BETWEEN DESPAIR AND POWERLESS
The current "Legend of Love" at the Bolshoi Theater could be called "The Legend of Mekhmene Banu". In different casts, with different ratios of experience and strength of the performers involved in the ballet, the center of the performance becomes not the fate of the artist who sacrificed personal happiness in the name of his calling, not the love drama of the princess separated from him, but the tragedy of the queen who gave up her beauty. That's what happened and May 19.
Maria Vinogradova And Igor Tsvirko More authentically than others I have seen, Shirin and Ferkhadov danced a meeting duet. Such scherzo episodes are well suited for short artists. Igor, in addition, stood out with his powerful jumps in pursuit, and Maria with her fluid “water” pas de bourrée. And yet their heroes were only participants in the story of Mekhmene Banu.
Ekaterina Krysanova emphasized the stylized nature of this party. Each of her poses was outlined with a mysterious hieroglyph. The plasticity of the hands was reminiscent of the movements of Kathakali performers and the exquisite play of the hands of Peking Opera actors. Krysanova's dance stretched through the scorched, dried-out atmosphere of the "Legend..." in the same way as a fresco stretches along the wall of a palace abandoned by the inhabitants: the stones are cracked and weathered, but the remaining colors still tell the ancient story in the language of conventional symbols, honed over centuries.
The heroine's feelings were unconditional. She either flared up with despair, ready to shout about her suffering to the earth and sky, then she drooped from the consciousness of the impossibility of changing anything. And then, from this powerlessness, the most heartfelt moments in the performance, moistened with the transparent moisture of tears, were born. The queen walked slowly and trustingly towards the Stranger, maintaining the hope to the end that he would change his mind about taking her beauty. She responded with her whole body to Ferkhad’s caresses in the vision scene, and at the same time understood the unreality of these caresses. She fluttered like a black moth in the last trio, saying goodbye to her love forever.
Two and a half years ago, at the premiere of the renewed "Legends..." Svetlana Zakharova showed the suffering that teaches: through pain and self-denial, her heroine walked towards higher wisdom. Later Maria Alexandrova played the suffering that burned passion to the ground - so that in the ensuing insensibility Mehmene found the desired peace. Ekaterina Krysanova told the story of how the queen carries her soul unclouded through all the trials and temptations of fate.
Perhaps that is why she was given a kind of consolation in the person of the Vizier.
Like other modern performers of this role, Denis Savin did not play love for Mekhmene. But, unlike the other viziers, his hero looked like a truly worthy ally of his mistress. Not only the adagio before the chase, but also all other episodes in which the queen and the vizier act simultaneously, Krysanova and Savin performed as duets. When Mekhmene turned away from the courtiers, she knew for sure: the Vizier behind her back would do exactly what needed to be done. When in the penultimate scene she leaned her hand on the Vizier’s shoulder, it became clear that this was not a random gesture and not part of a court ceremony. The heroine really approached someone who could understand her. Even if not in her personal life, but in state affairs, the queen had someone to look to for support.
The second act of the play was enhanced by the performance Georgy Gusev in the role of the jester. Usually, when highlighting one of the artists, they note the peculiarities of the performing interpretation. I can’t say anything like that about Georgiy - his jester seemed to be ordinary. But the dance itself was extremely correct and musical. He entered another, bright red, hieroglyph into the ancient book “Legends...”.
A. S. Galkin.
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The Bolshoi Theater has reassured everyone who was unable to attend the premiere performances of Kirill Serebrennikov’s infamous ballet “Nureyev” in December: the performance is more alive than dead, and will be shown again in early summer. In behind-the-scenes conversations with the performers of the main role, Bolshoi Theater premier Artem Ovcharenko and leading soloist Igor Tsvirko, ELLE reveals the secret to the success of the main cultural event of recent years.
Artem Ovcharenko
Premier of the Bolshoi Theater
ELLE Your first acquaintance with the image of Nureyev took place three years ago during the filming of the BBC film “Rudolf Nureyev: Dance to Freedom,” where you played the main role. What new things did you discover while working on the ballet?
