In a dream world we'd all be able to pop over to the Bolshoi to see the best of Russian ballet whenever we want. But because (unfortunately) that's not a possibility for most of us, the Bolshoi makes it easier by bringing their masterpieces to the silver screen. Now in its 8th year, the 2017-18 Bolshoi Ballet in Cinema season presents a wide range of classic story ballets restaged by some of today's most celebrated choreographers. Movie theaters nationwide will screen these ballets starting on October 22; you can find the closest cinema to your hometown here. So grab a ballet-loving friend and a bucket of popcorn and be sure to get your tickets soon—if these knockout trailers are any indication, tickets are bound to sell out fast.
First up is Le Corsaire. Reworked by Alexei Ratmansky (a theme of this year's selections) from Petipa's 19th century classic, this ballet is billed by the Bolshoi as one of their "most lavish productions." A full shipwreck on stage? Yeah, "lavish" seems about right.
Choreographer Alexei Ratmansky will have world premieres on two coasts this winter. On February 10, Miami City Ballet will debut his new one-act version of The Fairy's Kiss to Stravinsky's celebrated score, a homage to Tchaikovsky. The following month, on March 15, at California's Segerstrom Center for the Arts, American Ballet Theatre will premiere his Whipped Cream, a new full-length story ballet to a Richard Strauss libretto and score.
Ratmansky has often looked to ballet history for inspiration. Fairy's Kiss, known as Le Baiser de la Fée when it was originally choreographed by Bronislava Nijinska in 1928, has been staged by Sir Frederick Ashton and Sir Kenneth MacMillan, and several times by Balanchine. Its story comes from The Ice-Maiden, a Hans Christian Andersen fairy tale, and Ratmansky has kept the narrative. A young man, about to be married, is bewitched by a fairy's kiss and stolen away from the mortal world. “I asked Alexei for a narrative work, possibly one with a Russian flavor to it," says MCB artistic director Lourdes Lopez. “Our dancers have a very strong dramatic quality and short narrative works are not a large part of our repertoire." Ratmansky had created an earlier version during his tenure at the Bolshoi Ballet; this is a new production with new choreography.
We've been breathlessly waiting to find out when David Hallberg will step out with American Ballet Theatre, and it sounds like L.A. audiences get to see him first. He's scheduled to debut the role of Prince Coffee in Alexei Ratmansky's Whipped Cream, on March 15 at the Segerstrom Center for the Performing Arts. His first performance back, after returning from injury, was his debut as Franz in Coppélia, with the Australian Ballet.
Whipped Cream sounds like a (more?) surreal take on The Nutcracker, featuring a boy who eats too many sweets and imagines a fantastical land populated by characters like Prince Coffee and Princess Praline.
New Yorkers will have to wait until May 22 for a reprise of the role. And while we're excited to see Hallberg back onstage, and we're always up for a new Ratmansky ballet, we're especially curious about the trippy costumes and sets, designed by Pop Surrealist Mark Ryden. They look a little bit creepy.
We can't wait!
Choreographer Alexei Ratmansky is passionate about promoting the splendor of early Russian ballet and has, over the last few years, mounted a string of reinterpretations of iconic works. This June his re-choreographed version of The Golden Cockerel, first mounted for the Royal Danish Ballet in 2012, will have its U.S. premiere at American Ballet Theatre, where he is artist in residence. The Golden Cockerel, which was first staged in 1914 by Sergei Diaghilev's Ballets Russes in Paris, is the epitome of Russian art, music, folklore and dance. It follows the exploits of the foolish King Dodon, the powerful Queen of Shemakhan (who has eyes on his kingdom) and the cunning Astrologer, who gives the king a magical golden cockerel to warn him of danger.
While unfamiliar to American audiences, The Golden Cockerel has a rich history. Here is a timeline of this comedic ballet's many reincarnations.
1914 Choreographer Michel Fokine had been toying with the idea of a ballet set to Nikolai Rimsky-Korsakov's opera, based on the poem The Tale of the Golden Cockerel by Alexander Pushkin, for several years. He wanted to try combining ballet and opera completely. The resulting production of The Golden Cockerel had the opera singers seated on either side of the stage while the ballet dancers performed. Tamara Karsavina danced the role of the Queen of Shemakhan, and Italian ballet master Enrico Cecchetti played the Astrologer, but the role of the Cockerel was simply a prop.
The opera/ballet was considered an unqualified triumph. But due to the large scale of its staging and the onset of World War I, it quickly fell from the repertoire.
1937 Colonel Wassily de Basil and the Ballet Russe de Monte Carlo decided to remount Fokine's opera/ballet in 1937. Upon revisiting the work, Fokine chose to create a purely balletic version with musical instruments taking the places of voices. He also changed the Golden Cockerel into a role for a female dancer. Tatiana Riabouchinska and Irina Baronova (who was only 18 at the time) danced the roles of the Golden Cockerel and the Queen of Shemakhan, respectively.
