The Sleeping Beauty Reviewed by Joanna Sunderland Bradford's Alhambra was packed for the sold out performance of Sleeping Beauty. There was a palatable air of excitement as the audience chatted in their seats waiting for the acclaimed ballet troupe's performance of this traditional favourite. Started by one lone fan, a spontaneous round of applause rippled round the theatre while the band were tuning up. Then, as the lights dimmed, the theatre grew quiet and Alexandr Kantorov, St Petersburg's conductor, took his place. We were ready to begin. The enchanting tale of Sleeping Beauty opens with a prologue. At the castle of Carabosse - the wicked witch, the King and Queen beg for help asking for something that will give them an heir. They are given a powder, and after much reluctance, agree that their child will live with the witch until she comes of age. Then, as the curtain lifts act one begins and time moves forward to the following year - the christening day of Princess Aurora. The fairy godmothers arrive to bestow their special graces upon the infant princess and the dancing begins. St Petersburg Ballet Theatre is world famous for its performances and I wasn't disappointed. The dancing, costumes and beautiful scenery changes transported you into a world of make-believe when the only thread of reality was the thud as the dancers landed from their triple pirouettes as they made their way across the stage. The story is told over three acts and lasts nearly three hours. Princess Aurora (Sabina Yapparova) is cursed at her christening by the evil witch Carabosse and, on her sixteenth birthday, she pricks her finger on a rose and is fated to die but the Fairy of Goodness and Light turns the curse of death into a long sleep. In the second act she is awakened by the heroic Prince Florimund, who defeats the evil Carabosse and the young couple fall in love. Then the third act climaxes with a joyful wedding attended by figures from the fairytale world. For me, the third act accentuated the best and worst parts of the performance. During one lengthy scene change my neighbour asked if they had "gone off for a break" and certainly, as the fairytale characters danced their solos, there were several moments when nothing was happening on stage as we waited for the next performance to begin. Each time, this – and the stifling temperature of the sold out theatre – reminded me that I wasn't living the performance, merely watching it on stage. It was however in these fairytale characters that the choreography came into its own. Little Red Riding Hood and the wolf and Puss in Boots raised more than one laugh from the audience with their antics on stage. Throughout the performance the dancing was always fantastic but the additional play acting of these fairytale characters introduced a level of humour into the performance I have rarely found in ballet. As I left Bradford's Alhambra, teaming out onto the pavement with hundreds of others, I reflected how lucky we were to have a local venue which can host world famous performers. The centenary of the Alhambra is only a few years away, and despite a changing city and a changing world, this traditional theatre can still command a full house. Princess Aurora may have slept for 100 years but Bradford's Alhambra doesn't need to. Swan Lake Reviewed by Chris Verguson
 | | Kolesnikova as Odette with her prince! |
If I was asked to put a bet on which is the most popular of classical ballets, I'd almost certainly put my money on Tchaikovsky's Swan Lake. Even as I write this review I see ÃÛÑ¿´«Ã½ News is reporting that a new interactive installation inspired by the ballet is to take centre stage in London over the next few days - people visiting Trafalgar Square can take part in creating a virtual version using copy shadows of dancers and swans! But back to Bradford where there wasn't a spare seat in the house when St Petersburg Ballet Theatre came to town. You could sense the audience knew they were in for a good night even before the first notes were heard from the orchestra. I can't help thinking, if this is your sort of music, it's difficult to be anything other than entranced right from the beginning.
 | | And as Odile! |
The curtains open on a very courtly scene as Prince Siegfried celebrates his coming of age. Soon he will have to choose a bride. As with Northern Ballet this company knows you have to act as well as dance and I find myself very much following the movements of the Jester (Slava Sunegin).Ìý I also find myself marvelling at the patterns the dancers are making on the stage. Here the ballet is performed in three acts and four scenes which makes for a very long first third, but this very effectively sets the scene for everything that is to come. We move with Siegfried from all the fun of the court to the lake and to his discovery of Odette, the swan princess. The different set and the use of lighting change the mood completely. Taking the part of Odette is Irina Kolesnikova who, in a relatively short time, has established herself as one of the world's top dancers. It's very easy to see why! In every movement and every muscle she is a swan, but also so much more. This is a terrific performance! However, it has to be said, that the other swan maidens are also very convincing and the dance of the cygnets is a delight. It's Act Two and the night of the castle ball. Siegfried knows he has to choose his bride but he's still thinking of Odette until (hiss! boo!) the evil sorcerer Rothbart arrives with his daughter Odile. Here we see Kolesnikova as a scheming femme fatale in complete contrast to her performance as the sad and graceful Odette (Odile is the face you may have spotted at railway stations across West Yorkshire advertising the ballet.) Dymchik Saykeev gives a memorable performance as the villain Rothbart. My companion did say there were times during this second Act where she wasn't sure quite were things were going and she didn't seem entirely convinced by one of folkier dances. Bowled over by the set with it's fantastic medieval painted ceiling, I really had the feeling I was present at the ball so maybe I wasn't so conscious of any change in pace. Thinking about this later, though, I've come to the conclusion there's not all that much in the way of plot in Swan Lake and it's most apparent in this central act. It's back to the lakeside for the very dramatic and moving final act. We watch as Odette's fate unfolds and Siegfried and Rothbert fight it out... I'm not going to tell you how it ends. I wasn't aware until last night that this ballet has alternative endings and I was taken completely by surprise. I can hazard a guess, though, that many in last night's audience were wishing that the final act - and its wonderful and familiar music - could have gone on far longer. Although there have been some fine British Swan Lakes in recent years surely there is something special about seeing the ballet performed by a dance company from Tchaikovsky's home town. St Petersburg Ballet Theatre are at the Alhambra until Saturday February 3rd with Swan Lake and The Sleeping Beauty. For more details ring 01274 432000. | 
