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Self-knowledge – Festival – Japanese autumn, the lady of the camellias


Japanese ballet with the Russian soloists. “the lady of the camellias”

New national Theatre Tokyo, which has existed since 1997, as an 11-year-old child, with joy and enthusiasm of a pioneer in developing professional classical ballet scene. At the theatre there is a ballet school, so that the release process of young specialists already put on stream. Recognized choreographer Asami Maki made a serious step and created for theatre two-act ballet “the lady of the camellias” based on the novel by A. Dumas, who is a young ballet of Tokyo and brought to the Russian capital as part of the festival ’s Japanese autumn”. Two of the three spectale as guest stars were made by the prima ballerina of the Bolshoi theatre Svetlana Zakharova (inspiration Asami Maki on the creation of the ballet), and who recently left the theatre Denis Matvienko.

Classical ballet in Japan originated in 1912 – introduced by Italian Giacomo ROS, and then is inspired to come on tour Anna Pavlova, he to this day is beloved and untouchable Japanese dream. The Russian classical school since Pavlova also remains for them an idol: the Japanese never cease to send their children to the Moscow Academy of choreography, write teachers from Russia, and also to arrange rich divertissements with the participation of the best Russian dancers. Winning several international competitions artists from Japan were able to show up on our stage. Example – one of the leading soloists of the Bolshoi ’ s Japanese Morihiro Iwata.

With regard to the identity of Japanese ballet, here the situation is difficult. As in the conservative monarchical state, synchronize effects in classical dance has long been steadily divided between his most nearest heirs – Europe and Russia. If we talk about the East, here the final form of any art, and dance in particular, gives a kind of national culture, which in the rising sun country have risen their own choreographers and dance schools. But classic does not have to endure such hard impacts, it needs eternal strict school, which through the centuries helps her again, and clothed in precious tutu, to be the symbol of beauty and nobility.

“the lady of the camellias” on the Moscow stage – this, according to the Asami Maki, the desire to show something that has made Japanese classical dance. In his ballet to the music of Berlioz choreographer like he was afraid word, though the gesture mentioned that the ballet is not in the European part of the continent. Which is ironic, aramiska «Marguerite Gautier” in our “contemporary”, in contrast, presents a real geisha. But to talk about any identity of Maki performance is generally very difficult. The libretto, completely copied from La Traviata, individual scenes and costumes, very reminiscent of “Marguerite and Armand” Frederick Ashton, although in a more vulgar incarnation, choreography by taberski seasoned in bad manner of Soviet ballet, primitive drawings of the corps de ballet, set design in the style of Diaghilev’s seasons, and the entire show, as the selection is sewn from the most banal ballet clichés, will not be saved even by a great Russian dancers.

However, Arman – Matvienko, also partly tucked under the Nureyev image, the only one in the play has managed to reach the hearts of the audience with her direct way of touching. Choreographic decision of the party Svetlana Zakharova (Margarita) – dancer became the inspirer of the whole ballet for Asami Maki – it has no borrowings, but comparisons with the fatal Margot Fonteyn or crystal beautiful Lucia Sakkarai will be not in favor of prima Big (not to mention the film stars Greta Garbo and Isabelle Huppert!). As always, impeccable in technique, Zakharova creates only a superficial way secular coquette, vaguely reminiscent of the dear lady with the camellias, which could be awarded only favorites. It’s light, elegant, but somehow pupillary right to manage their own emotions, her constant tubercular twitching deliberately, and gestures, choreographed, somehow unnaturally straight – whether it be the Cams during the wrath of the heroine or calling the hand position in the spirit “well, save me, finally!”.

The performance of Japanese companies, diligently honed and with good training, obviously, there were a few awkward excitement of young artists. Deprived of choreography and the count performed by the handsome American Robert Tewsley from NYCB, and about the twists and turns of the plot associated with his father Armand in the colorful performance of Gennady Ilyin, with the difficulty of expression in dance in General you can guess, if not to read the libretto. Role ilina comes down to striking dramatic poses, reminiscent of the phenomenon of the Herald of rock a true story of Marguerite Gautier, the Lady of the camellias.

Placed not on the expressive work of Berlioz ballet “the lady of the Camellias” Asami Maki does not have sounded too convincing on the new stage of the Bolshoi, leaving jubilant in the auditorium only loyal fans of the beautiful lines of Svetlana Zakharova and charm Denis Matvienko.