From St. Petersburg to Manila: Mariinsky stars breathe new life into tragic tale
Last March, Lisa Macuja Elizalde reminisced about her early career with the prestigious Mariinsky Ballet. At the theater, she was captivated when Renata Shakirova, a newly minted principal, performed the title role in “Giselle.” Shakirova didn’t merely leap; she soared, like a feather caught in the wind.
“Not all ballerinas can jump high,” Elizalde observed.
Shakirova’s husband, soloist Alexei Timofeyev, meanwhile elevated the Peasant Pas de Deux with his flawless technique and elongated movement quality.
Convinced they would be perfect for the Filipino audience, Elizalde, artistic director/CEO of Ballet Manila, invited Shakirova and Timofeyev to portray Giselle and Albrecht in her company’s upcoming production. They personify the purity of the classical tradition, she said, their roles requiring equivalent speed and softness.
“Giselle” tells the tragic tale of a peasant girl who falls in love with a nobleman who hides his engagement to another woman. Her heartbreak leads to madness and death, yet her love for him persists even in the afterlife.
Elizalde believes the public will appreciate the distinctive Romantic style embodied by these Mariinsky artists. Ballets from the 19th-century Romantic era prioritize drama, mood and subtle coordination of the head and shoulders over the virtuosity of the latter part of the century.
Preparation
At 29, Shakirova is nearing the peak of her career, while Timofeyev, a 38-year-old Mariinsky veteran, brings a wealth of experience. Their paths first crossed when Shakirova, then an 18-year-old Vaganova Ballet Academy student, was invited to perform with the Mariinsky by Yuri Fateyev, the acting head. She watched Timofeyev dance the Bluebird Pas Deux with another ballerina. Their relationship blossomed after Shakirova joined the company. She was drawn to his sincerity and respect, while he was captivated by her engaging smile and honesty.
Being part of a company with a 284-year legacy like the Mariinsky, boasting over 50 principals and soloists alone, not to mention the corps de ballet and reserve corps, makes standing out a formidable challenge. Shakirova embraces this competition, setting clear boundaries.
“It’s a natural part of ballet,” she said. “It pushes us to grow and refine our craft. However, the rivalry ends in the rehearsal studio; it never spills into our personal lives.”
Timofeyev recalled the youthful aspiration to dance lead roles. “You realize the need for relentless dedication,” he explained. “You must go the extra mile, consistently refining your skills. Demonstrate your abilities to your director. Don’t passively wait for opportunities; actively pursue them and prove your worth.”
The Mariinsky Ballet employs a team of seasoned coaches, who are celebrated artists, to mentor its principal and solo dancers. To prepare for “Giselle,” Shakirova worked with ballet mistress Tatiana Terekhova, who emphasized the importance of authenticity and naturalness.
“I must become the smitten peasant girl in Act 1 and then transform into a ghost who still expresses unwavering love for Albrecht,” Shakirova explained.
Timofeyev, on the other hand, was guided by the late Igor Petrov, who instilled in him a deep appreciation for musicality and stylistic precision. He likewise collaborates with younger mentor Maxim Khrebtov, who helps him delve into Albrecht’s character and project it convincingly on stage.
While other dancers often portray Albrecht as a deceitful and remorseful character, Timofeyev sees him as flawed but fundamentally human. “He was in love and terrified of losing her,” the dancer said, referring to the heart-wrenching scene when Giselle goes mad.
Work-life balance
Shakirova echoed this sentiment, adding, “If he were merely toying with Giselle, he wouldn’t have been so devastated by her death.”
Balancing demanding rehearsal schedules, classes and performances, the couple makes time for cross-training during their off days and vacations. Shakirova favors yoga and Pilates, while Timofeyev prioritizes recovery after intense training.
Married for less than two years, their love story is as enchanting as any ballet. Timofeyev popped the question in front of Rome’s iconic Trevi Fountain after their Italian tour.
On their wedding eve, Shakirova graced a Moscow gala stage before celebrating with a modest reception. As fate would have it, Timofeyev had to rush to the theater immediately afterward to dance the lead role of James in “La Sylphide.” A poignant image was Shakirova, clad in her wedding attire, watching her husband perform from the audience.
Asked about starting a family, Shakirova acknowledged the challenges faced by ballerinas due to maternity leave and career interruption. “There’s a plan to have children,” she said, “but not right away.”
Timofeyev replied, “For now, our focus is on dancing at our best.”
Ballet Manila’s “Giselle” goes onstage on Aug. 31 at 8 p.m. and Sept. 1 at 5 p.m. at Aliw Theater, Pasay City. Tickets are available through Ticketworld or at bit.ly/PresaleBMGiselle2024.
