There are princes… and there are Princes!
January 2015 – English National Ballet
Ivan Vasiliev as Siegfried in Swan Lake,
wonderful Alina Cojocaru as Odette/Odile
“…his was one of the most openly expressive character performances as Siegfried that I have seen. ” Graham Watts
“Impressive Swan Lake @ENBallet last night. @DancingAlina on heart-breaking form and Ivan Vasiliev acted socks off as well as flying thro air”…Tweet by Sarah Crompton
Embed from Getty Images“Even more of a surprise is that Vasiliev very nearly turns this most female of ballets into a male narrative. He almost kidnaps the drama – not with his eye-popping leaps, although these are impressive, but with urgent acting that uses his entire body. A lean of the torso to indicate longing, a bow of the head to suggest reflection, and outstretched hands that tenderly hold his precious Swan Queen. Vasiliev is not a ‘guest artiste’ on professional auto-pilot, but a committed performer whose characterisation almost eclipses Cojocaru’s star. Unexpected alchemy from the lead dancers in this traditional production that gives all the company scope to shine.” Sarah Frater
“There are lovely moments in the pas de deux when he seems not so much lifting her as pulling her back to earth so she doesn’t fly away.” Lynette Haywood
“On the other hand, I couldn’t take my eyes off Vasiliev. Not just because he is indeed so beautiful – part of a trio in my books that also includes Ivan Putrov and Roberto Bolle – but also because the slightest tilt of his body suggested his pain and boredom at court, his anguish in the later stages. “ David Nice
“Previously most famous in London as the Russian made of rubber, purveyor (with ex-girlfriend Natalia Osipova) of huge stunt jumps and ooh-ah thrills in potboilers like Don Quixote, Vasiliev showed in last night’s performance that he deserves to keep his hold on the public’s affections even if his jumping powers tail off with age. Like Carlos Acosta, he’s a delightfully sincere, satisfying hero, partnering his leading lady with tender steadiness and emoting his heart out. Purists prefer slenderer, leggier chaps, but Vasiliev’s awestruck gentleness in the Act II Pas de deux and his heartrending contrition in Act IV were everything I want in a Siegfried.” Hannah Weybie
“Passé le premier choc face à ce Siegfried taillé en Hercule de foire, et même si occasionnellement on se surprend à compter le nombre -impressionnant- de pirouettes qu’il effectue (variation de l’acte 3), il faut bien reconnaître que le personnage de prince tourmenté composé par le danseur est absolument touchant. Parvenant à faire quelque chose de la variation lente du 1er acte, pourtant assez indigente, il exprime des doutes précis et non un vague état d’esprit (désignant les reliefs du repas d’un port de bras, « la joie était ici, il y a quelques instants encore, mais maintenant, est-ce vraiment l’heure du choix?, la main sur le cœur). Au troisième acte, pendant la danse des prétendantes, ses mains ouvertes vers le public, comme vidées d’énergie disaient tout de son découragement face à l’opiniâtreté matrimoniale de sa royale génitrice (excellente Jane Haworth). Dans sa confrontation avec le cygne noir, il semble presque absent à l’action pour ne s’animer qu’à l’apparition du cygne blanc, au beau milieu du grand pas de deux.
Mais surtout, c’est dans la construction de ses interactions avec sa partenaire qu’il a gagné notre suffrage. À l’acte 2, face au groupe de cygnes qui lui cache d’abord Odette, il tend son arbalète mais semble interroger son droit à tuer d’aussi belles créatures. Il donne du sens à la phalange de cygnes en essayant de s’engouffrer dans l’étroite ruelle qu’ils laissent mais se montre effrayé quand les grands et petits cygnes lui font face. Enfin, il n’est que prévenance à l’égard d’Odette (là encore, son travail de main est admirable).
Le couple Cojocaru-Vasiliev n’est assurément pas que la somme arithmétique de deux interprètes d’exception. La gradation des sentiments entre Siegfried et Odette est de toute façon subtilement orchestrée par les deux danseurs, principalement sur les deux actes blancs. Au deuxième, Alina-Odette et Ivan-Siegfried se fixent beaucoup mais les contacts physiques trouvent leur parousie dans les pâmoisons de la demoiselle. À l’acte 4, par contre, les fronts d’Odette et de Siegfried s’effleurent puis se touchent avant que les bouches ne se rencontrent enfin pour un glorieux baiser.” Dansomanie
“And they suit each other like caviar and vodka…” Graham Watts
“Matched with Alina Cojocaru’s shimmering Swan Queen, Vasiliev soars in the bravura Black Swan pas de deux, and melts touchingly in the tragedy that follows.” Zoë Anderson
“In his debut in the role he announced himself as one its finest current interpreters… from the moment he came on stage he was the Prince all eyes focused on even when not given anything to do. The sadness of his Act I solo was palpable and he proved an attentive partner to Alina Cojocaru’s Odette… I hope ENB might think of persuading him to return in Giselle as he would excel in this too. ” Jim Pritchard
IVAN VASILIEV 