Tag: Alexander Fadeyechev

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Legendary

“Swan Lake”
Bolshoi Ballet
Bolshoi Theatre
Moscow, Russia
September 7 and 8, 2026 (Historic Stage)

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

1. Ensemble, “Swan Lake” by Y.Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/N.VoronovaThe Bolshoi Ballet is legendary for its Swan Lake. The first performance took place in 1877, almost one hundred and fifty years ago. This September, the swans danced for the 1,868th time, which translates to roughly thirteen Swan Lakes per year. Since 2001, the company has performed Yuri Grigorovich’s version, which includes scenes by Marius Petipa, Lev Ivanov, and Alexander Gorsky.

Grigorovich’s Swan Lake is grand. Its concepts and ideals represent the highest achievements of humanity and culture—dignity, decorum, grace, love, and unmatched beauty—and it shows how easily human nature can be led awry. Compared to Vladimir Bourmeister’s Swan Lake at the Stanislavsky Theatre, a ballet that reveals the protagonists’ inner life like none I’ve seen so far, Grigorovich portrays them as emblematic figures in an allegory, the sad ending of which Tchaikovsky’s prologue forebodes.

3. A.Denisova (Odile), “Swan Lake” by Y.Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/M.Logvinov 2. D.Moseyeva (Odette), “Swan Lake” by Y.Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/D.Yusupov For the first act, Simon Virsaladze designed a Gothic castle of majestic height. Its trombone players are positioned in mirror image and wear partly red livery that conveys the court’s harmonious order. The entrance of twelve couples, along the line of which Prince Siegfried jetés in, infuses the stage with dynamism. Soaring high, he combines prowess with elegance. The lakeside to which Rothbart (“The Evil Genius”) directs him like a puppeteer is lit by gray moonlight and streaked with wisps of cloud. From a rock at he rear, the Evil Genius oversees his spell. Like a yin-yang symbol, his emblem, a curtain in the shape of a coat of arms, shows white and black swans opposite one another. It has a vicious look and, when lowered, hides the Evil Genius’s machinations or serves as a screen for the Prince’s visions. For Act II’s ball, the retinue swapped their red garments for turquoise. The non-dancing court society wore medieval-ish robes, including pageboy wigs for the men (costumes also by Virsaladze). My favorite part of the outfit was the Russian delegation’s pearl hair accessories.

4. D.Vyskubenko (Prince Siegfried) and ensemble, “Swan Lake” by Y.Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/E.FetisovaOn September 7th, Darina Moseyeva’s Odette was a fragile swan woman who seemed to live on the air she breathed. A highly sensitive creature, Dmitry Vyskubenko’s Prince treated her with utmost care. Moseyeva immersed herself so deeply into the role that she really seemed to transform into a bird-human chimera. Unfortunately, for undisclosed reasons, she didn’t dance in the second act, and Yaroslava Kuprina replaced her after a prolonged break and an announcement. Kuprina’s Odile was a perfect masquerade of wickedness—sharp and calculating, yet alluring. Presumably having rehearsed all day for her actual Swan Lake on the evening after next, Kuprina ran out of steam during the fouetées but regained her energy in the final scene at the lakeside. She was met with intense applause at the curtain calls, and the Vietnamese delegation that attended the performance in the Imperial Box expressed its appreciation with an announcement and a flower basket for the company.
Vysubenko was an impeccable partner throughout. His entrechats were stunningly filigree, and in the vision scene, his port de bras turned the air velvety.

5. M.Mikhalkin (Prince Siegfried), “Swan Lake” by Y.Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/P.RychkovSeptember 8th’s Odette (Arina Denisova) and her Prince (Makhar Mikhalkin) were mesmerizing in their adagio pas de deux. It touched the soul in a way that cannot be grasped intellectually. Denisova’s Odette was calmer than Moseyeva’s and most aflutter when the Prince swore his love. Her sparkling Odile’s arms undulated like a snake; her gaze was compelling and her smile sure of victory. Of Mikhalkin’s solos, I especially admired his picture-book manège of tours en l’air.
Egor Gerashchenko’s Evil Genius darted along the line of his black swans like Spartacus; on the following evening, Igor Tsvirko danced the role, spreading menacing vibes far into the auditorium.

