 |
|
Текущее время: 27 апр 2024, 16:35
|
Сообщения без ответов | Активные темы
Mariinsky at the Ken-Cen. January 2008
| Автор |
Сообщение |
|
Octavia
Завсегдатай
Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
|
Great Nikiyas of Mariinsky's past
Anna Pavlova
Olga Spessivtseva
More recent past
Valentina Simukova
Elena Evteeva
|
| 14 дек 2007, 20:49 |
|
|
|
Octavia
Завсегдатай
Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
|
 Баядерка La Bayadere. Choreography of Marius Petipa in the notation of Stepanov circa 1900.
......................
Marius Petipa
Trivia. Petipa danced in the United States in 1839.
|
| 18 дек 2007, 17:21 |
|
|
|
Octavia
Завсегдатай
Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
|
Next stop...
......
...................
.
|
| 14 янв 2008, 19:46 |
|
|
|
Octavia
Завсегдатай
Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
|
Kirov Ballet: La Bayadère
Jan 22 - 27, 2008
C A S T I N G as of Jan. 15
Tue., Jan. 22 at 7:30 p.m.
Nikiya: Diana Vishneva
Solor: Andrian Fadeyev
Gamzatti: Viktoria Tereshkina
Wed., Jan. 23 at 7:30 p.m.
Nikiya: Uliana Lopatkina
Solor: Ivan Kozlov
Gamzatti: Tatyana Tkachenko
Thu., Jan. 24 at 7:30 p.m.
Nikiya: Irma Nioradze
Solor: Andrian Fadeyev
Gamzatti: Irina Golub
Fri., Jan. 25 at 7:30 p.m.
Nikiya: Alina Somova
Solor: Leonid Sarafanov
Gamzatti: Ekaterina Osmolkina
Sat., Jan. 26 at 1:30 p.m.
Nikiya: Uliana Lopatkina
Solor: Ivan Kozlov
Gamzatti: Tatyana Tkachenko
Sat., Jan. 26 at 7:30 p.m.
Nikiya: Viktoria Tereshkina
Solor: Anton Korsakov
Gamzatti: Irina Golub
Sun., Jan. 27 at 1:30 p.m.
Nikiya: Alina Somova
Solor: Leonid Sarafanov
Gamzatti: Ekaterina Osmolkina
........
|
| 16 янв 2008, 02:53 |
|
|
|
Octavia
Завсегдатай
Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
|
La Bayadere Цитата: "They say that 'Swan Lake' is the brand of the Kirov Ballet," Vaziev said in a recent phone interview, speaking through a translator, "but I think 'Bayad¿re' represents the artistic face and identity of the Kirov."
|
| 22 янв 2008, 23:12 |
|
|
|
Octavia
Завсегдатай
Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
|
Stunning 'La Bayadere'
By Jean Battey Lewis
January 24, 2008
Цитата:
The Kirov Ballet of St. Petersburg, one of the great companies of the world and arguably the most fabled, is bringing its grand style and sumptuous staging of "La Bayadere" to the Kennedy Center Opera House this week.
Premiered in 1877 by Marius Petipa, the legendary French-born choreographer who had been working in Russia for 30 years, "La Bayadere" ushered in a golden age of ballet that continued with other Petipa masterpieces: "Sleeping Beauty" and "Swan Lake."
At its opening Tuesday evening under the direction of Makhar Vaziev, the Kirov showed its skill in both dramatic high jinks and beautiful, soulful dancing with a dream cast led by Diana Vishneva, stunning as the ill-fated bayadere dancer, Nikiya, and Andrian Fadeyev as Solor, her conflicted lover.
Miss Vishneva is a marvel, a glorious dancer with a wonderfully flexible, expressive body, steely technique and impressive dramatic presence. Mr. Fadeyev, who looks a bit like the young Mikhail Baryshnikov, soars through the air in grand form and partners her with skill.
"Bayadere" is jammed with exotic goodies reflecting a 19th-century fascination with distant lands, in this case India. What elevates it to a special place in ballet's pantheon, though, is its third act, "The Kingdom of the Shades," in which the star-crossed lovers are reunited after death.
