Stars of the 21st Century / Звёзды 21 века

Дарья Павленко блестяще представляет Мариинку на международном гала Звёзды 21 Века прошедшего в Торонто.

Daria Pavlenko shines at the international gala Stars of the 21st Century. presented by the Koffler Centre of the Arts, Toronto, Canada.

Kirov Ballet, Millennium Centre, Cardiff

Lyndsey Winship
Friday April 22, 2005
The Guardian http://www.guardian.co.uk/arts/reviews/story/0,11712,1466283,00.html


The ballet Don Quixote is less a story and more an excuse for a knees-up. Beautiful Kitri has two suitors; one poor but boyishly handsome, the other rich, prissy and dressed in unflattering yellow tights. It's no surprise who ends up putting the ring on her finger. But with Kitri's money- grabbing father standing in the way of the happy union, and Don Quixote and Sancho Panza meandering through the picture (riding a real horse and pony), it takes a good three hours, four acts and numerous breaks for applause to reach the inevitable conclusion.

It's a riotous journey. The Kirov's production, based on Alexander Gorsky's 1902 version, is a bold, bustling and colourful affair, and the mock-Spanish setting is alive with skirt-swooshing, fan-waving and shimmering tambourines. So brisk and breathless is the dancing that it has you wondering if conductor Mikhail Sinkevich has upped the tempo on Minkus's score since last night.

The Kirov is so confident in their ensemble that the only principal dancer on stage is Irma Nioradze as Kitri, who throws herself into the opening act with gusto. Her expansive dancing fills the vast stage of the Millennium Centre so enthusiastically that lover Basil (Anton Korsakov) can barely reach her as she leaps almost out of his grasp. Her limbs are joyously flung to the farthest reaches, although this often comes at the expense of detail. Korsakov proves himself very able, excelling in his solos.

Spirited Gypsy dancers and showy toreadors provide the spectacle, while farcical comedy comes courtesy of Anton Lukovkin as a rotund Sancho Panza. Evgenya Obraztsova dances a delightfully impish Cupid in the vision scene, but when Nioradze takes on the role of a woodland nymph, her hard-edged appearance somewhat breaks the spell. In fact, as time goes on her beaming smile begins to look more and more like gritted teeth. She needn't worry, though: Don Q may be a rambling tale but there's enough bravura here to keep everyone entertained.

Don Quixote

Donald Hutera at Wales Millennium Centre, Cardiff
Times, April 22, 2005

THE Kirov Ballet is the first large-scale company to play the Wales Millennium Centre. London-centrics might regard the Welsh dates as a warm-up for the Kirov’s forthcoming summer season of ballet and opera at Covent Garden in July, but the view in Cardiff is significantly different.

Claims that the Kirov will draw a new audience into the recently opened Wales Millennium Centre are accurate, at least from my perspective.

I sat beside a couple and their teenage son who had never been to a performance at the venue before. This was also their first experience of live classical dance. Will they come back to see the Australian Ballet this summer or, subject to negotiation, the Royal Ballet next year? Hard to tell but all three certainly enjoyed Don Quixote, the opening attraction in the Kirov’s ambitious two-week Cardiff season.

Don Quixote is user-friendly entertainment, its four acts a dance-packed feast of broad humour, easygoing romance and a touch of fantasy.

The atmosphere is festive and flirtatious, with a breakneck first act full of swirling skirts, cape-wielding toreadors and quick kisses behind strategically placed fans, plus a well-behaved guest appearance from a live horse and donkey double-act.

The fun is a little dragged out over three intervals, even in a slightly trimmed down staging brought to Wales. But this bustling if inconsequential Russian classic is still pretty hard to resist. The opening night leads were Leonid Sarafanov, a boyish blond with a big personality, and Olesya Novikova, whose status as a coryphée is just one rung above corps de ballet.

Promoting young talent like theirs is sound policy. Novikova is an endearingly unaffected dancer with a strong classical technique. She and the caliper-legged Sarafanov were well-matched playmates with a spring in every step.

These two likeable kids were required to grow up as characters and artists in the barnstorming final act, a crucial test of stage presence, skill and sheer will.

They pulled it off in a manner more pleasing, perhaps, than exciting.