6. Ensemble, “Swan Lake” by Y.Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/M.LogvinovAkib Anvar’s jester jumped and capered fabulously, his tours, split jumps, and daredevil combinations propelling the energy at the right moments like an engine. Of the Prince’s two friends, Kristina Petrova and Margarita Shrayner danced more polished than Antonina Chapkina and Elizaveta Kruteleva. However, the latter had to deal with the quick tempo that Alexey Bogorad set at the conductor’s podium (Pavel Sorokin’s tempo on the previous evening was more moderate). At times, he also hastened the swans.

Of the brides-to-be, Ana Turazashvili’s was a self-assured, top-notch Hungarian bride who paid remarkable attention to every detail of her variation. Elizaveta Gaponenko, by comparison, made me think of Raymonda. Both Russian brides (Antonina Chapkina and Maria Konkova) were warm and giving, their arms as soft as the most gentle breeze. The Spanish brides (Anastasia Smirnova and Kristina Petrova) 7. Ensemble, “Swan Lake” by Y.Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/N.Voronova glided across the stage with space consuming steps, which showed off their full, flowing skirts. The Neapolitan dance led by Valeria Bespalova was vivacious, whereas on the following evening, Sofia Maimula and her Neapolitan companions hurried to keep up with Bogorad’s brisk pace. Taisia Konovalova’s Polish bride’s male entourage faced the same challenge. On the previous evening, Olga Marchenkova and her men were unremarkable.

Nelli Kobakhidze and Anastasia Meskova portrayed the Princess-Mother; Alexey Loparevich and Alexander Fadeyechev played the Prince’s tutor; Nikita Elikarov was the Master of Ceremonies at both performances.
The swan corps moved with impeccable precision and grace. Watching its beautiful patterns felt like a gift.

Link: Website of the Bolshoi Theatre
Photos: 1. Ensemble, “Swan Lake” by Yuri Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/Natalia Voronova
2. Darina Moseyeva (Odette), “Swan Lake” by Yuri Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/Damir Yusupov
3. Arina Denisova (Odile), “Swan Lake” by Yuri Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/Mikhail Logvinov
4. Dmitry Vyskubenko (Prince Siegfried) and ensemble, “Swan Lake” by Yuri Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/Elena Fetisova
5. Makhar Mikhalkin (Prince Siegfried), “Swan Lake” by Yuri Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/Pavel Rychkov
6. Ensemble, “Swan Lake” by Yuri Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/Mikhail Logvinov
7. Ensemble, “Swan Lake” by Yuri Grigorovich, Bolshoi Ballet 2026 © Bolshoi Theatre/Natalia Voronova
Editing: Kayla Kauffman

 

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Growing With the Legacy

“Coppélia”
Bolshoi Ballet
Bolshoi Theatre
Moscow, Russia
March 23, 2019 (matinee)

by Ilona Landgraf
Copyright © 2019 by Ilona Landgraf

1. A. Loparevich, “Coppélia” by M. Petipa and E. Cecchetti, revival and new choreographic version by S. Vikharev, Bolshoi Ballet 2019 © Bolshoi Ballet / E. FetisovaWhat would Sergei Vikharev have thought of his “Coppélia” if he had watched the matinee on March 23? For one thing, he wouldn’t appreciate my calling the work “his”, as it is Petipa’s and his assistant Cecchetti’s 1884 choreography that Vikharev, together with ballet scholar Pavel Gershenzon, meticulously revived from Nicholas Sergeiev’s notation. Vikharev’s reconstruction premiered in 2009 with the Bolshoi Ballet with an updated revival planned for 2018/19. However, fate struck in the summer of 2017 when Vikharev, only fifty-five years old, died from an adverse reaction to anesthetic during a dental treatment. As a result, the company re-staged the 2009 version. Continue reading “Growing With the Legacy”

