Stravinsky on Record

On January 21, Ukrainian National Opera hosted a premiere of The Firebird ballet by Igor Stravinsky (staged by Viktor Lytvynov, scenography, and costumes by Mariya Levytska).

The audience was basically presented by Kyiv’s ballet lovers and musical community. It should be noted that the political beau monde and state officials altogether ignored this new work. Obviously, all of them were more interested how the spectacle staged in Parliament would unfold. But those who did come were rewarded and charmed by the fascinating music of Igor Stravinsky. In the first act, the dancers showed the one-act Kiss of the Fairy ballet (staged by Oleksiy Ratmansky). This work has already occupied an honorable place in the theater’s repertoire and is distinguished by the peak of musicality and perfect choreography done in western style. However, the audience was eager to see the second act, the proper premiere. Judging by how Viktor was smoking one cigarette after another, it was obvious that the choreographer was also nervous. Firebird has long ago become a classic. Its resounding success on June 26, 1910 on the stage of Paris Opera during the Russian Seasons signified the beginning of the triumph of the Slavic fairy tale, brilliantly staged by Mikhail Fokin. Various classical and modern groups have interpreted the Firebird. In Kyiv it was staged for the first time. The first chords sounded, the curtain rose, and we found ourselves in the kingdom of Koshchei (performed by Artem Datsyshin), lazily hovering above the stage. Life is boring. Time seems to stop. Existence can be varied only by intrigues or love at first sight. The snatched Beauty Damsel, having rejected Koshchei’s pretensions, becomes a hostage of his evil spell and turns into a wonderful Firebird. Only Prince Ivan’s love can deliver her from Koshchei’s curse.

Many a producer tried to find their own solution for The Firebird. Quite original and unexpected were productions by maitre of the modern ballet Maurice Bejart and by one of the most popular and promising European choreographers Angelen Pejocaj. Their merit was that they managed, very subtly and precisely, to demonstrate the fairy element of the composer’s music. Viktor Lytvynov experiments with The Firebird theme not always successfully, but, undoubtedly, interestingly. There are some interesting conceptual turns. For instance, the conversion of Koshchei, who left his black costume like shagreen leather, provoked a lively response from the spectators. One may argue with the stage manager whether it was worth it to reject Fokin’s legacy. The more so as it was painstakingly restored by Andris Liyepa, who shot a film of the same name, with the participation of our Ukrainian dancers Tetiana Biletska and Viktor Yaremenko. But then, both Tetiana Holiakova (the Beauty Damsel and Firebird) and Leonid Sarafanov (Tsarevich Ivan) measured up admirably to the task set by Lytvynov. However, some details need polishing. Choreography coach Alla Lahoda will help the dancers to correct mistakes and put the accents in the right places. It is expected that rehearsals will go on during the foreign tour, which began January 26 and will continue until March, when we will see the performance that already will be perfected. Many spectators were disappointed that the accompaniment was provided by phonograph. The orchestra, led by Volodymyr Kozhukhar, were only spectators. Thus we were shown an export version of the play.