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Friday, March 23, 2018

Boris Eifman presented a new edition of “red Giselle”

Sergei Diaghilev loved to repeat the words of the famous ballet teacher Enrico Cecchetti: “the world was born an Apple, cut it in two, one half became Anna Pavlova, Olga spessivtseva”. But he added: “For me, Spesivtseva — the side of Apple, which is facing the sun”… the Dramatic life of this actress one of the greatest choreographers of our time, Boris Eifman, has dedicated their iconic and possibly the most famous performance “Red Giselle”.

Red Giselle – Anastasia Soboleva. Photo — Evgeny Matveev

In the summer series of performances of troupe of Boris Eifman at the Alexandrinsky theater on approaching the 70th anniversary of the genius Maestro, which the whole world will celebrate July 22 showed a new version of “red Giselle,” which Eifman, as well as other their work mercilessly remade in a new way. With the new choreography, Eifman’s spectacle however, not much has changed, there were no dramatic losses that change the concept suffered another masterpiece Eifman — ballet “Tchaikovsky”.

Still gives the impression of one of the first scenes of the play, showing the triumph of classical ballet when it is beautiful in its perfection dancers and dancers in shimmering gold leotards and tutus come to the stage of the Mariinsky theatre, depicted on the backdrop (gold sparkle lodges, raised the famous the curtain and turned to the audience behind the scenes (the artist — Vyacheslav Okunev).

Who has not “drank” later this vivifying source: borrowed this “discovery” then you can see in ballets like notorious armanovsky epigones and imitators, who are innumerable, and the “solid” choreographers such as Alexei Ratmansky (who built so big stage in his ballet “Lost illusions”) and Vyacheslav Samodurov (who made this material a ballet of “the Curtain”).

And brand armanovsky “installation” of the play on contrasts that are applied in the next stage, when the stage of the Mariinsky theatre breaks “revolutionary” crowd led by the “avant-garde” — security officers in leather jackets and their leader, the head of the Petrograd Cheka (new edition he gently called the Commissioner), crushes under itself, and violence of those who crucified dancers and Teachers, have become classics of the genre. Plastic Ballerina in the scene breaks, she trembles and obeys its new master, in a way that felt that the charm of power and masculinity.

This image is contradictory and bifurcated ballet, ballet Dancer feels the Commissioner’s passion mixed with hate, and he loves it some perverted sadomasochistic love, sincerely and fervently, in the end helping to get to Paris. The last duet of the first act with “furious” supports backdrop of fleeing from the revolution of refugees across the ramp like the shadows from “La Bayadere”, only in the opposite direction, still causing tremors throughout the body. And all this to the music of Tchaikovsky, cut from different works of the composer.

The Paris scene, which shows new for spessivtseva French troupe of Grand Opera, made already Eifman to the music of Bizet. The choreographer uses his “l’arlesienne,” which brings to mind the famous ballet student of Serge Lifar — Roland Petit. The scene in the restaurant occur under the Charleston steps.

Ballerina and KGB officer: Anastasia Sobolev and Sergey Volobuev. Photo — Yevgeny Matveyev.

All these scenes, alternating in the second act of the ballet — the flow of endless masterpieces. And chief among them — the ballet in ballet, a scene from “Giselle,” which the Ballerina is dancing with his Partner.

Giselle and Esmeralda was considered the best roles spessivtseva. In both of these roles she is shown in the Eifman ballet. In the first act she danced Esmeralda in front of the crazed from the blood of the revolutionary crowd. Giselle in the second act appear in the Grand Opera house. Here the same scenes and the PA, in a classic original… That albert knocks on the door of a wooden hut, where Giselle lives with her mother… That’s Giselle sitting on the bench, guessing on the Daisy, the Dance of the villagers and female villagers… the hunting Scene… his bride — bride of albert… But it happens on the music of Schnittke, and the action slows down, does not seem real, all moving as if in a dream. Adan — the composer of “Giselle” will sound later, the finale of the ballet. And yet again shown backstage, and sees the Dancer as a Partner fondled with his friend. On stage the madness of Giselle and the craziness of the dancers. Not imaginary — on the stage. Real. Giselle’s fate becomes the fate of the Ballerina. Put on a Strait-shirt. You know, as a reminder of the cemetery the second act of the ballet. The final — Ballerina out in the mirror…

Eifman’s productions are distinguished by their integrity. This choreographer is all so logical that any intervention, the desire to improve can the integrity and harmony to break and deformed the play. Something was broken in the new “Giselle”. In the first edition of the Eifman ballet, for example, was in the second act scene, which has become one of the key throughout the production. Here the Ballerina is dancing with a severed head security officer that also, incidentally, corresponds to the parts of spessivtseva’s biography. After all, her repertoire included a ballet the Tragedy of Salome”, where the heroine dances with the severed head of the prophet. We know the fate of Boris Kaplun, who was executed as a Trotskyist in 1937. So the scene is read as “a prophetic premonition of her own death.” Now this scene is replaced, and the Ballerina is dancing with her head prividevshayasya their Partner, which seemed to me not very logical.

— And I think that the head Lifar introduced correctly — does not agree with me Eifman. — Because it’s “Salome”! What is Salome, what is John the Baptist? The head is the prototype of the ballet the Tragedy of Salome,” who danced Spesivtseva on the music of Florent Schmitt and Nicola Guerra. It is as if her unrealized passion — the passion that had no outlet. And just glaring at the dead man’s lips John, Salome was able to realize his passion. So that was her unsatisfied passion, not a security officer. The security officer it was an episode in her life. He went through and all. It was a mistake. In the second act he comes to her like a vision. Here, when Lifar once again dumped her and ran off with his Friend, what can this woman see in their dreams? Especially with the experience that she had in her ballet “Salome”? She needs to see Lifar, who neglected her, who rejected her. And she bites into those lips Lifar, introducing themselves as Salome.

Partner and his Friend: Dmitry Krylov and Leonid Leontiev. Photo — Yevgeny Matveyev.

This scene, like other scenes, it seemed to me crumpled, not as impressive as in the previous edition, and written, by the way, on television. This record is easy to find on the Internet. It captures such outstanding performers of this ballet, as Vera Arbuzova (Giselle), albert GALICHANIN (security officer), Yuri Smekalov (Partner), Oleg Markov (Teacher), Pavel Gabov (Each Partner). Now these parties are dancing to a new generation of performers.

In the premiere of the new edition, in addition to the participation of such experienced soloists, Sergey Volobuev (Commissioner), Paul Mosquito (Teacher), was the debuts of young artists. Party Ballerina first performed Anastasia Soboleva, a classical dancer, first soloist of the Mikhailovsky theatre. The party Partner came Dmitry Krylov, is also a classical dancer, former soloist of the Perm ballet, who joined the troupe Eifman this famous band just 6 months ago. It is clear that new artists still lacks artistic maturity and musical precision necessary in the embodiment of these roles. They have work to do and of course far from outstanding composition, captured on record. Perhaps this explains the blurry episode of dancing Ballerina with the head of a partner.

But still those new and inexperienced for a “red Giselle” performers, in principle, able to feel special armanovsky plastic, to feel the subtle psychologism inherent in the ballet Maestro, to cope with their parties technically and emotionally, plastically tangible to present to the audience the inner drama that unfolds in the soul of their characters. Work, they are definitely talented and have great prospects for development.

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