Laureates of the XVIII Russian Open Ballet Competition Arabesque 2024

“Gala Concert”
Perm State Tchaikovsky Opera and Ballet Theatre
Perm, Russia
April 27, 2024 (live stream)

by Ilona Landgraf
Copyright © 2024 by Ilona Landgraf

Last weekend, Perm’s ten-day Ballet Competition Arabesque closed with two gala concerts performed by laureates and diploma winners. Many were Russians, but young dancers from Kazakhstan, Mongolia, Armenia, Brazil, Japan, Turkey, South Korea, and Great Britain also won awards. Thanks to many live streams, dance enthusiasts could easily follow the tournament. Saturday’s gala was the last broadcast and again presented by Aleksandra Domracheva. The first half was reserved for the award ceremony; during the second half, twenty-two of the thirty-nine prize winners performed a mixed program of solos and pas de deux. Treasures from the video archive from previous laureates and a well-made backstage video filmed during this year’s contemporary performance were shown during the break. Sunday’s gala had a different program, which included further awardees.

Nadezhda Rudakova and Pavel Kuznetsov presented the award ceremony for which the jury and dancers gathered on stage. Many young talents were called forward more than once to collect certificates, medals, and bunches of flowers. Notably, prizes were also given “for the spirituality of dance” (awarded to Aleksandra Kozlova, Krasnoyarsk, Russia), “for purity of technique and artistry of performance” (awarded to Kira Hoshikawa, Japan), and “for fidelity to traditions of the Russian ballet school” (awarded to Suh Lynn Im, South Korea). Especially warm-hearted was the award presentation to Lyubov Kunakova (Mariinsky Theatre, St. Petersburg, Russia), an honored artist and the people’s artist of the RSFSR, for coaching Svetlana Savelieva for the competition. Savelieva (St.Petersburg, Russia), winner of the first prize in the senior group, was the second to last to perform in the gala. Her variation of Kitri from the dream scene of Don Quixote was perfect.
Overall, the high quality of the performances was impressive, but more significant was how many young dancers were capable of conveying the spiritual essence beyond the choreography. Their energy could be felt even on screen.

Miu Shibagaki and Kotaro Hirose (Japan) were two such examples for their delivery of a thrilling pas d’esclave from Le Corsaire. Hirose’s self-propulsion from deep-set plies into airy heights was mind-boggling. Both had a radiant stage presence.

Kira Hoshikawa (Japan) was a coquettish Esmeralda who played with the tempo as self-assuredly as she shook her tambourine. I admired the elegance and ease of Suh Lynn Im (South Korea) as Niriti from The Talisman as well as the aplomb of Eva Prokopets (Perm, Russia) whose Jeanne (from The Flames of Paris) nonchalantly flitted off hops on pointe as if it were nothing.

Elizaveta Semicheva (Perm, Russia) was a fleet-footed Cupid, and Ademi Zhanabil (Kazakhstan) was a cute fairy doll blowing kisses while carrying out every step with utter precision. Yulia Mandzhieva (Perm, Russia), winner of the first prize in the junior group, performed the Odalisque variation from Le Corsaire but wasn’t in top form at the gala.
Ayush Bulchun (Ulan-Ude, Russia) tackled a variation for Frantz from Coppélia, and you could see in his face that he wanted to show off, and boy, did he! What a jumper! He shared the third prize in the junior group with Alikhan Aubakir, a long-legged dancer from Kazakhstan who performed a variation from Petipa’s Santanella.
Razmik Marukyan (Armenia) was a mature Albrecht; Aleksey Pomytkin (Moscow, Russia) a dashing Ali. A daring jumper, Pomytkin left his mark by adding extra-intricate jumps at the curtain call. Vladislav Bashmakov (St. Petersburg, Russia) was likewise a whirlwind as Vayou, the wind god from The Talisman.
Enkhjin Lkhagvapurev (Mongolia) undulated her body as if to impersonate a light breeze on a balmy night. Her wide transparent pants fluttered like waves, which matched the solo’s title.
Anar Uyen, also from Mongolia, portrayed a pianist whose entire being was pervaded by the spirit of art. The muse seemed to breathe through his body. Once recognized, a pink chiffon shawl (perhaps representing his talent?) became most precious to him. The solo of Razilya Murzakova (Ufa, Russia)—If Mozart lived in Kazan by Rinat Abushakhmanov (first prize laureate of the choreographers’ competition; Ufa, Russia)—also dealt with music. From the moment Murzakova picked up a baton from the floor, it dictated her every move until she was finally stabbed to death by it.

Aleksandra Kozlova’s solo, I am the Reality by Olesia Aldoniny (first prize laureate of the choreographers’ competition; Krasnoyarsk, Russia), testified to her special spiritual sensitivity. She freed herself from a purple hooded coat which, when worn backward, covered her face. Growing out of former limitations wasn’t easy though. Kozlova reached out for the coat but, failing to grab it, slumped like a limp puppet. The sound of a whining child accompanied her. Finally, she grasped the coat and hid her face behind it.
In Nomophobia, Anastasia Kuptsova and Rasil Sagitov (both from Ufa, Russia) portrayed a couple in whose romance a smartphone was a third party. Regardless of who texted or phoned, the other always became the fifth wheel.

Laura Vasconcelos and Pedro Seara (both from Brazil) had an aura that won the hearts of the audience. Everyone liked them, and Seara, with his hands at his heart, couldn’t stop absorbing the good vibes. Among others, they won the prize for the best duet—a decision that their pas de deux from Don Quixote proved to be justified.

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