First of all, I realized that Nureyev cannot be labeled “good” and “bad.” He was a brilliant person. Of course, with its own characteristics. He had a terribly difficult childhood. He lived in poverty, wore his sisters' clothes and went to classes barefoot - hence the compensatory craving for luxury: all those carpets, antiques and islands that he bought at the end of his life. Everyone knows that Nureyev was shocking and very unrestrained, he could insult a person out of nowhere, be rude - this is what he was used to, because he himself was rude, spread rot, called a half-educated person. He was controversial. This is how I tried to show it.
PHOTO Alexey KolpakovSTYLE Semen UtkinIt must have been hard to try on his image?
Very. I am the absolute opposite of Rudolph. I am a peaceful and friendly person, very attached to my family. But on stage I needed to develop Nureyev’s qualities in myself, to feel them. I succeeded - but only for the duration of the performance.
Were you tempted to adopt something from him?
In no case. Nureyev himself did not look up to anyone, and there is a reason for this - when you adopt the behavior of another person, you become his copy, you cease to be yourself. And for an artist it is very important to belong only to himself. When you try to prove something to someone - a teacher, a parent, an official in the hall - you lose your congruence and integrity. Such a dancer is always visible from afar - as if with all his appearance he is trying to say: “Look how I spin, how I jump.” There is no soul in his dance. It was internal integrity that helped Nureyev survive. The KGB put pressure on him, he was under extreme stress due to leaving the Soviet Union, and the audience booed him. But Rudolph believed that he was a legend. The world just didn’t know about it yet.
Critics consider Nureyev's duet with his lover, the Danish dancer Erik Brun, to be one of the strongest scenes in the ballet. Because of it, last summer the creators were accused of promoting homosexuality. But at the premiere she looked more than decent and correct...
We all know what orientation Nureyev was. You can focus on this, or you can just not hide it - do you feel the difference? In the first case, there is a high probability of slipping into vulgarity. We staged a duet of two partners, and sometimes even rivals, leaving the audience a chance to understand everything themselves. As for the accusations, of course, it’s much easier not to create anything at all and say in advance: “This is bad,” “No one will like this,” and spread these speculations in the media and social networks. And it is much more difficult to make sure that people who come to the theater see the performance and are able to judge based on their own impressions. It’s good that “Nureyev” still took place and we managed to convey to the viewer what the authors intended. After the premiere, people who knew Nureyev personally came up to me and said that the performance was a revelation for them.
“Nureyev” is a breakthrough for all of us and, of course, for the Bolshoi Theater
What's your favorite scene?
The final. When Nureyev descends into the orchestra pit to conduct the orchestra in La Bayadère. It's a powerful dramatic moment - I even took a few lessons from the conductor to make it look convincing. In my opinion, the main merit of Kirill Serebrennikov is that he showed: today's ballet dancer does not just dance - he must be multifunctional, combining dance, acrobatics and drama in his work. And this performance is a professional breakthrough for all of us and, of course, for the Bolshoi Theater.
Igor Tsvirko
Leading soloist of the Bolshoi Theater
ELLE You found yourself in a “third wheel” situation - the premiere performances were given to your colleagues: Artem Ovcharenko and Vladislav Lantratov. How did you feel?
After the premiere was postponed, instead of four performances there were two left, although it was clear to everyone that we had three casts. I was offered to perform at the dress rehearsal, and I took it as a long-awaited chance to dance a part that left a strong emotional imprint on me. At that time, it was completely unclear what would happen to the ballet next.
Even after the changes that were made to the play for the premiere?
You will be surprised - there were no changes. The lineup of performers and planned scenes remained in place. The only thing that has changed: after the arrest of Kirill Semenovich, the entire organizational part fell on the shoulders of choreographer Yuri Posokhov. And this is a colossal job, because only Serebrennikov understood how to unite almost 300 people responsible for ballet, opera and drama.
There are those who study all the time. Serebrennikov is one of those people, he doesn’t give up
But what about the demand to remove naked dancers from the stage who were called “obscene” - was it fulfilled?