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Pipe Dreams

“La Fille du Pharaon”
Bolshoi Ballet
Bolshoi Theatre
Moscow, Russia
March 08, 2019 (matinee and evening performance)

by Ilona Landgraf
Copyright © 2019 by Ilona Landgraf

1. E. Obraztsova, “La Fille du Pharaon” by P. Lacotte, Bolshoi Ballet 2019 © Bolshoi Ballet / D. Yusupov Aspicia, the heroine in Petipa’s “La Fille du Pharaon,” was a highly coveted role among ballerinas. Carolina Rosati, an Italian ballerina whose insistence propelled the ballet to creation, danced Aspicia at the world premiere in St. Petersburg in 1862. Mathilde Kschessinska, the unofficial queen of St. Petersburg’s Imperial Theatres, claimed the role as hers at the 1898 revival—meaning that it was like a revolution when the role was given to Anna Pavlova in 1906. “La Fille du Pharaon” was Petipa’s first significant choreographic success. Pierre Lacotte’s take on the ballet for the Bolshoi Ballet in 2000 was a tribute to Petipa and to the famous ballerinas who had shared their knowledge about Aspicia with Lacotte: Lyubov Egorova, Mathilde Kschessinska, and Olga Spesivtseva.

The ballet’s rambling narrative is loosely based on Théophile Gautier’s 1857 novel “The Romance of a Mummy”. Fueled by opium, an English explorer imagines a slew of adventures with Aspicia, the daughter of an Egyptian pharaoh. Aspicia, a mummy, resurrected from her sarcophagus, goes hunting and is saved from a lion’s wrath by the heroic Egyptian Taor (the Englishman), with whom she naturally falls in love. The duo, contending with Aspicia’s forced marriage to the King of Nubia, elopes to an idyllic fishing village. There, they are met by further hazards: suicide attempts, a detour to the underwater realm of the God of the river Nile, and more. Finally, Aspicia and Taor are reunited and happily married—until at the height of the rejoicing, the Englishman awakes from his dream. Continue reading “Pipe Dreams”

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All That is Called Love

“Romeo and Juliet”
Bolshoi Ballet
Bolshoi Theatre
Moscow, Russia
December 15, 2018

by Ilona Landgraf
Copyright © 2018 by Ilona Landgraf

1. E.Obraztsova and G.Côté, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.FetisovaI saw the Bolshoi Ballet in Alexei Ratmansky’s “Romeo and Juliet” for the first time in November 2017, though the choreography premiered in Toronto at the National Ballet of Canada in 2011. The piece is intense, seething with emotions and laden with turmoil. If there is a moment of peace and tranquility it is swiftly swept away by the rush of events. The story feels like a river-boat ride: once you’ve boarded, there’s no stopping or changing course. Instead, the passengers quickly find themselves carried from placid waters to heavy currents and towards a torrential waterfall.

 

 

2. M.Kochan, G.Côté and A.Savichev, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.Fetisova Of all the ballet productions of “Romeo and Juliet” that I’ve seen, Ratmansky’s rendering captures the essence of Shakespeare’s tragedy best. Ratmansky’s choreography is as complex as Shakespeare’s characters are multi-faceted. Every sequence is telling and meaningful. None of the movements are decorative embellishments. The same applies to Richard Hudson’s unadorned set—though Hudson’s costumes, in contrast, revel in colors, patterns, lavish brocade and velvet, recalling Early Renaissance fashion. It was customary in Verona for rich families to parade their outfits when they gathered; as such, this production is filled with brocade, velvet, bold patterns, fur-trimmed cuffs and headdresses that are daring by today’s standards. Lighting by Jennifer Tipton cleverly underscores the atmosphere.

3. A.Savichev, G.Côté and M.Kochan, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.Fetisova Last year, I saw Anastasia Stashkevich and Vyacheslav Lopatin perform the titular couple. This time Evgenia Obraztsova danced Juliet, while Guillaume Côté, principal dancer of the National Ballet of Canada (guesting with the Bolshoi for the first time) was her Romeo. Ratmansky originally created the role on Côté in 2011.

