By Rebecca Martin.

The Imperial Russian Ballet’s lead dancers will be returning to Australia in April as part of OperaMania – a fusion of ballet and opera. OperaMania features ten singers from Moscow Novaya Opera, a 44 piece symphony orchestra and four Imperial Russian Ballet soloists.

Ballerina Yaraslova Araptanova trained at the Perm Ballet School in Russia before joining the Perm Opera and Ballet Theatre firstly as a soloist for nine years, then as a lead soloist. She was then invited to work in the Imperial Russian Ballet as a lead dancer alongside her husband Alexander Volkov. They have both enjoyed great success with Australian audiences on more than one occasion and look forward to returning to our shores with OperaMania, where they will perform two adagios from Tchaikovsky’s The Sleeping Beauty and Nutcracker. Yaroslava will also dance the legendary Dying Swan by Saint-Saens.

This will be Yaroslava’s third tour to Australia, but on this trip she is hoping to find time to visit one of our wildlife parks and to meet with the Australian public. In anticipation of their tour, Yaraslova and Alexander spoke to Dance Informa from Moscow…

Yaroslava Araptanova performing in ‘Swan Lake’ with The Imperial Russian Ballet.

What has been your favourite role to dance so far?

Yaraslova
I love all of my roles. It’s just that some are performed more often. I dance almost the entire classical repertoire. I really like performances where the drama is brighter and where throughout the performance the character of my role develops.

Alexander
I really like the role of the Poet in the one-act ballet by George Balanchine, La Sonnambula, directed by Bart Cook and Maria Caligari from the world famous New York City Ballet. The music is by Vittorio Rieti and uses themes from various operas of Bellini. In the duet Balanchine shows a psychological relationship between the Poet and La Sonnambula (the sleepwalker). It ends sadly when the Poet is stabbed, but the audience is much more struck by how the fragile singer La Sonnambula is able to raise the Poet from the floor and hold him in her arms.

From the classical repertoire, I especially like the role of Prince Siegfried in Swan Lake and the brilliant work for the character of Carabosse in The Sleeping Beauty. Of character dances I enjoy the Spanish roles, such as Basil in Don Quixote.

What role would you most like to dance and in which theatre?

Yaraslova
That would be Giselle. My dream is to perform the entire ballet. I have danced fragments and single acts, but I have not done the whole ballet. I look forward to any new role. It is always a great gift. With a new role there is the birth of a new character who uncovers something new in me – it’s hard to compare it with anything.

Alexander
In the course of my work my dream has been to teach. I have a huge repertoire and I bow to the entire group of my brilliant, great teachers. I could speak about each of them without end. I have studied in Japan and in America. I want to pass on the experience I have gained as I have something to share.

Yaroslava Araptanova performs in ‘Swan Lake.’

What is the hardest thing about being a dancer?

Yaraslova
I think it is the discipline – every day maintaining your diet, the work regime and rest. On tour every day we have make-up, costumes, performances and travel, and all by the clock.

What is the best part?

Yaraslova
That would be the gratitude of the audience. It’s a good performance when the viewers are pleased and you understand that your labour is in demand. Flowers and creative fulfillment!

How do you spend your time when not dancing?

Yaraslova
On the road, when there’s free time, I try to see the country and get to know new culture, monuments and museums. At home, my baby Yaroslav is my most important treasure. I study arts part-time at a university, specifically how to run a ballet troupe. In the future, I want to teach. I have a lot to share but I need a degree and am working on it now. And both at work and in leisure, I spend time with my husband of the past nine years.

Have you danced in any other opera productions before?

Yaraslova
In operas there are dance segments. Many operas include ballet scenes. There are always a lot of people with the choir and soloists, so you have to be very careful not to get lost on stage and avoid crashing into the crowd. If a ballet is inserted into an opera to add meaning, they adorn the action. In some operas ballet divertissements can be seen. In previous centuries, this tradition was extensive.

Participating in the Perm Opera and Ballet Theatre production of The Seven Deadly Sins by Kurt Weill and Bertolt Brecht with director Radu Poklitaru was an extraordinary experience. We were on the stage with opera singers who did the dance moves. I not only danced, but also recited phrases. He presented sounds and movements in a modern style. In the Imperial Russian Ballet we do a ballet cantata Carmina Burana by Carl Orff, staged by Mai Murdmaa.

See OperaMania in Adelaide, Perth, Sydney, Newcastle, Melbourne, Canberra or Brisbane. Visit www.operamania.com.au for more information and tickets.

Interview translation by Tatiana Cherkasskaya.

