Ballet Carmen Maya Plisetskaya watch online. Tickets to the Big Theater of Russia

Ballet Carmen Maya Plisetskaya watch online. Tickets to the Big Theater of Russia
16.06.2019

Maya Mikhailovna Plisetskaya (November 20, 1925, Moscow) - Great Soviet and Russian ballet artist, choreographer, writer.

The most outstanding parties are: Odetta-Odile in the "Lake Swan", Aurora in the "Sleeping Beauty" Tchaikovsky, the hostess of the copper mountain in the "Stone Flower" Prokofiev, Raymond in the same name of Glazunov.

Especially for Plcetsk, Cuban Balletmaster Alberto Alonso set the ballet "Carmen-Suite". Other choreographers who created ballet for her were Roland Pig and Maurice Bezhar.

Plisetskaya and Shchedrin spent a lot of time abroad, where she worked as art director of the Roman Opera and Ballet Theater, as well as Spanish National Ballet in Madrid.

At the age of 65, she left creativity, leaving a large theater as a soloist. For the day of his 70th anniversary, she debuted in a specially written room for her Maurice Bezhar called "Ave Maria".

For more than fifteen years, she was the chairman of the annual international ballet competitions wearing the name "Maya".

Rodionu generous and Maya Plisetskaya for outstanding services in order of exception was provided by the citizenship of the Republic of Lithuania, where they often lived and engaged in creativity.

Suite (from French Suite. - a number, sequence) - a cyclic musical form, consisting of several independent contrasting parts, combined with a common intent.

www.classic-online.ru. (Shchedrin. Carmen-Suite - listen)

She became for the whole world a symbol of ballet and Russian culture as a whole. But besides the dance in her life there was a difficult childhood, a military youth and one of the happiest and amazing love stories - the one that is stronger than death. A real fighter and amazing woman - Maya Plisetskaya.

From the orphanage, the future ballerina saved his native aunt - Sullaith Messerer, who was a soloist of the Bolshoi Theater. She adopted Maya and helped her sister earlier on the Soviet legislation of the term (his wife's departments were subjected to the camps for 5-8 years) to return to Moscow. But until March 1956, when Father Ppisetskaya was posthumously rehabilitated, the ballerina was considered a daughter of the enemy of the people.

2. Ballet during the war


Maison Maison Rachel Mikhailovna Messer-Plisetskaya was an actress of a silent movie, and uncle Maison's uncle - Asaf Mikhailovich Messerer was also an actress of her aunt Sulamife - Ballerina, an artist of ballet and choreographer. In other words, the ballet surrounded the girl from birth, and it is not surprising that her fate turned out to be connected with this art.

At the age of 9th, Maya received the Moscow Choreographic School. Among the teachers of the future star were Elizabeth Gerdt and Maria Leontiev.


Learning the art of dance Ballerina had to go to the terrible war years. At the same time, one of the first notable performances of Plisetskaya occurred - in 1942 in Sverdlovsk, where she was in evacuation. It was created by Mikhail Fokin for Anna Pavlova Miniature "Dying Swan". Subsequently, the number was one of Plisetskaya's business cards, and she was one of the most famous ballerinas ever who performed him, and in our time the "dying swan" is associated primarily with her name.


At the end of the school, Plisetskaya was adopted in the Bolshoi Theater's troupe and soon became a soloist and one of the leading ballerinas. She started his professional career in the critical years of the Great Patriotic War. And critics note that the dance of the young Maya was a forebodiment of victory, which the whole country lived in those years, premonition of liberation. This victorious, liberty, the liberty of the art of Ballerina, argued with his own life.

3. Plisetskaya as a symbol



After leaving the scene of Galina Ulanova in 1960, Plisetskaya became a barrier of the Bolshoi Theater. By that time, she already performed quite a few iconic parties. For example, in 1945, he became the first executive of the fall in the ballet Sergey Prokofiev "Cinderella", and in 1947 he struck the public with his Odeta-Odillia in the Swan Lake.

