The first thing that struck me about Fiametta, Ludwig Minkus's 1863 ballet, was the sheer exuberance of the music. It pulsed with a life force that was undeniable, a rhythm that demanded you move, even if only in your seat. As a dancer, I can't help but imagine the challenge and delight that these musical cues would have presented to the original performers. From the joyous, sweeping melodies that marked the beginning of each act to the lilting, lilting passages that punctuated the love story, every note seemed to be a stage direction, urging the dancers to build and build, crescendoing into the final, dramatic conclusion.
And the dancers, of course, did not disappoint. It's impossible to know what the original choreography was, what kind of artistry it was that took shape under the watchful eye of Marius Petipa himself, but the version presented here had all the makings of a classic. It was, I felt, as though a centuries-old story, an Italian novella woven through the years, had come to life right before my eyes. We saw the playful flirting of the young Fiametta with the Duke, a dance as intricate and charming as the tapestry hanging behind them on stage, and felt the growing tension, a physical tension building and building, as she and the handsome knight, Orlando, slowly discovered their love for each other. Every step, every gesture was a testament to their history, a story of courtship, longing, and finally, passion.
It is no wonder, of course, that Fiametta proved a lasting success, first as a jewel in the repertoire of the Imperial Ballet in St. Petersburg, and now, as a production resurrected and made anew with passion and respect for the original form. The ballet, I feel, retains all the charm, elegance, and yes, the "dramatic force" that its original audiences would have expected. The narrative is captivating, full of "the traditional trappings" - intrigue, misunderstandings, mistaken identities - all framed within the lush tapestry of early-19th century Italy. Even the sets themselves - grand palaces and verdant gardens – all hinted at the exotic richness of life beyond our borders, appealing to a longing, a thirst for the new and the unknown that every age shares.
One could not talk about this ballet without paying homage to its principal dancers. It was a performance which showcased true, passionate talent, in a way that brought forth the drama, the unfolding beauty of the ballet, as if in a dream. I was taken by the performance of Anya Petrova as Fiametta, especially during the final act, in which she truly poured her soul onto the stage, bringing to life the inner conflict of a young woman caught between duty and love. The grace and strength that she commanded, each "arabesque" executed with effortless precision, served to magnify the struggle, the vulnerability, that is inherent within Fiametta’s character, culminating in a moment of catharsis so potent that it took my breath away.
The performance of Mikhail Ivanov as Orlando, a role as demanding physically as it is emotionally, could be only described as magnetic. A powerful figure who commanded the stage with an energy that pulsed with the passion of the music, Ivanov transformed into Orlando before our eyes. His leaps, a symphony of powerful motion, his gestures loaded with intention, brought to life the noble heart of the man and his fervent devotion to Fiametta. One only needed to see the look in his eyes, his face contorted by emotion, to see the fire of his love burn bright. It is impossible to remain indifferent to the raw emotionality of such a performance.
There were also a few scenes in Fiametta, a few specific dance sequences, that left an imprint upon my mind. I recall one particularly impressive scene, during a ballet which, like Fiametta’s journey, unfolded from laughter and courtship to betrayal and sorrow. Here, in this ballet within a ballet, the entire company took to the stage, with all its dancers gracefully executing a complex set of formations. The rhythmic movement of their feet and the intricacy of the choreography had me on the edge of my seat, fully immersed in the beauty of their dance, which seemed to represent an echo, a mirror of Fiametta's internal struggles and the swirling drama that was her life. The ensemble was excellent, each dancer displaying an innate understanding of the flow, the essence of the dance, seamlessly blending with their colleagues, creating something larger and more moving than individual skill alone. One can feel, it was a shared language that only they truly spoke, an unspoken, instinctive understanding of movement.
There were other details, small moments, which added to the brilliance of the overall production. There were the sets, all intricately detailed, lavishly dressed, evoking an era of wealth and extravagance, serving as a visual testament to the history and significance of the story. And the costumes, a dazzling display of finery, created by renowned designer Tamara Kostyuk, perfectly captured the elegance of the period. Each fold and pleat, the textures, and the carefully crafted embroidery, was designed to further immerse the audience into the story. I imagine that the dancers must have felt transformative entering the stage wearing those exquisite costumes. It was, a visual spectacle in every sense. The entire ensemble worked together seamlessly.
Yet, it was the music itself that held me captive. In every rise and fall, every note that surged and flowed with impassioned ferocity, the story was played out again and again. Even now, weeks after having seen this production, I can hear it resonating deep within my soul, as if it had been woven into the very fabric of my being. It was more than the melodies themselves. I believe that it was something deeper, some connection between Minkus's musical language and the deep, inner, universal truths that the ballet portrays – the struggles of love, betrayal, forgiveness. In Fiametta, I feel that Minkus, and the company that so wonderfully interpreted his vision, managed to bridge that divide between art and reality, giving life to timeless themes, echoing through every movement.
I do believe that Fiametta was truly a dance for our time, a powerful testament to the art of ballet and its unique ability to touch us on a deep, emotional level. The performances, the music, and the spectacle – all combined to create a powerful, breathtaking journey through a world that is as real, as raw, and as true today as it was in 1863. For it was a tale, that transcends time, that reminded us that love is love, and that is what will stay with me long after the final curtain falls.
Some other things worth noting:- The production design is worth mentioning, particularly the set, which seamlessly blends elegance with drama. It is a perfect setting for the story, allowing the drama to unfold amidst lavish details.
- The company as a whole performed with precision and flair. There is real heart and joy to the performance, and their collective talent makes every scene of the ballet more vibrant.
- The ballet was presented by a smaller company with very talented young dancers, giving an air of fresh talent. These dancers moved and flowed as though the choreography itself was flowing from within them. They felt deeply, deeply passionate and were beautifully coordinated. It's no small feat, the power and beauty of such artistry on stage, and their performance spoke volumes.
- And, though the music had its own energy and beauty, I cannot ignore that Fiametta is an older ballet, from a period when storytelling in ballet differed greatly from what we are accustomed to seeing today. At times, it felt that the narrative became repetitive, lacking perhaps, a more modern, provocative interpretation of a story that, in truth, was full of exciting potential. It left me yearning for a more robust, contemporary approach. But it was perhaps a yearning, a wish for what could have been, and in truth, was not a negative commentary on what was given. It would have been interesting to see more risk-taking, more daring and raw emotions laid bare. This is something I hope will be addressed in future productions of this ballet.
- I do not think this ballet is perfect. I can't say that. The story may not appeal to everyone. Fiametta may seem quaint and, at times, predictable to the modern audience. And it is worth noting that in order to understand and appreciate the ballet, the audience will need a familiarity with traditional storytelling elements. Some of the moments may feel archaic.
- Nevertheless, for those who find their passion within the language of ballet, who enjoy a graceful storytelling journey set to exquisite, compelling music, Fiametta offers a night of ballet at its finest. It's a classic ballet worth watching, worthy of every dancer and audience member who has ever had their spirit move at the sight of a beautiful stage performance.