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| | Arts Calendar / July 17 / Ballet |
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15:00 | Matthew Bourne: Swan Lake 3D |
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Ballet. Great Britain 2016, 119 min. Director and Choreographer - Matthew Bourne. Set and Costumes - Lez Brotherston. Lighting Design - Rick Fisher. Music - Pyotr Ilyich Tchaikovsky. Conductor - David Lloyd Jones, The New London Orchestra. Starring: The Swan/Stranger - Richard Winsor, The Prince - Dominic North, The Queen - Nina Goldman, The Girlfriend - Madelaine Brennan, The Private Secretary - Steve Kirkham, The Young Prince - Joseph Vaughan. In English with Russian subtitles. When it premiered at Sadler’s Wells in 1995, Matthew Bourne’s triumphant re–interpretation of Swan Lake turned tradition upside down, taking the dance world by storm. Now you can watch this modern day classic for the first time in stunning digital 3D, accompanied by state of the art surround sound. An iconic production, perhaps best–known for replacing the traditional female corps de ballet with a menacing male ensemble, it was filmed in 3D at Sadler’s Wells, London in 2011. The stellar cast includes the magnificent Richard Winsor as the lead Swan/Stranger, Dominic North as The Prince and Nina Goldman as The Queen. Breathtaking in its drama and intensity, filming in 3D creates an illusion of space around the dancers, drawing you onto the stage and bringing a dramatic realism to the story. With more than 30 international theatre awards including threeTonys and an Olivier, Swan Lake has been acclaimed as a landmark achievement on the stage, becoming the longest running ballet in the West End and on Broadway.
Formula Kino Chertanovo  |
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Comic ballet in two acts to music by Dmitry Shostakovich. Libretto by Adrian Piotrovsky and Fyodor Lopukhov. Choreographer: Alexei Ratmansky. Designer: Boris Messerer. Music Director: Pavel Sorokin. With its dancing farmers and cycling dog, Shostakovich thought his ballet The Bright Stream would delight Stalin. Instead, one of its creators was sent to the gulag. Now the Bolshoi has finally resurrected it. In the mass of Shostakovich centenary events that have taken place this year, ballet fans haven’t had much to celebrate. It’s not that the composer ignored the form — between 1929 and 1935, he wrote a trio of full-length ballet scores: The Golden Age, The Bolt and The Bright Stream. All three, though, were banned shortly after their premieres, leaving Shostakovich’s reputation so damaged, he was reluctant ever to write for the lyric stage again. It’s a cause of great regret for Russia’s monolithic ballet companies, the Kirov and the Bolshoi. Both are aware that, had Shostakovich been given full artistic freedom, he may have become one of the great modern ballet composers — as inspirational for the dance-makers of Soviet Russia as Stravinsky was for choreographers in the west. Instead, the two companies must content themselves with acts of restitution. This summer, as part of its 10-day Shostakovich festival at the Coliseum in London, the Kirov is performing The Golden Age, while over at the Royal Opera House, the Bolshoi is presenting the first British performances of The Bright Stream. Of the three ballets, it was The Bright Stream that was punished most grotesquely. The ballet’s co-librettist, Adrian Piotrovsky, was sent to a gulag and never heard of again, while the creative career of its choreographer, Fedor Lopukhov, was all but terminated. Shostakovich’s music was never again played during the Soviet era, beyond a heavily edited suite of his most popular tunes. For Ratmansky, the act of rehabilitating Lopukhov was very important. “The richness of his ideas, his courage in using contemporary stories in ballet, are still a real source of inspiration,” he says. Even though he could do nothing to restore the original choreography of The Bright Stream, which was never notated, in 2003 he created a new version, working from Lopukhov’s libretto, which was, he says, “brilliantly detailed, brilliantly constructed with the music”.
Bolshoi Theater New Stage |
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