Mikhailovsky Triple

Angelina Vorontsova and Ivan Vasiliev in Le Halte de Cavalerie. Photo courtesy of the Mikhailovsky Theatre.
Angelina Vorontsova and Ivan Vasiliev in Le Halte de Cavalerie. Photo courtesy of the Mikhailovsky Theatre.

On Nov. 18-19, the Mikhailovsky performed a triple bill, consisting of Petipa’s 1896 one-act La Halte de Cavalerie, Asaf Messerer’s Class Concert, and Nacho Duato’s Prelude. I reviewed the program for DanceTabs. Here’s a short excerpt:

“The idea behind the triptych is to show three aspects of the company’s style: the classicism and character dance of Petipa; the technical pizzazz of mid-twentieth-century Soviet dance, the eccentricities and atmospherics of contemporary movement. None of the pieces is a masterpiece. However, Petipa’s Halte de Cavalerie, made in 1896, is certainly a charmer, a brainless little farce set to forgettable but lively music by the specialist composer Ivan Ivanovich Armsheimer, with lots of pretty dancing and even more clowning around.”

First Impressions: The Mikhailovsky Ballet

Natalia Osipova and Leonid Sarafanov in the Mikhailovsky's production of Giselle. Photo by Paul Kolnik.
Natalia Osipova and Leonid Sarafanov in the Mikhailovsky’s production of Giselle. Photo by Paul Kolnik.

 

The Mikhailovsky Ballet had its New York début this week in Giselle. Opening night was led by a starry cast: Natalia Osipova and Leonid Sarafanov. Here’s my review of that performance, as well as the one at the following matinée, with Anastasia Soboleva and Victor Lebedev as Giselle and Albrecht. Soboleva is a find.

And some background on the company.