Everyone is dancing

The Dance Open festival will open next week in St. Petersburg for the eighteenth time. The best Russian ballet festival today has collected a thorough program-having responded a variety of tastes and completing several tasks: the tour of large European troupes, the Russian novelty, the obligatory final gala concert with the participation of stars, the neoclassical, pseudo-classical ballet, and not at all classical. The main program traditionally attached a solid educational cycle and ballet workshop for children. Colta.ru compiled a detailed guide to the festival, all the performances of which will be shown on the historical stage of the Alexandrinsky Theater.

“Winter Way” - of course, the vocal cycle of Schubert, a masterpiece of deceptive simplicity, which is difficult to write about without falling into banality and vulgarity: there are covers of numerous CDs with the record of the cycle, where simple -minded designers honestly place her Christmas trees and extracts in the forest. More precisely, in the performance of the Zurich ballet, the famous transcription of the German composer Hans Center “The Winter Way of Schubert” sounds, and it is all the more difficult to say that Tsenter insisted his transcription on the bitter experience of post -Subertovsky German music - from Mahler to Zimmerman. This, in general, is not an orchestral arrangement of a chamber masterpiece, but a detailed commentary on him, although all the melodies of Schubert and the lines of the poet Müller are preserved. In every next minute, the shaking soil is ready to get out of the feet: the listener, lulling out with rustling percussion or guitar bust, risks being beaten copper and crushed militarized march, and the soloist, grabbing the megaphone, goes from singing to aggressive recitation in the spirit of Schienberg, who survived from Warsaw.

How to approach such music in the ballet is strongly incomprehensible. Camicadze is capable of this or a very naive director. Christian Shpuk is not the same; It is generally difficult to say something definite about him-in Russia he was known for a long time according to the only comic pas de de de, and three years ago Mamt put him “Anna Karenina”, a tightly made performance with direct morality and without the second bottom. In the one and a half hour “Winter Way” to build a large form there is not even a literary and everyday support-but not to rely seriously on the texts of Müller. In addition, the most intriguing plot of the modern ballet theater will unfold in the Winter Way: is it possible today to seriously tell plastic products about global and existential, without having lost self -preserving irony and without falling into edification ? And how can it be with the Central Legs of the Zealous-Ironical injections to a powerless scream-how to comment on a comment?