When the Kirov celebrated
The World of Arts
by Gwen Herat
DANCE: During the White Nights Festival in 1979, all the
pupils and teachers of the Kirov celebrated the event in a big way. That
was their moment to pay tribute to this citadel of dancing.
Konstantine Sergeyev and Natalia Dudinskyaya helped them produce a
fantastic programme which was first deputed at the Grand Repetition
Salle (a two-tier hall especially constructed during the 1880s at the
request of Ivan Vsevolodsky) Ivan was the director of The Imperial
Theatre in Rossi Street. The event was later repeated for three gala
performances at the Kirov.
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Kirov’s spectacular dancer: Mikhail Baryshinkov |
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More dancers from the Kirov: Svetlana Lunkina and Nikolai
Tsaiskaridsze from The Swan Lake. |
The same year, Agrippina Vaganova was taken into the Maryinsky 'corps
de ballet' and soon identified for excellent quality by choreographer,
Petipa. The critics hailed her as the 'queen of Variations' for her
brilliant solos in Coppelia, Don Quixisite, and The Little Hump-Backed
Horse.
Vaganova left the stage and took up to teaching just before the
Revolution. She first taught at Volinsky's private school of Russian
Ballet but was later transferred to the State School. She taught the
last three finishing classes at the Leningrad Chroegraphic Academy from
1921. There emerged from her teaching skills brilliant ballerinas.
The first one was Marina Semeonova in 1925 who had a great depth of
eloquence that inspired dancing and reaffirmed the unfading traditions
of the Russian Ballet. The others who emerged from superb master of the
Vaganova schooling were Olga was a fiery dancer who was like a flame,
brilliant and flowing.
Galina Ulanova brought in a new glow, revealing unrealised depths of
old and creating robust images in new ballet. Tatina Vestcheslova was
gifted with histrionic gifts that saw her as a spectacular ballerina.
However, Natalia Dudisnskay who was the most beloved of Vaganova's
pupils, became the 'star' of the traditional Leningrad Ballet, excelling
in all aspects in the modern repertoire. Alla Shellest was an
actor-dancer who imparted the most subtle psychological nuances.
The Kirov, every spring brought out a new ballerina of surpassing
talent and brilliance. In 1950, Alla Osipenko finished school and her
refined beauty of line had no equal. Irena Kolkakova was a beautiful
dancer whose light still radiates in our time.
Vaganova held the artistic director's position of the Kirov Ballet
from 1931 to 1937. During this time, she staged her version of The Swan
Lake Ballet and Emerlda. Vainonen also co-produced with her Flames of
Paris and ZaKHarov mounted The Fountain of Bakchiserai simultaneously.
These ballets are now considered to be living classics of The Soviet
Ballet of the thirties.
At a special gathering in The Grand Repetition Salle, The White Night
Festival was mounted to honour Vaganova and the guests of honour at the
event was her star pupils, Marina Semeonova and Natalia Dudinskey. Along
with Tatina Vetcheslova, the three magnificent ballerinas spoke of their
personal reminiscences about their honoured teacher who made them super
stars. This Centenary of Agrippina Vaganova was a unique tribute to one
of the greatest Russian dancers.
Agrippina Vaganova School of Choreography is a fitting monument to
this great artist and is revered by all dancers in Russia and abroad.
When Rudolf Nureyev returned to Russia after 30 years of his defection,
he first headed to this great academy and met Vaganova before they both
died a few years later. |
