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Kirov Triumphant
| Article
# : |
16626 |
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Section : |
THE ARTS
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| Issue
Date : |
10 / 1989 |
2,501 Words |
| Author
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Gary Parks
Gary Parks is the news editor of Dance Magazine. |
When the curtain rose on opening night of the Kirov Ballet's summer engagement in New York City, the audience discovered a spectacle of startling proportions unfolding on the vast stage of the Metropolitan Opera House: an immense ship, lashed by wind and rain, tossed on a storm-gray sea as its alarmed crew dashed back and forth on the heaving decks. After several precarious minutes, the ship foundered, taking all but a few intrepid pirates to their watery graves.
So begins Le Corsaire, a three-act ballet heretofore known in the United States only by the sensational pas de deux of the same name. With that riveting shipwreck, the troupe from Leningrad embarked on its first season in New York in a quarter of a century with a literal smash.
Le Corsaire also began--at last--the first extended look many American balletgoers had ever had at the fabled Kirov. Say "Kirov" to a balletomane and images of czarist pomp are immediately conjured up. Known as the Imperial Ballet of the Maryinsky Theater prior to the Russian revolution of 1917 (it didn't acquire the present name until 1935, after Stalin had the eponymous Kirov murdered), the company was the leading ballet troupe in the world at the turn of the century. This is the company that premiered The Sleeping Beauty and The Nutcracker, that employed the fountainhead of great classicism, the ballet master Marius Petipa, and that nurtured such great dancers and choreographers as Vaslav Nijinsky, Anna Pavlova, George Balanchine, Galina Ulanova and, more recently, Rudolf Nureyev, Natalia Makarova, and Mikhail Baryshnikov.
So the Kirov Ballet's recent American tour was eagerly awaited by many. In
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