Then there were parties of the Myrtha in the ballet "Giselle", the street dancers in the Don Quixote, the Tsar-girls in the "Skate Gorbunke" and many other works.


But it was in the sixties that begged by a gorgeous Plisetskaya begins, she doesn't just become a great, but seek world glory. For her, the rooms are created by the best ballet maketers of the world: Cuban Alberto Alonso (Ballet "Carmen-Suite"), the classics of the French ballet Roland Petit (Ballet "Delica Rose") and Maurice Bejar ("Iceedor") and many others.

Over time, the ballerina becomes a symbol of art and a symbol of classical Russian culture, and executes this role until his death. Moreover, Plisetskaya was distinguished by an unprecedented creative longevity: she completed a regular dance career at the age of 65, but even after that he periodically went on stage, for example, his 70th anniversary celebrated the execution of the special issue "Ava Maya", which Maurice set it Beshar.

4. Carmen


Alberto Alberto Ballet "Carmen-Suita" played one of the main roles in the professional life of Maya Plisetskaya - he brighter than just a unusual dance style of the ballerina, and it was from him that her world fame began. But this room was not easy. Plisetskaya had to make a lot of effort so that the ballet first came true, and then as much as much - to get the right to dance.

Tired of endless classics in the repertoire, by 1964, Plisetskaya firmly decided to do something new, something. She always dreamed of dancing Carmen, so there was no problem with the choice of material, it remained only to find a balletmaster and composer.

It was delayed here, but when Plisetskaya saw the speech of the Cuban National Ballet in Moscow, then I understood - that is the language that is ideal for her Carmen.


Cuban balletmaster Alberto Alonso immediately agreed to cooperate, but the main difficulty was to convince Soviet officials to invite him to work in a large theater, because foreigners did not complain about the USSR. To convince the Minister of Culture Catherine Furtsev Plisetskaya helped and the newly obtained Leninist Prize, and the fact that Alonso was coming from the right country - from the island of freedom, which means his work could strengthen Soviet-Cuban friendship.

However, after the first viewing of the new Ballet, Furshev was clearly disappointed - too much erotica and generally solid formalism. She called Plcetsk "traitor to classic ballet." Ballerina only miraculously managed to persuade the minister not to prohibit production - after promising to reduce the love adagio.

But it was just the beginning. Then there was a battle for the right to show the ballet "Carmen-Suite" on foreign tour tour of the Bolshoi Theater. "- You made a woman of easy behavior from the heroine of the Spanish people ...", - Fursheva's dance, forbiring to execute Carmen on Expo-67 in Canada. Only after in 1968, Chairman of the Council of Ministers Kosygin, Furtseva, was allowed to show "Carmen" to foreign spectators to show for one of the performances.


Since then, Plisetskaya danced "Carmen" about 350 times and the audience always took this ballet with delight. The world glory of ballerina began with him, so her stubbornness and perseverance in the fight against the dyedness of Soviet bosses paid off in full. They say that when the French president awarded Plisetsk Order of the Honorary Legion, one of the Soviet officials with a bewilderment told her: "I thought that this Order only give to resistance wrestlers." To which the ballerina rightly replied: "And I am all my life and resist!"

5. Muse Pierre Carden



Plisetsk dreamed of wear the best couture of the world. Pierre Cardin, Yves Saint Laurene, Coco Chanel awarded this honor. But the Ballerina's beloved and unsurpassed fashion designer was Cardin, who proudly called Plisetsk his muse. His creative alliance with Maya lasted for many years. In his memoirs, Ballerina wrote: "I firmly know that thanks to the costumes of Carden received the recognition of my ballets" Anna Karenina "," Chaika "," Lady with a dog ". Without his thinned fantasy, the aroma of Tolstoy and Chekhov's era reliably transmitted to the viewer, I could not fulfill the dream. "


In the everyday life of Plisetskaya preferred, as the historian of fashion Alexander Vasilyev, "Sports and Space Style". She is hardly the first woman in the USSR, who used the Militari style in creating his image.

And in general, Plisetskaya dressed as well as danced - not interested in the opinion of experts from women's magazines and not paying special attention to fashion trends, but creating them.


