IF you were looking for a well-balanced Don Quixote, the Australian Ballet’s opening night in Melbourne on March 15 was probably the go, as Eamonn Kelly’s excellent review in The Australian on March 18 indicated. The following night was when star-power ruled, with Russian guests Natalia Osipova and Ivan Vasiliev getting people to their feet even before the end of the show.
They will dance Giselle together in London in a few weeks’ time on the Mikhailovsky tour and Vasiliev is quoted in The Sunday Times as saying Albrecht is a role “I could perform all my life”. Albrecht would certainly give Vasiliev a chance to show more than the one mood he brought to Basilio in Melbourne, which was essentially manic from the get-go. Osipova on the other hand has a full armoury and brought most of it out. She is light and incredibly quick with razor-sharp footwork, a huge jump and fearless attack but can also be intensely lyrical. It was noticeable in the lively first act how whisper quiet Osipova was, even when landing from the most daring leaps or performing intricate allegro work. Her shining-eyed Kitri was in striking contrast to the silken Dulcinea of the Act II vision scene. In the Act III grand pas de deux Osipova fluffed one of her pirouettes in second but otherwise delivered all the expected fireworks with bells on.
Vasiliev is elastic and bouncy with elevation that defies gravity and speed that defies time. That he is short and stocky helps here. Vasiliev gets lift-off from powerful glutes and thighs that give him a decidedly non-streamlined look but oodles of acceleration. In his first Melbourne performance Vasiliev threw off apparently impossible flying turns and added loads of extra details to already jam-packed choreography. Not everything came off and Vasiliev could have pulled back a notch or two but the sense of danger was energising. Frequently the stage could scarcely contain his range of movement – nor was there always perfect agreement between him and Orchestra Victoria under the baton of AB music director Nicolette Fraillon. There was a fair bit of colouring outside the lines.
Vasiliev didn’t quite nail his most audacious trick, that of rising to demi-pointe in arabesque while holding Osipova aloft in a one-armed lift, but it was huge fun to see for a second. His series of pirouettes finished with a perfect arabesque in attitude, however, was a thing of great beauty.
The AB audience pretty much had only had eyes and cheers for Osipova and Vasiliev; despite some lovely moments from members of the AB their light was dimmed by the glare thrown out by the supernovas. Unquestionably the performance wasn’t the best Don Q possible. The level of energy thrown out by the visitors was of quite a different extent and nature from that of the AB dancers, whose outlines looked softer as a result (this was particularly true of the men).
This reflection is undoubtedly why Osipova blended well in a dramatic sense with the AB dancers. It was far less the case with Vasiliev, who overplayed the comedy. Steven Heathcote’s Don Quixote – how good to see him on stage again – and Matthew Donnelly’s Gamache had a much better sense of where to pitch their characters. Both were surprisingly touching.
But if there was some disconnect in a purely dance sense between the guests and the AB, the audience certainly didn’t seem to mind and it is certain the AB dancers would have found it challenging and illuminating to see Osipova and Vasiliev at work.
This entry was posted in Dance and tagged Australian Ballet, Dance Europe, Don Quixote, Ivan Vasiliev, Matthew Donnelly, Natalia Osipova, Nicolette Fraillon, Orchestra Victoria, Steven Heathcote by deborahjones2012. Bookmark the permalink.
Briliánt, exhilirating dancing from the Russians. Vassiliev fabulous bravúrja dancing, Ossipov exquisite, feminine, stunning pirouettes, made the other dancers on stage look like students. Marvellous stagecraft. What a pity we don’t see ballet of this high standard in Australia.
I think your assessment about the others looking like students is a bit harsh, but agreed – no one does bravura like the Russians.
There was an enormous gap technically and artistically between our Australian principles and these guests and this could also be seen with Paris Opera Ballet dancers.