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Saturday, December 3, 2016

In recent Bolshoi ballet premiere of 240 season


At the New stage of the Bolshoi theatre hosted the premiere of three acts ballet by Hans Werner Henze “Undine”. Final ballet premiere of the 240-th season was given to Vyacheslav Samodurov – the choreographer, who is now on everyone’s lips.


photo: Pavel Rychkov

The former Prime Minister of the Mariinsky theatre and the National ballet of the Netherlands and the English Royal becoming in 2011 the artistic Director of Ekaterinburg ballet in just a few years managed to make the team, who was until recently an outsider, the development and dynamics. Now, each ballet was nominated for “Golden mask”: in the past two year, he received three of them as “for the best work of the choreographer”, and “for the best performance in the ballet”.

Of course the management of Large too, could not resist inviting the fashion choreographer for the production, and giving him carte Blanche. For his debut at the Bolshoi theatre of tyrants, always been characterized by an original selection of music for their ballets, chose the German composer Hans Werner Henze, and most known for his ballet compositions created by order of the English Royal ballet and choreographer of the classics of sir Frederick Ashton’s “Ondine”. Music difficult, politonalnye, with sharp syncopated rhythms, constant change in size which is heard clearly allusions of various composers of the twentieth century, and most of all, Stravinsky and his ballets “the rite of Spring” and “Firebird”.

And the musical score of the “velvet modernist” discouraged and he was a English ballet classic, demanding that the music is clear and melodious.

From the file MC: There is even a fairly well-known in the music world anecdote – the choreographer every day asking about the progress of the work of the composer the maid of his close friend Alexander Grant, in whose house Henze and settled in London. She was told that composer again the whole day was tormented by a piano their horrible harmonies, but one day he happily reported that today Mr. Henze has composed a lot of beautiful music. Asking the composer to phone Ashton heard: “Today didn’t work and I spent the entire day playing Chopin.

Nevertheless, the ballet, created in 1958, although it was ambiguously received by critics, it is still included in the repertoire of the theatre Covent garden and English is considered a classic. Seen him and us. Old balletomanes with nostalgia still remember the stunning success that was had in this performance by Margot Fonteyn in 1961 during the Royal ballet in the Soviet Union.

Ballet on Ondine is a typical ballet history, particularly widespread in the nineteenth century and the play of Ashton – Henze had many predecessors, including among the classics (Perrot, Bournonville, Petipa).

The appeal to the classics of British ballet for Samodurov was certainly not accidental. As Prime Minister of the Royal ballet, he in the “Ondine” multiple times, danced, fell in love with the music and disliked the choreography, considering that between them in the formulation of Ashton there is a clear dissonance. The choreographer wanted to “look at the music of Henze in its purest form,” that is so, as did Balanchine.

The effect of this choreographer choreographers endeavors of artistic Director of Ekaterinburg ballet is undoubted, because the rise of career Samodurov at the Mariinsky theatre came just at the time baranchinsky productions. And I’ve had to write that in this lies the cause of success and a potential danger for the further development of the choreographer: its horse — plotless postbalance of odnakovi, and only two ballet Samodurova until that time, had a more thorough dramatic development (“AmoreBuffo” Donizetti “the elixir of Love” and “Romeo and Juliet”).

“Undine” despite the fact that the ballet is based on a solid musical score, in three acts, to the list of narrative ballets Samodurova will add difficult. This is the problem. Good, but not too widely used music (except Ashton choreographers spoke to her a few times, and even then, only in the first years after its establishment) gave room for creativity, but also imposes limitations: because music is created by details developed in conjunction with the Ashton scenario.

Tyrants also breaking tradition, Fouquet abstrahere. In fact, he creates abstract, plotless story in which there is no place to knight Palemon, nor to his bride Bertha. In his ballet Ondine has one and a Fugitive, and as much as 16 pieces of their reflections, of either sex, which portray the artists of the corps de ballet.

Of course zambrowski ballet spectacular, but in it he exploits the techniques used in his other productions ((world of the looking glass, for example, as revealed in his ballet “Cantus Arcticus” (“Song of the Arctic”). Postbalance his style is quite recognizable. Of course, the ballet moves from Samodurova compared to the classical and baranchinskiy language undergoes a significant transformation, offering an intricate combination, eversion typical movements of ballet class topsy-turvy — it’s all a distinctive feature of his style, which he operates from ballet to ballet.

