT III Scene one
In his private rooms, Solor is inconsolable, tortured with remorse at his
betrayal of his love, Nikiya . His servant, Magdaveya persuades him
to smoke and enjoy the sanke charmer’s pipe music. Solor dozes
on his divan. In his dreams he sees a long ghostly line of young
women wronged in love weave down the mountain side, Nikiya
at the rear. The young lovers dance together celebrating their
lost love. As Nikiya fades back into the Kingdom of the
This is a cautionary tale of the frailty and tragedy of the human condition
in the manner of other great ballet classics like Swan Lake and Giselle.
It is a moral finger wagging so beloved of the turn of the century
Victorian era, but the dance making genius of Marius Petipa and
the glorious range of Ludwig Minkus’s music is pure magic and
timeless.
Shades, she calls to him, reminding him of his vows.
THE STORY
ACT I Scene One
ACT III Scene Two
The curtain rises on a clearing in a sacred forest on the
foothills of the Himalayan Mountains. Trees shelter
the Holy Temple. A group of young warriors, led by
the noble Solor, returns from the hunt and he leaves
a message for his love, the temple dancer, or La
Bayadere, Nikiya, that he will return at dusk. The
Temple doors are thrown open for the great Fire
Festival. Grand processions by the Priests, homage
by the temple dancers and the prayers of the High
Brahmin worship the flames. But the High Brahmin
is consumed with lust for the beautiful Nikiya and as
she dances he promises to cast aside his Holy Vows
for her. Disgusted , Nikiya rejects him. Later that night,
the lovers Solor and Nikiya express their deep passion
for each other as they dance together and Solar swears
his eternal love over the sacred flames. Unknown to the
happy lovers the High Brahmin, consumed with jealousy
and hatred, watches their every move and swears to
Solor wakes still haunted by visions of Nikiya and their
lost love. His pain is unbearable and he carelessly
opens the snake charmer’s bag. The snake lunges
and fatally sinks its venom into Solor’s arm.
HISTORY
La Bayadere was first performed on 4 February,
1877, at the Imperial Bolshoi Kimenny Theatre
in St Petersburg. The work was created by the
international ballet master, Marius Petipa as
a benefit performance for ballerina Ekaterina
Vazem, to a commissioned score by Ludwig
Minkus. Both choreographer and composer were
in the employ of the Imperial Theatres.
Petipa was, and still is, considered the man who
defined the style and technique known today as
classical ballet. Indeed the choreography of the Act
III Kingdom of Shades which you will see tonight, is
still considered to be a mile stone in the development of
the art form. Even today the severe simplicity of the steps
expressing heart breaking human emotions is a challenge for
the world’s greatest ballerinas.
There have been many alterations and improvements to the ballet
since its creation. After the Russian Revolution, the complicated
stage mechanics of the last act earthquake annihilating the entire cast
were dropped, not only for economic reasons, but the chaotic finale included
the hero’s death, not an acceptable Soviet outcome. In 1941 the famous ballerina
Natalia Dudinskaya and her partner Vakhtang Chabukiani, both virtuoso dancers, starred
in a complete overhaul of La Bayadere by the Maryinski Ballet, introducing steps for the two lead
roles that were more challenging than those originally invented by Petipa.
© Jeffery Taylor
destroy the blissful young couple.
ACT I Scene Two
We see Solor’s life size portrait in a Palace apartment as the Rajah
tells his daughter Gamzatti she will marry the young warrior. Gamzatti is
thrilled but Solor is in despair. He has sworn his love for Nikiya but cannot
refuse such an honour from his leader. Hoping to drive Nikiya into his own
arms the High Brahmin seeks an audience with he Rajah and tells him of Solor
and the Bayadere’s love. The furious Rajah swears Nikiya’s death reducing the
High Brahmin to despair. Gamzatti hears everything and and summons Nikiya to
beg her to give up Solor. Nikiya is enraged at Gamzatti’s request and attacks
Gamzatti with a knife. Gamzatti’s servant, Aya, overpowers her and in return
Gamzatti vows Nikiya will die.
