Ballet reflection

Current and future stars (from left to right):
Olga Malinovskaya, Ekaterina Krysanova, Natalya Osipova, Polina Semionova, Ekaterina Shipulina, Maria Kochetkova, Anastasia Stashkevich
Happy number. The Bolshoi Theater will host the world premiere of the concert project “Reflection”. Seven graduates of the Moscow ballet school will appear in the productions of modern foreign choreographers “Reflection” was invented by Sergey Danilyan, who was accepted in a large derivative of his production career in Bolshoi. Danilyan is an American ballet entrepreneur. The first of his high -profile projects was the Divine Prize (La Divina). In 1995, the College of American ballet critics awarded her young Mariinsky, Diana Vishneva, in 1996-her colleague Ulyana Lopatkina. Then the Prime Minister of the American Ballet Theatre Vladimir Malakhov was chosen (began 20 years ago at the Classical Ballet Theater Kasatkina and Vasilyva). That the then leader of ABT (now the art director of the ballet troupe of the German opera in Berlin), who was at the peak of the form, earned all possible awards, no one doubted. But still, a clearly female name of the prize was embarrassed by the people, and this story ended. However, it ended not so much in linguistic as for “political” reasons: Danilyan came up with that the condition of receiving the prize should be the laureate's consent to perform in one of the performances of the Bolshoi Theater in Moscow. (Which, of course, brought some money.) Big, then led by Vladimir Vasiliev, always jealous of the aliens. It is unknown if it would be so angry of the big art, if there were Germans or French among the laureates (according to the rules - it could have been), but fifty American critics chose those who were chosen, and thereby wounded Vasiliev in the very heart. Because the “divine” were successful in the States, and the tour of the great then failed. In general, the project disappeared.

Polina Semionova

Danilyan’s star dances and further about Russia did not forget: here he studied in GITIS, began his business (old -timers remember the small office in the actor’s house on Arbat) and from here left in the early nineties; But, besides sentiments, obviously, could not and did not want to lose such a source of art and financial resources. The next loud project appeared almost ten years later and was called "Kings of the Dance." Imt is not very ballet (the king is usually not dance in the ballet), but spectacular. And then the general principle of the Danilyan entreprise affected: it is not focused on experts and advanced lovers, but on the widest audience. That is, experts also enjoy (since products are usually high -quality), but they do not make the cash desk.

In a series of concerts that drove in the USA and Russia, Danilyan gathered superstars: the Bolshoi Theater was represented by Nikolai Tsiscaridze, the royal British ballet - Johan Kobborg, the American Ballet Theater - Ethan Stepel and Angel Korean. The program was distinguished from the usual star “Chesa”: not a set of stunt variations from classic ballets, but specially set and learned numbers and one -act ballets. The next project is “Beauty in the Movement”, created for Diana Vishneva, and even offered three brand new ballets set for the Mariinsky Prima (“Moon Pierrot” by Alexei Ratmansky, “out of love for a woman” of Moznes Pendleton and “Turns of Love” by Dwight Rodin), and was acquired into the property of Mariino.

Great seven

Now the time is coming. “Reflections” represent graduates of the Moscow school. It doesn’t matter what her name is-Mahu, what is her all ballet (Moscow Academic Choreographic School), or MGI (Moscow State Academy of Choreography), as it was renamed in 1995, is just a Moscow school. The one that always competes with St. Petersburg and a year after year wins the competitions for the production of dancers, but also steadily loses to the release of ballerinas. “Reflections” should be presented precisely by the girls who studied in Moscow, to show how they become stars. At the same time, the “level of participation” in this project is lower than in the “kings” - everyone had superstars there, most of the participants in “Reflections” still have ahead of the career staircase. Probably, the entrepreneur is going to further advance his wards, and with those who are not quite promoted, to work, obviously, easier than with the stars who independently determine their lives. The collection for a concert project is carefully collected - not one of the artists is like another.

It is hard to imagine that all these girls studied at the same school. The acute-angled, graphic, as if created for urban ballets Ekaterina Krysanova (release 2003); Neat Anastasia Stashkevich (2003), a doll ballerina from the fireplace shelf, century XIX, the dream of Marius Petipa; Small Natalya Osipova, who puts so much temperament in any lyrics that the lyrics are cracking, like Chinese porcelain in the hands of a stoker, and crumbles into dust (2004). Complete the four, working in Bolshoi, Ekaterina Shipulin (1998) is a mystery girl: her career dancer of a reasonable and virtuoso went straight to the peaks, when suddenly two or three seasons ago she stalled, cast a turn, and Shipulin began to disappear with the posters. “Reflection” for her is an important chance, more important, maybe than for all others.

Three more girls who studied there, on the Frunze embankment, chose a career abroad and did not lose. Vallyzhnaya-cautious Polina Semionova (release 2002) became an exemplary “Russian ballerina in Germany”, Berlin considers her the best swan in his entire rather big history. Maria Kochetkova (2002) rules in San Francisco and it is his “Russianness” who is experiencing quite nervously and then “shows these Americans” how to dance the classics, then he is desperately experimenting with new works. The youngest of the artists, Olga Malinovskaya (2007) - while the mystery: immediately after the release she left for Tallinn and no longer appeared on our open spaces.

They stir together one-act ballets: firstly, Remansos Nevo Duato (Spanish Star choreographer, who last year with consent to the post of chief choreographer of the St. Petersburg Mikhailovsky Theater, now remoded for our artists the ballet first set in the ABT, named after one of the poems by Garcia Lorca), and secondly, Cinque (“Five”) the owner of the Italian’s own little troupe Mauro Bigonzetti, who is increasingly calling to work in the theaters large and prestigious (this will be a world premiere). And also each will receive a separate, specifically set number for her (among choreographers - stars: the Englishman Wayne McGregor, who turns artists on the stage into a ball of iron wire; inhabiting his ballet in the Moscow Music Theater “Hiring to Single”, the Finash Azur Barton, whose work is closer Dance than to the ballet - they sing and talk in them).

Having danced all this, the seven former Moscow schoolgirls will try to prove that the formula “in St. Petersburg girls, in Moscow boys” went into the ballet past.