In contrast to the rest of the ballet, this act is abstract, a grand symphonic poem creating its ineffable effect through the beauty and power of classical dancing.
One by one, 32 dancers enter and descend down a ramp at the back of the stage, repeating a simple step that includes a sustained, simple arabesque. The music, by Ludwig Minkus, an undistinguished composer, provides a suitably supportive repetition.
The mood is serene, hypnotic, transcendent. The corps de ballet, in what is one of the great passages created for a large group — another, totally different, would be the breathlessly wind-swept corps in George Balanchine's "Serenade" — continues its grave, sustained movements and provides a striking frame for a trio of soloists and the two lovers.
"La Bayadere," part of the Kirov's birthright, is in the repertoire of several companies worldwide, but its large-scale demands mean only a few can muster sufficient resources to mount it.
Still, Rudolf Nureyev took his knowledge of the ballet from his years at the Kirov and staged it for the Paris Opera Ballet, and Natalia Makarova, another Kirov alumna, did so for the American Ballet Theatre and the San Francisco Ballet. (When I saw the San Francisco version a few years ago, the unity of style she had achieved was striking, especially the unmatched delicacy of a corps that breathed as one.)
The Kirov's production is lavish, with towering sets, phalanxes of dancing girls (a dozen of them holding stuffed parrots), slave girls, drummers, warriors and a group of near-naked heathens sporting mops of gray hair. All are dancing to the hilt, wave upon wave of highly trained professionals at home with the production's flamboyant and grandiose style, including soloists Viktoria Tereshkina as villainess Gamzatti and Grigory Popov as the Golden God.
The Kirov dances through Sunday, with established stars and promising newcomers taking the leads later this week. Ballets this opulent don't come around often, so if you want to see this 19th-century icon, now is the time.
|
| 24 янв 2008, 19:56 |
|
|
|
Octavia
Завсегдатай
Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
|
'La Bayadére' Takes Flight on the Wings of the Kirov
By Sarah Kaufman
Washington Post Staff Writer
Thursday, January 24, 2008
Цитата:
Let 100 navels wink in the spotlights, let every forehead bear a spangle bindi, shake out the togas and haul the stuffed tiger out of the attic. The Kirov Ballet's "La Bayadére" may have a 1950s Hollywood-epic look -- the colors a bit too bright, the costuming a bit too bold. But the dancers in Tuesday's opening-night performance at the Kennedy Center Opera House believed in every moment of it, and that's what made it work. A sterling cast led by the ravishing Diana Vishneva as the doomed temple dancer Nikiya proved this sprawling Indian fantasy ballet is all about reconciling perfectionism and schmaltz and spinning them both into gold.
As over the top as it seems, the ballet's stylistic mix is an honest quality. Choreographer Marius Petipa, that exacting sculptor of 19th-century classical ballet, betrays his heavily perfumed soft side in "La Bayadére." His central dance ideas in this 1877 work are firmly classical, predicated on line and uniformity and anticipating his triumphs soon to come in "Swan Lake" and "Sleeping Beauty." But "Bayadére's" narrative and emotional sensibilities reach back to the romantic era, with its cult of death, belief in the supernatural and craze for the exotic.
To its enormous credit, the Kirov, performing its full-length version of "La Bayadére" for the first time here, does not play this heady blend as camp. It gives each aspect full credit, braiding a drive for classical perfection with the more mystical and sentimental elements of the work.
Vishneva, a dancer of exceptional suppleness and dramatic power, set the tone for this approach. She conveyed layers of spiritual devotion and sensual abandon.
Contrasts are built in to the theme, with Nikiya's unsullied love for the warrior Solor set against his betrothal to the spoiled and cunning Gamzatti, a politically fruitful union arranged from childhood. Vishneva gave the contrasts added dimension; her dancing changed from scene to scene. She was light as smoke, as if inspired by the sacredness of her surroundings, in the opening scene by the temple flame, where she and Solor (the endearingly boyish and buoyant Andrian Fadeyev) pledge their hearts; in her confrontation with Gamzatti (Viktoria Tereshkina), she was eloquent in her mime passage and increasingly desperate, like a trapped animal.
