Текущее время: 28 мар 2024, 17:30



Начать новую тему Ответить на тему  [ Сообщений: 202 ]  На страницу Пред.  1, 2, 3, 4, 5, 6 ... 21  След.
Press, Video & News about Mariinsky Ballet 
Автор Сообщение
Завсегдатай

Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
Сообщение 
Mariinsky Ballet at Sadler's Wells
Debra Craine


........Изображение


For this London season, the company's first visit to Sadler's Wells, the Mariinsky Ballet (formerly known as the Kirov) is presenting itself in a different, less familiar guise. Gone are the comforting 19th-century blockbusters and in their place are works by George Balanchine and William Forsythe, two choreographers who redefined the parameters of classical ballet in the 20th century.

This isn't the first time we have seen the Russians in these ballets. Three years ago they presented an all-Forsythe bill at the Royal Opera House, and audiences were stunned by the sizzle and daring of their performances. Perhaps inevitably, the thrill of seeing the Mariinsky dance Forsythe was gone from the opening night of this 2008 season, possibly because dancing Forsythe is no longer the badge of rebellion in St Petersburg that it once was. Instead, the focus was on what the Mariinsky maestro Valery Gergiev calls the company's “A-Team of young stars”.

You could argue that an all-Forsythe evening doesn't need big names, as his sleek, plotless, cutting-edge ballets speak for themselves. But, one or two notable exceptions aside, the lack of firepower in the casting was a drawback in this evening of mixed blessings.

Steptext, a quartet, sets out Forsythe's stall. Here is the essence of his drastic style: the provocative blend of nonchalance and intense commitment in the moves; the impatience with the strict rules of classical technique; the annoying eccentricity in presentation (switching lights on and off, playing games with Bach). Igor Kolb brought muscular grace to his dancing, while Ekaterina Kondaurova brought assertive glamour to hers. But overall, performances needed more reckless abandon.

Approximate Sonata is too weird for these dancers, with its disobedient limbs and self- important musings on the process of creation. Its four duets are fairly colourless, and the dancers, apart from Anastasia Petushkova and Anton Pimonov, didn't do much to distinguish them. The Mariinsky was far more at home in The Vertiginous Thrill of Exactitude (an exuberant classical quintet set to Schubert). This is how they normally like to dance - only it's twice as fast.

In the middle, somewhat elevated really opens up their refined Russian technique and they worked hard to embrace Forsythe's zest for off-kilter dynamism and competitive rivalry, undaunted by the clangorous attack of Thom Willems's score. Irina Golub and Mikhail Lobukhin went for it in the sexy pas de deux, while Kondaurova smouldered fiercely, which seems to be her trademark expression, and Olesya Novikova sparkled prettily despite the ferocity of Forsythe's writing. Tonight, it's Balanchine's turn in the spotlight.


Изображение


15 окт 2008, 02:12
Профиль
Завсегдатай

Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
Сообщение 
The Mariinsky (Kirov) Ballet
Sadler's Wells, London

Judith Mackrell

Three years ago, when the Mariinsky brought their all-Forsythe programme to London, we felt we were witnessing a historic meeting of dance cultures - the centuries-old refinement of St Petersburg classicism opening up to the abrasive energies of western postmodernism. Second time around, the programme inevitably looks less radical, but the fact that it is also being performed by a less starry or experienced cast may also explain why the dancing has lost some of its revelatory thrill.

Steptext, the opening work, has retained the greatest authority, perhaps because it has an undercurrent of drama to which the Russians intuitively respond. William Forsythe's 1985 quartet is constructed out of cutting shards of dance, punctuated by moments of confrontation when the dancers bunch their fists at each other or turn away in apparent anger. The three men rise, competitively, to the hurtling challenges of the choreography, their beaten jumps flashing like steel blades.

Most mesmerising is Ekaterina Kondaurova, whose extravagantly supple dancing works an extreme chemistry with Forsythe's style. As her long body wraps around the acute angles of the movement, the choreography appears to melt and warp. The steps are there, but they have been heated into something weirdly more undulating and reckless.

Kondaurova becomes too extreme, however, dancing In the Middle, Somewhat Elevated. Within the duet material, especially, she is terrifyingly uncontainable - slithering, kicking and jumping like a woman possessed - and her dancing highlights the fact that this ballet has lost its Forsythean focus. Despite a tautly intelligent performance from Irina Golub, the cast look stylistically as though they are all dancing in different ballets.