Credit, too, to the spirited playing of the Kirov orchestra under Mikhail Sinkevich’s baton.

Don Quixote, Wales Millennium Centre, Cardiff

By Clement Crisp, FINANCIAL TIMES (оригинальный текст: http://news.ft.com/cms/s/ca77deee-b5f0-11d9-be59-00000e2511c8.html)
Published: April 26 2005 03:00

Первое большое балетное событие в Миллениум Центре Уэльса в Кардиффе - текущие двухнедельные гастроли Кировского балета. Могло ли быть лучшее начало?

Театр ошеломляющий: красивый, гостеприимный, с весьма привлекательными интерьерами из сланца, дуба и полированной стали, и с зрительным залом, обрамленным терракотой и светлым деревом, с безупречным обозрением и акустикой. И сцена дает отличную возможность видеть танец. Малочисленность аудитории на дневном спектакле в четверг мы можем отнести к необычности появления большого танцевального театра в Уэльсе (и также к неудачному стартовому времени 1.30 дня), но публике - дополненной группами учащихся, которые вели себя безупречно и приветствовали артистов словно тысячи скворцов - понравился каждый миг спектакля.

Кировская постановка Дон-Кихота мало отличается от любой другой, хотя несколько неловко растянута на четыре действия. Декорации, созданные в начале 1900-х Коровиным и Головиным, превосходны и захватывают воображение, и танец искрится на их фоне. А кировские артисты знают, как распорядиться любой возможностью в действии, от цыганского веселья до сцены видения в пачках и академическом совершенстве. Олеся Новикова в роли Китри и Фарух Рузиматов как Базилио оживляли спектакль при каждом своем появлении.

Недавно я писал о выходах Новиковой на Мариинском фестивале в Санкт-Петербурге. Она все еще очень молода, чудесно симпатична и еще более чудесно выучена: ее танец легок, ясен, ярок, и в исполнении ей присуще вдохновение. Все еще не сложившаяся артистка – ей надо учиться больше флиртовать в последнем дуэте - она имеет огромное очарование, воодушевление, стальные пуанты и самое милое чувство драмы. Она мне нравится.

Рузиматов знает абсолютно все о сцене: он мастер своего стиля. Жесты уверены, также как и его шопеновский профиль. Он строит танец на эффектнейших позах. Он превосходный партнер. Он уверен. Мы верим ему. И поражаемся этому сильному живому характеру. Кировские артисты превосходны во всем, а кордебалет в сцене видения является мечтой совершенства балетоманов: академическое изящество, чистота, стиль. Видение Дон-Кихота – это балетный класс в раю.

Спасибо, Мэд, за перевод! особенно приятно то, что в тексте фигурирует Рузиматов. В родном Питере его почти не увидешь, так хоть новости из-за рубежа благодаря Вам узнаем!

Уважаемая Амнерис,

Там тоже пишут о наших негусто.... они массированно описывают прелести своих родных бездарностей... Вот случайно повезло с такой статьей о Фарухе

Очень неожиданный пассаж о шопеновском профиле! Сколько балетоманской страсти вложено в эту формулу...

Учитывая деликатность стиля автора, статью видимо следует признать бриллиантом современного балетного описания.

Мне - тоже понравилась статья.

Мэд.

In sweep the Russians with a feast of exotic treats
(Filed: 28/04/2005)

Ismene Brown reviews the Kirov Ballet at the Wales Millenuium Centre
http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2005/04/28/btkirov28.xml&sSheet=/arts/2005/04/28/ixartright.html

Джульетта - Ирина Голуб

The Kirov Ballet, the definitive classical ballet company, has granted Cardiff its first ever UK visit beyond London, to honour the opening of the grand new Wales Millennium Centre.

The building, clad in purple slate and inscribed gigantically with poetry along its façade, sits like a heavy ship amid the burgeoning development of the once notorious Cardiff Bay area. Its interior is spacious, and its shipshape 1,900-seat auditorium, lined with sweeping curves and ribs of wood, a joy to enter. It was evident from some sparse houses for the Kirov, though, that the public needs both to discover the place and discover ballet itself.

The best audience I joined was, surprisingly, for the triple bill of Fokine's sensual ballets, Chopiniana (the Kirov version of Les Sylphides), Schéhérazade and The Firebird, a long and richly musical evening filled with exotic colours, willow bodies and tendril arms.

