Russian ballet presents a classic version of ‘Cinderella’

By STEPHANIE OTTEY

The Youngstown show is the troupe’s only appearance in the region.

In the constantly changing artistic world, it’s important to stay grounded in that which has stood the test of time.

And while there is ample opportunity to indulge in film, music or theater in this area, the chance to get swept up in a classic ballet comes much less frequently. This weekend, through the help of Ballet Western Reserve, that rare chance will arrive.

The State Ballet Theater of Russia makes its Youngstown debut at 7 p.m. Sunday at Powers Auditorium with a performance of “Cinderella.” It will be the State Ballet’s only regional appearance; it will not be making stops in Pittsburgh or Cleveland.

Along with this one-time performance, the State Ballet is also inviting local dancers to register for a pre-show master class on that same day. The class gives students the opportunity to dance side-by-side with professionals who come from a different background and discipline than that to which they are accustomed.

The State Ballet Theater of Russia is the touring pseudonym for the Voronezh State Theatre of Opera and Ballet, established in 1961 in Voronezh, Russia. The company began performing primarily in Russia with classic ballets like “Sleeping Beauty,” “The Nutcracker,” “Giselle” and “Romeo and Juliet.” In the 1970s, its repertoire was expanded to include more modern compositions with Petrov’s “Adam and Eve,” Lazarev’s “Antony and Cleopatra” and Shchedrin’s Carmen suite. Along with these new additions, the company also began to tour abroad in the early ’70s.

Today, the State Ballet, under the direction of Igor Nepomnyashchy, boasts a repertoire of more than 15 shows, and tours in 17 countries. While the company continues to grow internationally, one thing remains true: its focus on retaining the classical style.

“In Russia we try to save the classical, romantic ballet,” said Olga Nepomnyashchaya, company director of the State Ballet. Nepomnyashchaya has been with the company for 40 years, beginning her career as a ballerina.

She said there is a vast difference between the American and Russian approaches to ballet. “In America, it’s very modern and up-to-date,” she said.

The audiences are even different in both countries. “We love American audiences because they are very warm and the reaction is overwhelming,” she said. “They notice every detail. It’s incredible! We love the American audience. In Russia, the audience is more restrained because they see more ballet and are much more critical.”

Despite these differences, one thing remains certain in the eyes of Nepomnyashchaya. “If a person devotes himself or herself to the ballet, it does not matter where he or she comes from. Everyone devoted to the ballet is equally passionate about it and that is what is important.”

Though the audiences may be stoic in Russia, the State Ballet is still beloved in its home country.

The dancers (there are well over 50) range in age from 18 to 35. They all have one thing in common: each is a graduate of the Voronezh Choreography Institute. Therefore, all of the performers studied with the same instructors and learned the same classical technique and approach. This is how the State Ballet is able to strictly maintain the romantic style. It also creates a level of unity that is not often found in other companies.

Although the State Ballet is devoted to classical ballet, the group is still in a constant state of learning and growing. “The main target and value is to always dance better and better. There are no limits” said Nepomnyashchaya.

Indeed, it seems as though there are no limits for the State Ballet. With world-renowned choreographer Vladimir Vasiliev in tow, the ballet troupe is expanding its repertoire even more.

It will be reintroduce “Romeo and Juliet,” this time as choreographed by Vasiliev, and has recently dabbled in modern dance with a piece titled “Angels of Death.”

Their focus right now, however, is “Cinderella.” The classic fairy tale is told through dance in a production that New York Times reviewer Gia Kourlas said was “full of enchantment.”

The troupe works for a minimum of three hours a day, seven days a week on “Cinderella,” so that each performance is better than the last. This daily rehearsal — with the addition of traveling from city to city — creates a tight schedule for the dancers. “The traveling is hard. Interesting but grueling,” said Nepomnyashchaya. “But to have the opportunity to dance and see the reactions of the audience is worth it.”

Nepomnyashchaya assures that “Cinderella” will be appreciated by audience members of all ages. “There are no age limits … children will understand the show very well, and so will the grown-ups,” she said. “The troupe is very young and beautiful and very much devoted to their job. The dancers do the performance very willingly. … It’s quite a pleasure for everyone involved. The dancers are immersed in the beauty of the costumes, light, music and dance.”