The Royal Ballet artists performed at the Bolshoi Theatre after an 11-year break The Royal Ballet Director Kevin O'Hare: "The 20 century classics are important for us" Facebook: pictures from the briefing that was organized to mark the start of the Royal Ballet guest performances

June 17 - June 22 - The Royal Ballet guest performances at the Bolshoi Historic Stage - rehearsal day New Stage - Carmen. Opera in four acts The Royal Ballet artists performed at the Bolshoi Theatre The Royal Ballet guest performances started on the Bolshoi Theatre Historic Stage

on June 17. This is the British artists' return visit after the Bolshoi's London tour last year and one of the main events of the UK-Russia bilateral culture year. The program includes four productions. "Culture news" reporters visited the dress rehearsal. This is the fourth time that the Royal Ballet comes to Moscow. Guest performances open with a one-act ballet program. The choice of composers is unexpected: Rachmaninof f, Bach and Nyman, Greenaway's favorite. There is both reserved classics and ironic modern music. They returned to the new Bolshoi, which is alien for them, eleven years later. Over this period of time the company has grown younger; for many artists this is the first time in Moscow. The program of guest performances includes ballets that were created by British choreographers only: the founding father Frederick Ashton ("Rhapsody"), McGregor and Wheeldon, who shape the main features of the Royal Ballet today. Ballets that have history are the priority for this company - regardless of any tendencies that might be in fashion or love for abstract art. The Royal Ballet Director Kevin O'Hare explains: "The 20 century classics are important for us. For example, Ashton was fond of plot-based ballets. MacMillan, who came after him, brought drama - this is a special feature of the Royal Ballet and something that the Bolshoi Ballet also has. Drive, passion… Productions of all three choreographers have been performed at the Bolshoi, and this is not for nothing". Ashton's "Rhapsody" was choreographed thirty five years ago. This ballet was the last one in the series of plot less choreographic productions. It was created for Mikhail Baryshnikov; perhaps, this was the first time that male dance had so many different colors. Abruptness, lightness and power co-exist in this production. At some point the Paganini theme, which is the main theme in "Rhapsody" inspired Fokin and Lavrovsky as well. Ashton has not created another version of his life story; he just hints at the genius of the violinist, but the virtuoso dance has a priority. T im Murray, the conductor, says: "In each of these three ballets the music takes the lead. It is passionate and great by itself. We aimed for the unity of music and plastique, purity and complexity, be it Rachmaninof f in "Rhapsody" or "T etractys" to the music by Bach". The Bolshoi Theatre knows Ashton as the choreographer that created the comic ballet "La fille mal gardée". McGregor and Wheeldon have also worked with the company. It is now interesting to compare how the British choreography is performed in its motherland. By the way, the Royal Ballet took a lot from the Russian classical ballet - the great T amara Karsavina assisted Ashton when he was staging "La fille mal gardée" in London. Boris Akimov, a People's Artist of the USSR and the head of the Bolshoi Ballet company's artistic council mentions: "British and Russian ballet have historical connections. After the Revolution many Russian ballet artists that participated in the "Ballets Russes" lived and performed in London". In 2016 the Bolshoi company will go to London again. Meanwhile everyone is looking forward to seeing Natalia Osipova, the Bolshoi's ex-soloist. She will perform in the production "Manon" together with Carlos Acosta, a legendary Spartacus, who is leaving the big ballet. The Royal Ballet guest performances have started at the Bolshoi Theatre On June 17 and 18 the British company presented the program of one-act ballets - "Rhapsody", "Tetractys" and "DGV" A famous British ballet master Sir Frederick Ashton choreographed "Rhapsody" to the music by Sergei Rachmaninof f ("The Rhapsody on a Theme of Paganini"). The

ballet premiered in 1980 and marked the 80 birthday of Her Majesty the Queen The Royal Ballet Director Kevin O'Hare answers journalists' questions. Briefing at the

