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Arts Calendar / March 21 / Ballet
19:00 One Thousand and One Nights
Ballet in two acts to music by Fikret Amirov. Libretto by Murad and Rustam Ibragimbekovs and Nailja Nazimova based on “One Thousand and One Nights” Arabian fairy tales. Choreographer-director: Andrei Petrov. The basis of libretto is a masterpiece of medieval Arabian literature, a collection of fairy tales and parables told by Scheherazade. Our childhood favorites Sinbad, Aladdin, Jinn and Princess Badroulbadour… On stage you see a colorful choreographic extravaganza, a harmony of vivid music and classical choreography, and a spicy charm of the East in the staging with the music composed by Fikret Amirov, a People’s Artist of the USSR. For many years the ballet has been performed with great success on different stages of Russia and other countries. However, “One Thousand and One Nights” performed by the Kremlin Ballet Theatre is the first direction of the famous ballet on Moscow stage.
State Kremlin Palace 
19:00 The Winter's Tale
Christopher Wheeldon after the play of the same name by William Shakespeare. Music by Joby Talbot. Choreographer: Christopher Wheeldon. Music Director: Anton Grishanin. Set and Costume Designer: Bob Crowley. The Winter’s Tale is a quite complicated play to make successful performance. However, Christopher Wheeldon has found his right approach to it and demonstrated an ability to follow the age-old ballet traditions, successfully refracting them in a modern way. He refused of naive pantomime – peculiar to old-time ballet performances and being a stumbling block for modern narrative ballet – and replaced it with more precise and significant gestures. He managed to tell this story (omitting some plot twists, of course) in a simple and clear language. Perhaps, today the image of Leontes, king of Sicilia, is more relevant than the simple-minded Othello (if the latter does not want to believe the suspicions, the first, an evil neurotic, persists, not wanting to dispel them, and as if he draws some perverted delight in them). Wheeldon shapes this character with classical choreographic language and broken spider-like plastic, finely transmitting the growing mental stress of the sadist king. The Bohemian second act highlights a young loving couple (Prince Florizel and servant-mistress Perdita). There is also a dashing mass shepherds' dance that is simply breathtaking, in part because it takes place against a gorgeous giant tree and with accompaniment of a stage orchestra, equipped with such rare music instruments as bansuri and dulcimer. As for personal approach, Christopher Wheeldon demonstrates it in the most effective way in the finale – in gentle and very touching duet of penitent Leontes and his wife’s statue, which comes to life. She descends from her pedestal alone, her little son will forever remain a marble sculpture and will become a real loss and payment for unforgivable sins. And after all, it is the young Prince (as you'll see by reading Shakespeare) who explains why this tale is a winter’s tale - it's a sad story.
Bolshoi Theater 
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