Spartacus

Although the stage was awash with testosterone and male bodies it was prima ballerinaOlga Smirnova who was the star of the Bolshoi Ballet’s return visit to Brisbane for this year’s International series. As the predatory Aegina she captivated, especially in the third-act, with her astonishing technique and flawless lines. She absolutely bristled with charisma in a performance that had gold-standard stamped all over it.

Long regarded as the Bolshoi’s signature ballet, the story follows the exploits of Thracian warrior Spartacus,the leader of the slave uprising against the Romans in 71BC. Created in 1968 by Yuri Grigorovich to an award-winning score by Aram Khachaturyan, the production was first presented in Australia in 1994, but this is the first time the production has been seen in Queensland.

Although Smirnova’s performance glittered like a diamond, that’s not to say her male co-stars were anything less than perfect.

Igor Tsvirko’s Spartacuswas a mountain of despair from the moment he entered, enslaved in chains. Separated from his beloved Phrygia his rage against the injustice manifested into a series of perfectly executed pirouettes and blazingly defiant leaps. His muscle and brawn were off-set by a tender and sensitive strength.

With incredible pretty-boy looks, Alexander Volchkov as Crassus strutted and preened over his Roman army corps as he pitted Gladiator against Gladiator in their masked duel of death for his amusement. His capture was palpably humiliating, whilst his revenge was an orgy of pay-back.

Limpidly lovely is the only way to describe Margarita Shrayner’s performance as Phrygia. The bittersweet Act lll pas de deux between her and Spartacus gripped with emotion as he effortlessly carried her off-stage wrapped around his shoulders.

The male corps danced with energy and bravado, if a little ragged at times, while the courtesans partnered with grace.

The crucifixion tableaux with Spartacus atop the soldiers’ spears, was a compelling finale, whilst Shrayner’s grief over her slain lover’s body held the audience spellbound.

Designer Simon Virsaladze’s idea of lowering a hanging piece of material as a backdrop for the solos worked extremely well, and with conductor Pavel Sorokin and the Queensland Symphony Orchestra bringing Khachaturyan’s score vibrantly alive in what was a magical night of classical ballet.

Peter Pinne          

Photgrapher: E Fetisova.