She never emphasized her slightness, preferring bulk things, loved lacquered shoes on low heels, skin, unusual geometric proportions and all sorts of angularity. Plisetskaya's style can hardly possibly - and it's not just that it is specially sewed by clothes the best fashionors of France, the thing in the extraordinary plastic of the ballerina, in the ability to wear "strange" things beautiful and calmly - the fact that Plcetskaya danced not only on the stage.

6. Shchedrin



Maya Plisetskaya married Composer Rodion Shchedrin in 1958. The history of their love lasted to the death of the ballerina in 2015, and in some sense it lasts and so far: Plisetskaya left the will, according to which her dust will be connected together with the ashes of Rodion Shchedrin after his death and exiled over Russia.

With a generous ballerina, not only feelings were connected (and this is truly bright, happy love story), but also creative relationships. The composer wrote specifically for his wife Ballets "Anna Karenina", "Chaika", "Lady with a dog" - in all these productions, Plisetskaya danced the main parties and acted as a balletmaster.


Moreover, Shchedrin honestly admitted that he was never a big lover of ballet and wrote them exclusively for his beloved wife. "So far, I can't call myself a balletoman. I am Mayan, "said the composer in one of his interviews.

Plisetskaya has always responded with admiration about his husband: "He kept me afloat. He wrote to me ballets. He gave ideas. He inspired. It is unique. It is a rarity. Because he is rare. He is unique. I just don't know such people. Such holistic, such independent on thought, such talented, even ingenious. I admire my husband all my life. He never disappointed me. "


It seems that the generin is obliged to Plisetskaya and his creative longevity, at least, so she thought herself: "He extended my creative life, at least twenty-five years old."

7. In the name of art


From childhood, Plisetskaya lived ballet and for the sake of ballet. For the sake of him, she had to sacrifice the happiness of motherhood. At the very beginning of relations with generous ballerina, pregnant. She thought about leaving a child, but the desire to dance was over.

Plisetskaya believed that it would still be possible to post, "there is still still a term", to choose the same motherhood at that moment meant to put my further professional fate for a serious impact. "Generin without delight, but agreed," Plisetskaya wrote in his autobiography.

However, there were no more children from spouses. Dance and beloved husband remained two unconditional priorities in the life of Great Plisetsk.


Prepared by the editors of the site "April"

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It is no secret that in the Soviet Union films in which the hint of sex was traced, they were mercilessly undergoed censorship. Too short skirt, frank neckline or immoral acts of the character of the paintings could result in collapse not only for the work, but also for the actor's role. Who are they - the first women who spoke about unauthorized in the cinema who agreed to undress in the frame, and how did their fate? The edition of Woman "S Day decided to find out.

Tatyana Samoilova

Photo: Frame from the movie "Fly Cranes"

In the 1957 film, "cranes", where Krasavitsa Tatyana Samoilova played a major role, there were no frank scenes. The challenge was the heroine itself - she changed her beloved! The regime perceived the picture negatively, Nikita Khrushchev himself called Veronika, whose image embodied Samoilov, whore. Even such a prize, as the "Golden Palm Branch" at the Cannes Film Festival, did not make critics to change the opinion and silenced. Tatyana Samoilova returned to Moscow with a triumph, suggestions from foreign directors simply flew to the star. But the Soviet officials were banned by self-lifting in foreign films and forever destroyed the dream to get to the American cinema. The second triumph of the actress was the role of Anna Karenina in the drama of the same name. However, for incomprehensible reasons, after success, Tatiana no longer offered main roles. The actress could not reveal and demonstrate to the audience all their talent. Samoilova left on May 4, 2014 on the day of his own birth and the 80th anniversary.

Natalia Kustinskaya

Natalia appeared first in the blue bathing suit ...

She was nicknamed by Soviet Berdo. Career Natalia went to the mountain almost immediately after the end of the Cinematography Institute. In 1961, the actress received a diploma, and in 1963 the picture "Three Plus Two" was published, in which the dazzling blonde appeared not in the baggy, but in a sexy swimsuit. The French magazine "Candid" called Natalia one of the most beautiful actresses of the world and Patriotic Bardo.