The middle works, Approximate Sonata and the Vertiginous Thrill of Exactitude, are also patchily executed. Andrey Ivanov reprises his toughly interiorised performance in the former, and Anastasia Petushkova, tracking a sideways, floating path, holds our gaze like some shy, leggy animal glimpsed in the wild. But the dancing lacks precise articulation here, just as it doesn't fully fizz in The Vertiginous Thrill.

Olesya Novikova, one of the most talented of the Mariinsky's young dancers, takes pluckiness to a sublime level, swooping into a tailspin of pirouettes from which you don't see how she can remain standing.

The problem is that three years ago the company raised the bar so very high. The Forsythe ballets need to be looked after with just as much attention as the Mariinsky's more famous repertory.


Изображение


15 окт 2008, 04:00
Профиль
Завсегдатай

Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
Сообщение 
Ballet review: Mariinsky (Kirov) Ballet Prog 1, Sadler's Wells

Sarah Crompton on Mariinsky Ballet at Sadler's Wells

When the dancers of Russia's great Imperial institution first performed the uber-modern works of William Forsythe in 2004, it marked in one dislocated, leg-swinging, pelvis-tilting stroke, their calling card as a dance company of the 21st century.

Now, under a new director Yuri Fateyev, they return to Sadler's Wells at the start of its year-long celebration of Forsythe, with the same four of his most balletic but still strikingly contemporary works, created between 1985-87.

And what they reveal is the title of one of the works: The Vertiginous Thrill of Exactitude. Because their classical training is embedded in every bone and every muscle, they reveal the precise lineage of Forsythe's steps - from Petipa through Balanchine to the modern world.

This is particularly true in Exactitude itself, a smart, knowing pastiche of a classical variation, danced in pea-green tutus for the women and coral doublets for the men. The quintet of dancers sometimes seemed unnerved by its scary speed, but brought staggering lightness to its jumps, turns and graceful ports de bras.

Better still was Steptext, a piece that deliberately disrupts convention, with a broken score (by Bach), house lights that come on during the performances; and stage lights that close to darkness. The disjunctions seem less radical now than they once did, but the steps themselves still have a stunning casualness, as Igor Kolb, Mikhail Lobukhin, and Alexander Sergeyev pay court to Ekaterina Kondaurova.

It's the articulation that is so impressive; you see each movement pass through the muscles of the arms and the back, as the dancers get lost in what Forsythe seems to see as a language of their own, a code passed down the years.

Approximate Sonata is also about dance itself, beginning with Andrey Ivanov locked into distorted movements, like a stroke victim, and following instructions from Elena Sheshina that pull him into shape. What follows are four duets, under chilly half-light, full of beauty and wonder, as if the movement itself is being held up for examination.

I enjoyed Sheshina's attack and balance; she proves you don't have to be a sylph to dance Forsythe. Corphyees Ryu Ji Yeon and Anastasia Petushkova glisten with graceful potential.

In the Middle Somewhat Elevated, the most familiar work, concludes the bill, with Kondaurova, Lobukhin and Oleysa Novikova leading the attack on Thom Willems's thrashing electronic score. The Kirov makes it look like a competitive dance class, moving in massed ranks, throwing their bodies through their air and into jagged extensions.

They lack the insolent casualness we are used to; they can't quite find Forsythe's syncopated timings. But they reveal the piece as a masterwork: Forsythe's great statement of the possiblities of neo-classical dance before his restless mind took him in different directions.


Изображение


15 окт 2008, 04:04
Профиль
Завсегдатай

Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
Сообщение 
Mariinsky Ballet, Sadler’s Wells, London

By Clement Crisp

They are the most beautiful dancers in the western world. They are from St Petersburg, and Vaganova School training, Mariinsky Ballet traditions and Russian idealism have produced artists who dignify and illuminate everything they perform. Which is by way of introducing the group of Mariinsky principals and soloists who are at Sadler’s Wells for four days this week, with two programmes.