Unlike Stashkevich and Lopatin’ Romeo & Juliet—whose love seemed fulfillment—Côté and Obraztsova’s lovers seemed doomed to fail from the start. It seemed as though heaven had chosen two young people as a paragon of ideal love so that those in their surroundings could be reminded of what love is. Apart from Yuri Ostrovsky’s Friar Laurence, a faithful and bold heavenly aide, everyone understood love differently.

4. G.Côté, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.FetisovaJuliet’s parents Lady and Lord Capulet (Kristina Karasyova and Nikita Elikarov) certainly wanted their daughter to be happy, but within the frame of social decency. Looming Lord Capulet, who by height alone overpowered the petite Juliet, hoped to curb her disobedience by using physical force. Did he ever realize that she might have her own desires? Lady Capulet, despite nearly relenting, decidedly pushed away any compassion and reverted to cold parental authority.

Juliet’s nurse (Anastasia Vinokur) couldn’t have been more kind-hearted, but she did not have the power (and presumably also lacked the courage) to act against social norms. For her, Juliet remained a child. How much it must have hurt her to be rejected by her foster-daughter! And yet the nurse stoically swallowed her grief, made the sign of the cross towards Juliet, and left. It was the strongest moment of Vinokur’s performance.

5. M.Kochan, G.Côté and A.Savichev, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.Fetisova 6. A.Savichev, G.Côté and M.Kochan, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.Fetisova Could we assume that Count Paris (Ivan Alexeyev) loved Juliet? Compliant and well-behaved as he was, he would have made a reputable groom-to-be. However, his intentions to marry were motivated by social considerations rather than by deep-running emotions. In reality, he hardly knew her. And Tybalt (Vitaly Biktimirov)? Can one even consider “love” when thinking about him? Who could possibly have been won over by this man whose communicative abilities were limited to ridiculous haughtiness and unprompted aggression? A man who would point his sword at any chest to make himself feel superior? Falling in love might have rescued Tybalt from his fate, but no female candidate, near or far, was interested.

7. E.Obraztsova, I.Alexeyev and corps de ballet, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.FetisovaThe love affairs of Mercutio (Anton Savichev) and Benvolio (Mikhail Kochan), Romeo’s best buddies, revolved more around the body than the soul. Mercutio, in particular, pranced, hopped, and jumped with quick sassy energy—and plenty of that energy to spare. All three would have gone through hell and high water for the others, and so maybe their friendship was fueled by a sort of love—but if so, it was a love wrapped in nonstop tomfoolery.

Obraztsova’s Juliet was a source of pure positivity – beauty, charm, joie de vivre, lightness, inborn grace, naturalness—and was loved by everyone. Although she was struck by love as if by lightning, faced with existential decisions that forced her to grow up with little notice, this Juliet never lost her inner balance.
8. G.Côté, Y.Ostrovsky and E.Obraztsova, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.Fetisova9. G.Côté, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.FetisovaShe always stayed true to herself. All the moments of off-balance that Ratmansky included only highlighted the resilience and determination of her soul. And besides, Obraztsova’s dancing can’t help but seem harmonious: she has ideal proportions and, most importantly, she gives herself fully to every moment. Obraztsova is all dance.

11. G.Côté and E.Obraztsova, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.Fetisova 10. G.Côté and E.Obraztsova, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.Fetisova Côté puts his Romeo through an emotional roller-coaster, wavering between confidence and moments of insecurity. For him, falling in love with Juliet is completely different than his infatuation with Rosaline—and it’s clear that Romeo finds the depth of this love a bit intimidating at first. However, you should have seen how he livened up after stealing a kiss and how blissfully and triumphantly he soared offstage after the balcony rendezvous. Côté credibly portrayed Romeo’s radical change. Twice he hesitated to fight against Tybalt. The third time his rage won over. It was a maturing fight for Romeo, done with clear, focused eyes against an opponent whose eyeballs bulged with blind fury. Côté was especially strong in the crypt scene when finding the supposedly dead Juliet. One felt wretched watching his infinite grief.