56
Photo Andrei Klemeshev
57
LA BAYADÈRE
Ludwig Minkus 18261917
Ludwig Minkus was born
in Vienna and first came
to prominence as a child
prodigy violinist. After a
successful career as soloist
and conductor in his home
country, he emigrated to
Russia in 1853 and married
Maria Antoinette Schwarz in St
Petersburg. His love of dance
led to a close collaboration
with Ballet Master,
Marius Petipa and
his appointment
as the official
Composer of Ballet Music to the St Petersburg
Imperial Theatres in 1869. The first ballet
resulting from this partnership was Don Quixote
premiered the same year followed by, among
others, La Camargo (1872), A Midsummer
Night’s Dream (1876) and a year later La
Bayadere. Minkus and his wife left Russia
in 1891 and settled in their home town of
Vienna. His wife died in 1895 and Minkus
died alone after contracting pneumonia
in the 1917 savagely bitter winter.
© Jeffery Taylor
58
Photo Andrei Klemeshev
59
LA BAYADÈRE
Irina Kolesnikova as Nikiya. Photo KT
60
Irina Kolesnikova as Nikiya. Solor – Dmitry Akulinin. Photo KT
61
LA BAYADÈRE
Irina Kolesnikova as Nikiya. Solor – Dmitry Akulinin. Photo KT
62
Irina Kolesnikova as Nikiya. Photo Vladimir Zenzinov
63
Irina Kolesnikova
Irina Kolesnikova
Prima Ballerina of the St Petersburg Ballet Theatre
Irina Kolesnikova was born in St Petersburg - regarded by many as the most beautiful city in Europe
- in 1980. Her first dream was to be a doctor. Her father, a lawyer, and mother, who taught at a
St Petersburg kindergarten, encouraged Irina to pursue many sporting goals. First, she excelled at
swimming, followed by ice skating and gymnastics. It was her prodigious talents in these two artistic
sports that led young Irina, aged 9, on her journey towards ballet stardom, which began through
the doors of St Petersburg’s famous Vaganova Ballet Academy, the inspirational cradle of Russian
ballet. Irina studied at the Academy under Elvira Kokorina and, following nine years of hard work, she
graduated in the summer of 1998, her 18th year.
Later that same year - in December - Irina was accepted into Konstantin Tachkin’s St Petersburg
Ballet Theatre as a soloist where her first teacher was former Kirov Ballet star and Honoured Artist
of the USSR, Svetlana Efremova. Within two years, Irina’s extraordinary dancing talent and acting
abilities were recognized by her promotion to principal. By 2001, Irina Kolesnikova had become the
company’s Prima Ballerina, aged just 21.
Her many great roles cover a wide repertoire of classical and romantic ballet include Clara in Nutcracker,
Princess Aurora in The Sleeping Beauty, Kitri in Don Quixote, Nikiya in La Bayadère, the title role of
Paquita and, of course, any ballerina’s most coveted roles – in the title role of Giselle and as Odette/
Odile in Swan Lake. Today, Irina Kolesnikova works under the tutelage of Lyubov Kunakova, herself
honoured as a People’s Artist of Russia, who coaches Irina for all her major roles and oversees her
strict training regime.
It is in the definitive role of Odette/Odile in Swan Lake that Irina has made her most impressive mark,
both in Russia and abroad. Her portrayal of the Swan Queen has become an indelible personal
trademark.
The Parisian Journal, Danse Magazine, aptly summarised the many rave reviews that Irina has received
for her interpretation of the white and black swan, when respected dance journalist, Margarita Medina,
wrote:
“Thanks to this amazingly supple dancer, an artist from head to toe, we got to see the truly ideal Swan.
Her tenderness and timidity were very touching.
…Irina united drama with virtuosity in her marvellous illustration of the double-sided nature of this
role. Her Black Swan was imposing and self-assured. Her perfect pirouettes and double and triple
fouettés electrified the audience of the Théatre des Champs Elysees.
Her lack of any internal tension, freedom of movement and her expressiveness, all combine to allow
us to place this Saint Petersburg star, pleasant behind the scenes and brilliant on stage, at the summit
of a choreographic Olympia alongside the other outstanding talents of her generation.
In 2008, Irina enriched her repertoire by venturing into the sphere of contemporary dance for a season
at the Apollo Theatre in London’s West End, where she danced the role of Hollywood legend Judy
Garland, in Peter Schaufuss’s hugely successful dance spectacular, Divas.
As a member of the St Petersburg Ballet Theatre, Irina has toured extensively across six continents
to Spain, Germany, Belgium, The Netherlands, Great Britain, Ireland, France, Italy, Austria, Finland,
64
the USA, Brazil, Turkey, South
Africa, South Korea, Singapore,
Australia, New Zealand, Japan,
China, Macau and Taiwan.