The first, on Monday night, was devoted to a group of William Forsythe choreographies mounted in St Petersburg in 2004. I noted at the time how Mariinsky style grandly revealed the classic aspects of Forsythe’s manner in this repertory – Steptext, Approximate Sonata, In the Middle and The Vertiginous Thrill – and how the dancers rejoiced in the challenges, baptised the heathen elements in Forsythe’s angry choreography and, as it were, saved it and themselves from damnation. So it proved again. This repertoire is familiarly tiresome in its on/off lighting, its bruising of academism, its tin-pot accompaniments (even Schubert, in Vertiginous Thrill, seems turned to bombastic wallpaper). Mariinsky dancing gives it a savoir-faire, an elegant physical outline no other troupe can emulate.

......................Изображение

So the affectations of Steptext acquire wit when Ekaterina Kondaurova (pictured, with Igor Kolb) displays them, each aggressive moment sustained by her stylistic clarity as she tears into the dance, savouring its barbarisms, speaking its language beautifully ... I think her the most gifted and commanding interpreter of Forsythe’s dances I have seen. Her unfailing artistry and understanding, her épaulement (those beautiful oppositions of the torso that are an essential of Mariinsky style) give fascination to every moment.

In Steptext, brilliantly done, I was also much impressed by the purity of Alexander Sergueyev, the dance almost insouciant in its distinction. In each piece, despite the choreography’s modish insolence, the artistic intelligence of the casts found blazing imagery. (How enchanting was Olesya Novikova, sailing through Vertiginous Thrill as if the choreography was her native element.) These are dancers whose training and traditions are of unrivalled distinction in form and expression. And not even Forsythe (a necessary staging post for the Mariinsky Ballet in its venture towards current balletic modernity) can dim their genius.



....................Изображение


15 окт 2008, 04:09
Профиль
Завсегдатай

Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
Сообщение 
The Mariinsky Ballet, Sadler's Wells, London

By Zoe Anderson. Thursday, 16 October 2008

At the end of a dull evening, the dancers of the Mariinsky (formerly Kirov) Ballet come to life in William Forsythe's In the Middle, Somewhat Elevated. Stretching a foot, as if testing her pointe shoes, Ekaterina Kondaurova looks sleek and fierce, eager to take on these steps.


For the first time, the Mariinsky Ballet is appearing at Sadler's Wells – at a dance venue known for contemporary work, rather than an opera houses. The visit features a smaller, more flexible group of dancers, with adventurous repertory... and cheaper tickets.

Well, that's the idea. Yet the repertory isn't groundbreaking, for British audiences or even for this conservative St Petersburg company. The first all-Forsythe programme presents ballets that the company danced at Covent Garden three years ago. We have to wait for the second programme, including Alexei Ratmansky's Middle Duet, for something new. Worse, most of these performances aren't fresh. In 2005, the Mariinsky looked wildly excited by Forsythe. Three years on, they're getting complacent. Only In the Middle has kept its gloss.

Steptext, created in 1985, is a deliberately fractured dance. A recording of Bach's Chaconne stops and starts, lights go on and off in the auditorium, dancers stroll away from the middle of their solos. Ekaterina Konadurova, a redhead in a red leotard, throws her legs into drastically high extensions, but looks dry and mannered. The whole performance needs more bite.

Approximate Sonata has gone off the boil. Andrey Ivanov inches forward, contorting his face to match the roars on the soundtrack. Different couples break into arguments, in Russian, about how the steps should go. There's a little more energy in The Vertiginous Thrill of Exactitude: the frantic speed of the choreography demands it. Forsythe plays with the classical tradition, with academic steps. It's an airless, self-conscious take on the past. Forsythe's phrasing is choppy and his pointework stomping or hectic.

In the Middle saves the night. To the clunks and thuds of Thom Willems's score, the dancers slice through Forsythe's walloping moves. For the first time, the dancing has real scale. Irina Golub's duet with Mikhail Lobukhin has a sharp-edged precision. In the other leading role, Kondaurova dances with triumphant glamour. When she slams her long legs into extreme poses, it looks like a dance of victory.

Изображение


16 окт 2008, 05:54
Профиль
Завсегдатай

Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
Сообщение 
Mariinsky Ballet

By Clement Crisp. October 15 2008

They are the most beautiful dancers in the western world. They are from St Petersburg, and Vaganova School training, Mariinsky Ballet traditions and Russian idealism have produced artists who dignify and illuminate everything they perform. Which is by way of introducing the group of Mariinsky principals and soloists who are at Sadler's Wells for four days this week, with two programmes.