All the Kirov's major stars had been promised - in the event, Faroukh Ruzimatov was the A-team's sole survivor, but the profusion of young talents emerging ensured some top-notch shows.

Ruzimatov is over 40, leaner and more hawk-nosed than ever, but few men half his age could equal him for stylishness. As the barber hero of the classic Petipa comedy Don Quixote, he cut the steps (if not his own hair-do) with the laser precision of a Vidal Sassoon, and radiated such smoulderingly self-absorbed masculinity that one had to smile; while his Golden Slave in Schéhérazade was all the sexual mysteries of oriental fable rolled up in one panther figure.

He was wonderfully partnered in both: by the very young and deliciously polished Olesya Novikova in Don Quixote and by the alluringly glamorous Irma Nioradze in Schéhérazade.

In Romeo and Juliet, the intense and very gifted Igor Kolb danced an explosive but refined Romeo, opposite another promising junior, the blithe little blonde Elena Obratzova, with feet brushing the ground like jewelled feathers and a joyous natural communicativeness.

In dramatic terms, though, they were hard to accept as lovers; both seemed to be dancing pictures they'd been shown of the ballet and hardly looked each other in the eye.

That is partly due to the formal picturesqueness of this Leonid Lavrovsky version, the first successful staging of Prokofiev's score, which launched a stream of improved alternatives. In 1940 Soviet terms, Lavrovsky looked forward, but the effect, to eyes used to Kenneth MacMillan's greater psychological and musical attunement, is still more 19th-century than 20th-century, and the Kirov Orchestra's forcefully passionate way with Prokofiev's music underlines the modernity lacking in the staging.

Other notable performers were the cherubic young Leonid Sarafanov, whose Mercutio conquered the audience, the tall platinum-blonde Valkyrie of Tatyana Amosova's Firebird, and the splendid veteran Vladimir Ponomarev, showering insights on stock characters: a formidable yet heartfelt Shah in Schéhérazade, an irritable Kashchei the Immortal in Firebird, doomed to eternal rheumatism, and a teeth-baring, belligerent Lord Capulet.

Kirov: Don Quixote, Wales Millennium Centre, Cardiff

By Zoë Anderson, The Independent, 21 April 2005
Английский текст: http://enjoyment.independent.co.uk/theatre/reviews/story.jsp?story=631531

Балет Мариинского театра, до сих пор называемого Кировским, дал первые представления в новом Центре Тысячелетия Уэльса. Это была также первая крупномасштабное танцевальное представление в этом Центре. Это - хороший тест: если он может справиться с этим Доном К с кордебалетом, живыми лошадью и ослом, тореадорами, ветряными мельницами и цыганами, то он может справиться с чем угодно.

Событие доказывает превосходность дома для танца. Сцена широкая, акустика постранственная. Зрительный зал большой, но хорошо сфокусирован: я нашел хороший обзор и сверху и внизу.

Представленный Дон-Кихот состоит из четырех действий. Это долгий вечер, скорее неторопливое зрелище, чем взрыв псевдо-испанского характера. Этот балет 19-го столетия использует роман Сервантеса как ориентир для деревенской истории любви. Китри любит Базиля, но ее отец хочет, чтобы она вышла замуж за богатого щеголя. Дон-Кихот странствует среди видений, давая толчок развитию действия спектакля. Декорации, основанные на дизайне 1902 года Александра Головина и Константина Коровина, отображают бесчисленные экзотические детали.

Это крепкая постановка, но могла быть еще более интересной. Сельские девушки вихрем кружатся в уличных танцах, тела и руки извиваются, но темп замедленный. Михаил Синкевич, дирижирующий Мариинским оркестром, смягчает rum-ti-tum партитуры Минкуса.

В молодых солистов больше энергии. Базиль Леонида Сарафанова важно ходит на стройных ногах, у ниго быстрые туры и чистый прыжок. Его Китри - Олеся Новикова, только появившаяся из кордебалета. Она имеет сильную технику, легкий прыжок и четкую работой на пуантах. Это живое, элегантное представление.