Irina is the recipient of numerous
Russian and International dance
prizes:
• Natalia Makarova Prize and the
Silver Medal at Arabesque 2002 in
Russia
• Silver Medal at the worldrenowned International Ballet
Competition in Varna
• Gold Medal at the International
Ballet Competition in Prague
• Nomination for the international
prize at Benois de la Danse
• Silver Medal at the 5th Japan
International Ballet and Modern
Dance Competition
• Nomination by the Critics’ Circle
of the UK as a finalist for Best
Female Dancer in the National
Dance Awards
A photographic album of her career,
entitled simply Irina Kolesnikova
has been published, featuring
more than one hundred superb
photographs of the ballerina on and
off stage. The introduction to the
album is written by the legendary
Russian-American ballet critic and
photographer, Nina Alovert. Irina
also stars in three DVDs - filmed
around the world –performing the
leading roles in Swan Lake, Giselle and The Nutcracker.
Back in St Petersburg, Irina’s parents and her banker brother Ruslan eagerly follow her travels around
the world and her astounding triumphs.
“The hardest part of a ballerina’s life is missing a home life” says Irina. “Oh, and the constant pain
and the need to stay 100% fit, 100% of the time,” she adds: “I’m lucky of course, as I love to perform,
love to see new countries and meet new and different cultures. Everything I see, everyone I meet
contributes to my emotional palette.”
In her rare, quiet moments, Irina likes to develop her embroidery skills.
Irina is married and recently returned to the stage after giving birth to her first child, a daughter, in
2014.
Edited by Graham Watts
65
IRINA KOLESNIKOVA’S PARIS TRIUMPH
On 6th February 2012
at the Russian Federation Ambassador’s
residence in Paris
a dinner was given in honour
of the Prima Ballerina,
Irina Kolesnikova.
The previous evening saw the conclusion to the
Saint Petersburg Ballet Theatre’s Paris tour where,
in to­tal, 15 sell out performances were played to
48 thousand people.
Alexander Orlov,
Irina Kolesnikova
Upon welcoming Irina Kolesnikova, Aleksandr Orlov, the Russian
Federation’s ambassador to France commented:
“We applauded so hard that our hands nearly fell off. What a superb
Swan Lake! Your performance of Odette/Odile has become, by
common consent, an absolute revelation to the French people.
Your performance was fervently received by the audience. I would
like to congratulate you on this. This is after all a continuation of
a tradition began a century ago by Sergei Diaghilev when stars
like Tamara Karsavina and Anna Pavlova shone brightly. Then
Irina Kolesnikova,
Alexander Orlov,
Konstantin Tachkin
along came Galina Ulanova and Maya Plisetskaya. Today it is
Irina Kolesnikova’s turn to carry the banner. Your name can stand
alongside those of the great ballerinas who set Russian ballet on
the road to glory. I wish you every success! I am sure you are still
The reception in the Russian Federation Ambassador’s residence
was filmed by State Russian Television. News report broadcasted
on Monday 13th Feb 2012.
66
Victor Ignatov,
Nicole Duault,
Ludmila Loginova
Photo Nina Alovert
at the beginning of a booming career!”
67
Paris Haute Couture Fashion Week concludes with
a show in honour of a ballerina from Saint Petersburg
Paris Haute Couture week
enriched by fashion show in honour of Irina Kolesnikova
– in spite of the ballerina’s
absence.
Jean Doucet, Irina Kolesnikova
Irina Kolesnikova
Paris Fashion week was brought to a fitting
conclusion with the showing of Jean Doucet’s
collection which he dedicated to his new
muse, the Saint Petersburg ballerina IRINA
KOLESNIKOVA.
The French designer’s collection was shown on
24th January 2013 in the Théâtre du Châtelet
and is a declaration of love for classical ballet
which has had its supreme and most spiritual
evolution in Russia as nowhere else.
As a graduate of the Vaganova Academy and
worthy bearer of the Russian ballet tradition,
IRINA KOLESNIKOVA was the central figure of
the fashion show. The ballerina first appeared
on the runway in the guise of the black swan,
then in a golden hued evening dress, and finally
in a white lace outfit. It was the Odette – Odile
68
Stella Kalinina, Jean Doucet, Jacques Doucet
role which inspired the designer to create a
story about fashion, sensuality and fluidity.
