At the Bolshoi Theatre staged the ballet “Ondine” – Russian newspaper

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Photo: Damir Yusupov / Bolshoi Theatre

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For years, Big is in the middle of the season revamped old ballet, and before the summer holiday surprise new

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“Undine” put Vyacheslav Samodurov, a graduate of the Vaganova Academy, ex-soloist of the Mariinsky, Covent Garden and the Ballet of the Netherlands, currently artistic director of the Yekaterinburg Opera and Ballet Theatre, transformed a local troupe into a bastion of progressive thought and received a three “Golden Mask”. Six years in the Urals allowed lucky with a good biography of the claim to the Moscow debut not just anywhere, but once at the Grand. And this chance has provoked ambitions: formerly known as the author of one-act ballets plotless Samodurov gathered Anglo-Russian team and chose to arm three-act “Undine” – ballet music with a complex and enormous cultural loop. Not only that, undines, mermaids – consistently exciting artists of mythology, so also the ballet indifferent to it at least since 1843, when the first show with the same name. The choreographer chose made for Covent Garden’s score in 1958 by Hans Werner Henze, but if the then libretto will master the English choreographer Frederick Ashton still rested on a romantic novel with a love of the water virgin and earthly man, the current, which gave the history of metaphysical bias, Samodurov himself wrote – and romanticism is very specific in it.

 

On the darkened stage tossing people. Trying to escape from its surroundings (or get rid of the painful thoughts), he beats on the glass, peering into their metuschihsya twins – one second, seventh. Until finally, rests not look into someone completely different to others – Ondine. In the dialogues with this infernal unlike in countries countering the hero and his ilk, and focuses the meaning of ballet – not narrative action “her, he fell in love, it is the abyss utyanula” and ballet in an attempt to indicate the state of being alone on the brink of madness and understandable human desire to grasp at straw. Meaning that the composer asked, and tried his very choreographer hear. Score from Hans Werner Henze, who was able to cross even atonal music with light, and then responds to Stravinsky and Prokofiev with the appropriate degree of complexity – there are not dancing virtuosity shine and thoughts to think

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Samodurov sparingly distributed roles in three acts between the fugitive and his reflections and Undine with her subordinates Undines. Male chorus, no, no, and refers to the commonplaces of modern choreography, female – fancifully – to the relations of the Myrtles “Giselle” with its detachment animated Vilis. With the task “not to shine, and think” good at the central pair Ekaterina and Igor Krysanova Tsvirko. Reserved neurasthenic and moderately closed, they played a strange convergence, thoughtful choreography: first escapist fugitive Ondine is unusual man in a duet – pulls, pushes, twists, inciting him to his knees and closed his eyes, changing at once plastic and optics. It is logical that the next series of supports is off-center of gravity, a woman leader. Fugitive Then, as if recollecting himself, trying to keep her helping Undine dive into his hands closed in the ring – and breaks down as the stronger sex in neurosis objectively weaker than the weak. Impression enhance laconic costumes and scenography Elena Zaitseva Anthony Makilueyna and lighting designer Simon Bennison: stitched mobile fluorescent lamps and cluttered with a palisade of piles scene can not completely cover the eye that forces the alarm. In the final pas de huit, dancing for eight, which unites undines and Reflections fugitives eight dancers distantly like a dream roll dancers legs of the rocker in the wings – the living can not escape, except that at the time of forgotten

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The former romanticism claimed that the spirit of the love of the water and a mere mortal nothing good can not come to an end. Then psychoanalysis explained that a mere mortal could not be interested in the spirit of water. So that all this modern romance, sweet heart ballet term tied to the sublime, in fact, is an attempt to escape from chronic stress, with its monsters, dark tones and complex sound. Maybe the departure of the problems in the dance. Or maybe psychosomatic diagnosis. It is important that all gloom observations show did not leave the impression of full hopelessness – contrary to the expectations in these initial data choreographer is clearly involved in the work of not only the head, but also emotions. So I get the country razmyshlitelny performance. For a variety of ballet life is pretty good.