Raymonda is the first ballet of the Bolshoi’s 2019-2020 cinema season. A great choice, as this is one of those ballets rarely seen in full, and that the Bolshoi does so well. This season is the Bolshoi’s 10th anniversary of cinema streaming, and in celebration, they are showing seven of their big classics: Raymonda, Le Corsaire, The Nutcracker, Giselle, Swan Lake, Romeo and Juliet, and Jewels. This is proving to be a wonderful season indeed!
Firstly, this performance was a live relay and not a recording of a previous performance. So, instead of the usual midday showtime, it started in the late afternoon. With this being a big 3 act ballet, this meant that I left the theatre at 19h15. Now, personally I can’t say that this bothered me – It was only a quick walk for me to get home afterwards, but people did leave the theatre after the second act. I do wonder if it’s because the cast took bows after the 2nd act, but the crowd was mostly older or small children with their parents, so it was likely because of the time.
As an aside, I was sat next to a young girl for this show who could not have been more entranced by this ballet. Sat bolt upright at the edge of her seat, she kept asking the most inquisitive questions. I could see as she was following along in the variations, her hands moving in that all too familiar way, turning from side to side and moving along with the steps, whilst attempting discretion. I mean, I do it all the time when I hear music, and it made me smile to see her doing to same. It was just a really charming moment.
Created in 1898 by Marius Petipa, Raymonda is a story of love, both at a distance and unrequited, across three characters. This is a big beast of a ballet at 3 acts long with 4 scenes. It’s even longer than Sleeping Beauty, which is well known for it’s length.
Act 1
In Act 1 we meet Raymonda and the man who she’s set to marry, Jean de Brienne. The act sets the scene of the court. After the festivities, she falls asleep. In her dream we are introduced to Abderakhman, whom she doesn’t know, but he declares his love for her.
The first thing I noticed throughout act 1 is that there’s consistently 24-32 corps dancers onstage. This is a ballet that champions the corps de ballet and soloists as there’s a lot of great choreography for them. This is a point on which the Bolshoi specifically shines: A big corps de ballet for a big classic.
Intermission 1
Katerina Novikova greeted us for the first intermission with Maria Allash, a former Bolshoi Ballet Principal Dancer who had danced Raymonda, and coached Olga Smirnova for this role. Originally, Raymonda was created for Pierina Legnanian, an Italian dancer known for her technical skill and vertuoso. Katerina and Maria discuss the difference between her and Olga’s interpretations of Raymonda. Something that stood out to me in this conversation was mention of there being five variations for Raymonda alone in this ballet. I had noticed there seemed to be more than in other ballets, but five full variations is a lot! I would have to dissect other ballets to be sure, but I feel that most ballets must have two or three. Maria and Katerina also discuss how Raymonda is incredibly unique and identifiable by the arm and head movements. I completely agree, although I find it hard to lay out in words what exactly it is about the movements that is so specifically Raymonda and nothing else. There is something youthful and innocent about the movement, but Raymonda also seems incredibly self assured. Youthful and innocent are words that I would also use to describe Aurora from Sleeping Beauty, but that self-assuredness is a differentiator between the two.
Act 2
Act 2 starts with scenes of guests arriving at the castle for Raymonda and Jean de Brienne’s wedding festivities. Abderakhman, the man who appeared in Raymonda’s dream, arrives and having had his declaration of love for her turned down, tries to abduct her (naturally). Jean de Brienne blocks his path, they duel and Abderakhman is killed. I do find the general plot up to this point a little thin, but the Raymonda variations are impressive and I thoroughly enjoy watching those. Olga Smirnova, shows us the youth and confidence of this role, and is truly lovely to watch.
Intermission 2
The second intermission is a discussion with Igor Tsvirko, who danced the role of Abderakhman. Standing there, seemingly so opposite from his on stage character, he is smiling and excited about the 10th anniversary livestream. He discussed how in dancing a role for the second time, you can get past having to feel out the role on stage, spacing it and orienting yourself, and just dance it. He says that each time he dances the role, he gets a little more confident and it allows him to find new parts or facets of it.
Act 3
There is a version of Act 3 which is a summary of the ballet as a whole which most companies will dance as a stand alone show, or within a double or triple bill. The Royal Ballet is actually doing this right now with their Triple Bill, Concerto/Enigma Variations/Raymonda Act 3. It stands well on its own, and shows the dancer’s abilities and strengths. This, along with the fact that doing act 3 alone or the one act summary is a financially and time conservative way of keeping Raymonda on stage, is why we see act 3 on its own more often than not. Act 3 is the wedding scene and is glamorous, beautiful and has excellent choreography.
Cineplex cinemas will be showing the next ballet in this anniversary season, Le Corsaire, on Sunday November 17th. You can find more information here.
What did you think of the Bolshoi’s Raymonda cinema relay?