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"Sleeping Beauty". ABT. 01.03.2015. Ratmansky reconstruction.

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Размещаю впечатления участницы нашего форума JB, побывавшей на премьере "Спящей красавицы" Ратманского.

Thoughts on the World Premier of ABT Sleeping Beauty by Alexi Ratmansky

On Tuesday March 3 I went to the Segerstrom Center at the Orange County Performing Arts Center. The performance by American Ballet Theater was the Sleeping Beauty choreographed by world renowned choreographer Alexi Ratmansky. On Tuesday I saw Diana Vishneva as Aurora, Marcelo Gomes as Prince Desir, Verionica Part as the Lilac Fairy, Daniil Simkin as the Bluebird.

I had grave doubts before going to this performance. Alexi Ratmansky recreated this Sleeping Beauty from original but, according to Ratmansky, unexplored notation by Vladimir Stepanov from the original choreography by Marius Petipa, costumes after Leon Bakst by way of Richard Hudson.

This was the cause of some questioning on my part: Dancers are taller, leaner, more muscular. Costumes are stripped down to allow a clear view of the dancers body and thus the technique. Shoes are drastically changed and allow greater flexibility of the foot, and feet are stronger and more gracile. Floors and lighting have improved. In short, things have changed. It is unclear to me whether Marius Petipa would have created the same ballet on present day dancers with all these changes as he did with the cutting edge technology of the late 1800's. This, I believe, was the cause of my confusion with the choreography. I was not sure while watching whether I was watching poor dancing or outmoded choreography poorly constructed using or rather abusing the technology of the 20th Century.

The costumes, also, were hugely problematical. Large, gaudy, overly ornamented they glittered, glistened and sparkled. The men wore layers of fabric in pink pantaloons, dresses covering pseudo Russian uniforms, and character shoes throughout. The Lilac Fairy danced her variation in Act 1 in a long tutu and toe shoes, by the 3rd Act she was in a purple slit to the waist burlesque costume complete with a long show girl type feather head dress. Not only were the costumes suitable for a 30's style burlesque show, the dancers swaned around like silent movie stars.
Which brings us to the mime which was predominant while actual dance was minimal. When the Prince and Aurora appeared in high heeled character shoes in Act 3 I knew that the only chance for the accomplished Marcelo Gomes to dance would be diminished. In point of fact this may have been the highlight of the evening. While no soaring leaps were present, his intricate batterie was fast and flawlessly delivered with great control. His footwork was worthy of the POB at it's best. Kind of ironic given the criticism Rudolf Nureyev takes for needlessly complicated choreography. In other reviews I have read Gomes Act 3 variation is praised as a highlight of this choreography.

Finally, the humor of this SB, which should be a highlight of this usually over wrought ballet escaped me entirely. Humor can be subtle but perhaps not so subtle it escapes a majority of the audience. I just wondered why?

All in all, in my view, not a huge success for a financially strapped ABT. What was Kevin McKenzie thinking?

I am including here the review from Haglunds Heel. Haglund writes a blog on dance and I greatly admire his opinion. He saw the same ballet I saw which happens infrequently.

http://haglundsheel.typepad.com/haglund … eauty.html



ABT's 'Sleeping Beauty' at Segerstrom a lush return to tradition

http://www.latimes.com/entertainment/ar … story.html

For most of its storied history, New York's American Ballet Theatre has tried to master all styles of all types of classical dance, an elusive goal that some critics have called impossible.

While European companies have moved on to radical rewrites of the full-length story ballets, ABT has maintained a more traditional, and unsatisfying, course. The right manner and expression, the sheer dancer-power and theatrical trappings, all of which are needed to make the 19th century classics living art, have been missing.

But the company made a glittering course reversal Tuesday night with the world premiere at the Segerstrom Center for the Arts of Alexei Ratmansky's "The Sleeping Beauty," a sumptuous three-act production based on Marius Petipa's 1890 original.

