Тема| Балет, фестиваль балета "Мариинский
Персоналии, Диана Вишнева
Авторы| ОЛЬГА ФЕДОРЧЕНКО
Заголовок| Танцы и иллюзии
// Диана Вишнева станцевала три балета
Где опубликовано| Газета "Коммерсантъ-СПБ" № 48(4103)
Дата публикации| 20090319
На фестивале балета "Мариинский" Диана Вишнева представила программу "Красота в движении" из трех одноактных ба=D 0етов, премьеру которых год назад увидели москвичи: "Лунный Пьеро" Шенберга в хореографии Алексея Ратманского, "Из любви к женщине" Мозеса Пендлтона и "Повороты любви" Дуайта Родена. За движениями и красотой наблюдала ОЛЬГА ФЕДОРЧЕНКО. [read more]
Title: Classic style
Author: Hilary Ostlere
Date: April 7 2008
Publisher: The Financial Times
This legendary company, not seen in New York for six years, is appearing for the first time in the venue where Balanchine made his original home for City Ballet before it moved to Lincoln Center. If at times the Kirov looked crowded on a smaller stage than it is used to, that did not diminish the pleasures of opening night. No question, the Kirov is a glorious dancing machine with a matchless corps de ballet and extraordinary young soloists.
Diana Vishneva, who is already familiar to local audiences through her association with American Ballet Theatre, was the outstanding ballerina of the evening, even though Uliana Lopatkina, the company’s other senior ballerina, appeared to great effect in Raymonda. From Vishneva’s formidable technique to her musicality, her exquisite purity of style and her sheer artistry, she cannot be beaten – as she proved in Paquita, one of three ballets on opening night alongside Raymonda Act 3 and The Kingdom of Shadows from La Bayadère.
In company with a sparkling array of soloists, Vishneva made Paquita Grand Pas so much more than a series of variations that are the remnants of a convoluted ballet of long ago. Minkus’s upbeat, often tum-ti-tum music (which, to be fair, includes some beguiling melodies), was played sympathetically by members of the Mariinsky Orchestra, conducted by Mikhail Sinkevich, and buoyed six young soloists through their difficult variations. Olesia Novikova, Ekaterina Osmolkina and Valeria Martynyuk particularly stood out.
Raymonda, the opening ballet, features Hungarian native dances, somewhat balleticised. They were given with the verve and panache they deserve by succeeding waves of dancers who each brought an individual touch. With the serenely beautiful Lopatkina partnered by Danila Korsuntsev, an attentive cavalier if otherwise unremarkable, it made a splendid show of the company’s range from classical to stylised folk dancing.
But the company’s classical best was still to come: a superb Kingdom of Shadows, where the corps as Shades of dead temple dancers spool out from the darkness, filing into lines repeating the same balancing, step and pose variation over and over with mesmerising exactness. The arabesques matched as if calibrated, supporting legs were rock steady, épaulement precise.
Alina Somova, though a dancer of great technical strength, came across as a steely and remote Nikiya; she had little rapport with the light, vaulting Leonid Sarafanov, a dancer of precision and brilliance who partnered her as Solor, her lover in life. Somova’s leg extensions are sky-high and her elevation, particularly in the huge sweeping jumped turns , was equally impressive.
This was a delightful evening. The classical purity of the Kirov company, its elegance and sense of history and tradition, are all attributes to treasure, and we should look forward eagerly to watching its new young dancers.