Ballet has gone on a bottomafter escort PQ17
On Friday, in day 60 - letija the beginnings “ Murmansk escorts “ on a scene of Aleksandrinsky theatre of Petersburg there has passed the world premiere of the Canadian ballet “ Escort PQ17 “. Played “ the Congress - an orchestra “ the chorus of Small opera theatre of a name Musorgsky (St.-Petersburg) acted. Music was written by Christopher Baterfild (Christopher Butterfield), choreographer Bill Koulman (Bill Coleman).
the Theme, as well as in the known book of Pikulja, - tragical destiny of allied escort PQ17: from 34 ships only 11 have reached in 1942 the Soviet coast. On one of the escort ships Joseph Koulman (Joseph Coleman) - the father of the choreographer who was present on the prime minister served. In a hall was many veterans, seamen, foreigners. Before ballet all rose for three-second minute of silence.
mister Koulman - younger named the composition “ physical theatre “. On a scene the orchestra, at the left behind an orchestra - chorus, on the right - any destroyed tatlinskaja a tower, called to symbolise ship fragments settled down. That is the scaffold inclined towards a hall in some square metres, and from it boards have up directed. The most part “ ballet “ it was developed on it pjatachke. The first minutes twenty (performance lasts about an hour) ballet was not and at all. Only music: the citations which have been picked at random from platitudes of the last century. At first musicians simulated whistle and a roar of shells, then something has gone abstruse - a minimum of changes on a time unit. At last, to pleasure of the perplexed old men, all it was replaced by a dance music 1930 - h. Like “ on a bench where you sit, there are no empty seats “. kontrapunkt has not kept itself waiting long.
on a wooden scaffold there were three seamen in prorezinennyh raincoats. One old (Koulman), two young. What three in the limited space can do? To simulate easy skirmishes in the spirit of opera mimansa, to fall, rise, peer into darkness of a hall and to rotate imagined handles. Whence - that of an orchestra on a scene the Siren has crept out. The siren dragged away rybachka more youngly in a thick of orchestral players, that colourfully perished on a proscenium again to reach the same saving scaffold. Sometimes thus the hall blinded a projector beam. But then the chaos was replaced by pathos chords and has flowed in an old Soviet song: “... The Russian hero and the British hero “. It became clear that it is necessary to clap, and as it is possible more loudly that the choreographer has understood: even the nightmare endured by spectators will not force them to forget about a feat of sailors and officers of escort PQ17.
EKATERINA - ARKADEVA, St.-Petersburg