2012 Ratmansky, drawn to what Fokine had described as his best ballet, chose to revisit the work for the Royal Danish Ballet, using elements from both the 1914 and 1937 productions. The resulting ballet, while containing references to its history and moral story, portrays the Russian fairy tale in a bright, swirling kaleidoscope of color. Ratmansky lengthened the 45-minute 1937 version to create a new two-act ballet by including music from the original opera. RDB soloist Lena-Maria Gruber created the role of the majestic Cockerel. “I turn quite diabolical in the end," Gruber says.
2016 In remounting The Golden Cockerel for ABT, Ratmansky has added and changed steps and built in more details. “ABT has different strengths to the Royal Danish Ballet, which I have taken into consideration," Ratmansky explains. ABT principal dancer Stella Abrera has been cast as the Queen of Shemakhan, whom she describes as “an overtly sensual figure" who relishes her position of authority. “This gal is the whole package," she says. “The deeper we plunged into the ballet and the better I understood why the original libretto was controversial—powerful women and foolish rulers—I knew The Golden Cockerel was going to be a lot of fun!"
Re-creating a World of Color
Tony Award-winning designer Richard Hudson based the costumes and sets on the original 1914 and 1937 designs by avant-garde artist Natalia Goncharova. According to Ballets Russes dancer Lydia Sokolova, Sergei Diaghilev found Goncharova in Moscow “painting pictures on the foreheads of people in cafés." Her colorful designs, however, perfectly encapsulated Russian folk culture and fairy tale.
When Goncharova redesigned the ballet in 1937, the costumes were made in the London workshop of Barbara Karinska. (Karinska later developed a close collaboration with George Balanchine and New York City Ballet.) Covered in hand painting, stenciling, embroidery and appliqué, her costumes were works of art but time-consuming to make. Irina Baronova recalled sitting in her dressing room opening night with nothing to wear. Suddenly the sound of sirens was heard by the stage door, and out of two ambulances burst Karinska, her seamstresses and the costumes. After a 50-minute intermission, with many of the dancers pinned into their garments, the curtain finally went up on the ballet.
For Hudson, reinterpreting the production was daunting: “Working with such a huge palette of colors was difficult to start with, but then liberating, once I understood that anything goes—almost!" He changed the costumes' proportions, he says, “because contemporary dancers are so different in physique." RDB soloist Lena-Maria Gruber, who created the role of the Cockerel, had to adjust to the weight shift created by the elaborate tail. “But it was a lot of fun to be covered in gold head to toe!" she says. —CH
Ratmansky coaches Veronika Part and Gary Chryst, who play the Queen of Shemakhan and King Dodon, through a comedic scene.
All rehearsal photos by Kyle Froman for Pointe
Caroline Hamilton, a dance and costume historian, was historical consultant on The Golden Cockerel.
American Ballet Theatre’s Ratmansky Festival is the centerpiece of the company’s spring season at Lincoln Center’s Metropolitan Opera House. Since festivals and celebrations usually come later in a choreographer’s career, it provides an unusual opportunity to see how ABT has adapted to and absorbed Alexei Ratmansky’s approach since he became artist in residence seven years ago. “The last seven years of Alexei’s creative process with us was an exploration of the company’s depth,” says ABT artistic director Kevin McKenzie. “I think it’s always good to take another look at what is, in fact, still new to us.”
The festival kicked off with two mixed bills: the three-part Shostakovich Trilogy, and a program featuring a world premiere to Leonard Bernstein’s “Serenade (After Plato’s Symposium)” as well as Seven Sonatas and Firebird. Later will come the American premiere of The Golden Cockerel, a two-act ballet that Ratmansky made for the Royal Danish Ballet in 2012. ABT will also bring back Ratmansky’s staging of The Sleeping Beauty, which the company unveiled last year.
McKenzie notes that Golden Cockerel shows a different facet of Ratmansky’s work. “It taps the humorous side of Alexei’s vision while adhering to his interest in historic works,” he says. Originally staged by Michel Fokine to a score by Nikolay Rimsky-Korsakov for Diaghilev’s Ballets Russes, the ballet takes its inspiration from a folktale by Pushkin. In it, the tsar of a distant land is given a magical golden cockerel that warns him when his kingdom is in danger.
“I can’t wait to embody my character and experiment with it,” says soloist Skylar Brandt, who dances the title role on opening night, and has watched videos and read the story to prepare for the role. Brandt looks forward to working again with Ratmansky in the studio. “I have observed that dancers who trust Alexei excel in his movement,” she says. “When he says, ‘Good,’ it’s a big compliment.” —Hanna Rubin