12. K.Loseva, V.Biktimirov and corps de ballet, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.Fetisova13. G.Côté, A.Savichev and corps de ballet, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.FetisovaOne might presume that minus the unhappy ending, this is kind of love that many of the Veronese folk (and the audience) might wish to experience. So why didn’t it work out for Romeo and Juliet? Is it because there’s always one meanie who doesn’t allow others their bliss? Or maybe because ideal love cannot survive daily routine? Would narrow-mindedness and social etiquette have stifled their love regardless? Besides, when considering the raw force with which the Lords of the Capulet and Montague families crossed their swords (Lord Montague was performed by Alexander Fadeyechev), did tender feelings really have a place in this society?
Moreover, wasn’t Friar Laurence’s plan with the potion unrealistic from the start? As we watched him explain the potion to Juliet, it was obvious that his idea wouldn’t work. When at a dead-end, one clings to the most absurd fantasies that everything will turn out well in the end.

15. E.Obraztsova, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.Fetisova 14. Y.Ostrovsky and E.Obraztsova, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.Fetisova One might presume that minus the unhappy ending, this is kind of love that many of the Veronese folk (and the audience) might wish to experience. So why didn’t it work out for Romeo and Juliet? Is it because there’s always one meanie who doesn’t allow others their bliss? Or maybe because ideal love cannot survive daily routine? Would narrow-mindedness and social etiquette have stifled their love regardless? Besides, when considering the raw force with which the Lords of the Capulet and Montague families crossed their swords (Lord Montague was performed by Alexander Fadeyechev), did tender feelings really have a place in this society?

Corps scenes were fresh and brimming with energy. The atmosphere of Verona’s town square flowed seamlessly between liveliness and compassion to aggression and hate. Four fools in black and white costumes featuring grotesque masks entertained the masses with several plain and slightly boring numbers. Their primitive capers seemed to mirror the scope of mind of the common folk.

The engine of the performance was Prokofiev’s thumping score—of which Pavel Klinichev and the Bolshoi Orchestra gave a skillful rendition.
16. E.Obraztsova and G.Côté, “Romeo and Juliet” by A.Ratmansky, Bolshoi Ballet 2018 © Bolshoi Ballet / E.Fetisova

Links: Website of the Bolshoi Theatre
Website of the National Ballet of Canada
Photos: 1. Evgenia Obraztsova (Juliet) and Guillaume Côté (Romeo), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
  2. Mikhail Kochan (Benvolio), Guillaume Côté (Romeo) and Anton Savichev (Mercutio), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
  3. Anton Savichev (Mercutio), Guillaume Côté (Romeo) and Mikhail Kochan (Benvolio), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
  4. Guillaume Côté (Romeo), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
5. Mikhail Kochan (Benvolio), Guillaume Côté (Romeo) and Anton Savichev (Mercutio), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
6. Anton Savichev (Mercutio), Guillaume Côté (Romeo) and Mikhail Kochan (Benvolio), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
7. Evgenia Obraztsova (Juliet), Ivan Alexeyev (Count Paris) and corps de ballet, “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
8. Guillaume Côté (Romeo), Yuri Ostrovsky (Friar Laurence) and Evgenia Obraztsova (Juliet), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
9. Guillaume Côté (Romeo), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
10. Guillaume Côté (Romeo) and Evgenia Obraztsova (Juliet), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
11. Guillaume Côté (Romeo) and Evgenia Obraztsova (Juliet), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
12. Kristina Loseva (Prostitute), Vitaly Biktimirov (Tybalt) and corps de ballet, “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
13. Guillaume Côté (Romeo), Anton Savichev (Mercutio) and corps de ballet, “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
14. Yuri Ostrovsky (Friar Laurence) and Evgenia Obraztsova (Juliet), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
15. Evgenia Obraztsova (Juliet), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
16. Evgenia Obraztsova (Juliet) and Guillaume Côté (Romeo), “Romeo and Juliet” by Alexei Ratmansky, Bolshoi Ballet 2018
all photos © Bolshoi Ballet / Elena Fetisova
Editing: Jake Stepansky