Bolshoi Theatre White Foyer. June 17. Photo: Mikhail Logvinov A scene from the one-act ballet "Rhapsody", presented by the Royal Ballet at the Bolshoi Theatre. Photo: ITAR-T ASS Mother , whom Ashton was close friends with. There are six male and six female dancers, and a duet of soloists. The score is centered on the virtuoso Paganini, who worked wonders with his violin; the ballet master decided that dancing should have matched the music. Ashton combines classical pas with truly British grace; he also speeds up the tempos significantly and makes combinations more complicated; therefore, the dancing "makes one worry about broken ankles", as the British press wrote.
The first performances starred Mikhail Baryshnikov. Today Steven McRae, the red- haired principal dancer of the Royal Ballet, flies in the air like a feather, spins like a screw gun and leaps like a lynx. "T etractys". Edward Watson, Natalia Osipova, Lauren Cuthbertson, Eric Underwood. Photo: Johan Persson "T etractys" was staged by Wayne McGregor, a modern choreographer. He is famous for his scientific approach to the modern dance: for example, he used detectors and computers to study higher nervous activity for one of his productions. "T etractys" is about a dif ferent interest that the author has, but, as usual, each small detail is important for the super-intention. Even the multicolored leotards that the artists wear are there not just because it is beautiful. First of all, the artists should study the structure of Bach's fugue; second of all, in terms of the number of the dancers and their space configurations the ballet corresponds to tetractys, a geometrical figure, elaborated by Pythagor in ancient times. Neon abstract figures, created by the popular designer Tauba Auerbach, shine on the black backdrop. During 40 minutes 12 dancers demonstrate how they choose logic over emotions on this background. Those British spectators who did not like it blamed McGregor for being too smart and said that the idea was more interesting than the result. For others the ballet had incredible wisdom and provided a chance to see new paradigm. "DGV", the third one-act ballet that was shown at the Bolshoi, was created by the choreographer Christopher Wheeldon and composer Michael Nyman. In the year of 2006 the authors marked the launch of French high-speed trains with this production. V iolent choreography does remind us about drive and fast journeys, especially since the wild Natalia Osipova, the Bolshoi's former soloist, who is now the Royal Ballet prima ballerina, performed the solo part on one of the evenings. Huge corrugated iron sheets that are used for the set must symbolize the force and power of metal and modern technologies. The group dances look a bit like an aerobics lesson. Blue "moon" light reminds about night trips through tunnels. The pointe shoes that the ballerinas are wearing beat out a rhythm - it sounds like train wheels. As one of the critics wrote, "for the money you pay the choreographer Christopher Wheeldon does give you a hell of a lot of dancing". Every little act helps The Royal Ballet presents guest performances at the Bolshoi Theatre The Royal Ballet presents guest performances in Moscow. The program includes "Manon" starring Natalia Osipova, "Rhapsody" that Frederick Ashton choreographed for Baryshnikov and one-act ballets by Wayne McGregor and Christopher Wheeldon.
Several years ago, when Monica Mason was still the Director of the Royal Ballet (she resigned the year before last), she decided to come to a morning class and demonstrate her friendly attitude to all artists by greeting each of them in his/her native language. As she walked past the ballet bar her face became more and more strained: she realized that there was almost nobody she greeted in English. Newsletter