Сцена видения это сон-мечта Дон-Кихота. Воображая свою возлюбленную-идеал, он видит ее, окруженной кордебалетом в пачках, на красиво созданной поляне. Это сладкая картинка, но без классической суровости Спящей красавицы или Баядерки.

Владимир Пономарев это спокойный и благородный Кихот, мимирующий с истинным достоинством, в то время как Полина Рассадина представила гордый экстравагантный вариант Цыганского танца, проявив эмоции будто Кармен из немого кино.

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Осень 2005
Kировский Балет и Оркестр
2005 Гастроли в США

Города: Лос Анжелес и Детройт

Репертуар: Спящая Красавица.
Учавствуют: Ульяна Лопаткина, Диана Вишнёва, Игорь Зеленский, Леонид Сарафанов, Наталья Сологуб и многие другие.

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FALL 2005
KIROV BALLET & ORCHESTRA
2005 USA TOUR


LOS ANGELES
Music Center, Dorothy Chandler Pavilion
www.musiccenter.org

October 5 at 7:30PM
The Sleeping Beauty
(Diana Vishneva - Igor Zelensky - Uliana Lopatkina)

October 6 at 7:30PM
The Sleeping Beauty
(Ekaterina Osmolkina - Leonid Sarafanov - Irma Nioradze)

October 7 at 7:30PM
The Sleeping Beauty
(Natalia Sologub - Andrian Fadeev - Ekaterina Vostrotina)

October 8 at 7:30PM
The Sleeping Beauty
(Diana Vishneva - Igor Kolb - Uliana Lopatkina)

October 9 at 2:00PM
The Sleeping Beauty
(Olesia Novikova - Anton Korsakov - Olga Esina)

SAN FRANCISCO
BERKELEY, Zellerbach Hall
www.calperfs.berkeley.edu

October 12 at 7:00PM
The Sleeping Beauty
(Diana Vishneva - Igor Zelensky - Uliana Lopatkina)

October 13 at 7:00PM
The Sleeping Beauty
(Ekaterina Osmolkina - Leonid Sarafanov - Irma Nioradze)

October 14 at 8:00PM
The Sleeping Beauty
(Natalia Sologub - Andrian Fadeev - Olga Esina)

October 15 at 2:00PM
The Sleeping Beauty
(Olesia Novikova - Vladimir Shkliarov - Ekaterina Vostrotina)

October 15 at 8:00PM
The Sleeping Beauty
(Diana Vishneva - Igor Kolb - Uliana Lopatkina)

October 16 at 3:00PM
The Sleeping Beauty
(Irma Nioradze - Andrian Fadeev - Olga Esina)

DETROIT
Opera House
www.michiganopera.org

October 20 at 7:00PM
The Sleeping Beauty
(Diana Vishneva - Igor Zelensky - Uliana Lopatkina)

October 21 at 7:00PM
The Sleeping Beauty
(Ekaterina Osmolkina - Leonid Sarafanov - Olga Esina)

October 22 at 1:00PM
The Sleeping Beauty
(Olesia Novikova - Anton Korsakov - Ekaterina Vostrotina)

October 22 at 7:00PM
The Sleeping Beauty
(Natalia Sologub - Andrian Fadeev - Olga Esina)

October 23 at 2:00PM
The Sleeping Beauty
(Diana Vishneva - Igor Kolb - Uliana Lopatkina)

Cast subject to change

Ardani

Мариинкa в KenCen. Вашингтон . . Mariinsky At The KenCen. Washington, DC

Мариинкский перестал быть для нас заморским гостем с тех пор как подписал
отдельный контракт с KenCen сроком на 10 лет. Он стал родственным театром, поэтому мы
искренне радуемся его успехам.
Показ реставрированного Корсара продлится около недели (07-05 до 07-11). Каждый день новый
состав.

Корсар 5 Июля. KenCen. Вашингтон. . Le Corsare of July 5. KenCen. Washington, DC

Washington Times не может нахвалится на реставрированного Корсара Мариинского. Сплошные восторги в сторону хореографии и декорации. И сплошные комплименты танцовщикам. Особой похвалы удостоились Леонид Сарафанов в роли Али и Ирина Голубь, танцевавшей одну из одалисок.

