| Leonid Massine's ballets will be shown at the Bolshoi Theater In a week there will be a premiere at the Bolshoi Theater: for the first time in Russia, three ballets by Leonid Massine will appear. One of the best choreographers of the Diaghilev enterprise, who became famous in 1917 for his ballet “Parade” together with Pablo Picasso, and in the 1930s-1950s was one of the most repertoire choreographers in Europe, Massine is still almost unknown in Russia. (If, of course, we are talking about the general public, and not about connoisseurs of balletomanes.) Now the Bolshoi Theater has decided to correct this strange situation and has included in its repertoire three one-act ballets by Massine - “The Tricorne” to the music of Manuel de Falla, “Omens” to the music of Tchaikovsky and "Parisian Fun" to the music of Offenbach. Made in different years and in different styles, they should show Moscow audiences their compatriot (Massine was the only Muscovite among Diaghilev’s choreographers) as a composer of dances with a strong ethnic overtones (“Cocked Hat”), choreographer, symphonist (“Omens”) and comedian (“Parisian Fun”) ).
The son of choreographer Lorca Massine, artistic director of the Bolshoi Ballet Alexei Ratmansky and designer Igor Chapurin took up the task of talking about the premiere at the presentation (which differs from the press conference in that fragments of finished works are shown on stage).
Ratmansky said the three ballets were chosen from Massine's large legacy because of their representativeness. In general, the idea to stage Massine’s works arose because he is one of the most repertoire choreographers of the twentieth century. It is equally important that Massine continued the traditions of Russian classical ballet. (“Ballet consists of classical dance, folk dance and pantomime,” said Ratmansky. “These directions were developed by Leonide Massine.”)
Lorca Massine, who rehearsed his father's ballets at the Bolshoi Theater, was born and has lived abroad all his life. In the 1960s, when he was a child, his father once brought him to Moscow (the elder Myasin had the idea of sending his son to study at MAKhU, but it was not possible for Soviet-bureaucratic reasons). He did not talk at length about the ballets, referring those interested to historical works, and caused excitement in the hall with his Moscow impressions. (“Everyone has become very well-mannered. No one swears in the streets, no one shouts.”) Apparently, he felt that the dance should speak for itself. And indeed, Fandango of the Miller and the Miller's Lady (Ruslan Skvortsov and Anna Antropova) spoke about “The Tricorne Hat,” composed in 1919 during Massine’s trip to Spain and merging flamenco and classics to an extent that no one had ever done before in ballet. with slowly unfolding hands, clicking heels and slightly exaggerated majesty. (However, the weighty word “said” and the curtain according to Picasso’s sketch - although the presentation took place on an empty stage, the theater could not boast of such a curtain.) The gentle and the strangely trusting duet of Passion and Hero (Svetlana Lunkina and Alexander Volchkov). However, here the artist again spoke out, this time a completely modern one - Igor Chapurin, who designed this ballet, formulated his principle of work: “I tried not to damage or interfere.” It is rare that a world-famous designer will be as modest. And finally, the fussy bouncing Peruvian (Denis Medvedev) and the waltzing duet of the Glove Saleswoman and the Baron (Marianna Ryzhkina and Rinat Arifullin) spoke about the comic “Parisian fun”.
In parting, the theater's press secretary Katerina Novikova thanked Vneshtorgbank, which supports many of the theater's projects, and invited her to the performance - the last ballet premiere on the main stage of the Bolshoi, which is closed on July 1 for renovations. Anna GORDEEVA |
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