Spanish and Italian, Russian and Ukrainian, Portuguese, Bulgarian, Japanese; those people she could say "good morning" to most likely be from Australia. This is the how the Royal Ballet company was composed and still is composed today by her successor Kevin O'Hare; the sun certainly never sets over this empire. Speaking of soloists at the guest performances that are now taking place at the Bolshoi Theatre (June 17 - June 22), we will not see a particular "English style". Prima ballerinas and principal dancers that migrate to the Royal Ballet bring traditions of their ballet schools, personal artistic habits and manners. It will become especially vivid when performances of the ballet "Manon" start: over three days (Friday through Saturday) this best seller, choreographed by Kenneth MacMillan, will be performed four times. Each performance will star different artists. MacMillan, who staged one of his best productions at the Royal Opera House in 1974, oriented himself on the dramatic ballet canon that the British glorified ever since the Bolshoi's first guest performances took place after the war and Ulanova, who danced the part of Juliette, runs across the London stage. His Paris is as crowded as Leonid Lavrovsky's Verona; however, the Soviet ballet productions could not have such thrilling dances of women who are selling themselves. A young girl, who does not have any prejudices yet, makes a young poet follow her to the capital and incidentally makes him become a cardsharp; in the last act she dies during her escape from the forced labor camp and the main hero, who followed her into the American swamp, cries over her dead body. The British choreographer, naturally, did not approve of the French carelessness that caused a great tragedy; however, he was very enthusiastic about Paris and praised Paris. Carriages are riding back and forth, charming prostitutes are dancing at what looks like a casino and a brothel at the same time, and the poet is writing wonderful poems (there are many male dancers in the world who are ready to sell their souls for these variations). It is clear that Manon, performed by the Argentinean dancer Marianela NГєñez (she will dance this part on Friday) will be very different from Manon, performed by the American dancer Sarah Lamb (Saturday); both of them will have nothing in common with Manon, performed by the Bolshoi's former prima ballerina Natalia Osipova (Sunday). The same can be said about Des Grieux. The character, performed by Matthew Golding, who received his training in Canada (Saturday matinee performance), is very different from the character, performed by the Australian dancer Steven Mcrae (Saturday evening); the image, created by the Cuban dancer Carlos Acosta (Sunday) is three times as wild and violent as both previous interpretations. It is clear that ballet fans will strive to get a ticket to a performance of "Manon" - on one hand, this is a famous production, on the other hand, this ballet will premiere at

the Moscow Music Theatre very soon (July 4). "Mayerling", another MacMillan's production, has been successfully performed there for a year; now the theatre has received the rights for "Manon". Comparing interpretations is something that all ballet fans are very fond of. The guest performances started with a program of one-act ballets. The excitement was not as great, although they surely deserve attention as well. This is where we can see the British style. This is q particular choreographic style, or rather a particular attitude to choreography. The main British theatre is not afraid to risk and commissions rather non-trivial authors to create a production quite often; that is why programs that consist of one-act ballets give one an idea of the latest ballet fashion. In Moscow the Royal Ballet presented short ballets by Wayne McGregor, a representative of deconstructionism, one of the today's main newsmakers in the dance world and the author of the mythical one-act ballet "Chroma" that he brought to the Bolshoi Theatre a couple of years ago, and Christopher Wheeldon, a less revolutionary but inventive author, who creates attractive neo-classics and staged "Misericordes" at the Bolshoi ten years ago. McGregor presents the ballet "Tetractys" - a new production to the music by J.S. Bach, arranged by Michael Berkley that premiered in February. Wheeldon presents the ballet "DGV" to the music by Michael Nyman. The title of this ballet is connected with Nyman's piece "MGV" ("Musique a grande vitesse"), which the composer wrote at the commission of the French department on railroads to mark the opening of the high-speed rail (TGV). Therefore, "DGV" means "Dance at high speed", and this plotless ballet does rush forward as fast as a super-express train. In case the Moscow audience does not like the modern choreography, the company brought another one-act ballet, choreographed by a British classic and the Royal Ballet co-founder Frederick Ashton. "Rhapsody" was created more than thirty years ago to mark the birthday of Her Majesty the Queen Mother, it was staged for Mikhail Baryshnikov and it is impeccably classical. The old story about an artist's fate is unfolding to the music by Rachmaninof f ("The Rhapsody on a Theme of Paganini"); even the most pathetic parts have a certain charm. If we interpret it in a humorous way and see various pirouettes as a way to express an idea "it's the squeaky wheel that gets the grease", it will let us have a better understanding of the British, who compare Ashton's ballets with the crown of Her Majesty the Queen. June, 19 2014 Newsletter

