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In this issue | Short summary
  3 [138] May-June 2006 

Shortsummary 
This issue opens with a pictorial covering the Mariinsky Sixth In-ternational Ballet Festival. One of the first articles in the issue is a short narrative by the Magazines Editor-in-Chief Valeria Uralskaya, dedicated to the 25th anniversary of the periodical. The Ballet Magazine has taken its deserved place on shelves of libraries and archives side by side with books on choreography and ballet theater. One might assuredly say that during the years of its existence the Magazine has painted a picture of the life of the art of choreography in this country. Credit for that must un-doubtedly be given to the editorial board The subeditors have always seen to it that the writers views be never expressed in a harsh way insulting for those whom they are written about. We are convinced that it is always possible to find such a method of intercommunication in which professional analysis is based on mutual respect, which is actually the very thing that defines the character of professional contacts in the sphere of arts.
We claim to love the art form we minister to and the people who dedicate their lives to dance dancers, choreographers, composers, art-ists Alongside with everybody else we sympathize with their ups and downs, rises and inevitable falls in their careers For a quarter of a century the editorial board has aspired to chronicle, as attentively as possible, their life and works and thus to contribute to the history of Russian choreography. 
Yet another article concerning the anniversary of the Magazine is dedicated to a detailed analysis of subject matters and columns of the 1981-1982 issues.
CoppeliaAustria, the homeland of the great composer Wolfgang Amadeus Mozart, is celebrating the 150th anniversary of its famous fellow-countryman on a large scale. All the theaters, concert halls, and museums dedicate all their new programs to this special occasion. 
The Staatsopera of Vienna is no exception. Its upper stage hosted the premiere of Mozarts opera for children Bastien and Bastienne, in which the famous ballerina Simone Nuojat made her first appearance as staging choreographer.
There was yet another premiere at the State Opera. Diula Harangozo staged Coppelia in the original choreography of the early 19th century.
Both these performances are discussed by Igor Pravdin in the WORLD OF BALLET column. 

The next article in the column is Swan Lake in the Eye of the Chinese. It deals with a curious and unusual rendering of the legendary ballet Swan Lakeshown in Moscow by a troupe of acrobat dancers from Shanghai.
Victor Ignatov keeps on presenting the publication cycle dedicated to the 75th anniversary of British Royal Ballet and to the premieres that were presented for the jubilee. Thanks to the broad variety of the Royal Ballets repertoire the troupe has an opportunity to convincingly demon-strate their excellence and high culture of dance. 

The BALLET THEME column presents todays ballet of Byelorus-sia from a standpoint of a choreographer and dance instructor. Talking to Lyudmila Zueva are Valentine Elisariev, art director of the Grand Valentine ElisarievTheater of the Republic of Byelorus, and Aleksandr Koliadenko, art director of the Byelorussian Choreography College. Their conversation touched upon many relevant subjects; they talked about their repertoire (there are 25 titles in their playbill), about their performing tours, about the new productions that appeared in their playbill in 2005 (these were Bayadere and A Love Under the Elm Trees). They also reflected upon the changes that have come about within the field of arts after the disintegration of the Soviet Union, and about the situation the troupe has found itself in be-cause of the Theater buildings reconstruction. 
The readers will read about the Theaters principal performers and, of course, about the relations between the Theater and the School, whose alumni are engaged in the productions of the troupes repertoire. It would be interesting to learn about the contacts of the Byelorussian School with the Lyon Dance Academy, and with choreographers from Paris and dance instructors from Poland. There are also productions specifically oriented to certain alumnis talents, such as the recent one-act rendering of Don Quixote especially staged for Ivan Vasiliev, who became a winner at the Moscow Competition of Ballet Artists. 

The NEW BALLET column opens with Galina Inozemtsevas article The Golden Age After a Twenty-Year Break, in which the writer reflects upon the hard fate of the ballet scores by Dmitry Shostakovich. The Golden Age (1930), just as The Screwbolt (1931) and The Luminous Brook (1935) were all composed by the young musician under 30, who, just like his contemporaries, was full of desire to seek the new, to try, to dare The writer recalls the Yuri Grigorovichs staging, which ap-peared at the Bolshoy Theater half a century since the music was com-posed, and also reviews the premiere of The Golden Age on Bolshoy Theaters New Stage. 
The Theaters playbill has been enriched and now boasts all three ballets to the music of the great composer. As far as the form is concerned, the production turned out rather chamber in character. In the new Golden Age Grigorovich develops the palette of the characters psychological conditions in more detail than before, considering all the multiple meanings of their nuances and hues. The ballet has acquired a new, lively, flush, and, most importantly, contemporary ring.

Arkadi Sokolov-Kaminsky presents The Undine, a ballet produc-tion staged at the Mariinsky Theater by French choreographer Pierre Laquott. As compared with the austere contemporary productions, The Undine attracts one with the variety of its scenic colors, the kaleidoscope of its flashy costumes, theatrical effects, crowded processions that is to say, with all the signs of a grand spectacle. 

The choreographer had to overcome many thigs, including laxity of the script and lengthiness of the colorless music by Puni. Laquott boldly cut short the bulging original. The production takes us back to the past and yet, in my judgment, it turned out an experimental one. It is yet an-other weighty, professional argument in the ongoing controversy about reviving the classics.

