注册 登录  
 加关注
   显示下一条  |  关闭
温馨提示!由于新浪微博认证机制调整,您的新浪微博帐号绑定已过期,请重新绑定!立即重新绑定新浪微博》  |  关闭

黄牧的樂府 Music/Ballet

古典音乐及芭蕾舞 Blog Music & Ballet请勿转载

 
 
 

日志

 
 

Mariinsky London Season 2014  

2014-07-05 17:27:42|  分类: 樂壇舞壇消息 |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |

Mariinsky Ballet: 'We feel our work is our life'

As the Mariinsky Ballet prepares for a major London season, Sarah Crompton goes behind the scenes with the great Russian company at its recently revamped St Petersburg home  (London Daily Telegrph)

Mariinsky dancers performing their daily barre
A lifetime's commitment: Mariinsky dancers performing barre work in their daily, all-important class 

11:00AM GMT 21 Mar 2014

Comments2 Comments

The Mariinsky Theatre sits on a wide boulevard in St Petersburg. Painted in mint green, with delicate white-and-grey decoration worthy of a Mary Berry showstopper, it is gracious, welcoming and imposing all in the same moment.

But since last year, it has had a noisy neighbour: the new Mariinsky, forceful where its companion is retiring, with a glass roof that peers out behind the grand dame’s historic frontage. Its sleek lines don’t exactly dominate: it just makes sure you know it is there.

Both buildings are home to the Mariinsky Ballet, probably the most famous ballet company in the world, one that has performed with a continuous sense of its own history since the 1740s. And their juxtaposition – the old one rich in turquoise and gold, the new dazzling in blond wood and yellow onyx – is a perfect metaphor for the company itself as it adapts to the new while holding tightly to its past.

This is the company that produced Nijinsky, Pavlova and Tamara Karsavina, Natalia Makarova and Altynai Asylmuratova, Nureyev and Baryshnikov. Their photographs are on the walls; their spirit stalks the corridors. “When I walk through this historic building," says 29-year-old principal dancer Vladimir Shklyarov, "when I go on stage and see the main chandelier, when I am backstage and see the empty boxes, I can’t help but feel a positive energy that inspires me. Looking back to the dancers in the past makes me see the future of ballet.”

The Mariinsky way is to pass ballet – as Shklyarov puts it – “arm to arm, leg to leg”, from teacher to pupil, from dancer to successor, in an act of almost religious devotion. When one of the company’s current stars, Diana Vishneva, steps on stage as Juliet at the start of the company’s month-long London season on July 28, each movement of her body will have been forged by a tradition that stretches back in an unbroken line.

The company’s attitude is reflected in a vast repertory that encompasses the traditions of every period of its existence, from the classics of Petipa, to the creations of the Soviet years, to contemporary works by choreographers such as William Forsythe and Wayne McGregor. Its London productions will include Romeo and Juliet (created in 1940), a Fifties version of the classic Swan Lake, but also A Midsummer Night’s Dream by George Balanchine, and a new work by Alexei Ratmansky, the former director of the Mariinsky’s great Moscow rival, the Bolshoi.

It is an eclectic and enticing mixture, one that very much reflects the all-inclusive vision of Yuri Fateyev, the man currently responsible for steering the company’s course through a time of great change. “This is a very hard job,” he told me, laughing, when he was first appointed in 2011. “Being director is not easy.”

Indeed it is not, particularly at a time when the internet is opening up to public comment the hitherto hidden intricacies of balletic politics. On stage, the company still shines in all its brilliance with an unrivalled line-up of dancers. But commentators worry that the all-powerful Valery Gergiev, artistic director of both the Mariinsky ballet and opera companies, does not much like ballet and is oblivious to its needs.

Certainly, the workload imposed by the new theatre, which means the ballet company performs up to seven times a week (there is also a concert hall to be filled and constant touring), resulted last summer in the unprecedented recruitment of 40 new dancers. They followed in the wake of other recent imports, most notably Xander Paris, the first British dancer ever to be hired by the Mariinsky.

Fateyev, whose official title is deputy director, takes such upheaval in his diplomatic stride. “I am from St Petersburg,” he says, “and to have a new theatre is an incredibly big deal because never in my life have we had one before. It is absolutely great.”

A small, intense man, he explains that he carefully chose dancers from around Russia – and in some cases from outside – who had been trained in the same methods as those used by the famous Vaganova Academy which had previously provided most of the Mariinsky’s recruits, even if their direct experience of the Mariinsky was non-existent.

He acknowledges that “it was hard work for the ballet masters. They had to teach and adapt dancers who did not see the Mariinsky in their life and make them the same style as the dancers we were using. But they are doing their job very well and the new dancers have already adapted and fitted the same style.”

Such standards are maintained by a rigorous regime that sees the ballet masters gather the dancers on stage to correct each detail immediately after every performance. “It is more productive if we give the critique immediately,” Fateyev explains, crisply. “We talk in Russia about giving the step ‘in heat’.”