To me, all the accusations of obscenity are made up out of thin air. They were distributed by people who had never even seen the performance. Complete profanation. Maximum exposure occurs in the scene of Nureyev being photographed by photographer Richard Avedon - the hero is in a bandage, and no “questioning” parts of the body are visible. Yes, the play has unusual directorial ideas - for example, a moment with transvestites, designed to show the world of freedom into which the hero finds himself after leaving the Union. But our dancers masterfully walk in heels. No vulgarity.
In your opinion, why is Rudolf Nureyev as a character relevant today?
He performed 300 days a year, all the time overcoming himself, one might even say, torturing his body in order to improve the canons of dance. Nureyev was the first who began to perform spins on high half-toes and later, already in France, began transforming dance costumes. No one dared to take on this, but he turned out to be a reformer - and justifiably considered himself better than others, all those who sat in warm places and did not want to develop. Look at the videos of him in good form - very few of the current prime ministers can repeat it. Nureyev, Baryshnikov - they are unique. And both left Russia. They felt cramped here. They wanted, first of all, development, which the country could not provide for them at that time. I am sure that they also had fears: abroad, everything could have turned out far from rosy. But Nureyev was a man with enormous willpower. His father did not believe in him; at his first performances, the audience threw tomatoes at him, but he did not give up.
Igor Tsvirko shone at the Bolshoi Theater, this season he moved to Budapest, and on December 1, those viewers who are lucky will see him in a production of “The Nutcracker” at the Alexandrinsky Theater. The writer is talking with the premier of the Hungarian State Opera and Ballet Theater Valeria Verbinina.
- What does your role in “The Nutcracker” mean to you?
- Do you plan to come to Russia more often, especially to Moscow?
Of course I plan to. Recently I have been lucky enough to visit Russia more often. Recently I played the role of the prince in “Cinderella”, and in December there will be “The Nutcracker” on the stage of the Alexandrinsky Theater, a gala evening, and a debut in the play “Spartacus”, which has been restored at the Mikhailovsky Theater. There is also a desire to come to Novosibirsk. I would like to say thank you to Vladimir Abramovich Kekhman, who gives me a chance to come. And of course, from January 1, I hope we will see each other more often within the walls of our native Bolshoi Theater.
- Among the roles that you had to perform - and there are many of them - is there any one that is your favorite?
Certainly. The favorite and most desired was danced not so long ago - this is, of course, Yuri Grigorovich’s ballet “Spartacus”. A masculine, powerful performance with the inner world of the hero, amazing music and, of course, choreography. I can also call Nureyev’s part in the ballet of the same name my favorite, but this is rather more of an actor’s work in a synthesized multifaceted performance.
- Do you have any dream – professionally and not only?
In professional terms - so that they stage a play on me. And to make a big project of a classical-modern type to popularize ballet in our huge country.
Ballet is a very difficult profession, but do any funny things happen there, on stage or behind the scenes?
The funniest incident that happened in my career was when I had to go on the historical stage of the Bolshoi Theater in the play "Giselle", in the role of the main character Albert, completely not knowing the order, and all the artists, led by my teacher, suggested the order from -behind the scenes. Now it’s fun to remember, but at that moment it seemed like my whole life was passing before my eyes ( laughs).
Everything is clear with music in classical ballet, but what kind of music do you listen to in life? Do you have any preferences?
At the choreographic school, I preferred to listen to hip-hop and rap, but then I realized that it was too narrow and started listening to everything. Rock, rap, pop; I love jazz and blues. I am a music lover. But if you single out among the performers, these are, of course, Queen, Michael Jackson, Adele, Alicia Keys, Sia... Of the Russian performers, this is “Lyube” - because these are memories of childhood! I love listening to Basta and Noize MC.
The passion and love for football began a long time ago, in school. Of the Russian teams, this is definitely Lokomotiv; among the giants of European football, my absolute favorite is the Chelsea football club. I love the color blue, and once upon a time, a long time ago, it became decisive in choosing a team ( laughs).
- And the last question. Cats or dogs?
There is nothing to say here: only dogs. We have two of them: St. Petersburg orchid Tasya and Biewer Yorkie Krosh. And if we take the total number of dogs in our family, then there are 9 of them. Starting from a toy terrier and ending with a leonberger.
