Choreographic memorialGala - a concert &quo t; Memories of Bezhara “ announced by the furniture centre “ the Grandee “ as creative evening of a world star of Vladimir Malakhov and the prime minister of the Bolshoi theatre Dmitry Gudanova, has passed without participation of the last. And it was not the unique lack gala, TATYANA - KUZNETSOVA believes.
Benefitsiant Gudanov has affected the patient though still the day before quite safely danced on a scene Big. But on the other hand, how he in general could honour memory of Morisa Bezhara if has no official right to dance its ballets? Usual repertoire of soloist GABTa and features of its execution are known too well that it was possible to complain about absence of the Moscow prime minister. Have However, replaced mister Gudanova absolutely with not status persons dancing numbers, to dead Bezharu not having any relation. And it has lowered a lath of a concert below tolerant norm.
Soloists of the Petersburg Mihajlovsky theatre of Anastas Lomachenkova and Anton Ploom - strong hard workers of enough prosaic shape - it is fair, without having filled up anything essential, have fulfilled two classical pases - de - de. In genre “ a cavalry Halt “ they looked more or less pertinently, in the Classical pas - de - de on music of Obera - so as if the door-keeper and the cook represent the secular owners, having borrowed from wardrobe their toilets covered with jewelry. Soloists of the Bolshoi theatre Nina Kaptsova and Andrey Merkurev have quiveringly danced an adagio from “ the Golden Age “ Yury Grigorovich. This choreography alternating pioneer embraces of heroes with acrobatic supports - revolutions of the partner through a partner back, looked so toporno and is archaic, as if ballet master Bezhar was not born yet. However, public of Theatre of light opera has met Grigorovich`s ballet more warmly bezharovskogo - probably because at the domestic classic the ballerina carry over a head on outstretched arms, almost as in figure skating, and in a choreography of the Frenchman anything record-breaking - sports is not present.
Ballet “ Serait - ce la mort? “ (“ whether Death it? “) Moris Bezhar has put on Riharda Strauss`s music almost forty years ago and still during lifetime has presented to Vladimir Malakhov. In this half-hour composition, one of most it is exemplary - klassichnyh in creativity of the choreographer - the reformer, the hero remembers three main women of the life, each of which in the endings of three adagios is substituted by the fourth, the most mysterious and attractive - Death. Mister Malakhov - a world star, and still the quartermaster of the State opera of Berlin. He dances “ Serait - ce la mort? “ dignified and tragical detachment - as if has already passed for a life side. In its such context nedokruchennye pirouettes lose any value: they are simply dissolved in improbable beauty of lines 41 - the summer dancer, in plastic perfection of its flexible body, in the smallest gestures of expressive hands. Four ballerinas of the Berlin troupe assist the head too sensitively - without drawing attention to and without trying to allocate characters individual traits. From it ballet loses many semantic nuances: the difference between duets - between youthful worship the woman, serenity of the divided feeling and last love passion disappears. And the death performed by on - materinski gentle Beatrice Knop is deprived the invincible attractiveness, which Bezhar put in this party, forcing the fine vampire to move apart impudently feet in a twine before concluding the hero in last embrace.
actually, after shown in the first branch “ Serait - ce la mort? “ it was possible to leave with gala “ Memories of Bezhara “ - both the theme, and art value of evening have been settled. But mister Malakhov has rescued a concert: in the ending it together with the Berlin tonic Polinoj Semionovoj has presented public of an adagio from balanchinskogo ballet “ Brilliants “. And though it too at all did not concern Morisa Bezhara, quality of a choreography and on - tsarski has partly reconciled its magnificent execution with the shabby ordinary of the second branch. And on the other hand, has puzzled with a question: what is occurs to Russian actors in the West, what their compatriots who have remained in the homeland look near to them so provintsialno?