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Monday, October 24, 2016

Ballerina-assoluta for one evening visited dancemom hell and overcame “strokes through the tail”

These giant baskets and beautiful bouquets are not often seen even a scene of the main theatre of the country. One of the biggest composed of pale pink and white roses lined with the colors of the initials “C. Z.”. And in the hall artists, politicians, financiers, fans… And more applause, shouts “Bravo” and again, flowers, flowers, flowers… Ceremony of delivery of flowers, held at the end of the two-act creative evening of Svetlana Zakharova, which was held at the Historic stage of the Bolshoi theatre, it is possible to deduct for the third act…

photo: Mikhail Kovalev

In Moscow their recitals prima ballerina of the Bolshoi and La Scala’s étoiles, Svetlana Zakharova conducts regularly. Current, past, called Amore, in a Large the fourth. The world premiere recently took place in Italy, and in the queue now for a Great performance in Monaco.

Long outperform the entire classical repertoire, Svetlana lot of attention, of course, pays the new and still unexplored for it:

— Modern ballet — it’s like an experiment, — said the prima ballerina “MK”. — In fact, it is first of all necessary to us, the artists. Need for development. In principle, if we had only classical ballets, the halls would have been filled. But artists need to constantly look for something, to use their abilities. Because classical ballet still has some of the frameworks which it is impossible to come out.

The program Amore is made up of three different ballets. And they are all about love.

The weak link of the evening was the ballet by Patrick de Bana “Until the rain” on the team the music of Respighi, Bach and Pina Quintana. This is the only recital on the new work, created specifically for the Bolshoi theater, intended to show the complex relationships of three characters: a woman and two men irreparably entangled in a love triangle. Well, Zakharova it’s fairly boring essay deliberately went to the experiment that was saved from the failure of its unique organic and plastic beauty.

And undoubted success is the ballet Yuri Posokhova “Francesca da Rimini”. It is based on one of the eternal images of European culture — the story of the tragic love of Francesca and Paolo, embodied in the fifth song “Hell,” “divine Comedy” of Dante… To the music of the symphonic fantasies by Tchaikovsky with the same name, created at the same time, when the composer worked on “Swan lake” have been staged numerous ballets, the first of which was staged by Mikhail Fokine for the Mariinsky theatre in 1915.

Successfully developing this theme, the former Prime Minister Big, and nowadays the choreographer-the resident of “San Francisco Ballet by Yury Posokhov. Your ballet for this company he set four years ago, and he’s exceptionally well laid on Svetlana Zakharova, who wanted to try on stage Francesca, her younger partner — the Prime Minister of Great Denis Rodkina, dancing in the ballet party, Paolo, and Michael Lobukhin, vividly embodied in the ballet role of brother Paolo, legal wife Francesca, an ugly and tyrannical ruler of Rimini Gianciotto Malatesta (story told Dante, had real prototypes). Lyrical and romantic elements inherent in the dance Zakharova, with all the power reflected in the beautiful duets of lovers, put Pokojowym, capturing high poetry, musicality, sensuality, and tragedy, they made manifest. The Duo Zakharova and Rodkina in this ballet became apparent and was very imaginative and harmonious. The ballet was so successful that just asks for a poster of the repertoire of the Bolshoi theatre.

In addition to the three main characters here, busy girls, bearing the function of reflection of their psychological state and inner peace. It is composed of five dressed in a stylish blood-red dresses ladies-in-waiting and the three “keepers of hell” in grey with drawn on muscles bodysuits, which guard the Gates of hell” by Rodin. Generally, reminiscences of Rodin’s works (a famous “Kiss” by Rodin, recall, also inspired by the same story, undoubtedly embellished and made more profound symbolic imagery of ballet. Here everything came together: the costumes, re-invented for the evening Zakharova fashion designer Igor Chapurin, and choreography by Yuri Posokhova, organic to shift in your 30‑minute ballet in the choreographic language of Dantean terza Rima, and the work of production designer Maria Tregubova, to build on the heel is a Grand picture of the second circle of hell’s abyss, where the devil’s funnel in a fantastic whirl of rushing fragments of human bodies and woven in the eternal kiss the souls of men, whose mind is darkened passion of love (in the displayed picture on the back of this vortex is also used quotations of Rodin’s works).

Unusual comic role Zakharov appeared in the third ballet of the program with an unusual name “Strokes through the tail” to the music of Mozart. This ballet ending your evening, prima ballerina-assoluta not too much risk: even though the Irish choreographer Marguerite Donlon, she worked for the first time, the ballet chose… approved Donlon created it back in 2005, after learning that Mozart when writing his 40th Symphony was used in the score copyright your sign — cross the tails (pins) of notes, thereby showing performers that they can choose the duration of the sound. The only disadvantage of ballet — his secondary. In creating it, the choreographer obviously was under great influence of the “Six dances” and other works of Kilian, but by copying his essay in this style, naturally, was devoid of the sparkle and wit inherent in the genius of the choreographer.

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