Natalia Sheremetievskaya shares her impressions of the new concert program of the Beriozka Ensemble, which includes two premiere com-positions: Dedicated to the Defenders of Fatherland and The Four Sea-sons. The dancing traceries of the Beriozka always charm one and com-pel to keep ones eyes glued on them, trying to miss no detail of the fa-mous chorovod (round dance) which was created by the Ensembles founder, Nadezhda Nadezhdina, and which invariably serves as an open-ing number of its every concert. The Ensemble has long become a symbol of beauty of the Russian woman For almost three decades Mira Koltsova has been preserving Ensembles performing culture. Not only does she uphold the traditions initiated by the Ensembles great founder but also further develops them, which we had an opportunity to witness once again at the recent concert at the Chaikovsky Hall.
A review by Alexander Maskov titled A Youth and Death deals with the ballet Love and Death premiered at the Azerbaijan Opera and Bal-let Theater in Baku. The troupe recently showed it in Moscow as a final performance of The Year of Azerbaijan in Russia. The plot is based on an 11th century epos depicting the peoples fight against foreign invaders. Famous singer and composer Polad Biul-Biul Ogly composed the music and choreographer Vakil Usmanov did the staging. Classical lexicon, dynamics of folk dance, aggressively creeping movements of the invad-ers, even a belly dance performed by four palace hetaeras such is the palette of the dancing colors in the new ballet.

The BALLET TIME column includes articles dedicated to note-worthy artists, teachers, and productions. Ilse Liepa, a frequent guest of the Ballet Magazine, remembers her mentor Natalia Zolotova, a brilliant teacher and incredibly artistic person who brought up many talented bal-let personalities. Having graduated from the Leningrad Choreography School, she performed principal parts in ballet productions of Yerevan, Minsk and Gorky (Nizhny Novgorod) theaters, and since the late 60s had taught at the Moscow Choreography School. Its only a few of us, says Ilse Liepa, who will be endowed with a presence on stage of the Bolshoy and receive reverence, flowers and standing ovations. It turns out that in this respect you can only hope that the Lord send you this amazing gift an instructor who will become your teacher, mentor, friend. Natalia Viktorovna, a bearer of the best traditions of the Russian ballet school, has become such a person for me It was not just the profession that she taught us. Now I come to appreciate how valuable is the fact that she was interested in all circumstances of our lives outside the ballet classes. It was important for her to know what we love, what we are interested in Natalia Victorovna diligently tried to influence the formation of our char-acters, which is so necessary in ballet. She taught as what Chekhov, through the character of Nina Zarechnaya, called an ability to endure. She managed to bring forth ease, beauty of movement, and individuality of performance in our dance. 

Julia Strizgekurova presents material dedicated to Mikhail Markovoch Gabovich, a brilliant dancer and performer of major parts, both lyri-cal and romantic. His dialogue with Galina Ulanova in Romeo and Juliet and The Fountain of Bakhchisarai remains a beautiful legend in the memory of generations. Mikhail Gabovich had been with the Bolshoy for almost 30 years from 1924 to 1952. He was a universally gifted person a talented instructor; a critic and theorist with profound insight of thea-ter, whose ideas are still relevant; a brilliant spokesman able to convince the audiences. His art and his very person are firmly imprinted in the his-tory of ballet, and it is hard to underestimate their significance. The remi-niscences by his colleagues and pupils (icluding Galina Ulanova and Igor Moiseev, Asaf Messerer and Olga Lepeshinskaya, Yuri Grigorovich and Vladimir Vasiliev) will help those who read them to imagine what Mikhail Markovoch Gabovich was like. Maris Liepa wrote about him, Ga-bovich was an amazingly gifted spirit. Nature has bountifully bestowed on him many talents. Mikhail Markovoch knew how to use such gifts, how to perfect them and to be, not only a real professional in all the fields of his interest, but, as it were, a number one. Let me try to enumerate his professions. Quite a few for one person: an actor, an educator, a drama-tist, a theater critic. I dont know if there is such a profession, but I would call him a philosopher of the art of ballet.

Bronislava Nizhinskayas Ryzhik Turns 100 is a sketch by Larisa Abyzeva dealing with Oleg Stalinsky, winner of the honorary title of Dis-tinguished Artist of Ukraine, principal dancer of the Ivan Franco Opera and Ballet Theater of Lvov. 
For decades, he had performed principal parts in both classical and contemporary ballets. He made his first steps toward the profession at a studio in Kiev, where he made friends with Serge Lifar. Soon after the 1917 Revolution, Bronislava Nizhinskaya found herself in Kiev. She opened there a studio which Oleg, whom she dubbed Ryzhik (red-haired one), frequented.  The sketch in question relates of the artists life his work in Kiev, Sverdlovsk, Tbilisi, Odessa, and Minsk; his war-time per-formances where he danced alongside Galina Ulanova; his renewal of The Corsair at the Kirov Ballet of Leningrad; about a hundred parts he performed in the productions of the Lvov Theater which became his home

A Kings Order is a ballet fallen into oblivion. You will remember that Marius Petipa staged about 50 original ballets. Many of them are well studied, but some are considered by researchers to have fallen into the category of forgotten ballets. One of these is the 1886 production of A Kings Order to the music of Albert Vizentini. It is a typical ballet of the late 19th century, which has no place for the fantasies of romantic ballet. All its characters are real people. The research article presented in this is-sue by A. Grutsynova, who has gathered many exciting facts, will un-doubtedly expand our knowledge of Petipas creative work and, in par-ticular, of one of his not exactly famous productions. 

The BALLET LIBRARY column presents two sets of material. The first one introduces new publications of the Ast-Press Kniga publishing house and is presented by Yekaterina Belova, ballet publications editor. The second one is by Larisa Abyzova, head of the publishing de-partment of the A. Ya. Vaganova Russian Ballet Academy. She pre-sents publications of mainly educational character. 
 
 

 


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