"Le Corsaire," playing this week [07-05 thru 07-10] at the Kennedy Center, is a hoot of a ballet, with a wildly improbable who-cares plot, cascades of gorgeous dancing and vivid theatrical scenery.
In its second visit this year, the Kirov Ballet has brought to this luscious 19th century chestnut its large-scale, grand-style manner and brilliant dancing. It is one of the season's highlights.
All this makes the nonsense plot worthwhile, and since it's played tongue in cheek and delivered with crisp, easy-to-follow mime the stage is cleared for the dancing that is its own excuse for being. After all, why wouldn't a damsel on the lam show up in a pirate's cave wearing a glittering tutu and diamond tiara?
The evening's showstopper at Tuesday's opening night was Leonid Sarafanov's performance as Ali, the Slave, in a pas de trois that includes the putative lovers (the beauteous Medora and Conrad, the corsaire or pirate) who dons a disguise and rescues her from slavery then loses her -- twice.
In this original version, Medora dances with both Conrad and his Slave but it is the latter who provides the pyrotechnic thrills. This sets up an interesting contrast between the big and brawny Conrad, played with sharp dispatch by Ilya Kuznetsov, and the feral, gravity-defying Slave.
The choreography here is so virtuosic that it's been turned into a stand-alone pas de deux for the Slave and Medora and turns up frequently on gala programs. This version of the "Corsaire Pas de Deux" was introduced to the West by that ultimate Tartar, Rudolf Nureyev, and has challenged male technicians ever since.
The young Mr. Sarafanov was not as animalistic as some but he gave an astounding performance, landing from high leaps into deep plies, finishing fast turns by spiraling lower, and adding what looked like a back flip to barrel turns. He not only prompted applause; the audience roared.
But this was only one moment in an evening filled with dancing. Medora Viktoria Tereshkina performed with admirably strong, clear movements but little nuance or dramatic impact. Ekaterina Osmolkina as her friend brought greater delicacy to her secondary role.
Andrian Fadeyev was commanding and amusing as the slave trader and the three Odalisques -- Daria Sukhorukova, Tatyana Tkachenko and especially Irina Golub -- were beautifully harmonious in their difficult variations. The corps de ballet, one of the Kirov's greatest treasures, appears en masse wearing large flowered tutus in the decorative Jardin Anime.
These performers will appear at various times over the weekend and other dancers will also be seen in the roles. The Kirov has such strength in depth that it can fill these demanding parts many times over.
A constant will be the sumptuous scenery featuring a tumultuous shipwreck, a dramatic grotto, an interior vibrant with huge peacock feathers and the Jardin Anime scene with fountains sparkling in the background.
The Kirov is in the middle of a 10-year run here, arranged when philanthropist Alberto Villar had promised long-range support. His financial empire and support of the arts has recently collapsed but the good news is the Kirov project is still being honored by the Kennedy Center.

That gives the stellar Russian company a special place here on the artistic scene: It is becoming happily more like a visiting relative than an exotic stranger.
We are learning the range of its repertoire, under the imaginative direction of Makhar Vaziev -- from the impressive, well-researched revival of "The Sleeping Beauty" to its lively staging of George Balanchine's "Jewels" to the modern ventures of its idiosyncratic "Nutcracker" and "Cinderella" to this current "Corsaire."
Another pleasure of repeated visits is getting to know its dancers in greater depth. As Walt Whitman might put it: The Kirov is vast, it contains multitudes.

That gives the stellar Russian company a special place here on the artistic scene: It is becoming happily more like a visiting relative than an exotic stranger.
We are learning the range of its repertoire, under the imaginative direction of Makhar Vaziev -- from the impressive, well-researched revival of "The Sleeping Beauty" to its lively staging of George Balanchine's "Jewels" to the modern ventures of its idiosyncratic "Nutcracker" and "Cinderella" to this current "Corsaire."
Another pleasure of repeated visits is getting to know its dancers in greater depth. As Walt Whitman might put it: The Kirov is vast, it contains multitudes.

[url=http://washingtontimes.com/entertainment/20050707-104310-8088r.htm]Kirov takes whimsy to lavish heights. The Washington Times. Jean Battey Lewis
July 8, 2005[/url]

Алина Сомова и Антон Корсаков на репетиции....Alina Somova and Anton Korsakov during the dress rehearsal.