June, 19 2014 A scene from the one-act ballet "Rhapsody", presented by the Royal Ballet at the Bolshoi Theatre. Photo: ITAR-T ASS On the Bolshoi Theatre official pages in the social networks we published pictures from the briefing that was organized to mark the start of the Royal Ballet guest performances: The Royal Ballet Director Kevin O'Hare answers journalists' questions. Photo: Mikhail Logvinov

Analysis of articles published on June 17 2014 The BBC reports that two dancers from the Royal Ballet have boycotted the ballet company's tour at the Bolshoi Theatre in Moscow in protest of what they see as anti- gay legislation in Russia. The article is republished in the Ukrainian English language newspaper Kiev Post. The Spanish newswire EFE publishes a story on the same Bolshoi Theatre in the Internet theme which is republished in The Vanguardian and some other Spanish news sources. WENN entertainment network also publishes the same story which is republished in Hollywood.com Il Fatto Quotidiano (Italy) reports about the Ravenna Festival and mentions that the Bolshoi Ballet's prima Svetlana Zakharova performed at the festival. Y ekaterinburg mass media: The Yekaterinburg Opera Theatre: call for applications for the third "Dance- platform" The Yekaterinburg Opera and Ballet Theatre announced a call for applications for the third "Dance-platform", aimed at providing support to young choreographers.

The deadline for applications is July 20. As the theatre's press office announced, the jury will choose eight participants that will be able to take part in choreographic workshops from September 3 to September 22. /…/ This year the jury members are: Ingrid Lawrence, Director of the Norwegian National Ballet, Maria Alexandrova, the Bolshoi Theatre's prima ballerina, Alexei Miroshnichenko, the Perm Ballet artistic director, and Vyacheslav Samodurov, the Yekaterinburg Ballet artistic director. Maria Alexandrova, the Bolshoi Theatre's prima ballerina and a People's Artist of Russia, will perform a piece that was choreographed for her by Vyacheslav Samodurov, the director of the project. This is what will intrigue the audience the most. /…/ T ambov mass media: Sergei Rachmaninoff Festival opened in Tambov oblast

By June 21 soloists of the Russian National Orchestra, conducted by Mikhail Pletnev, a People's Artist of Russia, will have given five concerts at the Sergei Rachmaninof f's museum-estate in Ivanovka. All money raised will be allocated for

further development of Ivanovka. /…/ On June 19 romances by Rachmaninof f, Rimsky-Korsakov and Tchaikovsky will be performed in Ivanovka by the Bolshoi Theatre's guest artist Uliana Alexyuk (Artem Grishaev will play the piano). The

festival will close on June 21 with a concert; the famous pianist Nikolai Lugansky will perform the Piano Concerto No. 3 and Symphony No. 2 by Sergei Rachmaninof f. /…/ /…/ The orchestra "Russian Field", composed of outstanding Russian musicians, will

perform at the museum-reserve Kolomenskoye on July 5 during the Third Interregional Festival of Slavic Art "Russian Field". Yuri Medyanik, a laureate of

international competitions and the conductor of the festival "Basses of the 21 century", the artistic director and the conductor of the orchestra "Pluri Art Orchestra" and the vice-president of "Alliance of accordion players of Russia" will conduct the orchestra. Dmitry Zhukov, a balalaika player and a laureate of the International Competition of Russian folk instruments players' "Cup of the North" will join the orchestra. Vocal pieces will be performed by Irina Krutova (soprano), a diploma- winner of the All-Russian Competition of Vocalists named after N. Obukhova and a laureate of the International Contest for Young Singers of Russian Romance "Romansiada", and Sergei Plusnin (baritone), the Bolshoi Theatre's soloist and the winner of the Muslim Magomaev International Vocalists Contest. Irina Krutova and Sergei Plusnin will perform songs by Soviet and Russian composers. The orchestra "Russian Field" will present arranged versions of folk songs and the march "Farewell of Slavianka". /…/
In brief , 7