Classical Simplicity Ballet Stars Of Moscow Long On Time-Honored Dance But Short On Breathtaking Moves

Ballet Stars of Moscow Tuesday, Nov. 12, Opera House

Less is more.

Adhering to this theory, the Ballet Stars of Moscow performed at the Opera House on Tuesday night, dancing selections from a variety of ballets.

Famous for their strength and technical precision, Russian dancers have always been considered to be the creme-de-la-creme of dancing; the Tuesday night ensemble almost fit this billing. The company needs to be reminded that less is more - sometimes.

With their toplike spins, and flying leaps, the 10 performers from Moscow’s leading ballet companies did evoke some cheers and shouts from the half-filled Opera House crowd, but by the program’s conclusion only a handful of people were on their feet.

Although the dancing was excellent, something was missing: the wow factor.

Simple, uncluttered, well-executed choreography characterized most of the excerpts throughout the performance, allowing the dancers to easily create strong, beautiful lines and to move in harmony on the stage; very powerful overall. At times, however, the choreography seemed unchallenging for dancers of their caliber, leaving the audience waiting for one or two magnificent, breathtaking moves - movements that are simple and not flashy and at the same time physically challenging.

Alla Khaniashvili, former principal dancer with the Bolshi Ballet, was a highlight. Graced with high cheek bones and long, supple limbs, she truly embodied the image of a ballerina.

Her partner Vitaly Artiushkin, also of the Bolshoi Ballet, did a wonderful job of showcasing Khaniashvili’s talents as they danced together in “Raymonda” and “La Rose Malade.”

Her strength and fluidity were exhibited best in her solo of the “Dying Swan,” a beloved excerpt from the ballet “Swan Lake,” proving she is a superb dancer with her partner or as a soloist.

A hush fell upon the audience as Natalia Krapivina and Georgy Smilevsky, both of the Stanislavsky Theatre Ballet, turned in moving performances in the pas de deux “Romantic Duet,” another program highlight. Soft, dramatic lighting and delicate tinkling Chopin accompanied the couple as they caressed the stage with their unique, seemingly effortless lifts and melting movements.

The pair originally was scheduled to perform the grand pas de deux from “The Nutcracker,” as well, but instead they performed a number entitled “We,” with music by Elton John. Combining strong abstract movements, grappling on the floor, and slow-motion moonwalkesque steps, the unusual piece had the influence and flair of Martha Graham with a hint of Michael Jackson.

Although this number gave the couple a chance to exhibit their wide range of dancing ability, it would have been better received as an addition to the performance rather than a replacement for the originally scheduled pas de deux.

In an excerpt from “Walpurgis Night,” Tatiana Chernobrovkina, also of the Stanislavsky Threatre Ballet, launched a lateral jump from center stage, torpedoed parallel to the floor and landed in her partner’s arms at the stage edge.

Wow.

The audience gasped and cheered. She performed the one movement that everyone had been waiting for.

Unfortunately, Chernobrovkina was not featured more frequently throughout the program, nor were those unusual types of movements.

Applying the idea that less is more enabled the company to excellently perform traditionally classical ballet in a manner that is synonymous with the Russian masters.

Adding several wow-inspiring movements would have propelled audience energy and enthusiasm to a higher level and, at the same time, better demonstrated why the Russian dancers have always been considered to be among the best.