It is only in 1991 that the ballet " Prodigal Son " to the music by S. Prokofiev was staged at the Bolshoi theatre. This one-act ballet performance was created by a great ÕÕ century choreographer George Balanchine for Sergey Dyagilev’s troupe at the end of the 20-es, last century. However, it didn’t live long in the Bolshoi theatre repertoire.

Five years ago the Bolshoi Ballet Ñompany headed then by Alexei Fadeyechev in an incredibly short time (actually within three weeks) with an incomparable enthusiasm prepared two most complicated Balanchine’s ballets - "Àgon" by I. Stravinsky and "Symphony in C" to the music by G. Bizet. (These one-act Balanchine’s ballets were combined with " Ìîzartiana " to P. Tchaikovsky’s music, the Balanchine’s piece revived for the Bolshoi theatre a bit earlier.) The Balanchine Moscow premiere of 1999 saw unanimously enthusiastic responses of the press (which was rather surprising as there were few of them who took its success for granted) earlier there were very few who were sure about its success) and showed the amazing opportunities of the dancers who were able to master a most complicated choreographic material in such a short period and were very strong and artistic when doing the ballet. But due to the change in the management of both Bolshoi Ballet Company, and top heads at the Bolshoi theatre itself, that followed soonafter, it didn’t take long for these Balanchine pieces to disappear from the theatre repertoire, all in all 1,5 years...

Alas, the current premiere of Balanchine, dedicated to his first centenary, arouses no enthusiasm, as the previous version did, be it actors, spectators or critics. First, it’s worth noting that "Àgon" and " Symphony in C " are quite familiar to the troupe and spectators, which, certainly, at once takes away the touch of novelty. The performers could have, however, scooped up the novelty from the new choreographic findings of the ballets. But unlike "Àgon" (balletmaster of the production - John Clifford), which still shows an acceptable level, thanks to Åkaterina Shipulina, Yan Godovsky and Anastsia Yatsenko who strongly and expressively convey Balanchine’s choreographic ideas, (this ensemble apparently suffers the absence of Dmitry Belogolovtsev who is touring together with some other Bolshoi premieres), " Symphony in C " (balletmaster Tatyana Terekhova) obviously leaves much to desire, if compared with its five-year-ago version.

The Third part of the Symphony, the “jump” part, which earlier looked dazzling due to Ìaria Alexandrova and Nikolay Tsiscaridze’s really great dancing, now completely "drops out of the line”. These two dancers whose breathtaking impetuous dancing was soaring beyond the reach, victorious, exultant, triumphing over the dullness and conveying the visual sensation of freedom and delight, are now separated: Tsiskaridze’s trauma deprived him of any opportunity to take part in the premiere and for some mysterious reasons the management of the Bolshoi Company couldn’t find a proper partner for Alexandrova. Instead, now in this jump part we see Yan Godovsky and Marianna Ryzhkina, whose dancing, unfortunately, falls flat in comparison with their predecessors and who seem to be too far from an opportunity to ever catch up. The choice to perform the Second Part, the most beautiful, most romantic, " unearthly " part of the

Symphony where Nina Ananiashvily and romantic Àndrew Uvarov were perfectly poetical, now fell to the newly promoted Bolshoi principal Svetlana Zakharova and a young soloist Alexandr Volchkov.

His supports in the duo lack weightlessness and the dancing itself is neither synchronised nor airy. It obviously lacks enchanting early morning haze, magic illusion of the dream that came true, that found its earthly form, which makes you want this choreographic dream last forever…

The lengthened proportions of Svetlana Zakharova’s limbs with their unbelievably beautiful lines seem to have been created specially for Balanchine’s choreography. But as to her soul, it doesn’t seem to be involved, whatsoever in it, in spite of her irreproachably technical manner.

Her lovely face, her clear smile, precise technique and clear but non-too-emotional light in her eyes, alas, do not convey the magic sensation of a miracle, the sacrament of dance, which, ideally, like a pray, is to be created in the solemn silence in our presence, when each movement is perceived as the greatest choreographic revelation.

(I saw Yuliana Lopatkhina’s amazing interpretation of the Second Part at the opening night of the Symphony in St. Petersburg, I must say her dancing was the closest to the ideal.)

As to " Concerto Barocco " to the music by I.-S. Bach (balletmaster Adam Luders), three pax de deux (balletmasters John Clifford and Marina Eglevsky) based on the music by Tchaikovsky and danced by Maria Alexandrova and Sergey Filin, "Òàrantella" (composer L-Ì. Gotshalk, solo parts by Galina Stepanenko and Andrew Bolottin) and Pax de Deux of Sylvia (composer L. Delibe, solo dancing by Hadezhda Gracheva and Vladimir Neporozhny) – they came on the current programme as eye-openers of the Bolshoi theatre both for the dancers and audiences. " Concerto Barocco " leaves too much to desire, it gives the impression of being tiresome despondent and excessively lengthy to say nothing of the fact it needs more rehearsing.

Here there is no displaying of either ease, or beauty, or ringing grace of dancing. In the first cast the diligent Ànna Antonicheva demonstrates, unfortunately, complete misunderstanding of the Balanchine style. In the second cast Maria Allash, experienced and strong, and subtle Nelli Kobakhidze, young and exquisite, add a bit of colour to the totally grey picture.

I can’t help saying that this young ballerina’s surprising internal concentration, seriousness, her ability to completely dissolve in the dance - also noticed in the Second Part of "Symphony in C” - the qualities that the majority of the participants of this premiere, regretfully, lack.

Two ballerinas Galina Stepanenko and Nadezhda Gracheva again proved their indisputable talent though not without a hitch: Galina’s fiery temperament, virtuoso rotations and jumps as well as swift movements in the sparkling “Tarantella” are still to be polished when doing smaller pas; Nadezhda Gracheva was convincingly technical and phenomenally equilibristical but showed no sign of being happy to dance and seemed too far from enjoying her Sylvia’s Pax de deux which is both most recherche and beautiful, and most difficult at the same time. In this piece Gracheva’s partner was the plain Vladimir Neporozhny, as to Stepanenko, she danced with a young talented Àndrew Bolotin who caught the audience with his infinite charm, artistism and easy refine pirouettes.

No doubt, it’s worth mentioning one more name, that is Ekaterina Shipullina who seemed to have come the closest to the original style of Balanchine in both pieces ”Agon ” and “ Symphony in C ” in terms of impeccable form of dance, filigree and clear technique, profound understanding of the task, a little bit chilly and arrogant beauty of noble strict movements.

Comprehending Balanchine’s choreography is, obviously, an important step for the Bolshoi troupe to make. These ballets were supposed to add both to professional competence of the actors and the repertoire of one of the world best ballet companies. But the rush in their preparation together with the absence of some leading dancers, who were sent on tour at this crucial time (the fact which arouses some questions to the management) add to disappointment. For some reason, no one feels confident that the work on the Balanchine ballets will continue after the premieres take place and when it’s time for foreign Balanchine Fund balletmasters-rehearsers to leave.

It’s by all means, a matter of time to know how long the new versions of Balanchine’s masterpieces will be onstage in the Bolshoi and what response they will see from Moscow spectators. But this premiere does not at all inspire high hopes for continuation...