And then in separate

The next loud role was the comedy of 1973 "Ivan Vasilyevich changes profession." The girlfriend of the director Yakina performed by the Kustyansky and her warded phrase: "Hello, tick, you will die now! Yakin threw his kickimaru and persuaded me to fly with him in Gagra "knew the whole country. It would seem that the Russian brigade is provided with a happy personal life and main roles from leading directories, but, alas, fate ordered otherwise. The last time the actress was filmed in the cinema in 1989, and no film became an event. Six unsuccessful marriages, the death of the sole son and grandson affected the health and career of the stars. On December 13, 2012, at the age of 74, the actress went away.

Photo: Frame from the movie "Ivan Vasilyevich is changing profession"

Maya Plisetskaya

The Great Ballerina fought with the regime for the ballet "Carmen-Suite". At the end of 1966, Cuban Balletmaster Alberto Alonso arrived in Moscow. Maya, already recognized as a star, convinced Minister of Culture Catherine Furtsev to invite Alberto to produce Karmen ballet. The official went to meet, because such cooperation will help strengthen Soviet-Cuban friendship. The ballet was put in the shortest deadlines, the role of Carmen performed of course Plisetskaya. But even her talent did not save the performance from criticism. It saw too much eroticism. Furtseva left the theater, without waiting for the end of the action, and after he carried his verdict: "This is a big failure, comrades. Performance raw. Solid erotic. " And there was no speech to go with him on tour. But when Plisetskoy declared the decision, the ballerina said: "Carmen will die only with me."

Return the ballet on the stage of Plisetskoy managed only after promising to reduce all the incomplete scenes. On the career of Maya, the incident did not affect, she was and remained the greatest Russian ballerina.

Svetlana Svetlynaya

Photo: Frame from the movie "Diamond Hand"

At the expense of the actress dozens of films, but the first at the mention of her name comedies the "diamond hand" comedy. The famous phrase of the seducer Anna Sergeyevna "Not guilty, he himself came!" remember everything. For 1968, such a sexually liberated rocky beauty in a swimsuit, like a light, loving to drink the main character, and still prostitutes - it was an incredible cocktail in a feature film. Nevertheless, all scenes entered the ribbon through the director's trick. Leonid Gaidai put the picture in the final of the nuclear explosion and stated the commissions of Goskino that they could cut anything, but only not an explosion-catastrophe is the main highlight of the film. And the cunning worked: the scenes of light erotica remained intact, since the main task of censors was removed from the picture of a nuclear "mushroom". Svetlana Svetlynaya this role glorified.

Svetlana Toma

Photo: Frame from the movie "Tabor goes into the sky"

Another actress, who was not afraid to risk. In the 1976 film "Tabor goes to the sky" Svetlana Toma played Gypsy Rada and in one of the scenes showed a naked chest. Men's audience pushed to Svetlana loyal love. Cinema from the actress either did not turn away. Despite such a frank at the time of the scene, the censors missed her, and Svetlana received a job in 20 films over the next decade.

Natalia Egroh

Photo: Frame from the movie "Little Vera"

Natalia Egroes in 1988 made a real sexual revolution. The screens came out the dramatic film "Little Vera", in which an intimate scene was present. This audience has not yet seen! In the painting of Vasily Pichula, the main character was not accidental or glimpsed, she walked around the apartment in some panties. For this role, Natalia had to be awarded the Nika Prize as the best actress, the prize for the best female role at the 1988 International Film Festival in Bogota, the first place at the 1989 International Film Festival in Geneva. It is not surprising that the most courageous actress of the USSR was invited to play in the American magazine Playboy, which she did. Then he continued his career in the United States, where he starred in the comedy "Summer Comrades", the series "Law and Order" and a few more films. The actress returned to Russia after 17 years and did not particularly melk on the screen.

Artist B. Messerer, Conductor G. Christmas.