Ratmansky, the company's choreographer in residence and truly our most exciting ballet-maker, scoured written source material to unearth primary steps and gestures preserved in notation. Where there were gaps, he has filled in with his own sensitively drawn phrases.

The real breakthrough, though, is how Ratmansky and his wife, Tatiana, who assisted him, have coached the dancers to reach a remarkable cohesion and a thorough artistry. A newfound dancing style matches steps with music — finally.

From the corps de ballet to the soloists, arms were softly supple and heads always at proper angle to the body. Dancers focused on musicality rather than gymnastic pyrotechnics. The stage overflowed with perfectly aligned rows of bodies, at least 70 company members and more than 100 supernumeraries (adults and children) throughout the night. This is the pop-up fairy-tale book as Petipa intended it, a richly told story of love eternal.

The remarkable change was evident from the beginning prologue, the scene in which baby Aurora is blessed by her godmother fairies and then cursed by the evil Carabosse. Each fairy variation was a model of decorum and refinement, with each woman blossoming through the steps. The company has learned to dance with its eyes, even — and, oh, what an impact that makes.

The ballet's design was more variable. Richard Hudson's bold costumes and realistic sets were inspired by Russian painter Léon Bakst's designs for the Ballets Russes' "Sleeping Princess" of 1921.

The nobles are spectacularly gowned, and perhaps half the cast is hatted and bewigged, with the Queen's Act 1 stand-up hairdo a "Young Frankenstein" knockoff. The Garland Waltz is a conglomeration of eye-popping hues, bordering on color clash, including mustard and turquoise outfits for the Waltzers and green and red outfits for the Violin Pages.

But the Lilac Fairy changes into a tiered gown and white wig with feather that makes her look like a Wild West saloon gal. One of the fairy head ornaments has ridiculous flouncy antennae. The final act, though, is a shimmering spectacle of white and gold and truly breathtaking.

Marcelo Gomes was the opening-night Prince Désiré and Diana Vishneva his Aurora. Her idiosyncratic portrayal — though full of meaning and warmth — did give pause. Wide-eyed and slightly open-mouthed, she played the little princess as naive child, acting 12 rather than 16. Her delicacy bordered on limpness and her efforts to evoke period truthfulness made her look wispy as she sloshed through transitions.

A gifted artist, Vishneva seemed loath to draw any attention to her considerable athleticism, as though this would betray the ballet's spirit. Gomes, though, performed with brio and ardor. His Act 3 solo is in this version a wicked test of across-the-floor beats and in place high jumps, rivaling that of the Blue Bird solo. He passed delightfully.

Both veteran and younger dancers filled the cast. The generally lovely Veronika Part was having trouble staying up on full pointe, diminishing her Lilac Fairy. Nancy Raffa, in garish makeup, played Carabosse with a fantastically ferocious wallop. Tatiana Ratmansky was the sympathetic Queen and Victor Barbee the hot-headed King Florestan.

The fairies mustered unique qualities to distinguish their solos, with Devon Teuscher's delicacy, Misty Copeland's attack, Sarah Lane's crispness and Skylar Brandt's peppy fluttering all notable. Ratmansky has changed the well-known "finger variation," so that bent-arm motions alternate with the arrow-like straight pointing; Stella Abrera performed it with esprit.

In the wedding scene, standouts included the high-flying Daniil Simkin as the Bluebird and Cassandra Trenary as his poised and fervent Princess Florine. Her effervescence makes her a dancer to watch. Diamond Fairy Isabella Boylston brought springy leaps to her variation. It was delightful to see dances rarely included, such as the children of Hop-o'-my-Thumb with Richard Bowman as the hungry ogre and Cinderella (Gemma Bond) with her Prince (Sterling Baca).

Our next brush with Ratmansky is this December when his "Nutcracker" shifts from Brooklyn to Segerstrom Center. Bring it on.

Отредактировано dancer (06-03-2015 20:02:51)






Глубокоуважаемый(ая) Privet!

