Volchkov had struggled on to the end, but Alexandrova hobbled into the wings and was reportedly taken to hospital. The orchestra and company carried on, covering up for her absence. Great credit must go to the performers for their impromptu response. Grigorovich has beeefed up the melodramatic story by giving prominence to the fervid fakirs who haunt each act. Magedaveya gets more choreography by Grigorovich than usual to account for his interventions, including a sinister cameo at the beginning of the wedding party in Act II.
Svetlana Zakharova portrays her as queen of the temple, more regal than her fellow maidens. When the High Brahmin declares his passion for her, she rejects him with contempt for his presumption. She dances her encounter with Solor as graciously as Aurora on her wedding day, complete with a glittering diadem on her sleek head. When Gamzatti summons her in private, Nikiya is modestly dressed as befits her station.
Gamzatti is the imperious one, affronted by her rival. But the married couple slip away before Solor can show any unease. The female ensembles with fans and parrots were dutiful on the opening night, the demi-soloists in tutus fine but not sparkling. Locally recruited youngsters blacked-up as piccaninnies pranced round the Golden Idol Denis Medvedev and two small girls teased the Manu dancer, charming Anna Rebetskaya. The most excitement came from the spirited drum dance, led by Alexei Matrakhov with enthusiastic support from the orchestra.
The build-up to the pas de deux fireworks had just got under way when Alexandrova stumbled off stage, leaving the supporting dancers to continue without her in their midst. In his mid-twenties, he has an impressive presence, an instinctive command of space.
As the Evil Genius in Swan Lake , he dominated his lakeside domain. He has the fakirs lull Solor into an opium-induced sleep in a setting that lifts away to reveal a rocky arch. Within it Solor sees a vision of Nikiya enticing him into a ballet blanc nirvana.