Plot

Town Square. Laying Karaul. Correchidor (officer) puts on the guard of the soldier Hose. Handsome young soldier attracts the attention of Gypsy Carmen. She is trying to charm him. Her efforts reaches the goal, but Khose remains faithful and does not leave the post.

Suddenly there is a fight between workers tobacco factory. Carmen declared the instigator. Creurhidor orders Hose to transmit Carmen to prison. On the way, the in love of the soldier lets Carmen, thereby committing a crime before the law. In order not to part with your beloved woman, Hose deserts.

There is a magnificent Toroo, the pet favorite. His passionate story about his feats in the arena does not leave indifferent Carmen. Carried out with a new feeling, Carmen does not want to notice jealousy Hose. And only the arrival of Correchidor sharply changes the situation. Creurhidor demands that Hose immediately returned to the barracks. Having hijacked hose snatches the knife and drives the officer.

Carmen is amazed and admired by the Act of Hose. She is in love with him again, ready to give him his love again.

Carmen goes. Rock appears - the terrible embodiment of Fate Carmen. Rock foreshadows the inevitability of tragic junction.

Arena for the fight of bulls. Torero demonstrates its brilliant skill. He opposes the creature in which the image of the bull and the image of rock is connected together. Carmen with delight watches Torroo.

Hose appears. He demands and begs Carmen to return him love. But for Carmen, his words sound like coercion and violence over her will. She sharply rejects the house. It is not able to accept the loss of the beloved, Hosa challenges her dagger.

The plot of Novels Merim is perfect for ballet. It was not by chance in 1846, after a year after the emergence of the novels in the press and almost 30 years before the premiere of the Opera Bizé, Marius Petipa put the one-acting ballet "Carmen and Toreador" in Madrid, who had a huge success.

The idea of \u200b\u200bthe "Carmen-Suite" performances in the Bolshoi Theater belongs to Maya Plisetskaya, who dreamed of the role of Carmen.

"I always wanted to dance Carmen," says Ballerina. "The thought of His Carmen lived in me constantly - then the trel somewhere in the depths, then the outwardly rushed. With anyone who spoke about his dreams - the image of Carmen was the first. Beginning with libretto. I decided to captivate with your check - what the hell is not joking - Shostakovich. He is gently, but he refused adamantly. His main argument was - "I'm afraid of Bizeta" - with a hartulous intonation. Then I did not go to Khachaturian. But then the talk was not left ... And here is a new acting person. At the end of 1966, the Cuban national ballet came to Moscow at the tour. Wheels Alberto Allonso, delivered by their main ballet macester. From the first movement, the snake was stattered from the very first movement. This is the Karmen language. This is her plastic. Her world. In the intermission rushing for the scenes. "Alberto, you want to put, Carmen"? For me? "-" This is my dream ... "Soon Alberto Alonso arrived in Moscow with the already part of the libretto, the music promised to write to me generin ..."

"I was attracted by the thought of Maya Plisetskaya," Alberto Alonso told me, to tell the choreographic language to tell the story of Gypsy Carmen. Do not shift in the dance ingenious opera and novel of Proster Merim, no! - And create ballet on this passionate, temperamental music, all solve it through the image of Carmen, one of the greatest in the world musical and literary classics. "

An artist Boris Messer was introduced to the success of the performance. Viktor Berezkin explained: "Messerver in" Carmen-Situ "Bize - R. Shchedrin (Bolshoi Theater, 1968) turned the stage space in a kind of semicircular board, denoted and the circus site - the battlefield of the bulls, and the generalized metaphorical arena of life, on Which is played by the tragic performance of human being. In the center of the boarding fence - entrance to the arena, and at the top, semicircle, - chairs with high backs; they are sitting on people who are the audience unfolding on the submission arena and judges. Such duality was the principle of the stage decision, Consistently spent through the entire performance. A huge conventional mask of the bull, which hung over the stage as a kind of ballet emblem, could be considered a bill inviting to the pose of bulls, and at the same way of lightness. Duality was both in costumes. So, for example, one hand of the Toreador artist Makes black and smooth, other - lush and white. "

