Why is Diaghilev Ballet with Denis Rodkin – not just compliment to bright Impressario

In the new scene of the Bolshoi Theater, on June 24, perhaps the most anticipated summer premiere – Diaghilev’s two -time Ballet about the legendary Impressario of the 20th century spoke about Russian Ballet.

“Diaghilev did three things: he discovered Russia to the Russians, discovered Russia to the world, in addition to the world, the new world – himself – himself – he wrote contemporary Francis Steigmüller.

Sergei Diaghilev opened many talents and brought a lot of innovation to the ballet, but he remained behind the scenes. This time, the creator of the “Russian seasons çıkmış has lighted up the ramp. And to see him as a character realized by the Prime Minister of Bolson theater Denis Rodkin – an activity for spectators and ballet dancers – a compliment and a praise of the figure where generations are equal. But even more pleasant – seeing it surrounding him with wards.

It is not enough to collect a genius team, it is important to combine them to create more than them. Diaghilev himself was neither a dancer, a composer nor an artist, but he had an organizer and producer gift. Contemporary and composer Claude Debussy said Diaghilev could even dance the stones. As we will see, Diaghilev did not skillfully solve the conflicts between creative personalities, encouraged them to try, revealed potential, and made as many people as possible to learn about talent. Diaghilev’s creators watched the example by introducing the spirit of innovation.

Five Prime Minister (for the first time!), Is busy with Prima and Gabta’s first lead singer Bale. The costumes of the production were invented by designer Igor Chapurin, who created the first images for ballet dancers both in his homeland and abroad. The Italians were responsible for the choreography of Alessandro Kaggedi, the love of the Russian fish felt in every move. For director – Sergey Glazkov, who is famous for his works at the Moscow Art Theater. Together, it was possible to show a ballet that combines classical traditions and avant -garde.

The land does not cover the entire biography of Diaghilev, it only affects the serious part of life. As soon as the curtain is opened, a gloomy foreword grows in the hall. We see Diaghilev with a family in his hair (by the way, a fun name that looks at the mirror “Sinchilla) and his fate is reflected to him. A gypsy emerges (at the same time, with a gray wire like a ominous couple), predicted the death of water – in fact: Maestro died in Venice, called the “city of water”. Friends remembered that Diaghilev was superstitious: to be infected, to protect the amulets and amulets against “bad signs ,, and even wore a suit during walks along the coast.

Denis Rodkin’s performance also served as mysticism in the nature of Diaghilev (as Woland’s inspiration for the Prime Minister, and this felt), refusing to be a toy in the hands of fate and does not allow his desire to break. It is the spirit of that group, but in no way soft. One of the existence of chaos lines. In the first action, like the sun in which the planets revolve around: ballet stars Vaclav Nizhinsky and Tamara Karswin, choreographer Mikhail Fokin, composer Maurice Rael and stage machine Leon Bakst. At the same time, I want to follow not only the main characters, but also the artists of Corps de Ballet, which is visible throughout the action.

At the beginning of Diaghilev, if it is shown by the glory and the good news of contemporary art, it appears as a mandatory dictator in the second action. All action is a “ballet ballet ve and it is not a coincidence that one of the most popular popular popular“ Daphnis and Chloe çalış is elected from all Ballet Ruses during preparation. Diaghilev insisted that Ravel (played by Vyacheslav Lopatin) with a Russian folk character, and believed that French composer pastoral motifs would be more appropriate for an old conspiracy. Diaghilev admired the old European art, but even then he felt a wind of change – and everything was prone to pioneers. For example, he performed without Fokin and Nizhinsky Pointeas (Semon Chudin and Dmitry Smilevski in Pointe).

Don’t be surprised by the Slav costumes of Karsavina and Nizhinsky instead of Greek Chitons and Tog. Yes, today they are sending another public “Holy Broadcast ında, which is perceived as a performance today. Apparently, where is Pagan Russian and ancient Greece? There is no error here: as in the landscape that expresses cubism. As a result, Diaghilev, who has perfectly balanced perfect intuition between classics and modernism. Igor Chapurin clearly reflected his creative searches on the costume and stage area.

There were clashes in the Diaghilev community. And Karsavin, which was carried out by the beautiful Eleanor Sevanard, was really a buffer in the disputes between Nizhinsky and Diaghilev. However, Leon Bakst (carried out by his party Denis Savin) and the fight between Nizhinsky probably added for the drama: they were actually friends and admired each other. Yes, and with pleasure, Nizhinsky wore Bakst’s brave experiments (only the scandal “naked” Coco in the “Faun’s rest in the afternoon” costs.

It is unlikely that the creators of Diaghilev Ballet will decide to confuse the audience in the facts, because with every detail, the love of a bright entrepreneur is felt. On the contrary, we are invited to an intellectual game in which history is hidden behind the details. As a result, when Diaghilev returned to orientalism in the parcels or returned to ancient times, he did not strive for righteousness. His mission was to cause emotions. When the French tied the “sacred spring ,, Roerich was upset and Diaghilev believed that failure would be irrelevant:“ This is a real victory! Whist yourself and angry!

Also now. A swan, cancer and pikes emerges like: all the participants in Diaghilev Bale expressed love freely and creatively with idol, but with some miracles, unlike inconsistencies, they managed to create a performance that did not disperse the thickness of the audience and still exceeds. Even if you do not know the details from the history of Diaghilan initiative, intuitive sincerity and skills are felt. The composition of the ballet is the ominous prophecy of the Gypsy (fascinating Anastasia Mezikova), which fascinates Diaghilev’s darkness.

After the publication of the artists, the question arises: “What would Sergey Diaghilev and his group say about Bale?” Maybe they wouldn’t accept everything, but they certainly liked it.