Konstantin Tachkin is an entrepreneur that formed the company 10 years ago, however many would be forgiven, after reading the promotional literature and indeed the contents of the programme, that the company is actually Prima Ballerina Irina Kolesnikova and her backing dancers. This does a great disservice to a fine company.


Whilst my mood was sullied by the cavernous stadium, (otherwise known as the Royal Albert Hall), with a stage so low that a harp obscured a section of it, my mood was soon warmed by the sight of the exuberant corps de ballet. Their enthusiasm was infectious and by the time of the pas de trios, (charmingly danced by Yapparova, Ovehinnnikova, and Yakhnyuk), I was utterly entranced. Olga Ovchinnikova, and her fine line, particularly caught my attention.


The whole first act was very reminiscent of the Kirov, The set design was of the painted drapes variety, but the golden glow from the dancers warmed the stage. Although not my favourite character, the Jester was danced impeccably by Dmitri Shevtsov.


Tchaikovsky’s music, erratically performed by the orchestra, heralded Ms Kolesnikova, and it was not long before it was confirmed as to why she is so adored.


It was just such beautiful balances, exquisite footwork, and just fluid and languid movement. Irina’s Odette just seemed to melt in her pas de deux with Dmitri Akulinin’s Siegried. Siegfried’s mere touch would almost inspire Irina to wilt in his arm. This was an amazingly sultry Odette, and this Odette who would have entranced any man alive. I often mused on how the Prince could fall in love with the Swan Queen, but on this occasion I left wondering as to what took him so long.


Dmitri Akulinin had a lovely soft jump, and assured technique however at times he did seem anonymous. Hopefully his characterisation will warm as the tour progresses.


Due to the size of the company, Yapparova and Ovchinnikova were back on stage as two of the cygnets, and were joined by Parkhomova and Kuzmenko. The symmetry and synchronisation was as near to perfect as I have seen for a long while. Alas Olga Shinkar and Olga Rudakova were not as inspiring as the two swans.


Dimchik Saikeev’s Rothbart had a menacing evil, but I still find the Russian portrayal too melodramatic.


The act III national dancers were a joy, the cynic in me would sometimes remind me that I have seen them danced with more attack, but I was still beguiled by the corps de ballet’s charm. My only concern was that the costumes for the six princesses tended to give them the unpleasant appearance of members of the Ku Klux Klan.


Irina’s Odile was sublime, still sultry but with an amazing sexuality. Technique was once more exemplary. The pas de deux highlighted both hers and Akulinin’s ability, and it was the final proof that we were witnessing one of the great ballerinas of the 21st century. I have seen the fouettes completed cleaner, but just the sheer magnetism of Irina’s Odile compensates for everything.


Act IV was the typical Soviet happy ending, which I always find so under-whelming and lacking in emotion. However I was transfixed by Irina’s arched back and her ethereal arm movements, that I would leave happy knowing that Odette was alive.


Irina Kolesnikova is a ballerina of incredible diversity, a ballerina that captured my heart. One wonders how long she can remain the main focal point of the whole company. She is only 25 after all, and to be the Prima Ballerina is a huge weight. I would love to see her guest with some stronger partners, however I will have to be content in seeing her again in La Bayadere in January.


As mentioned, it is an utterly charming company, full of charisma, and I urge people to try to catch them as they tour the country.