The choice of location for the fashion show was
no coincidence either: the famous Diaghliev
season took place a century ago in the Théâtre
du Châtelet.
Representatives from the world of culture and
the fashion industry congregated to see the
collection entitled “Irina Kolesnikova and the
ballets Russes”. Among the guests were the
President of the “Miss France” beauty contest
and the Russian ambassador to UNESCO.
For the full story see Zinaida Kurbatova’s
television report on chanel“Rossiya 24”: http://
www.vesti.ru/videos?vid=481391.
Mile Tchao
Mile Tchao Jean Doucet
On 23rd January 2014 a fashion show dedicated
to the Russian ballerina Irina Kolesnikova took
place at the celebrated Opéra Garnier.
As part of Haute Couture Paris Fashion Week,
the French designer Jean Doucet presented
his new collection dedicated to the Saint
Petersburg ballerina and to the glory of Russian
ballet in toto. The collection is thus entitled
“IRINA KOLESNIKOVA AND THE RUSSIAN
BALLETS”.
This time the designer created several dresses
among which is one unique wedding dress
inlaid with pearls, worthy of a museum setting
and which was protected by four security
guards for the duration of the event. Although
due to matters out of her control Irina could not
personally take part in the fashion show, the
event in her name made great waves among
the representatives of the Parisian fashion and
cultural world.
This is the continuation of a project which had
very auspicious beginnings in January 2013. It
was Irina’s fluidity and sensitivity in her portrayal
of Odette/Odile in the ballet “Swan Lake” which
inspired the French fashion designer to create
this image for her.
Irina’s place at the end of the show was taken by
the Japanese model Mile Tchao who wore the
same unique wedding dress which, according
to the designer’s concept, Irina would have
worn on the runway.
69
Irina Kolesnikova in Paris
It was a beautiful spring afternoon when I made my way to the famous Théâtre des Champs-Elysées to meet
the St Petersburg Ballet Theatre’s prima ballerina, Irina Kolesnikova. This celebrated Parisian theatre on the
Avenue Montaigne was assured a place in cultural history within seven weeks of opening, when it staged the
infamous production of The Rite of Spring (Le Sacre du printemps) by Les Ballets Russes, on 29th May 1913.
The premiere notoriously caused a riot from competing sections of a Parisian audience that either loved or
hated the unique churning rhythms and visceral orchestration in Igor Stravinsky’s ground-breaking music
(which legend has it, no-one could hear due to the noisy protests) and Vaslav Nijinsky’s complex, innovative
choreography. In addition to The Rite of Spring the theatre also hosted the world premiere - a fortnight earlier
- of Claude Debussy’s Jeux, with choreography by Nijinsky and designs by Léon Bakst.
But, the very first ballet to play at Théâtre des Champs-Elysées, on the night following its official opening in April
1913, was a dance spectacular curated by the great ballerina, Anna Pavlova. On the afternoon of my visit, there
seemed a magical synergy over the theatre’s long life, with an exceptional ballerina from St Petersburg being
the first to dance on that stage; whilst the latest to do so – almost exactly 102 years’ on – was to be another
sublime ballerina from the same Russian city.
Since that season, the Théâtre des Champs-Elysées has hosted many more premieres and most of the world’s
greatest dancers have performed on its stage over the past century. Walking through the maze of back stage
corridors was a challenge, not due to the vagaries of orientation, but simply because the wall spaces are so
full of theatrical and dance memorabilia, that it was like walking through a fascinating museum exhibition, in a
hurry!
The reason for haste was that the St Petersburg Ballet Theatre’s prima ballerina was taking a few minutes’ rest,
having performed Swan Lake (with The Royal Ballet’s principal dancer, Vadim Muntagirov) on the previous two
evenings, she had just finished a full main-stage rehearsal as the tragic heroine of La Bayadère; Nikiya (the
Temple Dancer of the title). And, in little over two hours’ time, Irina was about to dance the whole thing again,
in front of a capacity audience (with the Bolshoi Ballet’s Denis Rodkin as her partner). This schedule would be
tough enough for anyone but add into the mix that Irina Kolesnikova is mother to a baby daughter, Vasilina, not
yet nine months’ old at the time of our interview and one must instinctively marvel at her undoubted strength
and stamina, both mental and physical.
