Translated material
Provincial dances
Provincial dances. Perm once from the reputation of the cultural capital of the Urals. The opening of the new season was the evening of one-act ballets at the Opera Theater, once glorious by its ballet troupe and its soloists 
For a year and a half, the Perm Theater has been headed by conductor Theodore Krentzis. When he only signed the contract, a sad sigh rang out in the ballet: it is known that significant conductors of dancing people do not complain. But Krentzis did not come as a tyrant-reader, but by the author of curious projects. This season, the first of them was the evening of one -act ballets, which joined the “wedding” of Igor Stravinsky in the choreography of Irji Kilian and “Hervengen” by Baletmeister Radlitaru to the music of Vladimir Nikolaev.
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“Hervens” - a word invented by the composer; He is heard in it “village”, and “rhubarb”, and “crest”. In music - an appeal to the heritage of Stravinsky: the same swaying horror of Pramir, the prayzyk. The energy of primitive humanity that has not yet aromed: do not stand on the road, demolish and will not notice. Yes, unlike Stravinsky, Nikolaev poured a certain share of irony into the score, but only some; As a person of our time, he knows that the ancient instincts of the crowd should not be taken seriously.
The creator and art of Kyiv Modern-Ballet Theater Radu Pokltar, who fell into the hands of this score (“Hervens”-joint products of Permyakov and Kiev: the artists of the Ukrainian troupe were dancing at the premiere, then the text will find a local ballet), is known that the pathos does not like. But he decided to believe the author and talk about the fate of mankind. The emerging humanity, sorting out with exaggerated heavy paws, went in a circle, broke into two flocks and gave birth to children (an excellent scene when the heads of men squeezed under a free elbow as if holding babies of women - in the spirit of “I am also your baby”). He also learned to kill: a man, finding his former partner in a duet with another woman, hits her stomach to death. And also react to murder: a small crowd does not take up arms against the criminal, but leaves him alone. The expressive plastic characteristic of Plitar is the best suited to this music - and the audience appreciated this, applauding the artists in the finale.
But after the brand new ballet was the “wedding” of Kilian, composed 30 years ago for the Dutch dance theater and transferred to Perm in June. And of course, the impression of her was overlapped by Gervengen. When the Czech genius, who lived in the Hague, put Stravinsky, he had a subtitle in his score - “a little crazy wedding”, and Kilian managed, as always, to combine an almost buffonon eccentric and a strange, slightly dreary lyrics. 1968, when he left Prague, was already far away, but something still responded to his heart. The Permians reproduced a difficult text before the unfamiliar author as if he had a native to them. And here there were not just applause - there was a long ovation.