Photo (top): Yaroslava Araptanova. Photo by Nadya Pyastolova. Photos courtesy of Emma Collison Publicity.

Glen Street Theatre, Sydney
November 30 2012

By Linda Badger.

Sydney City Youth Ballet brought us a delightful production of the Christmas classic, Tchaikovsky’s The Nutcracker. With all its festive charm, it was the perfect way to start the last few weeks leading up to the biggest celebration of the year.

A beautifully adorned stage with great details evident in the set, props and costumes was revealed in an opening scene created to take guests on a journey of fantastical proportions, into the imagination of a little girl named Clara.

Choreographically adapted for a young cast who were playing most of the lead roles, this was a very good show for a student-based production. Under expert direction, and with a scattering of professional and ex-professional dancers, this show was overall an entirely entertaining and delightful experience.

The opportunity to be involved in a full-length production for young dancers, whether they are hoping to one day make dancing their chosen career or not, is priceless experience and training. With mostly seamless set changes and many overlapping roles within the casting of the ensemble, the company and its crew should be applauded for a job well done.

There was opportunity for much talent to be showcased, with a rotating cast for the lead roles, so that more than one group of dancers could have their moment to shine. The guest artists included past Tanya Pearson Classical Coaching Academy student Halaina Hills, who is now a dancer with The Australian Ballet. She danced beautifully with her pas de deux partner Christopher Rodgers-Wilson, also with The Australian Ballet.

The strengths of the production were definitely the visual design aspects, with much detail and a sense of authenticity about the costuming, sets and props. Complimented by the commitment to the acting of the roles played by the students, there was not a dead moment, and not a cast member not fully engaged. This drew us in as an audience and kept us wanting to see what came next, even for those who have seen this particular ballet multiple times.

Weakness came unfortunately in the technical side of the dancing, across all ages of the student body involved. There were many beautiful lines with students trained to create exquisitely lengthened arabesques and développés, but transitionally, much was left much to be desired. In saying this, however, one must remember that these were mostly students and hopefully with continued guidance their understanding of the movement will be developed more fully in the years to come.

There were some extremely strong technical dancers scattered amongst the lead and ensemble roles, notably the dancer playing the doll in the opening scene and the young dancer portraying Clara in this particular cast. They were exciting to watch.

Musicality was strong most of the time, but there were moments where it could have been better utilised. This is most likely a skill set still in the development stage.

Overall, this was a sweet and entertaining ballet. It was very family friendly for those of all ages. The young cast was talented and performed with a strong sense of conviction. I really look forward to seeing all that the future holds for the young dancers in the SYCB Company.

A full scale Russian production of Sleeping Beauty – It’s a classical ballet lover’s dream.

By Paul Ransom.

Some things endure, like fairy tales, the ballet and the Russian people. Throughout centuries of brutal Czarist and Soviet rule, numerous wars, regular famines and political upheavals, the Russians have turned to vodka and classical ballet as a solace and as a source of considerable national pride.

When the Imperial Russian Ballet Company returns to these shores to tour their full scale production of Sleeping Beauty all of that tradition and pride will be on display. Indeed, there is nothing more Russian than the ballet (vodka notwithstanding).

For the founder of the Imperial Russian Ballet, Gediminas Taranda, it comes as no surprise that his compatriots continue to be enamoured by classical ballet. Speaking from a sunny Moscow with the aid of his interpreter, Taranda says simply, “Classical ballet is part of our national tradition in Russia going back over two hundred years. Apart from that, Russian people love to dance and that’s why so many of them put their children into ballet school.”

Whereas in Australia we have sport, in Russia they have ballet. “The main reason is that for Russian people life never used to be very good,” Taranda expands. “There were very tough conditions and they used to go to the ballet in the evening to protect themselves from reality.”

So entrenched in the Russian psyche is the ballet, (think Bolshoi, Kirov, Pavlova, Nureyev, etc.), that despite its obviously aristocratic aesthetic, the former Soviet regime held it in the same regard as cinema and space travel. However, after the fall of the CCCP in 1991 and the liberalisation of the economy, life for Russia’s cossetted ballet community got a lot tougher.

“About eight or ten years ago it wasn’t a good time for the ballet,” recalls Gediminas Taranda, “but now it’s coming back and all around Russia, even in the smaller cities, audiences are returning. Most importantly in all of this is that the government has started to support the ballet again.”

Back in 1994 when Taranda stepped away from his career as a Bolshoi soloist to create the Imperial Russian Ballet Company he could have been excused for thinking that he had taken a huge risk. However, his tenacity, talent and extensive networks ensured that both his and IRBC’s star rose rapidly. The Sleeping Beauty tour will be the company’s fourth in this country.