I find Irina in her dressing room, still dressed in rehearsal clothes, feet raised high onto her dressing table for
some relief; the table strewn with the detritus of a ballerina’s life: make-up, ribbons, sewing kit, pointe shoes….
Also in the room were the company’s founder and director, Konstantin Tachkin, and the CEO of Theatre Tours,
Andrew Guild, who was kind enough to use his Russian to help interpret our conversation.
I started by asking Irina what it was like to dance now, as a mother? Had it changed the way that she approached
roles, especially those that require great expressiveness and emotional qualities, such as Nikiya, Odette and
Giselle? “I have heard many stories that after giving birth to a child, things are often different for a ballerina”,
she replies. “Perhaps they are mentally or emotionally different; or maybe a dancer gains something in terms of
her expressiveness”, she adds. “I think that many ballerinas shoot a lot higher but I’ve also heard many stories
about dancers performing a lot worse after becoming mothers”.
It begs the question about how Irina feels about herself, nine months’ into her special dual role. She laughs:
“Well, I haven’t yet given a lot of performances since becoming a mum and I’m hoping, of course, that I go
upwards”, adding, for reassurance: “…and I am starting to feel that this is happening. I hope that I will be one
of those ballerinas that get even better because of motherhood”. Having watched her devastatingly anguished
and technically perfect performance as Nikiya, later that evening, I can confirm that this certainly appears to
be the case!
What about the pressures of being a mother? “Well, they are a challenge”, she says, “but I knew that they would
be and I have help. Getting up early in the morning after a late night performance is difficult but I have to be
there for her and I wanted this, so I can’t complain”.
70
I was keen to know why Irina had not gone into one of the
venerable, established Russian Ballet companies – such as the
Mariinsky in St Petersburg or the Bolshoi in Moscow – when she
graduated as a top student from the class of Elvira Kokorina at
the famous Vaganova Academy, in 1998; choosing instead to
enter a much smaller and relatively new company. Was this a
deliberate strategy, I asked?
“Not at first”, she replies, “in fact it was simple. The Mariinsky
took only a couple of dancers from my graduation year. So, I
went to the Jacobson Ballet Company (named after Leonid
Jacobson a famous avant-garde choreographer in the USSR,
who had died in 1975) straight after graduation. However, I only
spent six months there because I didn’t feel that the company
was offering me what I needed; and so I immediately looked for
something else”.
Even though it was only five years-old, St Petersburg Ballet
Theatre provided the right opportunity for Irina. “I like working
and when I came to this company, I sensed immediately that here
was a place that I was going to be able to get lots of performances
in major roles, so I had no hesitation in joining”. She joined as a
soloist and within two years, Irina was promoted to principal; by
2001, Irina was the company’s prima ballerina, aged just 21.
Irina Kolesnikova as Nikiya. Photo KT
Next we move on to the thorny issue of aesthetics and suitability for roles, which has been a big debate in
Russia recently. I ask Irina about her feelings on the importance of aesthetics, in terms of the physical qualities
required to dance roles such as Nikiya and Odette, especially since she matches the right image for both roles.
How does she feel about the changing perceptions in terms of widening the horizons of what is deemed to be
right for these roles?
“It’s a difficult and complicated question”, she replies, adding: “I agree with you. They’re my roles. What
happens at the moment is that every ballerina wants to tick these boxes. They all want these roles on their CV”.
Her view is refreshingly liberal: “Even though some ballerinas may not suit a traditional understanding of what
each role should be, every ballerina brings something to their interpretation of these roles and so, in my view, if
they are good enough to perform such challenging choreography, then they should be given the chance to do
so, irrespective of whether they suit a traditional view about the physical attributes for the role. It’s a legitimate
argument about whether you like it or not, but the audiences will ultimately decide”.
Although Irina is known for her interpretation of these classic roles, she also danced in Peter Schaufuss’s
Divas, performing as Judy Garland, at the Apollo Theatre in London’s West End. I asked her if she enjoyed this
experience of performing something new and contemporary and whether she now sees herself doing more
modern work. “I enjoyed it very much”, she says immediately (even before Andrew has finished translating
my question), “and I would love for that kind of role to happen again”. But, she adds: “I could have put all my
strength into chasing other roles but I put my concentration on something else recently and I became a mother!