The first, on Monday night, was devoted to a group of William Forsythe choreographies mounted in St Petersburg in 2004. I noted at the time how Mariinsky style grandly revealed the classic aspects of Forsythe's manner in this repertory - Steptext , Approximate Sonata , In the Middle and The Vertiginous Thrill - and how the dancers rejoiced in the challenges, baptised the heathen elements in Forsythe's angry choreography and, as it were, saved it and themselves from damnation. So it proved again. This repertoire is familiarly tiresome in its on/off lighting, its bruising of academism, its tin-pot accompaniments (even Schubert, in Vertiginous Thrill , seems turned to bombastic wallpaper). Mariinsky dancing gives it a savoir-faire, an elegant physical outline no other troupe can emulate.

So the affectations of Steptext acquire wit when Ekaterina Kondaurova displays them, each aggressive moment sustained by her stylistic clarity as she tears into the dance, savouring its barbarisms, speaking its language beautifully . . . I think her the most gifted and commanding interpreter of Forsythe's dances I have seen. Her unfailing artistry and understanding, her épaulement (those beautiful oppositions of the torso that are an essential of Mariinsky style) give fascination to every moment.

In Steptext , brilliantly done, I was also much impressed by the purity of Alexander Sergueyev, the dance almost insouciant in its distinction. In each piece, despite the choreography's modish insolence, the artistic intelligence of the casts found blazing imagery. (How enchanting was Olesya Novikova, sailing through Vertiginous Thrill as if the choreography was her native element.) These are dancers whose training and traditions are of unrivalled distinction in form and expression. And not even Forsythe (a necessary staging post for the Mariinsky Ballet in its venture towards current balletic modernity) can dim their genius. *****


Изображение


16 окт 2008, 05:57
Профиль
Завсегдатай

Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
Сообщение 
The Mariinsky (Kirov) Ballet
by Judith Mackrell

Sadler's Wells, London. October 15 2008

Изображение

Three years ago, when the Mariinsky brought their all-Forsythe programme to London, we felt we were witnessing a historic meeting of dance cultures - the centuries-old refinement of St Petersburg classicism opening up to the abrasive energies of western postmodernism. Second time around, the programme inevitably looks less radical, but the fact that it is also being performed by a less starry or experienced cast may also explain why the dancing has lost some of its revelatory thrill

Steptext, the opening work, has retained the greatest authority, perhaps because it has an undercurrent of drama to which the Russians intuitively respond. William Forsythe's 1985 quartet is constructed out of cutting shards of dance, punctuated by moments of confrontation when the dancers bunch their fists at each other or turn away in apparent anger. The three men rise, competitively, to the hurtling challenges of the choreography, their beaten jumps flashing like steel blades.

Most mesmerising is Ekaterina Kondaurova, whose extravagantly supple dancing works an extreme chemistry with Forsythe's style. As her long body wraps around the acute angles of the movement, the choreography appears to melt and warp. The steps are there, but they have been heated into something weirdly more undulating and reckless.

Kondaurova becomes too extreme, however, dancing In the Middle, Somewhat Elevated. Within the duet material, especially, she is terrifyingly uncontainable - slithering, kicking and jumping like a woman possessed - and her dancing highlights the fact that this ballet has lost its Forsythean focus. Despite a tautly intelligent performance from Irina Golub, the cast look stylistically as though they are all dancing in different ballets.

The middle works, Approximate Sonata and the Vertiginous Thrill of Exactitude, are also patchily executed. Andrey Ivanov reprises his toughly interiorised performance in the former, and Anastasia Petushkova, tracking a sideways, floating path, holds our gaze like some shy, leggy animal glimpsed in the wild. But the dancing lacks precise articulation here, just as it doesn't fully fizz in The Vertiginous Thrill.

Olesya Novikova, one of the most talented of the Mariinsky's young dancers, takes pluckiness to a sublime level, swooping into a tailspin of pirouettes from which you don't see how she can remain standing.

The problem is that three years ago the company raised the bar so very high. The Forsythe ballets need to be looked after with just as much attention as the Mariinsky's more famous repertory.


Изображение


16 окт 2008, 07:22
Профиль
Завсегдатай

Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
Сообщение 
Kirov tries for perfection

Rachel Howard. October 16, 2008

Изображение

Two years ago, the former Los Angeles Times dance critic Lewis Segal wrote an article called "Five Things I Hate About Ballet," slamming the majority of today's ballet performances as "flatulent" and "trivial."

