Bolshoi Ballet Again Warmly Received

Press, Volume CI, Issue 29892, 4 August 1962, Page 13

Bolshoi Ballet Again Warmly Received

The second programme of the Bolshoi Ballet was received enlihusiasticaliy by a large audience in tihe Theatre Royal last evening. In some ways this is a more interesting programme than the first; for, instead of a series of varied items, an attempt is made to show at least two works of greater scope. The first of these is Act II of “Swan Lake," a scene representetdve of the whole, in which little seems to be omitted except those volatile courtiers with the crossbows. Because of illness Nina Chistova was unable to dance, and Ludmilla Bogomolova was seen as the Swan Queen The occasion was notable in that this was the first time this ballerina had appeared before an audience in this role. Yuri Shdanov was the Prince, moving across stage witih pleasing decision, and Petr Khomatov made a brief but effective appearance as the Evil Genius. Ludmilla Bogomolova’s brilliance enabled her to give a performance as spectacular as any prima ballerina could compass. Her lightness even defeated the Theatre Royal’s oddly reverbrating stage and the controlled grace and fluidity of her movements made this particular glimpse or souvenir of “Swan Lake" something unique in the experience of many Christchurch amateurs of ballet. Yuri Shdanov's energy and his absorption in the role of the Prince of Courland brought out the drama of the situation, and his technique must be described as flawless.

As the Three Swans, Ninel Popova. Zinaida Karataeva and Elena Cherkasskaya were just as beautiful to watch as they were in the “Walpurgis Night” scene in tihe first programme; and this is saying a great deal. “The Dance of the Little Swans." now duly placed in the appropriate setting, was performed with an effect of sparkling piquancy by Renata Smirnova. Tamara Tuehnina. Irina Zotova and Lydia Dsmenteva.

In the second half of the prgramme, the “Don Quixote" pas de deux and variations were awaited with eagerness. The pas de deux, in particular, is a rigorous test of a dancer’s elegance of style and innate dignity. It is, incidentally, something for which Rowena Jackson, in her day. was never sufficiently appreciated. The pas de deux was danced last evening by Ludmilla Bogomolova and Gennadi Ledyakh in a manner which fulfilled all expectations. Every movement, every attitude pleased in this graceful but sharply defined performance. The variations danced by Ninel Popova and Elena Cherkasskaya were just as obviously virtuoso pieces.

In “Spring Waters" the two principal dancers. Ludmilla Bogomolova and Gennadi Ledyakh, appeared in some-

thing that was quite difficult from anything else seen in this programme. There is a lyrical note in "Spring Waters.” and this throws a veil over the remarkable physical effort it demands. So delighted was the audience that the artists generously repeated their performance.

Humour abounds in the second programme of the Bolshoi Ballet. "Humpback Horse,” for instance, offered a delightful role to Tamara Tuchinina; Georgi Bort was just as good in “The Red Poppy” as he was in his Ukrainian "Gopak”; and

“The Dance of the Russian Dolls,” with Zinaida Karataeva. Yuri Virenkov, and Igor Peregndov charmed everyone. Yadviga Sangovitch danced twice last evening, partnered by Andrei Kramerevsky. The "Polonaise and Cracovienne" was particularly attractive. This programme was a triumph for Ludmilla Bogomolova, Elena Cherkasskaya, and Gennadi Ledyakh. —C.E.S.