Now that I have accomplished that goal I can now start looking at the next direction for my career”.
Before leaving, I ask Irina if she enjoys touring and her response brings us full circle to the missionary zeal of
Anna Pavlova, that first ballerina to perform at the Théâtre des Champs-Elysées, on the night after its opening,
in 1913. This latest prima ballerina to grace the same stage with her pointe shoes also strives to take ballet to
the people. “ I love to travel and to take our ballet to different places and different audiences. I hope that we
can persuade people who have perhaps never seen a ballet to come again; and to love it”. We could be rolling
back the years and listening to Pavlova’s mission. But, there must be a relaxing side to it? “Yes, I really love just
walking in the streets, getting the feel of every city and, of course, I love to shop”.
With that, I took my leave and – stopping to take in several original Ballets Russes posters on the way out – I
headed off into the sunny streets of Paris, leaving this exquisite ballerina preparing for her imminent task of
transporting a capacity French audience back through the centuries to the foothills of the Himalayas as La
Bayadère. And, of course, she did it splendidly.
© Graham Watts
71
Irina Kolesnikova in Asia
Since 2004 St Petersburg Ballet Theatre presents Irina Kolesnikova on the best stages of Asian region,
such a Tokyo Bunka Kaikan and Bunkamura Orchard Hall in Tokyo, Opera House of NCPA in Beijing,
Grand Theatre in Shanghai , Macao Cultural Centre, Daegu Opera House in South Korea and The National Theatre in Taipei.
In May 2015 Irina Kolesnikova made her debut in Singapore.
Irina Kolesnikova Asia press:
Irina Kolesnikova is a regal dancer schooled in the Russian tradition, with an expressive back and secure classical technique. She
lends her white swan an athletic boldness, but with crucial mime sequences replaced by dancing, there is too much back story to
fill in even with the passion she imbues.
Press conference - National Theatre - Taipei, 2011
Press conference - National Theatre - Taipei, 2011
Kolesnikova undergoes a remarkable transformation in the ballet’s third act, portraying Odile with a previously unseen attack and
cunning coquettishness. While she handles the role’s rigorous technicalities admirably.
Germaine Cheng – The Straits Times, Singapore
Irina Kolesnikova is exquisite... She is a dancer of magnetic power - so much so that any ballet company in the world would welcome
her with open arms….
This brilliant ballerina is distinguished by her physical beauty and extraordinary emotional expressiveness. Quite recently in Japan,
in May, she danced the lead role in “Swan Lake” where she resembled a big flower. Kolesnikova possesses a perfect technique and
with just a few gestures and facial expressions is able to convey Odette’s sadness and Odile’s demonic character.
Press conference - Shanghai, 2009
Press conference - Taipei, 2011
Shinshokan Dance Magazine – Tokyo, Japan
“Irina Kolesnikova conquered the audience with her lovely renditions of the black and white swans….the beauty of her dancing has
reached such a level as to take the audience’s breath away…”
Khi Ding Khau – United Daily News – Taipei, Taiwan
Apart from that, as opposed to many contemporary young Russian ballerinas who offer a relatively simple interpretation of the
White Swan character, Kolesnikova’s Odette is emotional and replete with feminine attractiveness.
Autographs -TheBunkamura Hall - Tokyo, 2011
Autographs - The National Theatre - Taipei, 2011
Photo KT
It is striking how such an original and thrilling persona can be created. In the character of Odile, she is a captivating queen with a
special aura; she demonstrates her mastery of spins and turns and the rapid tempo of her grands fouetés was met with thunderous
applause…
The performing Arts Journal – Tokyo, Japan
72
Spectators - Immediately after performance - The National Theatre - Taipei, April 2011
73
English National Opera
London Coliseum
AUTUMN 2015
AT ENGLISH NATIONAL OPERA
Interim Chief Executive
Cressida Pollock
Technical Resources Manager
Dewi Evans
Director of Theatre Management
Lynne Adam
Theatre Management Coordinator
Helen Beardsley
Acting House Manager
Daniel McHale
House Management
Viv Wells, Keith Parker, Alicja O’Brien
Box Office
Barbara James, Paul Hackney
Richard Wiedemann
Catering
Rupert Walsh, Annalisa Ferrarotto
Benjamin Krol, Robert Eyles
Security
Mick Madden
The public may leave at the end of the performance
by the exit doors and such doors must at all
times be open. All gangways, passages and
staircases must be entirely free from chairs or any
other obstruction. Persons shall not under any
circumstances be permitted to stand or sit in any
of the gangways. If standing be permitted, in the
gangways at the side and rear of the seating, it
shall be strictly limited to the number indicated in
the notice exhibited in those positions. The safety
curtain must be lowered and raised in the presence
of each audience. Smoking is not permitted
anywhere in the London Coliseum. The use of
video cameras, or sound recording equipment, is
forbidden during any performance.
