В прошлое воскресенье мы ходили в Михайловский театр на "Русские сезоны XXI-го века". Поставленный под руководством Андриса Лиепы спектакль является в некоторой степени продолжением знаменитых "Русских сезонов" Сергея Дягилева. Представление с успехом дебютировало на парижской сцене прошлым летом, а в первый уикенд апреля возможность увидеть постановку появилась и у петербуржцев.
Last Sunday we went to Mikhailovsky Theatre to watch "Russian Seasons of XXI Century". Directed by Andris Liepa, this project is sort of a second chapter of Sergey Dyagilev's "Russian Seasons". The premiere took place in Paris last July, and this April the residents of St. Petersburg finally got a chance to see it as well.
Last Sunday we went to Mikhailovsky Theatre to watch "Russian Seasons of XXI Century". Directed by Andris Liepa, this project is sort of a second chapter of Sergey Dyagilev's "Russian Seasons". The premiere took place in Paris last July, and this April the residents of St. Petersburg finally got a chance to see it as well.
Проект объединяет в себе три одноактных балета: "Клеопатра - Ида Рубинштейн", "Послеполуденный отдых фавна" и "Жар-птица". В первом, поставленном специально для Илзе Лиепы, мы видим великую танцовщицу Иду Рубинштейн, вспоминающую период работы над "Клеопатрой" в дни добровольного затворничества на закате жизни. "Послеполуденный сон фавна" с Николаем Цискаридзе в главной роли - миниатюра с оригинальной хореографией непревзойдённого Вацлава Нижинского, ставшая в своё время предметом жарких споров между приверженцами классического балета и сторонниками новаторского танца. И, наконец, "Жар-птица" - русская сказка на музыку обожаемого мною Игоря Стравинского.
"Русские сезоны XXI-го века" поразили меня хореографией, великолепными костюмами и декорациями (некоторые из них были воссозданием тех, что придумал когда-то Леон Бакст). Однако были и моменты, несколько подпортившие впечатление. Это и бесконечные ошибки в роскошной программке, и отсутствие живой музыки, и внезапно начавший опускаться занавес, и головные уборы фараонов у танцоров и танцовщиц, исполнявших в "Клеопатре" далеко не роли египетских правителей.
The project consists of three one-act ballets: "Cleopatra - Ida Rubinstein", "The Afternoon of a Faun" and "The Firebird". The first ballet was staged specifically for Ilze Liepa, who plays the great dancer Ida Rubinstein. We see Rubinstein remembering the years spent in Paris during the work on "Cleopatra". "The Afternoon of Faun" (starring Nikolay Tsiskaridze) is a miniature with the original modern choreography of Vaslav Nijinsky, which was met with both admiration and incomprehension back in the beginning of the XXth century. Finally, "The Firebird" - a ballet based on Russian folk tales, music written by my favourite composer Igor Stravinsky.
"Russian Seasons of XXI Century" impressed me with fantastic choreography, incredible costumes and scenery (some of them were recreated Leon Bakst's designs). But there were also a few moments that slighly spoiled the overall good impression. I just couldn't ignore numerous mistakes in the beautifully made playbill, the fact that there were no orchestra and that the curtain suddenly began to fall in the middle of the ballet. I also didn't quite understand why the dancers who played far not the roles of egyptian rulers wore the Pharaoh's headdress.
The project consists of three one-act ballets: "Cleopatra - Ida Rubinstein", "The Afternoon of a Faun" and "The Firebird". The first ballet was staged specifically for Ilze Liepa, who plays the great dancer Ida Rubinstein. We see Rubinstein remembering the years spent in Paris during the work on "Cleopatra". "The Afternoon of Faun" (starring Nikolay Tsiskaridze) is a miniature with the original modern choreography of Vaslav Nijinsky, which was met with both admiration and incomprehension back in the beginning of the XXth century. Finally, "The Firebird" - a ballet based on Russian folk tales, music written by my favourite composer Igor Stravinsky.
"Russian Seasons of XXI Century" impressed me with fantastic choreography, incredible costumes and scenery (some of them were recreated Leon Bakst's designs). But there were also a few moments that slighly spoiled the overall good impression. I just couldn't ignore numerous mistakes in the beautifully made playbill, the fact that there were no orchestra and that the curtain suddenly began to fall in the middle of the ballet. I also didn't quite understand why the dancers who played far not the roles of egyptian rulers wore the Pharaoh's headdress.
Впрочем, в общем и целом от представления остались положительные эмоции. Ах да, чуть не забыла - даже если вы не любите оперу и балет, сходить в Михайловский стоит хотя бы ради того, чтобы в антракте отведать нежнейшее клубничное парфе.
However, I have to say I really liked the performance. And one more thing - even if you don't like opera and ballet, you have to visit Mikhailovsky just for the sake of the terrific strawberry parfait they serve during the intermission.
However, I have to say I really liked the performance. And one more thing - even if you don't like opera and ballet, you have to visit Mikhailovsky just for the sake of the terrific strawberry parfait they serve during the intermission.
Photo: @apovoroznyuk (Instagram)
¡Hola, Antonio! Muchas gracias por los enlaces. ¡Voy a visitar tus blogs!
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