This girl is on fire: Bolshoi Ballet's Flames of Paris

Graphic from Hong Kong Arts Festival 

Bolshoi Ballet has no choice but to bring their A-game  what with all the dramatics that is tagged to their famous name  in the news. A few years after the stench of politics and artistic differences still ring when the prestigious company is mentioned. All you need to do is google them and it will show  the stories that obviously  distract the audiences from remembering the glorious days of the Company. My balletomane self adores the Bolshoi Ballet. I've actually been antsy for awhile waiting to see them perform in the annual Hong Kong Arts festival.  I wanted to see if the dancing suffered from all the turmoil and negative press.  I guess they feed resilience to the dancers. The company is stronger than ever. I am a certified fan girl. 

Bolshoi Ballet presented Alexei Ratmansky's  version of "Flames of Paris"   This version is bigger than life itself. It was as if he read the big book of ballet and decided to throw in all the steps and combinations physically possible. Gloriously choreographed, it was scene after scene of technically difficult movements. Each portion was with glazed with risk and excitement. Take for instance one of the opening  pas de deux of the heroine Jean played by Ekaterina Krysanova and Philippe  by Vyacheslav Lopatin I stayed at the edge of my seat as I saw the danseur literally throw the ballerina in a series of at least  six major death defying lifts done consecutively. Krysanova was seen flipping on air, upside down, in overhead lift in a span of just three  minutes.  Three  danseurs did an impressive piece centered on jumps done in perfect canon. Towards the end of the ballet he had a parade of at least eight girls entering in an overhead lift to decorate his stage.  His choreography was almost kaleidoscopic. He never failed to add a couple more colors to the painting on stage. His use of the dancers' technical ability glorifies his dancers. Kudos to all the dancers for being able to execute  dances that not only require technique and flair but stamina. Appropriately  depicting the french revolution was a coup d' etat of  stardom and precision  on stage.  

Photo by Elena Fetisova 

Worthy of mention is  Principal dancer, Krysanova's portrayal of Jean. Her interpretation was organic and powerful. She was literally on fire, performing without a care in the world. It was refreshing to see a dancer perform devoid of any insecurity. Who needs youtube when you can see her doing her tricks at command. Let's see...... her tricks included speedy corner double pique turns. She also performed her flavorful fouettes, single double third is a double with a different  port de bras. In between the twirling she in triples at her convenience. Her character dancing in Dance of the Basque was believable and just filled with so much intensity. Every time she would enter, it was always with so much passion. I couldn't help but hear the song "This girl is on fire" every time. She sizzled and satisfied. 

Playing  Philippe was  Lead Soloist Vyacheslav Lopatin whose technique was clean. He was charming and likeable even relatable. He kept it simple with double and triple pirouettes but dazzled the audience with a magnificently done revoltade in the grand pas de deux.  Individually our leads were memorable and strong but together they lacked  chemistry. They were a good match technically but emotionally there wasn't much romance. It was more like a friendship that never blossomed. Google friendzone. 

In the ballet within the ballet "Rinaldo and Armida", lead soloist Kristina Kretova left me at awe. The choreography was designed to impress with solid classical technique. The audience love her skillful hops in attitude on pointe and clapped until she finished four revolutions. After this she finished her variation with yet a series of corner hops ending with a solid triple or even quadruple beats as if to say, it was nothing really.  In her coda, as required by the choreography, she performed two sets of manege  and ended gracefully swiftly  lifting her leg in a beautiful attitude. Her sophistication was a great contrast from Krysanova's rustic flavor. She committed to the character until the end, beautiful, elegant and rich. 

Her partner likewise delivered. Principal Artem Ovcharenko did not disappoint as his ballon and extensions were lovely to look at. Spagat is an understatement. He was every bit the Adonis as he played the role of the Actor. He partnered Kretova comfortably and in a silky manner. 

Practically all the characters delivered in terms of establishing their role and what they represent. Clearly, this adaptation was done with a lot of conscientious coaching. The differentation was clear. Jean was bold. Philippe was heroic. Adeline was lyrical and fragile. Rinaldo and Armida were luxurious. I must say this was supported by a committed corp de ballet and a gorgeous set of  long legged corophees. 

True, there were dull moments partnered with dull music but considering the drab topic of the revolution, I was impressed.   I  cannot deny that Bolshoi is still one of the strongest companies in the international dance world. Inside the theatre, all the politics is white noise. Only the sound of deafening applause can be heard. To me, Bolshoi is no longer laced in shame but draped with success.  

Nothing else to say but bravo.