DANCE REVIEW : Vladimirov, Bessmertnova Top ‘Bolshoi’

In his glory days at the Bolshoi Ballet, Yuri Vladimirov let others focus on such qualities as poetic eloquence, technical refinement, nobility of bearing while he embodied something that nobody else had: a sense of danger.

Brooding, even brutish, Vladimirov was the wild card of the Bolshoi and, at age 51, he proved so again in an excerpt from “Spartacus” on the “Stars of the Bolshoi” program at the Cerritos Center for the Performing Arts on Tuesday.

Hurling Natalia Arkhipova over his shoulders in the increasingly improbable gymnastic lifts that symbolize passion in this woozy Soviet-era dance drama, Vladimirov looked gloriously unpredictable and anti-classical--still an icon of rough individuality, the fighter and rebel extraordinaire.

Prima Natalia Bessmertnova also brought surprise to the eight-part program, contributing a distinctive, flawlessly realized “Dying Swan” after a performance of the last act of “Giselle” that demonstrated how little she now has to offer in what used to be her greatest role.

Other ballerinas find a dramatic structure in the Fokine solo. Bessmertnova, however, interpreted “Dying Swan” as a poetic metaphor: the vision of a beautiful death. No struggle, no pain, just a sublime shimmer of feathers that subsided into final repose.

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Miscast in the adagio platitudes of “Spartacus,” Arkhipova led the suite from “Paquita” with her usual emphasis on speed but also perfect ease and even an unexpected sauciness. Anatoli Kucheruk partnered her expertly and added to his solos the spectacular air-twists that used to be the exclusive property of the great Irek Mukhamedov.

Alas, most of Kucheruk’s cavalier colleagues found themselves in uncongenial assignments on Tuesday. Leonid Nikonov provided excellent partnering in “Giselle” but not much dramatic depth or technical finesse.

Mikhail Bessmertnov and Boris Efimov should have traded showpieces. The flamboyant Bessmertnov looked slovenly in the classical purity of “Raymonda” opposite the steely, accomplished Marina Filippova. The stylish Efimov looked effortful in the pyrotechnical display of “Le Corsaire” opposite the fleet, disarmingly delicate Alla Mikhalchenko.

Erika Luzina made a notably buoyant, dramatically understated Myrta. New to “La Fille mal Gardee,” the dynamic Marina Kotova treated the role’s soubrette mannerisms as a joke between her and the audience, but took her dancing responsibilities very seriously indeed.

Bolshoi mysteries: Flyers for the engagement (which concluded Thursday) show 18 Wilis, but the company produced only 12--plus two lieutenants. Four soloists were announced for “Paquita,” but only one (Kotova) actually soloed.