When she is ordered to dance for Solor and Gamzatti's engagement celebration, Vishneva entwined her long limbs and arched like a serpent ready to strike, foreshadowing the fatal snakebite to come and milking every note of this achingly poignant solo with divalicious intensity. Then, the final transformation: In the "Kingdom of the Shades" scene, the dream of reconciliation that Solor conjures through his opium pipe, Vishneva, now a ghost, made clear that she was utterly and completely above it all. Her cool remove suggested that, in the Hindu tradition from which the ballet's story was drawn, she was already on the path to her next life. Solor could clutch at her, could leap about, could grasp at her veil and kneel at her feet, but she existed on an infinitely higher plane.
What was interesting in this cast was the complexity of the two female leads. Many ballets -- and operas, for that matter -- present a heroine and antiheroine as polar opposites; take "Swan Lake," with good-girl Odile, fluttery victim of trickery, vs. her doppelganger Odette, a duplicitous femme fatale. The two ballerinas in "Bayadére" are more textured than that. Gamzatti, as danced by Tereshkina, is not merely the flip side of Nikiya. She is exquisitely self-possessed, accustomed to getting her own way. When she danced, she made clear just how very pleased with herself she was; she embodied the old-fashioned Russian ballerina tradition of emphatic technique and firmness of character. The catfight with Nikiya unspooled spontaneously, each woman believably unsettled by her own lack of control. For this Gamzatti, slipping a poisonous snake into her rival's flower basket was simply a necessary move, not an evil one.
Among the other soloists, Grigory Popov stood out as a high-bounding Golden God one would freely worship, as did Vladimir Ponomarev as the High Brahmin, who wore an orange robe and strappy sandals with all the majesty of Yul Brynner.
The corps de ballet was a star in its own right in the frequently excerpted "Kingdom of the Shades" scene, for which Petipa elevated perfect academic form into an unmatched vision of eternity. Watch the entrance of the 32 tutu-clad dancers here carefully and you will see the essence of the Russian style. The Kirov dancers are famed for the fluidity of their spines, and this is glowingly in evidence in the single-file line of dancers, each extending a leg high behind her like an arrow poised for flight, without effort, because their backs are so limber and strong.
Watch this act, which so fully explores the distinct aesthetics of ballet, and ponder the infinite. Ponder how Petipa's steps, set down 130-plus years ago, still breathe with abundant life.
Pavel Bubelnikov conducted the Kennedy Center Opera House Orchestra in a full-bodied and gorgeously lyrical account of the Ludwig Minkus score.
Performances continue through Sunday, with cast changes.
|
| 24 янв 2008, 20:05 |
|
|
|
Octavia
Завсегдатай
Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
|
La Bayadere. Jan 22 & 23 A Tale of Two Bayaderes
As the 32 unbelievably beautiful gauze-clad dancers commenced their hypnotic procession from the peak of Himalayas, the opening lines of the ode by Horace came to mind:
Exegi monumentum aere perennius,
regalique situ pyramidum altius ...
I have created a monument more lasting than bronze,
And higher than the royal site of the pyramids ...
He did indeed, for the work of Marius Petipa survived many cataclysms of history, so it can shine even brighter now, some 130 years after its creation. I was fortunate to have seen the two great Mariinsky ballerinas on two subsequent nights: Diana Vishneva and Uliana Lopatkina, yet it is Petipa's grand vision of cosmic order, The Entrance of the Shades, that left the most lasting impression.
Casting was exceptional:
January 22
Nikya: Diana Vishneva
Solor: Andrian Fadeev
Gamzatti: Victoria Tereshkina
Rajah: Petr Stasyunas
High Brahmin: Vladimir Ponomarev
Golden God: Grigory Popov
The three shades: Olesya Novikova, Nadezhda Gonchar and Ekaterina Kondaurova
January 23 performance featured almost same exact cast with Uliana Lopatkina as Nikya, Ivan Kozlov, Uliana's new partner as Solor and Tatyana Tkachenko as the vengeful princess Gamzatti.