He was widely trounced as an enemy of the art form, but anyone who knew Segal - and his encyclopedic command of ballet history - understood that his vitriol was in direct proportion to his deep love of classical dance. Tuesday night, watching the Kirov Ballet at UC Berkeley's Zellerbach Hall, I thought I knew just how he felt.

The Kirov is Russia's bastion of 19th century classicism, the place where Petipa reinvented classical technique, the institution that birthed such rebels as Nijinsky and Balanchine. To see the 24 corps women in the "Shades" act of "La Bayadere" Tuesday was still to see an unparalleled demonstration of the ballet ideal of physical perfection, every leg held at the optimal angle of beauty in relation to the back, every chin turned for the precise degree of twist in the neck. The Kirov dancers' feet were exquisitely arched to a one, their legs crisp and efficient as jackknives. Witnessing such a refinement of technique, you can't help wishing it weren't so purely mechanical, that it meant something.

It doesn't help that the Kirov brought warhorse repertory to this Cal Performances engagement. The "Kingdom of the Shades" act from "La Bayadere" is sandwiched between the wedding finale of "Raymonda" and the "Grand Pas" from "Paquita." That the Kirov's opening program would offer Petipa's greatest hits is defensible - these works are the whole ballet world's heritage, but especially the Kirov's - but did the company really have to fill Program B, opening Friday, with a full-evening "Don Quixote"? Something more progressive - either the Balanchine or Forsythe bill they danced last spring in New York - would have done nicely. Still, the deeper issues Tuesday were in the dancing.

The rigidity of that famously strong Kirov upper back seems to have traveled north to the dancers' faces. While feet and legs fluttered prettily, rib cages and shoulders shifted with brittle correctness, and jaws clamped. In the corps and demi-soloists, this appeared the result of militaristic self-control, but in the principals it came across as a calcification of mannerisms. These are aristocratic roles; dignity is called for. But there was nothing dignified about the way Boris Zhurilov ground his teeth after every pirouette to underline his virility in "Raymonda." And when Irma Nioradze - a bit weathered to play a virgin bride - gasped with pleasure at the end of a pristine variation, you felt not her joy, but her self-satisfaction.

The bursts of truly generous dancing came from a clutch of rising young dancers, none more spectacular than Alina Somova. As Nikiya, the temple dancer in "La Bayadere," she was all infinite vectors, unnaturally long arms stretched fully straight, legs seeming to have two positions: touching the ground, or held at head height. Her Solor, Leonid Sarafanov, also pairs superhuman technique with human warmth and vulnerability. His soaring jumps and fluid lines seem to pour forth as gifts, not feats.

In "Paquita," Viktoria Tereshkina may have been technically perfect - I wouldn't know because I grew bored by her unassailable competence, the ballerina equivalent of a Stepford wife. Instead, I was far more taken with the greener, more tender soloists. Yana Selina was springy and birdlike, Maria Shirinkina as crisp as the bells emanating from the Kirov Orchestra, Somova again dazzling with clean-attitude turns melting into little arabesque hops.

But my favorite was gentle Valeria Martynyuk dancing a slow, exposed variation. At one point she slipped to the floor, and covered with a lovely swanlike pose. A flash of humanity among the perfection. If the Kirov offered more of that, our love would not have to be so love-hate.

Изображение
Изображение
Изображение

Изображение


16 окт 2008, 17:20
Профиль
Завсегдатай

Зарегистрирован: 30 ноя 2004, 20:02
Сообщения: 421
Откуда: Санкт-Петербург
Сообщение Пресс-релиз Мариинского театра о гастролях в США
Пресс-клиппинг

"Волшебная поэзия Мариинского балета: гастроли в США продолжаются"

С 1 по 19 октября в США (Чикаго, Коста Меса, Беркли) проходят гастроли балета Мариинского театра, приуроченные к 225-летию театра, которое отмечается в 2008 году. В афише тура: LЖизель¦, LДон Кихот¦ и гала-программа, включающая Гран-па из балета LРаймонда¦, Гран-па из
балета LПахита¦ и LТени¦ из LБаядерки¦.

