Depending on how you look at it, thematic programs that feature the work of a single composer or one choreographer are either a wonderful opportunity for total immersion in something you love or just too much of a good thing. In the case of the Mariinsky’s all Chopin program here presented at BAM, it was a chance for the company to showcase its rich history of beautiful, lyrical dancing with three pieces by three different choreographers created over a hundred year period. The all piano program of Chopin’s music requires strong pianists and for the most part they were very good.
Opening the program, Alexandra Zhilina played Chopiniana with mixed results. In the opening Polonaise that served as an overture, Zhilina’s overuse of the sustaining pedal muddied the sound that came from the piano. Too many strings vibrating at once made it hard to distinguish individual notes. It was less of a distraction once the dancing began and that was a blessing because at times her playing was more like a stolid dance class accompanist. The Mariinsky Ballet has a depth of talent that is hard to believe sometimes, and it was on fine display all night long. There are so many great dancers that you don’t know where to look. The star of Chopiniana though, was unquestionably the corps de ballet, not so much for its perfect unison, which was enviable enough, but for its the grace and style. Chopiniana was a nostalgic ballet when it was created over a hundred years ago, and it seemingly hasn’t changed much since. The Mariinsky's is Agrippina Vaganova’s re-staging of Fokine’s 1908 masterpiece and, while the ballet has seen some adaptations over time, it still has a feel of authenticity to it that makes it hauntingly beautiful. Oxana Skorik was impeccable and airy, as were all the female soloists. Timur Askerov as The Poet was, simply put, too heavy-footed in the mazurka. He needs to soften his landings, because the thumps were distracting, with nothing but the piano for accompaniment. He was louder than the entire company of women dancing together and that really detracted from the sylvan atmosphere. Still, Chopiniana was all about the corps de ballet and its mastery of complex and poetic movement reminiscent of the earlier Romantic age of ballet. The soft tilt of the upper body, the curves of the arms, tiny bourrés that fluttered across the stage… the work of a corps de ballet that everyone else strives to emulate.
Benjamin Millepied’s 2011 Without was demonstrably the lesser of the evening’s works. Millepied chose a selection of Chopin’s Préludes and Études for his piece and they were played with fluid legato by Philipp Kopachevsky. His playing was the best of the night. The stage was frustratingly dim for this piece, making it hard to tell who was who while they were dancing. Millepied’s choreography for this piece came across as impetuous and overworked. It seems he has given his dancers a good deal of direction as to the underlying emotional states of their characters, so there is something of a plot that includes the requisite drama of a couple that clearly was not getting along, the rapturously in love pair that is exquisitely lyrical, and the comic – adorable – pair... all of which mostly came across as forced and insincere.It all could have been improved by toning down the drama and bumping up the lights a bit... Millepied seems to have over-reached here by trying to pack too much into each individual composition.