Igor Tsvirko is a soloist of the Bolshoi Theater, known for his role in the play “Spartacus” and the role of Rudolf Nureyev in the production of the same name by Kirill Serebrennikov. In 2018, the artist left Russia for Budapest to work at the Hungarian National Opera and Ballet Theater. But less than six months had passed before Tsvirko returned to the Bolshoi. We discussed why he can’t imagine his life without his native country and the theater, what it’s like for artists who leave Russia, and compared the current situation in ballet with the one that was in the times of Nureyev and Baryshnikov.
Classic suit or sports suit?
Depends on the event, because you always need to follow the dress code. In everyday life I prefer casual rather than a suit. In my profession, it is quite problematic to wear a classic suit, because you need to quickly change from everyday clothes to rehearsal clothes and vice versa. I try to choose what is quickest to wear.
When choosing clothes, is it more important for you that it be comfortable or elegant?
I try to combine comfort and elegance. My upbringing probably doesn’t allow me to dress like today’s hipsters. Perhaps I am in some kind of model framework, but I was taught to dress strictly, with taste and, most importantly, try to be a gentleman in style and choice of clothing. I choose a style that is modest, strict and not too pretentious.
Is dressing like a hipster rude?
No, dressing like a hipster is being free when it doesn't matter what they think of you. Sometimes I probably would like to dress like this, but I hardly can anymore.
Do you like to experiment with style or do you prefer proven options?
I wouldn't experiment on purpose myself. But if there are people who can attract me with something, provide some kind of opportunity for experimentation, then I always say “yes.” Because life is short and why not try experimenting with style. If John Galliano offered me this, I would agree.
What shoes do you wear most often?
Sneakers. I'm trying to find a technique so as not to lace them up again.
Has a zipper.
Yes, but that's not it.
Do you have any favorite accessories?
No, because I realized that I am very absent-minded and forgetful. No matter how many times I tried to wear all sorts of baubles, it all remained either on planes, or on trains, or in hotels. I even rarely wear a watch.
Who did you look up to when it came to style growing up?
It seems to me that you adopt style to a greater extent through the actors. I've always really liked the way Brad Pitt looks in movies. I liked Guy Ritchie's films - with humor, sarcasm, but always very stylishly done.
The latest Bond films are generally the most stylish picture that can be! And of course, the style icon is David Beckham.
Would you like your son to follow your example in matters of style?
May be. But if he is not like me, and he has his own vector of development, then I will support him. I'm not going to infringe on my son's freedom of choice. If he wants to dress somehow differently, then you are welcome. I don’t see any obstacles in this.
Do you have a dream for some kind of award?
Don't know. I don't have the Golden Mask, so it would be nice to get one. Well, Benois de la Danse (an annual ballet festival at which ballet dancers, choreographers, composers and set designers are awarded. – Note ed.). It's all a matter of time or luck, I think. So that both the choreographer and the performance will meet, in which the jury will notice. Previously, there was the status of Principal danseur noble, the highest degree of recognition for male ballet dancers. I don't know what needs to be done to have this status. I'm not looking for awards. I think more about making sure that the creativity I do reaches the audience and that they enjoy it.
A year ago, in an interview, you said: “The time of a ballet dancer is short. There comes a time when you want change.” What major changes have occurred in your life this year?
So many changes have already happened in six months. The life of an artist is indeed quite short. If you are a soloist, then your retirement age is 35 years, if you are a corps de ballet dancer, then 38. You receive a pension card and can ride the metro for free and enjoy various benefits. Therefore, every year is worth its weight in gold for an artist.
Over the past six months, I first decided to leave the country, but not even six months had passed when I realized that it was very difficult for me without Russia and the Bolshoi Theater.
It was and remains my home, where I grew up and became a person. At the same time, there are always Nureyev and Baryshnikov as examples, who left and won names for themselves. But then it was a different time, now everything happens differently. There are artists who left at 18, immediately after graduation: Maria Kochetkova, Polina Semenova. It was easier for those who graduated from choreographic schools abroad to settle in than it was for me at 29. Therefore, the adaptation period was not easy, and I quickly realized that I needed to come back. I returned, and again everything was the same: all the performances, work. Everything became dynamic and returned to its usual rhythm. I realized that the calm rhythm of European life was not for me. I need chaos, I need to run somewhere, hurry. In this world, I am much, paradoxically, calmer.