Rodion Shchedrin told about her work on the score of the ballet: "Our memory is too firmly connected with musical images of the immortal opera. So came the thought of transcription. Once this, almost forgotten today, the genre of musical art was one of the most common. Choosing a genre, it was necessary to choose the toolkit. It was necessary to decide which tools of the symphony orchestra would be able to convincingly compensate for the lack of human voices, which of them are brighter than the obvious choreography of music Bizet. In the first case, this task, in my opinion, could solve string tools, in the second - drums. So the composition of the orchestra - string and drums.<...> Opera and ballet - art types, undoubtedly, fraternal, but each of them requires its regularity. The ballet orchestra, it seems to me that there should be a few degrees "hot" opera. He should be "to make" much more than the orchestra opened. Yes, I will forgive me a comparison that the "gesturing" of music in the ballet should be much sharp and more noticeable. I worked with sincere passion over the score of the ballet. Looking in front of the genius Biza, I tried to be a worship that it was always not slave, but creative. I wanted to use everything The virtuoso capabilities of the selected composition. "

Taking the basis of the composition of Bizet, Shchedrin proceeded not from Novella Merim, and from the opera who won worldwide fame. He narrowed the plot of the opera, excluding the show of the life background, and limited himself to the conflicts of Carmen with Hose and with society, conditionally called the "Society of Masks". Performing, it would seem, almost a service task at the request of his beloved wife, generous was able to create a bright, combined essay. "Carmen-suite" is performed on the concert stage at least than on theatrical stage.

After the premiere in the Bolshoi Theater about the music of the ballet, hot spores flared. Some hot perceived heard, enjoying a new orchestral outfit well-known french composer. Other sincerely wondered why Shchedrin preferred to attract music as the basis of ballet music by the world-famous opera Bizet, and not to create his own. There were even those who protested with indignation against such an "experiment" with the opera of the world classical heritage.

The image of Carmen belongs to the number of the best roles in the repertoire of Maya Plisetskaya. Here the verge of the talent of an outstanding artist, causing the delight of the audience and theatrical critics. Balleton science Vadim Gaevsky admired: "In the ballet, the relationship of Carmen is important not only with the main characters, but also with the statists, the audience of the Corrida. The fierce that she is surrounded by, does not scare it and does not harm. Carmen Plisetskaya plays with a crowd like a toroidor with a bull: she pulls out with fearlessness, indifferent with dignity, mocking with glitter. Not this crowd to deprive this carmen faith in herself, passionate interest in life, gambling love for adventures. Carmen in Plisetskaya is not only a gypsy, but also Spaniard from the Don Juan tribe, and the role style is not a romance, not a supervision, but the same as Mozart, - Drama Giocosa, fun drama. "

However, not all were unanimous in the score of the ballet. An outstanding choreographer Fyodor Lopukhov, analyzing the ballet spectacle language, in particular, found, "that the lifting of the legs, and even with a twitching of it in the stomach Hose, executable Carmen in the statement of" Carmen "A. Alonso - is obscenity.<...> And the pinking with the foot of Carmen in Hose interprets not a love carmen, that in the music of Bizet, a, alas, walking the girl, that I personally can not accept. "

In 1978, the film-ballet was filmed on the composition of the essay of generous and the spectrum of the Bolshoi Theater (director F. Slidrker, choreographer A. Alonso, operator A. Tafetel, artist N. Vinogradskaya, conductor of Christmas). In the main partitions: Carmen - Maya Plisetskaya, Hose - Alexander Godunov, Torreo - Sergey Radchenko, Krechidor - Victor Barykin, Rock - Loip Araukho. After emigration of Godunov in 1979, this film has been unavailable by the Soviet audience.

Bright ballet music, an interesting choreographic concept of Alonso, born under the influence of the unique personality of Plisetsk, replenished the ballet repertoire of the XX century. In the 1970s, "Carmen-Suite" put a lot and often different choreographers in various cities of the country. It was interesting to be filled with symbols, a passionate performance of Herman Zamuyl (1972) with Valentina Mukhanova (Carmen), Vasiliya Ostrovsky (Hose), Nikita Dolgushin (Toro), withstanding the opera and ballet 68 in the Leningrad Male theater.