Ваш форум предоставляет чрезвычайно интересную информацию, иногда - уникальную. Примите искреннюю благодарность от несведущего новичка! Так совпало, что будем в Милане в конце сентября, а на сайте Ла Скала обнаружили, что 26-го сентября - премьера "Спящей красавицы".  Собирались посетить, но в связи с рядом не совсем благоприятных отзывов об американской постановке интересно услышать Ваше мнение - следует ли ожидать события от спектакля?

MusicPeter Ilyitch TchaikovskyChoreographyMarius PetipaStaging and
additional choreographyAlexei RatmanskyConductorVladimir FedoseyevScenery and CostumesRichard Hudson, inspired by Léon BakstLightingJames F. Ingalls
Svetlana Zakharova(26, 29 Sept.; 5s, 7 Oct.)
David Hallberg(26, 29 Sept.; 5s, 7 Oct.)



Дорогая (ой) Tecila8412!
Спасибо за лестный отзыв о нашем форуме.
Моё личное мнение, что посмотреть данную постановку будет интересно: роскошные костюмы, декорации - всё это обеспечено.
Виртуозности в современном её понимании ждать не придётся - не та стилистика.
Но если хореографу-реконструктору удалось воссоздать особенности стиля и техники исконной хореографии, как это получилось у Фаллингтона в "Пахите", то может получиться очень милая картинка.
Опять же мы знакомы с реконструкцией "Спящей красавицы" Сергеем Вихаревым в МТ. Интересно будет сравнить.
Т.е. если Вам интересен балет в истории и Вы не боитесь излишка пантомимы и ходячих солистов - идите смело.
Захарова - гарант качества в любом случае.
Единственная ложка дёгтя - Холберг.
Но составы - это дело весьма неопределённое. Посмотрим, может быть, ещё кто интересный появится. Насколько мне известно, в Нью-Йорке в этой "СК" должен был дебютировать Сарафанов. Он сейчас с травмой. Будем надеяться на его скорейшее выздоровление. И, кто знает, может быть они c Новиковой (мечты!) тоже появятся в касте. :flag:



Господин Ратманский прозрел: знаменитые "рыбки" возникли в эмигрантских кругах "Бале Рюс" и не имели места быть в оригинале Петипа. Мы где-то писали, как удивительно, что он (Ратманский) оставил их ("рыбки") в своей "грандиозной" реконструкции.
И вот - пожалуйста - позднее раскаяние: одна пара исполнителей будет танцевать вариант Петипа. Но раскаяние не полное: остальные будут продолжать "нырять" - как он пишет, из уважения к труппе "Бале Рюс". Ну-ну...


"According to Anton Dolin, the diagonal of fish dives in act III pas de deux of ‘Sleeping Beauty’ was invented by Pierre Vladimiroff, the only prince Desire of 1921 London production. That explains why fish dives were never performed in Russia, but is a standard in the West. Spessivtseva was the first one to execute it, followed by Egorova, Lopokova and Nemtchinova. But this innovation was not accepted by Vera Trefilova, another 1921 Aurora, who considered it too acrobatic. She didn’t want to depart from the original Petipa’s choreography.The Sergeev notation shows 2 pirouettes en dedans taken from attitude devant finishing into the pose a la seconde, repeated 3 times. Sara Lane & Herman Cornejo, who debut in the roles on May 30th, are going to do this original step, while the other casts will retain Vladimiroff’s fish dives as an homage to Ballets Russes production."



Richard Hudson рассказывает о работе над декорациями и костюмами. Самое интересное, что данное реконструкция задумана как реконструкция балета как его танцевала в 20-годы труппа Дягилева. Вот вам и Петипа. :jumping:



Tatiana Ratmansky & Victor Barbee
Isadora Loyola & Sean Stewart
Nicole Graniero & Arron Scott
Gemma Bond & Sterling Baca

Stephanie Williams, Zhong-Jing Fang, Lauren Post
Isabella Boylston
Cassandra Trenary & Daniil Simkin
Veronika Part
Diana Vishneva & Marcelo Gomes



Oh, my God!