Already an admirer of Irina Kolesnikova, I was looking forward to seeing her Giselle for the first time, but what we saw exceeded all expectations.


St. Petersburg Ballet Theatre is currently on a lengthy tour of the United Kingdom. Althougt the company has a number of good principals, Kolesnikova is the star, and it`s wonderful to see a ballerina of international stature taking her talent to audiences outside the world`s opera houses. This was the first night of SPBT`s new production Giselle, and the Derngate Theatre was a suitable venue to see the production at its best, with a large well appointed stage and a packed lighting and enthusiastic house.


Sets for a touring company have to be transportable, but even seen from the front of the stalls, the first act setting of two cottages in the woods is as substantial as any resident production. Intricate cutouts of leaves and expert lighting give a feeling of depth in both this and Act Two, and the costumes are rich and colourful. Designer Viacheslav Okunev has done an excellent job of creating the atmosphere for a first class company of dancers.


We knew Kolesnikova as an outstanding technician, from having first seen her winning the silver medal at Varna four years ago, but this gives little idea of a dancer`s acting ability or interpretation of a role. Since then I have viewed the dvd of her Swan Lake (reviewed in last month`s issue) and that made me determined to see her Giselle. From her first entrance we see the vulnerability of the peasant girl and she manages to convey a delicate constitution while using her steely technique for the difficult choreography.


Romantic ballets are often more demanding than the “look at me” bravura of the classical pas deux. This Russian company presents a full-on interpretation of Giselle, with extravagant mime and gestures which I find appropriate to a mid 19th century ballet. Kolesnikova acts the part broadly to make the meaning clear to the back of the gallery, yet is equally moving seen at close quarters. The mad scene when she finds her aristocratic lover has betrayed her is convincing, both from Giselle and the entire company, all clearly very young. Albrecht is 23 year old Dmitri Akulinin, who has a way to go yet before becoming a mature premier danseur, but he partners Kolesnikova superbly.


The peasant dancers are performed with enthusiasm by the corps de ballet and Sabina Yapparova and Andrei Yakhnuk delightful in the pas de deux.


In the second act, Kolesnikova is light and ethereal, lyrical and tragic, her beautiful arms and back and lighting footwork a real joy to watch – one of the most memorable Giselle I have seen.


Yulia Petrova is a commanding Queen of the Wilis, and the corps de ballet absolutely immaculate. It comes as no surprise to read in the programme that the company`s two ballet mistresses and two repetiteurs all hail from Mariinsky. Alla Osipenko, who graduated in Leningrad in 1950 under Agrippina Vaganova herself, worked as a tutor at the Vaganova Academy for many years, as did the other three more recently.


SPBT is a major company, and their Giselle gives ballet lovers around the country a rare chance to see a first class production of one of the great classics.


Finally I must mention the gamekeeper Hilarion, who instead of the usual elderly grouch is young and good looking, making him far more credible as a suitor for Giselle and rival to Albrecht. The way his posy of flowers was kicked around the stage was really touching and Dimchik Saykeev`s interpretation and acting throughout quite moving – an embellishment to a memorable performance.