Later, the Big Theater returned to his repertoire ballet specially supplied for an outstanding ballerina and forever connected with its name. On November 18, 2005, the premiere of the resumption of "Carmen" (choreographer A. Alonso, Artist-director B. Messerer, conductor P. Sorokin, Assistant Choreographer S. Calero Alonso, Light Artist A. Rubtsov). The premiere was held on the new scene of the Bolshoi Theater as part of the festival in honor of Maya Plisetskaya.

An Alonso said in an interview specifically for the renewal of the ballet in Moscow: "I brought into a big style that I was looking for more in Cuba. It can be denoted as a combination of classic PA with Spanish-Cuban dances. Of course, I wanted to get a modern performance. After all, the world is moving all the time. But what is modern dance? The ballerina puts on pointes - and it turns out a classic, then removes them and dances without pointes - here's a new one. I really like the dramatic theater, much in the "Carmen" on this is based. Movements should talk. Carmen makes the wave leg in the direction of Jose, and it's like a "hey, you!" ... the problem of Jose is that he is a victim. Carmen - Gypsy, free woman, thief. She always makes just what she wants at this moment. Jose - Warrior. He lived in a different coordinate system, where the concept of "debt" is above all. He must obey the order, but violates all the foundations, losing his head from passion, goes against the laws of a soldier, deprived of the service, becomes an outcast, and then loses love - the only remaining sense of life , Love for which he donated to social status. Jose does not have anything, except despair rabies. He is not a soldier and not a lover. He is nobody. "

The ballet, delivered on the unique personality of Plisetsk, has gained a new appearance and a new life. The Magazine "Poshisha" was noted: "It would seem without a fiery glance of Plisetskaya, her defiantly welded shoulder and hitting her legs take off in the Batman" Carmen-Suite ". The hose-shaped girl, sealed in a black jumpsuit. But with the appearance in the capital role of Maria Alexandrova's legend turned into a living performance. There is nothing in the ballerina. There is nothing from Plisetsk. But in a mocking look, a relaxed gait, a predatory line of arms and legs, elastically wrapping chair, a lot from Carmen herself. "Following Alexandrova, the role of Karmen decided other ballerinas - Svetlana Zakharov and even a tour of the Mariinsky Theater Ulyana Lopatkin.

A. Degen, I. Serenov

History of production

After the premiere play in the director's bed, Furtsev did not turn out, she left the theater. The performance was not similar to the "short" Don Quixote "," as she expected, and was raw. The second performance was supposed to go to the "evening of the one-acting ballet" ("Trochik"), April 22, but was canceled:

"This is a big failure, comrades. Performance raw. Solid erotica. Music Opera isometric ... I have big doubts if you can modify ballet " .

After the arguments that "There will have to cancel the banquet" and promises "Reduce all the shocking erotic support"Furseva surrendered and allowed the performance that passed in a large 132 times and about two hundred worldwide.

Music

Shielding

Buenos Aires, Color () Theater Sverdlovsk, Ekaterinburg Opera and Ballet Theater (May 13 and February 7) Dushanbe () Tbilisi, Opera and Ballet Theater. Paliashvili ()

Critics reviews

All the movements of Carmen-Plisetska carried a special meaning, a challenge, protest: and mocking shoulder movement, and retired her thigh, and a sharp turn of the head, and piercing look so much ... It's impossible to forget how Carmen Plisetskaya - Like the frozen Sphinx - looked at the Toreador dance, and all Her static pose passed the colossal internal stress: she fascinated viewers, caught their attention to themselves, involuntarily (or consciously?) distracting from spectacular timeling solo.

