A debut by Timur Askerov

In accordance with ballet aesthetics of the late 19^th century, the performer of the lead male role in The Sleeping Beauty, premiered in 1890, danced little. The demanding steps were performed by soloists – secondary characters – while the lead danseur noble had to draw the audience’s attention with his regal poses, gestures and refined behaviourisms and be a reliable partner to the ballerina. A non-dance stage entrance was devised for Désiré in this ballet, and the performer of the role had to make his entrance in such a way that it would be understood not by his costume or the reactions of courtiers but by his noble posture that he was a prince and that the protagonist was now onstage. In the scene with the nymphs when Désiré first sees a vision of Aurora the dancer had to convey the fact that his character was bewitched and enchanted by the princess in one adagio. In Marius Petipa’s ballet Désiré is, first and foremost, a loving character; after all, only his love can overcome the curse of Carabosse the wicked fairy’s magic. And whether audiences believe this depends on the performer of the role of the prince.
The Mariinsky Theatre currently performs Konstantin Sergeyev’s 1952 version of The Sleeping Beauty. This production is from a very different era to Petipa’s original. Here Désiré has variations and he generally dances more. But the more complex technical requirements in this production do not lessen the demands on the performer of this role in the previous version – the need for a refined manner, expressiveness onstage and an aristocratic mien. This what Timur Askerov must produce in order to join the ranks of St Petersburg’s Désirés.

Also making her debut that evening as the White Cat will be Arina Varentseva.