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The second half opened with the pas de deux from Leonid Lavrovsky's "Romeo and Juliet", which the Kirov had also shown last summer, danced with a sweeping passion by Inna Petrova and Sergei Filin. Filin also returned for the last showpiece "Le Corsaire" pas de deux, partnering Maria Alexandrova. As in the first program, Alexandrova again struck me as rather dry in her nonetheless impressive pyrotechnics, short on artistry. She managed some impressive double fouette turns and was very rapid in her diagonal of pique turns, but I noticed for instance that her supporting leg in her grands jetes was not well turned out.
In between was the grand pas de deux from Grigorovich's version of "The Sleeping Beauty", danced with grace and style by Anna Antonicheva and Andrei Uvarov. However the coda seemed rather underpowered in Grigorovich's choreography.
There was also a seldom-seen solo "Narcissus" choreographed by Goleizovsky, splendidly danced by Gennady Yanin who was a last-minute replacement for the injured Nikolai Tsiskaridze. There are lots of jumps in the choreography, and Narcissus' drowning at the end is actually quite subdued.
Show Biography - Bolshoi Ballet
The highlight for me was the pas de deux from Alexander Gorsky's "La Fille Mal Gardee" which I had never seen before, set to music by Peter Hertel, unlike Ashton's version. Gorsky's airy choreography is sheer joy, and abounds in wit and technical bravura. The bravura passages necessitate frequent changes in direction. The choreography was impeccably danced by Anastasia Goriacheva and Yan Godovsky whose delightful dancing lifted the spirits.
Ekaterina Shipulina is the feisty heroin Kitri, whose willful spirit is expressed in soaring, back-arching leaps, drilling toe-hops and whipped 36-fouette turns. The Bolshoi version enhances the atmosphere of the ballet with sumptuously performed character dancing, ranging from fiery flamenco to sweeping adagio executed with authority by the corps. Irina Zibrova, with a smoldering gaze and supple back, performed an outstanding Bolero as Anna Antropova swished her voluminous Gypsy skirts with lush feline grace. The proud but delusional Don Q, Alexey Loparevich - tall and gangly, reminding me of Peter O'Toole - was the epitome of the wandering knight, blending just the right pathos of wistful humor and natural grace.
Is thirty-two better than twenty-four? If it is the Bolshoi, and La Bayadère, and at this performance, the answer is "yes." On a three-tiered ramp, plus stage level, with one perfect well-above-ninety-degree arabesque after another, the corps filled the stage with sublime living movement. Only a rare squeak in the apparatus of the ramp itself, reminded one that these were flesh and blood beings actually having, however slight, actual weight. The straight arrows of legs, oval-ed arms and circles of tutus proved the beauty of geometric pattern, while giving it form and substance. Thirty-two minds, bodies and hearts beat in unison. When they became still in their rows of white, they brought an audible gasp from the audience. The corps de ballet stole the show.
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The highlight for me was the pas de deux from Alexander Gorsky's "La Fille Mal Gardee" which I had never seen before, set to music by Peter Hertel, unlike Ashton's version. Gorsky's airy choreography is sheer joy, and abounds in wit and technical bravura. The bravura passages necessitate frequent changes in direction. The choreography was impeccably danced by Anastasia Goriacheva and Yan Godovsky whose delightful dancing lifted the spirits. 
