Polina Semionova and Vladimir Shklyarov in Makarova’s Swan Lake March 31, 2008
Tchaikovsky Perm Ballet and Orchestra
The legendary Natalia Makarova, with Vladimir Shklyarov and Polina Semionova
There’s something special about seeing a Russian company dance a classic such as Swan Lake, which took the Cal Performances stage this past weekend, danced by the Russian company the Tchaikovsky Perm Ballet staged by the legendary Natalia Makarova. With a relatively unknown ballet company (unbeknownst to me, at least), the company made a smart move by scheduling in two superstars as their leads – 24 year old Polina Semionova, who joined as principal at the Berlin Staatsoper Ballet at age 18 and a music video star, and a second soloist of the Mariinsky Theatre, Vladimir Shklyarov, a replacement of the previously scheduled Denis Matvienko.
The biggest nagging thing about the show was the cramped stage, with the dancers eyeing the wires running across the front of the stage warily in the middle of their dancing, cutting tour jetes close as their feet brushed the backdrop, and preparations for jumps starting in the wings. There was only one moment in the performance where the cramped space was used to their advantage; with the swans running around in such a cramped space, it made for a beautiful packed whirlwind effect. Other than that, the movements in general felt limited, taking away from the expansiveness of the show. Despite the limitations of the stage, the company was precise, a fine display of Russian ballet training. I can’t help but to compare this company to the last company I saw here, the State Ballet of Georgia with Nina Ananshiavelli, who danced mostly Balanchine and modern works. I admire what the State Ballet of Georgia was trying to do, yet the classics are where the Russian ballet training is really displayed at its best, and the difference in the quality and ease of dancing was palpable.
Polina Semionova was a gorgeous solid presence, with her tall height and muscular arms carving through the air in time and space. She is no wispy wilting Odette, with a solidarity and earthiness and a depth of passion in her interpretation, which translated better in character as the seductress, Odile. As Odile, she grabbed Prince Siegfried with her eyes, daring him to fall in love with her. Her technique unwavered, with impossibly long balances and spinning fouettes (I swear she was doing triples, but I might be wrong). Vladimir Shkylarov used his boyish good looks to make the prince seem as young as he probably is supposed to be, yet the lack of chemistry with Polina and lack of emotional depth made it hard to be a believable character. Semionova’s solid stage presence and height overpowered his rather one-note boyish lightness, and he came across more of a moody teenager than a tortured soul. At one point in the dance in the second act when he is told to pick a princess, he looked like a a 13 year old ready to kick a trashcan. That moment actually made my seat neighbor to laugh out loud. His jumps were sky high, yet there was a lack of completion and follow through in the long time that he actually was in the air, aside from a scary moment after his tours where he almost fell and looked like he injured himself. I felt like he would have made a better Romeo than a Prince Siegfried. I couldn’t help but to feel that San Francisco Ballet dancer Tiit Helimets would have made a much better partner for Polina, with his tragic tortured quality and the solidarity to match hers. Perhaps most of my complaints have to do with the fact that he was a last minute replacement with minimal rehearsal time, and he fulfilled his role dutifully. Shkylarov will definitely be a dancer to look out for, however, and time will only bring about the emotional maturity to fill the character onstage.
Despite imperfect staging, it felt like such a treat to be able to watch superstars such as Polina Semionova locally in the Bay Area. And who can resist Swan Lake, with its tragic story and gorgeous swirling music?