The two Nikyas were as different as could be. On one hand - Diana Vishneva, a heroine of Greek tragedy who carried her demise within herself. On the other - Uliana Lopatkina, a beautiful young dancer, perhaps even an artist, who fell victim to cruelty of fate and men alike.
Andrian Fadeev of the first night came closer to my idea of Solor, demonstrating great dramatic talent and purity of style. Gamzattis impressed me less. Usually flawless Victoria Tereshkina seemed to have an off-night, as she made few mistakes in Grand Pas Classique of the 2nd act and Tatiana Tkachenko left me almost indifferent.
First violin in the orchestra did wonders both nights and costumes were absolutely beautiful. I can’t have enough of Kirov's Bayadere 
.......................................................................................................................Yours truly
.
|
| 24 янв 2008, 23:11 |
|
|
|
Octavia
Завсегдатай
Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
|
LA BAYADERE
Saturday Afternoon, January 26, 2008
The Kennedy Center
Nikya: Uliana Lopatkina
Solor: Ivan Kozlov
Gamzatti: Tatiana Tkachenko
Rajah: Peter Stasyunas
High Brahmin: Vladimir Ponomarev
Toloragva: Andrey Yakovlev
Aya, Slave-girl: Elena Bazhxenova
Magedaveya: Igor Petrov
Slave: Sergey Salikov
Golden God: Grigory Popov
Jumping girls: Elizaveta Cheprasova, Svetlana Ivanova, Yana Selina, Valeria Martinyuk
Grand Pas Classique: Elena Androsova, Yulia Bolshakova, Daria Vasnetsova, Ekaterina Kondaurova, Dmitry Pykhachev, Segey Popov
Indian dance: Ryu Ti Yeon, Islom Baimuradov
Drummer: Vasily Scherbakov
Three Shades: Olesya Novikova, Nadezda Gonchar, Ekaterina Kondaurova
.
|
| 27 янв 2008, 20:38 |
|
|
|
Octavia
Завсегдатай
Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
|
Bayadere Par Excellence
The two preceding performances, marvelous as they were, had not quite prepared me for what was to unfold that day on stage of the packed Opera House of the Kennedy Center for the Performing Arts. It was as if Uliana Lopatkina, the bayadere, had reached to the depth of her very soul to tell us the all too familiar story of love defying death. Never have I seen her dance with such total abandonment and quite possibly I never will. Nikya’s last dance. Uliana’s features suddenly became sharp if it were not the bayadere spoke the last “words”, but destiny spoke through her: “You put the snake in the basket. Murderer!",- she points her finger to her love rival princess Gamzatti,- "Gods will avenge my death…” And we, in the audience believe completely that the prophecy would come true, Destruction of the Temple or not.
And then the White Act. Uliana’s impossibly idealized human form suites like no other. And so does her serene expression, as if some great mystery of the Universe has opened up to her and her alone. Ah, remember the series of rond ronde de jambe en l'air? Many dancers turn them into développé-battements. Not Lopatkina. True to academic purity she completes eash rond with sterling precision yet together they flow in a single perpetual motion.
Of course it was not just about Lopatkina. The whole company rose to the occasion. Solor was more passionately in love, men seemed to leap higher and the corps de ballet was even more uniform, if at all possible. The most successful ballet in my memory ended with three standing ovations. And because this great company danced with so much passion for our audience, here in Washington, DC filled me with pride and deep gratitude to the Mariinsky Theater, Marius Petipa, Kennedy Center Orchestra, The Board of Directors and all those who helped bring this most precious gift and the jewel in the repertoire of the Mariinsky Theater to our stage.
.......................................................................................................................Yours truly
|
| 28 янв 2008, 06:14 |
|
|
Кто сейчас на конференции |
Сейчас этот форум просматривают: нет зарегистрированных пользователей и гости: 40 |
|
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
|
Часовой пояс: UTC + 4 часа [ Летнее время ]
|
|