Перед американским зрителем выступают признанные лидеры труппы: Диана Вишнёва, Ирма Ниорадзе, Виктория Терёшкина, Игорь Колб, Андриан Фадеев, Евгений Иванченко, Леонид Сарафанов, и ярко вспыхнувшие молодые звёзды Олеся Новикова, Алина Сомова, Екатерина Осмолкина, Владимир Шкляров, Михаил Лобухин.
Американская критика насчитала выдающихся талантов в Мариинской труппе более, чем в какой-либо другой из гастролировавших на континенте, оценив не только фантастическую виртуозность танцовщиков, но и их актёрские работы.

"Этот балет [LЖизель¦] v воплощение красоты и технического
совершенства, в спектакле созданы убедительные образы, танцоры
поражают изяществом исполнения, великолепной техникой и мастерством. В первую очередь это относится к Диане Вишневой, одной из величайших балерин современности, движения ее рук восхищают тончайшими оттенками.
Каждый пируэт, арабеск, безупречные прыжки и точные приземления v все элементы доведены в её танце до совершенства. Вишнёва v настоящая сказочная героиня.
Мирта в исполнении Екатерины Кондауровой заслуживает особого внимания.
Посмотрите, как она исполняет pas de bourrees v кажется, будто она плывет над сценой. Быстрые и точные движения ее ног напоминают трепещущие крылья колибри, а удлиненные линии рук и выразительная
манера танца придают еще больше великолепия этому лирическому
спектаклю.
Вряд ли вы отыщете лучший кордебалет, чем в Мариинском театре, и в призрачной белоснежной сцене Виллис, движения которых удивительно
синхронны, танцовщицы демонстрируют редкий артистизм, превращая
сложные акробатические элементы в волшебную поэзию". (Сид Смит.
Chicago Tribune, 4.10.08)

"Леонид Сарафанов v одна из самых ярких звезд Мариинского театра.
Наполненный энергией и динамизмом, он создает вокруг себя атмосферу игры и веселья. Техническое мастерство Сарафанова v двойные tours en
l'air, бесчисленные пируэты, восхитительные высокие прыжки v
производят огромное впечатление благодаря совершенно удивительной манере исполнения. Кажется, что все ему дается очень легко.
Выступление Олеси Новиковой в партии Китри было изящным и технически безупречным (ее недосягаемого качества developpe, вероятно, пробудили у многих студентов балетной школы, находящихся среди зрителей, желание немедленно бросить занятия танцами).
Среди целого ряда прекрасных женских ролей второго плана выделяется Юлия Сливкина, исполнившая Восточный танец: волнообразные движения ее рук, великолепная пластика производят неизгладимое впечатление". (Пол Ходгинс. Orange County Register, 8.10.08)

"По-мальчишески жизнерадостный Сарафанов создавал в своем танце
скульптурные, запоминающиеся образы. Ему удавались все сложные па Базиля, даже высокие поддержки на одной руке. Он удивительно хорошо владеет своим телом, что позволяло ему мастерски завершать вращения.
Выступление Екатерины Кондауровой стало настоящим приятным сюрпризом.
Эта рыжеволосая солистка появляется в первом акте как соблазнительная Уличная танцовщица, во втором акте v как безмятежная Повелительница Дриад, а затем v в короткой вариации в третьем акте. В каждой роли она продемонстрировала свое оригинальное мастерство, точное чувство ритма и времени. Высокие взмахи ее ног приводили зрителей в восхищение. Это были не просто красивые движения и позы, приковывающие взгляд, а индивидуальная трактовка хорошо знакомого образа. Эту танцовщицу нужно непременно увидеть.
Среди других солистов своим эмоциональным исполнением выделялись исполнители Цыганского танца v Алиса Соколова и Михаил Бердичевский.
Елена Баженова в эпизодической роли Мерседес завораживала глубокими наклонами и нежным трепетом рук". (Лора Блайберг. Los Angeles Times,
9.10.08)

