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This is one of the most powerful ballets in the Bolshoi’s repertory, and regarded as a milestone in the history of ballet for men. The Bolshoi dancers regard it as central to their dance art. The story of the slave uprising in early Rome led by gladiator Spartacus was a natural fit for Soviet culture, even though the uprising was ill-fated. The Romans represented the Tsarist regime of course, and the downtrodden slaves the proletariat. With the end of the Soviet Union the ballet was out of favor for a time, but has now been revived for a third run and its success revolves around the work’s new star - Cuban dancer Carlos Acosta.
Acosta didn’t know a word of Russian when he came to rehearse with the Bolshoi dancers, but Cuba has a history of Russian and other ballet leaders having been active on the island. Acosta seems to have been born for the part. He is tremendously athletic as the rebel slave, and most of all an excellent actor, as is his partner Nina Kaptsova. The facial expressions are focused on strongly, both by occasional close ups and by the high resolution of the Blu-ray transfer. However, the majority of the shots are full stage, which would frequently be a big blur if not for the high def of Blu-ray. The live performance was videotaped in January of last year when the Bolshoi performed it at the Palais Garnier of the Paris Opera.
Of the other two primary dancers - Alexander Volchkov as the Roman general Crassus and Maria Allash as Aegina the courtesan, his consort, Allash is superb. Aegina rules with Crassus, even visiting some of Spartacus’ soldiers before the final battle to get them drunk and distracted with her lascivious dance. Crassus is supposed to embody the power of Rome, and he finally brutally attacks Spartacus - who had saved his life. But Volchkov is a bit too “nice” in his body language and movements - not a proper opponent for Spartacus. Khachaturian’s music is some of his most colorful and exotic. The famous Adagio is its best-known excerpt and Acosta and Kaptsova’s pas de deux to it is a highlight of the ballet. Khachaturian’s score is credited by the dancers with being perfectly matched with Grigorovich’s choreography.
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