Besides tyrants took just an impossible task. Abandoning the narrative ness, which the choreographer arrogantly said “philistinism”, 90 minutes of complex musical scores he had to fill the original and varied choreography, but the lexical range of the choreographer was restricted. In an effort to tancevatj almost every note and responding to the connection atonal and tonal style Henze creates tyrants in the play of the flickering and disharmony, testing the viewer’s patience for the whole 3 acts and 90 minutes, “spreading the idea of the tree and chewing endlessly almost the same movements and combinations, which would be enough for one act.

Before us the infinite sadness evoking variations on ode to the same theme: the man and his loneliness, about the infeasibility of dreams, about how “the way of hopes and aspirations terminate abruptly”. Lush and curly says” a libretto composed by the choreographer is full of “strangers encountered on the edge of another world” and “alluring over the horizon,” says “about unattainable ideals about the maze of heavy sleep, broken dreams,” “a world without Undine, where the shore prevents the sky to fall into the ocean”, but the fact it certainly is not clarified.

Ondine he is a “an unattainable ideal, a medium between worlds, Queen of the elements, not bound by the order”. To create more poetic atmosphere autocrats refers to Lermontov’s poem (“Why I was born this blue wave”) and creates a story full of gravitas and mystery. And this part in General is doing well, stopping him only long format of the show.

Whimsical world of fantasy is samodurovka labyrinth of the subconscious, the world of mirrors and the mirror, which he successfully helps to create its permanent team: British production designer Anthony Mcilwain, costume designer Elena Zaitseva and lighting designer Simon Bennison.

Already in the first scene the viewer is presented a view of the pier from below and stretching into the sea many endless piles simvoliziruet crannies and endless labyrinths of the human subconscious. There are clear plastic fence between worlds and help to feel the moment of transition to another space that occurs in the hallucinary imagination, located on the border of reality. The line, then lined up 16 of the visions that reflect the main visions of Undine. That which he sought in his life, but to find and could not. And she was like an apparition coming to lying on the shores of the fugitive from reality, the body of which is curved so as if follows the shape of the incoming wave.

This quote is reproduced from photographs of the Japanese photographer Koi Enekuri that tyrants quite some time seen in London’s Saatchi gallery in Chelsea. Pop-in memory for many years, and inspiring work, reproduced in the booklet photography was the key that allows you to accurately read the selected ciphers of the choreographer, whom in his work is not enough.

To read the codes and artists relegated to the third composition – Maria Alexandrova (Ondine) and Vladislav Lantratov (the Fugitive). They still make the ballet not reach his sensibility, logic and some history. Unfortunately, the other soloists this part of the meaning is lost completely, turning the already not too blessed with inspiration and sensuality plasticity in normal physical exercise. (Of the many visions, which all worked smoothly and professionally, you can select artists, such as Anton Savichev, Michael Hooks, Victoria Litvinov and Alexey Putintsev, well able to Express my body, even such complex music as the music of Henze).

Swaying curtains convey a sense of the sea, glowing neon tubes, again creating the illusion of lapping of the waves, fancy crumpled packs of Undine made of a material resembling the chewed up paper or foil, similar to Medusa chandelier, shirts with images on them skeletons of winged dragons on the young men- “the runaways”, the imagery of light– all this creates mystery and metaphysical space and the undoubted success of the performance. Look great and corps de ballet scenes II, as well as inventive pa de huit third acts. A terrible scene last kiss, when the limp body of the Fugitive-Lantratova will be convulsive to flutter in a deadly embrace demonic Undine – Alexandrova and does remember.

However, finally to take his characters in a poetic transcendental space, where does the little Mermaid and the Poet at Neumeier’s ballet “the little Mermaid”, the choreographer comes out. Although tyrants and trying to get away from ballet Ashton, to overcome its influence, and influence all the narrative traditions of Russian and world ballet, calling her narrow-mindedness, it is bad. Here stanovskomu the remains of the ship and dressed in a white uniform with anchors at the cuffs and epaulets naval officers, and the same kiss of death that is repeated in the course of the ballet several times.

The trouble is that tyrants, just don’t really know how to tell you in their undoubtedly bright and a talented ballet history. As completely forgotten how to do it came under the influence of plotless ballets, many modern domestic and foreign horeover. Hence, there are incredibly stretched ballets about anything, with perseverance worthy of a better chew all been said in the first act. Absolutely not erotic, but definitely beautiful, poetic and musical, with inviting depth, which on the surface is not only emptiness, but also impotence.

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