“I am very impressed with Australian audiences,” Taranda declares. “There are lots of ballet lovers down there, which surprised me because usually it’s Europe and Russia that love ballet. It’s probably because of the Australian Ballet, who for the last fifty years have been a very famous company.”

This year those antipodean ballet fans will get to feast their senses on one of the genre’s defining classics, the Tchaikovsky scored, two hour plus spectacle that is Sleeping Beauty. Although the dance community is busy embracing contemporary and ‘street’ forms, the technical, narrative and musical traditions of classical ballet remain popular with audiences.

According to Taranda, “It’s the beauty of the story itself combined with the great music of Tchaikovsky; that’s the most important thing. It’s also very technical in the choreography and to be able to watch such a beautiful story in the ballet language is very spectacular. For us, it’s an honour to perform it, so for the people watching, they can see that, they can see our joy.”

Mounting grand scale productions is not only a technical and financial challenge but a huge physical work load for the dancers. With IRBC’s Sleeping Beauty clocking in at around 140 minutes, the cast need to be Olympic fit. As Taranda says, “First of all the dancers have to start in the ballet school for eight years of training, six hours a day. For this show the dancers rehearsed long, long hours; so if they can get through all that they are probably very strong and fit; like athletes.”

However, peak physical fitness is just one aspect of the dancers’ preparation. “The most important thing is to inject the dancers with the joy of the ballet, to make it enjoyable, to make the language of the ballet a part of them.”

In this, the 51 year old Gediminas Taranda is surely an example. When asked what keeps him fresh and inspired, he laughs heartily and responds in English. “In the morning, in the studio, it’s like a very good breakfast – and I love breakfast. Then in rehearsal it’s like drinking fantastic wine and afterwards, in the performance, it’s like a fantastic celebration for me. I live my life in the ballet, in celebration. I can’t understand how I could live without it.”

Get your tickets to Sleeping Beauty. Visit www.russianballet.com.au

By Rebecca Martin.

Eifman Ballet is arguably Russia’s most exciting modern ballet company and is touring Australia for the first time this month.  The company’s namesake, director and choreographer, Boris Eifman, is considered the face of modern dance in Russia and is bringing his 50 elite dancers to our shores to perform new works including Tchaikovsky and Anna Karenina.  His company comprises young, slim, and acrobatic dancers that are tall with long limbs – the minimum height for females is 174cm and males is 185cm.

The company’s only non-Russian dancer is America’s Amber Miller, who has trained with Ellison Ballet’s Professional Training Program in New York City and won first place in both contemporary and classical categories at the Youth America Grand Prix.  She was also featured on the web series Dance 212 which followed Amber’s training and life prior to her appointment with Eifman Ballet.

Dance Informa managed to catch Amber during her vacation before getting stuck into rehearsals for the Australian tour…

You turned down a contract with Houston Ballet in the US to join Eifman Ballet.  What was it about Eifman Ballet that enticed you?

Deciding to turn down Houston Ballet and join Eifman Ballet was a difficult decision for me. Houston Ballet is such an amazing company with many talented dancers and is extremely close to my home in Dallas. I never, in a million years, thought I would have the chance to go to Russia, let alone dance in a Russian company. So, when I was offered the contract from Eifman Ballet, I felt I couldn’t turn it down. Boris Eifman is such an imaginative choreographer and all of his ballets are so different from anything else out there. Getting the chance to be a part of the Eifman Ballet company and perform throughout the world at many of the great theatres has been an incredible experience!

Amber Miller of Eifman Ballet. Photos by Rachel Neville

What professional/dance challenges have you encountered since joining Eifman Ballet?

I went to school at Ellison Ballet in New York City and we mainly focused on pure classical ballet. Edward Ellison, the owner and Director of Ellison Ballet, does a tremendous job with pre-professional dancers and he gave me the skills necessary to dance professionally. Coming to Eifman Ballet was a little difficult at first because it is mainly contemporary, so I had to learn how to loosen up and use my technique in a different way while learning a completely new style. I also had to step in for a few performances when someone became sick or injured. While on tour in Berlin, I actually found out an hour before the show that I had to dance for a girl who had gotten sick! All of the dancers really helped me. During intermission we actually rehearsed the second act so I would know exactly where to go. It was definitely a stressful, but extremely gratifying experience.

What personal challenges have you faced?