St Petersburg Ballet Theatre Company:
Dmitriy Akulinin
Valeriya Andropova
Aleksandra Arkhangelskaia
Iurii Baryshnikov
Stanislav Burov
Mikhail Degtyarev
Diana Ermolaeva
Larisa Fabrichnova
Andrei Fedorkov
Sergei Fedorkov
Veronika Ignateva
Vladislav Ilivanov
Grigory Ivanov
Tatiana Kabatskova
Mikhail Khokhlov
Darina Kochan
Iuliia Kochemasova
Anastasiia Kuzmina
Nadezda Lashko
Artem Markov
Ilia Mironov
Ludmila Mizinova
Miho Naotsuka
Adelia Nazyrova
Anastasiia Pavlova
Vsevolod Pokrovskii
Dmitrii Rudachenko
Dymchik Saikeev
Anna Samostrelova
Ielyzaveta Savina
Marianna Sergeeva
Natalia Smirnova
Gherman Snaider
Kseniia Spiridonova
Viktoriia Stavtseva
Inna Svechnikova
Tatiana Tiliguzova
Konstantin Tkachuk
Mykhailo Tkachuk
Tetiana Toporkova
Mariia Velikaia
Iryna Zhalovska
COMPANY DIRECTOR
Elena Beliaeva
BALLET STAFF
Yuri Gumba , Tatiana Linnik
TECHNICAL DIRECTOR
Sergei Ilivanov
LIGHTING DESIGNER
Nikolai Shlein
HEAD OF WARDROBE
Irina Karelskaia
MUSIC DIRECTOR & CHIEF CONDUCTOR
Timur Gorkovenko
THE ST PETERSBURG BALLET ORCHESTRA
Named artists are subject to change. The management
reserves the right to substitute any artist, even at short
notice should the need arise.
Gilbert & Sullivan’s
THE MIKADO
21 Nov – 6 Feb
ENGLISH
NATIONAL
OPERA
The Mikado. Photo by Sarah Lee
Live in cinemas 3 Dec
Find out more at eno.org/enoscreen
London Coliseum
Tickets from only £12*
Book now
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Tamara Elias, Alisa Ermakova, Dewi Garmon Jones, ,Helena Gourd, Chloe
Greenwood, Gundy Jonasdottir, Sion Jones, Yuri Kalnits, Matthew Kettle,
Sam Kinrade, Fred Lange Hewlett, James Larter, Juliet Lee, Georgina
Leo, Vicky Lester, Yuka Matsumoto, Simon Minshall, Julia Morneweg,
Tam Mott, Brendan Musk, Tatiana Naletckaia, Vladimir Naumov, Michael
Pearce, Barnaby Philpott, Hannah Rankin, Murray Richmond, Victoria
Rule, Peter Ryan, Nikolai Ryzhov, Rhodri Taylor, Mardyah Tucker, Tatiana
Tutynina & Martin Wray
St Petersburg Ballet Theatre would like to thank Andrew Guild, Simon Bryce, Lizzie Coles, Emma Powell, Ai Gul Gaisina, Michaela
Watson, Guy Chapman, Stephen Davies, Clemmie Hill, Andrew Greer, Mark Goucher, Giles Rowland, Michael James-Cox, Mishi
Bekesi and Yuri Kalnits.
www.st-petersburg-ballet.com
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Returning in 2016
Ludwig Minkus
DON QUIXOTE
Ballet in 3 acts
Dmitry Shostakovich
CARMEN
PREMIERE!
GALA
Irina Kolesnikova Invites
Irina Kolesnikova
International guest stars
Soloists, corps de ballet and orchestra of
ST PETERSBURG BALLET THEATRE
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Irina Kolesnikova as Kitri. Basilio – Yuri Kovalev. Photo KT
ST PETERSBURG BALLET THEATRE
irinakolesnikova.com
spbt.ru