New host is very young. But by itself, age is not a category of art. And does not allow discounts to poorlyness. Godunov played age in subtle psychological manifestations. His house is alert and incredulous. From people waiting for trouble. From life: - Priphov. Wound and proud. The first exit, the first posture - a stop-frame, a heroically exist face to face with the hall. A lively portrait of a blonde and light-eyed (in accordance with a portrait created by Merim) Hose. Large strict features. Looking a wolfboard - improber. Expression of alienation. For the mask, you guess the true human essence - vulnerability of the soul, thrown into the world and the world hostile. Portrait contemplate with interest. And now he came to life and "spoke." Sinking "speech" perceived by Godunov exactly and organically. No wonder for his debut, a talented dancer Azary Plisetsky was preparing, perfectly on his own experience knowing and the party, and all ballet. From here - carefully worked out, carefully polished items, of which the scenic life of the image is composed. .

New production in the Mariinsky Theater

The performance resumed choreographer-producer Viktor Barykin, in the past, the Bolshoi Theater Ballet Soloist and the Party Artist Jose.

The first composition of the artists in Mariinsky: Irma Nioradze - Carmen, Ilya Kuznetsov - Hose, Anton Korsakov - Bullfighter

Alicia Alonso in Moscow

ELIZARYEV version

"Suite is paintings from life, or rather, the spiritual destiny of Carmen. The conventionality of the ballet theater easily and naturally shifts them in time, allowing you to trace not external household events, but the events of the inner spiritual life of the heroine. No, not seducer, not a rocky woman Carmen! We are attracted in this image the spiritual beauty of Carmen, the wholeness, the uncompromisingity of her nature. " Conductor Yaroslav Tskar

"Listening to this music, I saw my carmen, significantly different from Carmen in other performances. For me, she is not only an outstanding woman, proud and uncompromising, and not only a symbol of love. She is a hymn of love, love clean, honest, burning, demanding, love of a colossal flight of feelings, who are not capable of any of those who meet her men. Carmen is not a doll, not a beautiful toy, not a street girl, with which many would not mind to be enjoyed. For her love is the essence of life. No one was able to appreciate, understand its inner world, hidden for dazzling beauty. Passionately loved Carmen Hose. Love transformed a coarse, limited soldier, discovered spiritual joy, but for Carmen, his arms soon turn into a chain. Joined by his feeling, Hose is not trying to understand Carmen. He begins to love no longer Carmen, but his feeling for her ... She could love and Toroo, who is not indifferent to her beauty. But Toroo - sophisticatedly gallant, brilliant and fearless - internally lazy, is cold, he is not able to fight for love. And naturally, such as he cannot love the demanding and proud Carmen. And without love there is no happiness in life, and Carmen takes death from Hose to not join the path of compromise or loneliness together. " Choreographer Valentin Elizariev

Sources

  1. website Ballet Nacional De Cuba "CARMEN". Archived
  2. M.M. Blisetskaya "Reading your life ...". - m .: "Ast", "Astrel" ,. - 544 p. - ISBN 978-5-17-068256-0
  3. Alberto Alonso / Maya Plisetskaya for the Big Theater site died
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  5. "Bizet - Shchedrin - Carmen-Suite. Transcription of Opera Fragments "Carmen". " . Archived from the original source March 10, 2012. Checked April 1, 2011.
  6. V. A. Maeensee. Article "Carmen-Suite" // Ballet: Encyclopedia. / GL. Yu. N. Grigorovich. - M.: Soviet Encyclopedia, 1981. - P. 240-241.
  7. E. Nikolaev. Ballets "Playing Maps" and "Carmen-Suite" in the big
  8. E. Lutskaya. Portrait in red
  9. One-act ballets "Carmen-Suite. Shopenian. Carnival. " (Inaccessible link - history) Checked April 1, 2011. - The site of the Mariinsky Theater
  10. Carmen-Suite in the Mariinsky Theater. Archived from the original source March 10, 2012. Checked April 1, 2011. - Internet TV channel "Art TV", 2010
  11. A. Fireman "Alicia in the Ballet Country." - "Russian Gazeta", 08/04/2011, 00:08. - V. 169. - № 5545.
  12. Summary of ballet on the website of the National Academic Bolshoi Opera and Ballet Theater of the Republic of Belarus