Diana Vishneva Dazzles NYC

Jocelyn Anderson | February 28, 2008

Before the Kirov Ballet arrives in New York City in April, audiences were treated to a special program featuring one of the company’s stars Diana Vishneva last week. “Beauty In Motion” spotlighted the Russian ballerina in varied works—all created for her—by Alexei Ratmansky, Dwight Rhoden and Moses Pendleton. And for those accustomed to seeing Vishneva in classical works either with the Kirov or as a guest with American Ballet Theatre, the lineup was a welcome divergence from the usual.

The evening was off to a great start with Ratmansky’s Pierrot Luniare, a ballet based on commedia dell’arte and set to live music with Kirov Opera mezzo-soprano Elena Sommer. If there was any doubt as to why Vishneva deserved her very own program, this ballet showed her as a technical dancer and an artist. Co-starring three male dancers, Pierrot gave each dancer an opportunity to inhabit the lead, a clown who expresses his fantasies, which range from mellow to violent and makes use of both classical and modern skill. In this ballet, Vishneva clearly showed her ability to switch back and forth between styles and moods with ease.

Vishneva followed that with F.L.O.W. (For Love of Women) by MOMIX’s Pendleton. In true Pendleton style, the piece offered a lot of spectacle and not much substance—from glowing appendages moving in space to Vishneva spinning with strands of beads hanging around her body. Each segment inspired chuckles and/or awe from the clearly smitten audience, however, I couldn’t understand using such a beautiful dancer as Vishneva for such a frivolous display except in the middle section—where she appeared nearly naked on a slanted mirror. Such a lithe body deserves to be highlighted.

Rhoden’s Three Point Turn coupled Vishneva with Desmond Richardson. And though they may seem an unlikely pair, Richardson’s power and presence made him a good match for Vishneva. Still, I would have preferred a better finale for “Beauty in Motion.” Three Point Turn was heavy on loud, crashing music (by David Rozenblatt), and the other two couples were superfluous when sharing the stage with such a dynamic duo. Good thing we’ll have a chance to see Vishneva again in the next few months. With the Kirov, she’ll dance multiple classics as well as William Forsythe’s Steptext and Balanchine’s “Rubies.” And with ABT in May and June, in addition to more classics, she’ll appear in Twyla Tharp’s newest ballet.