"Уникальный талант Вишневой открывает нечто новое в Жизели v даже те, кто видел этот балет десятки раз, несомненно, были поражены глубоким и виртуозным исполнением этой партии Вишнёвой. Как и другие великие балерины, Вишнёва v блестящая и смелая актриса.
Екатерина Кондаурова привносит величие и достоинство в образ Мирты, которую часто изображают необузданной, неистовой амазонкой. Кордебалет Мариинского театра впечатляет точностью и экспрессией, когда Мирта и Виллисы движутся по сцене, изумляя всех сверхъестественной гибкостью.
В сцене, когда Виллисы пытаются Lзатанцевать¦ Альбера до смерти, великолепное техническое мастерство демонстрирует Андриан Фадеев.
У Вишнёвой есть качество, которое теперь не так часто встречается у
танцовщиц: отточенная техника целиком подчинена созданию образа. Ее
техническое мастерство поражает: роскошные медленные арабески,
невероятно точные pas de bourree, эффектные port de bras, подчеркнутые чувственные линии рук. Однако ни разу это не перешло в бессмысленную демонстрацию блестящей техники. LЖизель¦ v это балет о героине, балет, рассказывающий историю, и Диана Вишнёва никогда об этом не забывает".
(Пол Ходгинс. Orange County Register, 12.10.08)

"Как обреченная героиня LЖизели¦ Вишнёва продемонстрировала такой выдающийся талант, каким, вероятно, не может похвастаться ни одна современная балетная труппа.
С первого своего появления в бледно-розовом одеянии Жизель Вишневой как бы предсказывала свою недолговечную судьбу. Она вся отдавалась вниманию Альбера, подчеркивая томление Жизели в поисках любви.
Достойным соперником Альбера был Ганс Дмитрия Пыхачова. Пыхачов v
блестящий грациозный танцор, он сумел преодолеть стереотип и
представить взору публики совсем не того Lнеотесанного¦ Ганса,
которого мы видим в других постановках.
Традиционно это образ простого охотника, который бросает кролика у порога дома Жизели. В Мариинском спектакле он дарит ей цветы в знак внимания. Пыхачов v настоящий соперник Альбера, и спектакль производит
более глубокое впечатление благодаря этому яркому любовному
треугольнику.
Екатерина Кондаурова была царственно высокомерной, но очень
женственной Миртой, повелительницей Виллис. Она казалась плывущим над сценой видением, выполняя мельчайшие pas de bourree. Каждый раз, когда ее руки поднимались над головой, идеальный овал обрамлял ее лицо, подобно камее". (Лора Блайберг. Los Angeles Times 13.10.08)


16 окт 2008, 19:59
Профиль
Завсегдатай

Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
Сообщение 
The Mariinsky Ballet - Programme Two
Published Thursday 16 October 2008 at 17:00 by Liz Arratoon

Balanchine’s three pieces make up the majority of the evening, starting with Apollo from 1928. But other than Igor Zelensky’s thrilling leaps and entrechats and some lovely kaleidoscopic moves, its severely stripped-down starkness now seems dreary.

Against the same blue wash of light, the balletic fireworks in sixties Tchaikovsky Pas de Deux cause something of a joyful frenzy, as Vladimir Shklyarov and Olesya Novikova take turns to outdo each other with spins, jumps and sheer speed. And from the quaint costumes to the rather crudely painted backcloths, The Prodigal Son from 1929 really is like stepping back in time. Mikhail Lobukhin makes a powerful and muscular blond Adonis, and, elegance personified, Ekaterina Kondaurova, is magnificent as the imperious Siren.

But it is Alexei Ratmansky’s Middle Duet from 1998 that electrifies the audience. Imagine an artist’s scraper-board picture, white out of black, brought to life - a graphic depiction of stylised white trees in a black night, two dancers dressed in simple black outfits performing in light thrown from an arched window, watched by one white and one dark angel. Islom Baimuradov and the sublime Kondaurova’s pas de deux is all steel and softness, as she changes the tension in her body at the flick of a switch. It is short and sweet and strikingly beautiful, and despite reservations about other parts of the programme, who could find fault with its particular artistry?

Изображение


17 окт 2008, 00:20
Профиль
Показать сообщения за:  Поле сортировки  
Начать новую тему Ответить на тему  [ Сообщений: 202 ]  На страницу Пред.  1, 2, 3, 4, 5, 6 ... 21  След.


Кто сейчас на конференции

Сейчас этот форум просматривают: Google [Bot] и гости: 11


Вы не можете начинать темы
Вы не можете отвечать на сообщения
Вы не можете редактировать свои сообщения
Вы не можете удалять свои сообщения
Вы не можете добавлять вложения

Найти:
Перейти:  
cron

Часовой пояс: UTC + 4 часа [ Летнее время ]


Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group.
Designed by Vjacheslav Trushkin for Free Forums/DivisionCore.
Русская поддержка phpBB