The relentless performing has also brought benefits. A dispute about contracts where payments were based on the amount of performances has, Fateyev says, become less relevant when everybody dances so much.

“Everybody is happy. Ninety per cent of the company are happy. With such big numbers of ballets we can give work for everybody. If you can move, you can come on stage and you can dance. It is nice.”

For the principals, the changes have been a particular boon, he says. “When we had only one stage, they always felt hungry for dance because it is one performance, one show, in a month. Now they can perform sometimes four or five times a month and I think this means they have a much higher quality of dancing and it keeps the body shape better. The life of the dancer is very short and they have to use every day in their artistic life.”

Principal Yekaterina Kondaurova, tall, willowy and fashion-model beautiful, agrees. “Here I think everybody thinks the same – they feel that their work is their life. It is the most important thing for them.”

This too is the Mariinsky way. Backstage at the old theatre, with its warren of corridors furnished in an odd mixture of Twenties tiles, Fifties linoleum and Eighties brown leather sofas, the atmosphere is one of constant activity. Dancers literally run from class in the morning, to rehearsals, to performances. A bridge connecting the new and old sites is closed at one end for structural reasons, so they are often seen darting across the street into the antiseptically bright new dressing rooms.

“Sometimes,” says Kondaurova thoughtfully, “I feel it is too much because you have to rehearse properly and think about the role and not only be ready physically. But I am OK with it. With so many performances, you can do more with your body.”

In her crowded dressing room, where a blue tutu hangs above her head and a white bear – to cuddle in times of stress – lies across the sofa, another principal Viktoria Tereshkina explains her own dedication to what the Mariinsky dancers see as the holy art of ballet. “You can’t but be tired because it is part of our job,” she says. “But I work hard so I am satisfied at the end of a show that I did not let the ballet master or the public down. Once I found a comment on the internet where a lady said she had chosen to buy tickets to come to see me instead of buying a new skirt. How can I let that person down when she is making such a hard choice for herself?”

On the day we met, Tereshkina, whose dark fragility belies an uncanny strength, danced Kitri in the boisterous romance Don Quixote, opposite the 21-year-old Korean Kimin Kim, in a gala in honour of the former ballerina Gabriella Komleva. The audience pored over displays of works from Komleva’s career; the current dancers – entirely spontaneously – turned up at the theatre bearing flowers to bestow on her. By the end of the evening, the 75-year-old could have opened a florist’s from her box at the side of the stage.

Such moments are a visible manifestation of the indelible bond between past and present that forges the company’s strength; the generational handover of knowledge that has kept its dancing so pure and refined. For Fateyev, this remains the heart of his job: he has to keep the company in good shape.

Above all, he explains: “This company is a classical ballet company. Classical dancers can dance everything: they can dance characters, they can act, they can do the modern. But there is absolutely nothing in the opposite way, because the classical dancer is the highest-quality dancer in the world.”

That grounding springs from the company’s relationship with the Vaganova Academy, founded in 1738. Last year, the school and the ballet world were thrown into turmoil when – in a fallout from the tumultuous events at Moscow’s Bolshoi Ballet, whose director Sergei Filin was attacked with acid – the minister of culture appointed the sacked Bolshoi dancer Nikolai Tsiskaridze as its head.

Tsiskaridze, an outspoken opponent of Filin’s, did not trained at the Vaganova, and his appointment caused shockwaves, with dancers such as Vishneva expressing their concern. Fateyev, who has worked with Tsiskaridze before, pours oil on the troubled waters. “We have a nice relationship,” he says. “He is a professional dancer. He tries to keep the Vaganova tradition. He knows many things.

“Of course, it was a big shock to the whole ballet world but right now I have seen the academy and everybody is working calmly and concentrating on the students, and I think everything works well. I cross the fingers because no one wants to destroy the work of such a great institution.”

Only in Russia, of course, could the appointment of a ballet school director make such a splash. That care for its heritage has preserved the Mariinsky’s artistic glory thus far. As its talents gleam both in the rich opulence of the old theatre, and the soaring grandeur of the new, there’s every reason to believe that it will continue to chart its course as a beacon of ballet, both traditional and contemporary.

Certainly its dancers are committed to preserving the great tradition. “It was my goal and my dream to dance with the Mariinsky,” says Kondaurova. “For me, every single performance is a great honour.”

The Mariinsky Ballet performs at the Royal Opera House from July 28 to August 16.  Review of performances will appear in this blog......


  评论这张
 
阅读(70)| 评论(1)
推荐 转载

历史上的今天

在LOFTER的更多文章

评论

<#--最新日志,群博日志--> <#--推荐日志--> <#--引用记录--> <#--博主推荐--> <#--随机阅读--> <#--首页推荐--> <#--历史上的今天--> <#--被推荐日志--> <#--上一篇,下一篇--> <#-- 热度 --> <#-- 网易新闻广告 --> <#--右边模块结构--> <#--评论模块结构--> <#--引用模块结构--> <#--博主发起的投票-->
 
 
 
 
 
 
 
 
 
 
 
 
 
 

页脚

网易公司版权所有 ©1997-2017