Leo Tolstoy’s epic novel Anna Karenina has attracted many choreographers and now it is a chance for Marina Kesler of the Estonian National Ballet to make her mark. Beautifully designed by Reili Evart and set to music by Dmitri Shostakovich, Kesler has edited down the plot to focus fully on Anna. With just two acts and packed with dance, it makes a very satisfying ballet evening.
Laura Maya, as the eponymous heroine embodies the fragility of a woman consumed by an overwhelming passion. In a range of exquisite dresses and displaying a challenging range of emotions, she dominates the evening shared with her dashing lover Count Vronsky (Leonardo Celegato) and husband, Karenin (Sergei Upkin). She is a potent figure, defying convention, following her heart and choosing death rather than life without love.
An auspicious event, a fatal accident at the station, sets the dark undercurrent that runs through the ballet but the mood swiftly changes as dancing couples introduce the luxury of Russian high society. The pattern of events takes shape. Anna arrives and heads turn as she dances. Then like bees to honey, the men rush to offer her their hand. Vronsky, who has been courting Kitty is also entranced and dances only with her. Beatriz Domingues, making her debut in the role of Kitty, starry eyed and brimming with youthful hope is driven to tears. Domingues is a delight in the role but in this condensed version, Levin, her future husband is not featured, and we sadly see no more of her. Betsy, Anna's wealthy society friend who facilitates the illicit liaison is another small role, well played by Ana Maria Gergely.
Celegato, also making his debut, cuts a dashing figure in military uniform, proving a strong dancer and charismatic lover. He and Anna meet again at the fair, but it is later when they’re alone that we get the fireworks: a passionate pas de deux as they open their hearts, and modesty is preserved only by curtain down.
The second act opens in style as the ensemble waltz in bright pink and green dresses. The race begins and Kesler has given clever, inventive choreography to the jockeys as they gallop in formation building to the drama of the accident. As Vronsky falls, Anna’s feelings for him are on display and the tension builds in the triangle. Upkin, with finely honed dramatic skills, creates a convincing portrait of a man failing to understand the depths of his wife’s feelings and torn between hope and despair. The scene dissolves into a trio that graphically shows the emotions that will both entangle and destroy them. They finish apart, each in a separate spot ravaged by feelings they can’t control.
The lovers escape to the sunshine of Venice, a gondola, carnival costumes and plenty of lively entertaining dance. Seeing the children at play reminds Anna of the son she left behind and the idyll dissolves. Anna, as a woman who steps outside society’s conventions, pays a heavy price. Vronsky can still move in society while she is shunned. She spirals downwards.
In the elaborately costumed play within a play, Anna visits the theatre where she becomes an object of contempt and cruelly ridiculed. Ghost figures appear suggesting the darkness about to envelop her. As both Vronsky and Karenin reject her and even her son chooses to go with his father, the figures mime the relentless rotation of wheels, and she is drawn to the gloomy station to end her misery.
This is a ballet that gives the dancers much to enjoy. Kesler is a member of the ballet staff so knows and understands their needs. The lead roles are well drawn, offering exciting opportunities in dance and dramatic skills and the corps get a great deal to dance in rather wonderful costumes.
Maggie's trip was funded by Visit Estonia
