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Saturday, December 3, 2016

New “Anna Karenina” at the end just falls on the stage


In the Musical theater of Stanislavsky and Nemirovich-Danchenko showed the last of the season premiere. Moved to “Stas” ballet “Anna Karenina”, staged by the artistic Director of the Zurich ballet, Christian Spocom for his troupe 2 years ago — the usual middle Eastern product that meets all quality standards: to call him a valuable addition to the repertoire of this theater, of course, impossible, but also a failure, as the eponymous ballet by Alexei Ratmansky, who is now at the Mariinsky theatre, he too was gone.

Photo: Mikhail Logvinov.

The name of the German choreographer before in Russia was only known by a curious cow”, a pas de Deux, often executable in gala concerts, and obscure and pretentious ballet based on the tale of Hoffmann “the Sandman,” which brought on “the Gold mask” the Latvian theater of Opera and ballet. However Spuc is committed to narrative ballet and to it, as a rule, resolved in depressive black productions include such ballets as “Lulu. The tragedy of the monster”, “Woyzeck”, “the Return of Ulysses”, “Romeo and Juliet”.

The black color prevails in “Anna Karenina”: the black Wallpaper, which are upholstered in the scenes and the back of the stage, elegant Hoop skirts and frock coats, scarlet and pink spot which is only the dress of Anna Karenina and Betsy Tverskoy in the ball scene yeah white Russian birches (what is “Russia” without them), placed on both sides of the wings…

And looped performance of “funeral” scene in the prologue and epilogue grows in its sound the sound of the wheels of the approaching train, on the way all the characters just the tragedy in mourning suits and sad faces… Karenin (Ivan Mikhalev in the first part, George Smilevski in the second) and his confidante Countess Lidia Ivanovna (Tatiana Korostishev, Jan Bolshanina) holding the hand of little Serezha (Yegor Seleznyov), confused Vronsky in an unbuttoned overcoat…

Not based on one storyline, Spock brings to the stage a dozen actors, which is easy to get confused even nasnodename and familiar with the novel to the viewer. In fact, the love story of Anna and Vronsky’s (Ksenia Ryzhkova and Dmitry Sobolevsky in the first part of a few inferior part of the penetration in the image of their heroes to the second part, Oksana Kardash and Denis Dmitriev) there is displayed on the background stories of the other couples: Stephen Oblonsky (Alexei Lubimov in the first part of beat Mikhail Pukhov in the second) and his wife Dolly, Valeria Mukhanova, Ksenia Shcherbakova); Levin (Sergei Manuilov, Alexei Lubimov) and kitty Shtcherbatskaya (Natalia kleimenova, Ekaterina Ivanova)… Even Betsy Tverskaya (Olga Grey, Anastasia Pershenkova) got a young ballet lover (Alexei Babayev, Vyacheslav Krut). So that the tragedy of Anna remains at Spoke not much time.

It would be so bad, but the choreography of the duet, which the choreographer abundantly gives his main characters, meager and monotonous, and, importantly, does not outlines the nature of their relationship, entirely relying on the music: sublime relationship here illustrates the cutting of Sergei Rachmaninoff, and doubt, pain and mental anguish mainly responsible Witold Lutoslawski, and besides him Joseph Bardanashvili and Slogan Tsintsadze Sound here… and romances, however, often does not clarify the point. Under one of them the singer (Larisa Andreeva) reaches out to Anna to calm a vial of opium, the other — “do Not sing, my beauty, with me you songs of sad Georgia is used is neither here nor there, because, as you know, neither of which Georgia, neither in the novel nor in the ballet it is not…

The point here is you can search out only one of the trio, danced; Karenin, Anna and Vronsky in the first act: it is intended to show how a woman is torn between marital duty and romantic feelings… However, there is one curious “discovery” — the scene of the mowing, where Levin (in which the author of the novel has encrypted, as you know, himself), avoiding the intrigues of high society shown in his secluded estate surrounded by nature… There is choreography Spoke finally breaks free from the shackles of standard classics and appeals to the modern: 9 naked to the waist of guys together with Levin under sound design Martin Donner depict the characteristic movements of the farmer, illustrating in a funny way, by the way, the famous saying of Leo Tolstoy about poetry: that, he says, to Express his thought in poems of such a foolish act, as the act of a ploughman, who, in following the plow, to fabricate the dance figures and squat using the same intervals, disturbing the line of the furrow.

In fact, many episodes of the ballet suffer excessive illustrative… the First scene of the play, for example, directly illustrates the beginning of Tolstoy’s novel — a scandal in the oblonskys ‘ house: the jealous Dolly finds her husband Steve Oblonsky in the piquant situation: he touches and lifts the dress from the two giggling maids… “strawberry” Spook do not skimp — Betsy here spying on making love in her apartment that cousin of yours Vronsky, who throws Anna on the floor, rips off her dress, but to finish so and can’t… Scene, just say, not original and borrowed (and many others) from the ballet Neumeier, a classic European scene for the works which Spock, being a dancer of the Stuttgart ballet, and was educated…

However, there is in the play for the ballet (but not dramatic) theatre scene and quite original. Interestingly there is shown the races: watching sitting on the dais (rented, by the way, straight from neumeiers ballet “the Seagull”) and looking through binoculars into the auditorium, and behind them on a special “functional curtain, which zaderzhivaetsya around the heel, as necessary, the scroll documentary footage, showing galloping horses with riders…

In the same way is solved, by the way, the scene of the suicide: a black and white shooting racing trains, rails, in the “large frame” madly spinning wheel — Anna falls on the stage… Not really, of course, effectively (here I remember how brilliantly decided this scene Eifman in his ballet “Anna Karenina”), but it is very easy to understand…

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