You said about Nureyev and Baryshnikov that they were both unique artists and both left Russia because they could not develop normally in this country. Has this changed now? Is it now possible to achieve the desired success in Russia?
I think that everything is possible in Russia. You can achieve anything, the main thing is to clearly understand what you want. At the same time, of course, you can say as much as you like that you can achieve anything, but if you don’t have luck, if you don’t come across people who can make your dream come true, it won’t be easy. It is important to talk to people, tell them about your plans. Who knows, maybe today we will talk, and in a couple of months one of us will help each other in realizing some dream. There are many examples when some random acquaintance turns into a huge success for people. A striking example of the latter is Sergei Burunov. After the series “Policeman from Rublevka” this actor began to appear everywhere. The same thing happened with Andrei Krasko: he was not noticed, but then he starred in “National Security Agent”, and his acting career took off, although he was no longer young. It was hard for Nureyev because his ambitions overwhelmed him in the Soviet system, to which everything was subordinated. You couldn’t be better than the one who came before you, and this probably put a lot of pressure on Nureyev - he wanted to develop, but they tried to stop him so that he wouldn’t stand out. Being special was wrong in Soviet times. I think that this to some extent interfered with Mikhail Baryshnikov. Each of them found themselves abroad. But sometimes, when you are in your own country, it seems to you that at some point you are underestimated, and you want global changes. But as soon as you leave, they immediately expect you back and you are really needed. And you yourself understand what was good and what was not. What we have, we don’t keep; when we lose, we cry. If you find people you trust, who support you, this is very important. The main thing is to find support. And support is always in our loved ones.
I know that you wanted to act in a movie. Do you still have this desire?
Yes, the desire is very great. Right now, in April, Ralph Fiennes’ film about Nureyev is coming out, where my colleague Oleg Ivenko, with whom we were casting for the role of Rudolph, is filming. In the end, the choice fell on him, and I wish him success. I embodied my Nureyev in the premiere performance at the Bolshoi Theater. Everyone stuck to their own ideas, but I still dream of playing in a movie. I don't know if it will work. We probably need to do something in this direction.
We can say that ballet and theater are in some sense related. In addition, you worked with theater director Kirill Serebrennikov, who directed Nureyev. Would you like to try acting in a play yourself?
Of course, I don’t want to take away the bread from actors who study this for many years and then look for the opportunity to play several roles. But, if the director was interested in inviting me as an actor, I would be happy to try. As I said, there is only one life, and if you get a chance to try something, then why not? Of course, it is very interesting to try yourself in the dramatic conversational genre: in cinema, in the theater. Unfortunately, in a ballet performance we are limited in terms of the linguistic aspect. I hope that over time some of this will come to fruition. The main thing is to dream.
What would be more interesting: classical productions or something modern, performances?
Most likely, in my case it would be something modern, in the performance genre. Probably what is currently on at the Gogol Center. Classic things are shown there, but in a modern interpretation.
Ballet still remains an art “not for everyone.” If a person wants to understand ballet, what performances should he attend first?
There are people who have never been to a performance at all. It seems to me that taking them to “Swan Lake” is very reckless, because Tchaikovsky’s music and this action can both interest and drive them into slight melancholy. My advice is to choose something short, dynamic or with a deep meaning. If we talk about the Bolshoi Theater, I would say the ballet “Bright Stream”: it is cheerful, humorous and easy to understand. The second ballet is Don Quixote. Everything is simple there: Spain, sun, Barcelona. “The Taming of the Shrew” because it is a short and dynamic play. The fourth is “Hero of Our Time”, because it is ours, Russian, interesting. And, rather, it should have been in first place, the ballet “Spartacus”, because everything is clear there too: a male ballet with no weak points and which is very interesting to watch for any viewer. I think that after these performances the viewer would want to go to the theater again and watch something else.