I have experienced some personal challenges since moving to Russia. This was my first year away from home, so getting used to living without my family was definitely difficult at first. Thank the Lord for Skype and Facebook! It was also extremely challenging when I first moved because I did not know any Russian at all. Luckily, all the dancers are really nice and have helped me so much to learn the language and to help me get around St. Petersburg.

Tell us some highlights of working with such a wonderful company.

I have always wanted to travel and see the world. With Eifman Ballet, I have been able to do that. I’m still amazed at all the wonderful places we get to travel to and the beautiful theatres we get to perform in. Another major highlight is getting the chance to work with Boris Eifman. Watching him create new ballets is such an incredible experience and I am constantly amazed with the choreography and ideas he is able to produce.

What interesting cultural differences have you encountered?

Before moving to Russia, I was expecting everything to be completely different from the United States. Apart from the language, things are not all that different. There are a lot of restaurants, stores, malls, etc that are the same as in the United States. I spend my free time with friends doing mostly what I did in the States…eating, shopping, and enjoying time together.

Are you more Odette or Odile?

I am definitely more of an Odette. I’m a shy and quiet person most of the time, especially when I first meet someone.

What are you looking forward to doing when you come to Australia?

I have always wanted to visit Australia!! I am so excited and can’t wait to finally go. I know it’s kind of cheesy, but I am looking forward to seeing a koala bear and kangaroos. I am also really excited to see how the locals live and what everyday life in Australia is like.

Catch Amber and Eifman Ballet in Sydney and Melbourne:
Capitol Theatre, Sydney
Aug 15 – 26
Regent Theatre, Melbourne
Aug 29 – Sep 9
www.eifmanballetinaustralia.com

Sydney Opera House
May 2012

By Lynne Lancaster.

What a glorious revival of this production by The Australian Ballet! Lavish and spectacular, Onegin showcases some extraordinary choreography and brilliant dancing. The company are in fine form – an excellent way to celebrate their 50^th anniversary this year.

Based on the Pushkin novel, Onegin features stunning opulent sets and costumes as designed by Jurgen Rose. The lacy dripping flowers of Act 2 are exquisite and in the ballroom scene of Act 3, the sleeves of the women’s dresses are like flowers too.

Cranko’s demanding choreography is seamless and in some of the pas de deux, in particular, there are some very difficult lifts and throws. There is lots for the corps to perform with ballroom waltzes and character dancing, but this ballet is mainly a vehicle for the  main characters, with a huge dreamy pas de deux for Tatiana and Onegin in Act 1 and a despairing farewell pas de deux as the climax in Act 3 . Add to this Lensky and Olga with their joyous pas de deux in Act 1, the ballroom flirting in Act 2 and a showpiece pas de deux for Tatiana and her husband Prince Gremin in Act 3.

The Australian Ballet's 'Onegin'. Photos by Branco Gaica.

The bright, joyful character dancing of the corps in Act 1 is contrasted with the agonizing sculptural tableaux for Tatiana and Olga in Act 2 when they beg Lensky to call off the duel.

We see Onegin’s change of heart as brilliantly portrayed by Rudy Hawkes.  In Act 1 he is cold, elegant, aloof, a Byronic /Mr Darcy hero in black, who determinedly breaks Tatiana’s heart by tearing up and returning her letter. He then seeks to cause major mischief by flirting with Olga. In Act 1 there is the wonderful ‘mirror’ pas de deux where Tatiana dreams of him as her hero and lover. In Act 3 the tables are turned and Onegin is an explosive whirlwind of passion, kneeling at Tatiana’s feet, begging for  love and understanding, but alas it is too late.

Our leading lady, Tatiana, was marvellously danced by Rachel Rawlings. We see her develop from a shy, bookish teenager who falls foolishly and passionately in love with Onegin in Act 1, to Act 3 where she has blossomed into an elegant society wife with her doting husband Prince Gremin.

As Lensky, Onegin’s friend and Olga’s fiancée, Ty King-Wall is magnificent – at times jaw-dropping. He has a fabulous long stretched line and wonderful soft ballon. He is all charm and youthful exuberance. The young and happy, deliciously in love pas de deux for Lensky and Olga in Act 1 is delightful.

Olga, Tatiana’s sister, is delightfully danced by Lana Jones. She is more light-hearted and frivolous than Tatiana and does not seem to realise the consequences of her flirtation with Onegin until it is too late. She is exquisite in the Act 1 pas de deux especially.

With the combination of a dramatic love story, Tchaikovsky’s glorious music, lavish, sumptuous sets and costumes, and Cranko’s swooping, expressive choreography terrifically danced, Onegin is a tremendous production that has audiences swooning.