At the Bolshoi theater put up a new curtain

В Большом театре повесили новый занавес
In the main musical theatre held a dress rehearsal of the ballet “Romeo and Juliet”.

В Большом театре повесили новый занавес

Ekaterina Krysanova

В Большом театре повесили новый занавес

Vlad Lantratov

New stage of the Bolshoi theatre instead of the usual velvet curtain olive
color now you can see maroon colorful and patterned. And when it opens, the stage is visible
a piece of the Kremlin wall. However, the new curtain hanging, only when the show
new delivery theatre — ballet “Romeo and Juliet” by Alexei Ratmansky to the music
By Sergei Prokofiev. A “Kremlin” teeth really is a typical
the Italian Renaissance architectural detail.

By the way, 80 years ago from the score Prokofiev Bolshoi theatre refused, explaining that music is “non-dancing” —
signed by the composer, the contract was terminated. While this classic of Russian
music “swept” the Mariinsky (then Kirov) theatre: proposing Prokofiev
to compose the ballet, theater, as he wrote in his memoirs, the composer “went back on their word
and instead signed a contract of the Moscow Bolshoi theatre”…

В Большом театре повесили новый занавес

Igor Tsvirko

“At that time many
conversations emerged around our attempts to end “Romeo and Juliet”
happily, recalled in his memoirs, Prokofiev. — The last actor Romeo
came on a minute earlier, would find Juliet alive and everything ends well. The reasons which have pushed
this barbarism were purely choreographic: living people can dance,
dying won’t dance lying down…”

In the end,
for the first time on the music of Prokofiev’s Romeo and Juliet danced in musical theater
Brno at the end of 1938. In the Kirov theatre “Romeo and Juliette” Leonid Lavrovsky
set in 1940, and Large – in 1946, and in both productions the main
the heroine is danced by Galina Ulanova. And the music gradually became more and more popular: excerpts from the ballet often performed in concerts, the author turned them into piano pieces which grew more than one generation of young pianists.

Thirty years ago, his version of Shakespeare’s
love stories in Large put Yuri Grigorovich. She is still on
The historic theatre. A New scene will now go and “Romeo and Juliet” Alexei

В Большом театре повесили новый занавес

Makharbek Vaziev.

the first two scenes, and we can afford two versions of the same
history, — said the General run of the ballet Director of ballet
Big Makharbek Vaziev. — Sometimes in other theatres, because the new not cancels the old one. Ratmansky’s version is very rich technically: for every beat of the music
choreographer laid the motion. The guys from the corps de ballet, I even complained about how hard they have it
all this is to dance!”

play Ratmansky has put six years
ago in Canada, commissioned by the National ballet. “But in a Big not an absolute copy of statement
in Toronto, said Richard Hudson, a famous theatrical set designer,
which musical “the lion King” became a worldwide hit. — Compared to
canadian show for Moscow I modified and scenery, abandoning
some of the details and the costumes: I made sure artists were freer in
them to dance… by the Way, when at the time, Ratmansky offered me this project
I read a lot of books on Renaissance art of Italy of the time. In
this performance is very brilliant music, very bright choreographic images, and I
did are as bright sets and costumes”.

run to the journalists managed to leave the performers of the main roles of the “first
composition”, which are scheduled to dance the premiere performance. Dealing with the press
occurred in the work environment – in class, which usually rehearses extras. Therefore, the stars
ballet came in full makeup and hair, but in rehearsal clothes.

New curtain New scenes

Tsvirko, who dances Mercutio, flashed a tattoo on his shoulder (he got a lion head
in honor of his son, whose name is lion) and told that “in this kasperovskoy history
always pictured myself as Tybalt, and Mercutio was not close to me. So I had
find the nuances necessary to create the image. For example, my hero
premonition of his own death, knows that life is fleeting…”

— Ekaterina Krysanova — told how pleased the new work with Ratmansky (Alex
from 2004 to 2009 he was the head of ballet of the Bolshoi and then put a few
ballets that go until now), “because with him, I grew up as
ballerina…” And separately praised the costumes: “They are fantastically beautiful, close
the history”

Lantratov (Romeo) said that in the performance of Grigorovich was and Paris, and
Tybalt, “and just now I became Romeo. So, before this role I had
to grow. After all, for ballet my hero has changed, his soul so much
only experiencing! And to give this technique only impossible, need and
the human, emotional experience. By the way, at the time, Alexei Ratmansky became the first
the choreographer, who saw me, who believed in me, I opened…”