As a personal preference, I found that I liked Giselle more than Swan Lake. Perhaps it’s an unfair comparison due to the staging of this particular show, and the fact that I completely fell in love with Giselle first. I don’t remember much about the last Swan Lake I saw (it was with the Royal Ballet about ten years ago), and I had on ABT’s Swan Lake on TV as I was making dinner tonight. Swan Lake is more of the quintessential ballet classic, but there’s something about Giselle that resonates more on an emotional level for me – the offense is bigger, and the forgiveness more divine. In Swan Lake, Prince Siegfried’s biggest offense (aside from falling in love with a swan) is to dance briefly with Odile and to pledge his love to her but only because she reminds him of his real love Odette, which lasts all of a pas de deux, and he does it unintentionally. In Giselle, Albrecht intentionally leads on Giselle with the full knowledge that he is already engaged. But the forgiveness in the second act, where Giselle protects her love from death, is made purer given what he did to her. Not that I’m for more broken hearts in the world, but there’s something divine and inspiring about the second act of Giselle for me.
Some more blurry pictures below – flashes from cameras started going off like crazy as soon as Makarova took the stage.
Wow…I was there sitting right behind Madame Makarova and her husband. The stage was so cramped, at one point those dancers running into one another, and the staging needed a lot of work. However, Polina was stunning. I agree with most everything you wrote, the Prince ’s acting was ridiculous in Act 2. He pretended to be bored and sleepy whilst sitting next to the Queen, but it was over-acted. His jumps was impressive but lack of controls, his second double tour en l’air was off center and he had to hop to the side to save himself..I was holding my breath. He has beautiful natural lines though, but not a match for Polina. Polina danced with such confidence, during her pas de deux, the stage was so cramped that she actually moved past the curtain lines, and finished her steps so close to the Orchestra Pit, but she didn’t look worried, she moved on like nothing. WOW.
Thanks for your comments! That’s amazing you were sitting behind Makarova. It’s funny how Polina wasn’t really flashy or ostentatious, but great solid dancing with passion and emotional depth. haha I remember exactly what you’re talking about, when Prince Siegfried was sitting next to the queen, pouting. His tour really had me worried, although he had beautiful lines as you said. He looks so much more comfortable in the youtube video that I linked, where he’s Romeo. He has great potential though, and he might mature into a gorgeous more complete dancer.
Yes Polina was ravishing but I think you are too harsh on Shklyarov. I found his performance deeply moving, and I like the way he played the prince as somewhat spoiled and a little Hamlet-ish. His youthful take on the character made his love for Odette all the more touching. Also I admit I’m not an expert but I found his dancing very lovely and expressive, and I liked his attentiveness and gentlemanliness towards Polina. Yes he bobbled that one jump, but what’s live performance without a little excitement?
That’s great that he was your cup of tea! You’re entitled to your opinion as much as I am mine. He had beautiful lines and was a beautiful dancer with great skills, but in my opinion, lacked the “love at first sight” chemistry with her and wasn’t the best match in terms of a partner for her in this piece. Of course this could all be due to a multiple other reasons, such as cramped staging, not enough rehearsal time, but in this given performance that I saw, these were my impressions, one viewpoint amongst an audience of many. I definitely saw seeds of greatness though, with lovely lyricism and poetry albeit a slight (not drastic) lack of finesse, and it’ll be exciting to see where he’ll be in a few years with more experience.
This definitely wasn’t a bad Swan Lake by any means. I guess I’m trying to say is that I’ve seen better interpretations of the role, and in general, much better onstage chemistry between couples, such as the sizzling unity of Yuan Yuan Tan and Tiit Helimets in Giselle.
Thanks for your comments Jolene. I see your point that maybe they didn’t have the sizzling chemistry of some other pairings, but I think it was the innocence with which S. played the prince that moved me. When more manly/mature types have played the role, I would have found it less touching. I guess it’s all subjective. Anyway thank you for your review and providing an opportunity to discuss. I am now interested in attending and learning more about ballet! I have already watched a bunch of videos on YouTube, including Polina and Shkylarov and even a video of Yuan Yuan and Tiit in Giselle!
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Of course, you have illustrated one of the reasons why I started this blog, to promote dance by discussing it. It’s always great to see more ballet, so you can decide for yourself and choose what you like and what you don’t like. Thanks for your comments, and maybe I’ll see you at the SF Ballet??