re. Curtains. All of the theater's historical curtains made an appearance in the gala, in some form or another. The CCCP curtain is only the penultimate one. The others were 'recreated' via computerized graphics and could be seen behind soloist opera singers during their segments, e.g., one of them had a mythological scene with Apollo. But yes, it was odd to have the CCCP curtain as a 'permanent' backdrop to Ivan Susanin (a.k.a. 'A Life for the Tsar')!
3
Reopening of the Bolshoi Theatre28 October 2011
Started by
Helene
, Sep 20 2011 11:37 AM
56 replies to this topic
#32
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Platinum Circle
Posted 29 October 2011 - 08:24 AM
Have the staging of these ballets changed much over the years? It felt as though the impact f the movement was often dwarfed by the size of the ensemble, and wondered if it had seemed that way when the work was new... Or whther it became watered down by the passage of time... even though the choreographer was alive and well.
Also, I did not feel, with the exception occasionally in Swan Lake, that the camera was doing the performers any favors...
Also, I did not feel, with the exception occasionally in Swan Lake, that the camera was doing the performers any favors...
#33
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Senior Member
Posted 29 October 2011 - 08:09 PM
Sounds like a gorgeous night--particularly pleased they did one of my fave arias, Joan's from Maid of Orleans.
#34
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Posted 29 October 2011 - 08:52 PM
leonid, on 27 October 2011 - 09:13 AM, said:
I wonder is this means that we will not see the preliminary speeches?
http://www.microsoft...2Fnews%2F505079
http://www.microsoft...2Fnews%2F505079
how did that work out?
#35
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Platinum Circle
Posted 29 October 2011 - 09:29 PM
Buried in the NYTIMES article is the news that hte new Sleeping Beauty -- 'and a new ballet production of “Sleeping Beauty,” choreographed by Yuri Grigorovich.'
'That one, by the way, will have its premiere on Nov. 18 and happens to star an American dancer, David Hallberg.'
Halberg of course is big news. But surely it's also news, BIG news, that this is a new production by GRIGOROVITCH.
'That one, by the way, will have its premiere on Nov. 18 and happens to star an American dancer, David Hallberg.'
Halberg of course is big news. But surely it's also news, BIG news, that this is a new production by GRIGOROVITCH.
abatt, on 28 October 2011 - 01:54 PM, said:
Here is a link to a NY Times article on the re opening of the theater, with a slide show and audio feature.
http://www.nytimes.c...st-century.html
http://www.nytimes.c...st-century.html
#36
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Rubies Circle
Posted 29 October 2011 - 09:37 PM
Yet..another "new' SB-(yawn)
#37
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Posted 30 October 2011 - 01:17 AM
I thought it was basically said that this was his "old" Sleeping Beauty (granted that I do really like aspects of) but with new designs instead of the Virsaldze? I suppose it would be too ridiculous to hope that they would ever get--and broadcast!--the Vikharev reconstruction.
#38
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Rubies Circle
Posted 30 October 2011 - 05:47 AM
It's worse, Eric ....re-hashed Grigorovich with RENTED (or identically recreated?) sets & costumes from the POB (what we see in the DVD starring Dupont/Legris). Those sets & costumes have also been rented by La Scala, seen in the 2000 telecast starring Vishneva. Another error in the article: although this 'new' production open on Nov 18, Hallberg's debut has been announced for Nov 20th (not the 18th). It will be shown 'live in cinemas' on 20 November...at least, it's being publicized in the USA as being the day of his debut with the Bolshoi, opposite Zakharova. Regardless, I'm looking forward to the 20th - great cast!
#39
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Silver Circle
Posted 30 October 2011 - 12:57 PM
I thoroughly enjoyed this gala reopening of the Bolshoi; everything was presented on the grand scale! However, the star of the evening was the physical Theatre itself. The Bolshoi Theatre sparkled like a high carat diamond, from the red velvet curtains and gold brocades to the highest tier. Absolutely beautiful! Each time when the house lights came up, or went down, the entire audtiorium literally glowed in the dark. There were many sections which I thought were splendid. For example, the excerpts from "Golden Age" and "Flames of Paris" with Kaptsova and Osipova. Alexandrova's Kitri segment was very much in the moment. The students of the Bolshoi Academy were well rehearsed by Lacotte for the waltz, however, as beautiful as Prokofiev's "Cinderella" waltz coda from Act 2 is, I didn't "get" why that music was chosen. I was looking forward to the advertised Ratmansky "Sleeping Beauty" waltz ... However the children danced beautifully!
There were of course a few who were nervous, but on the whole - well done. Zakharova's Odette was surprisingly quite dainty and tentative (nerves?), but that's to be expected. The Bolshoi swans were in the same vain during the entire white pdd. Moreover, the last line of swans on stage right were not in line nor in sync during the arabesque voyages passes. Ivan Vasiliev and the male corps woke up the proceedings with the excerpt from "Spartacus," as did Natalia Osipova in "Flames of Paris."
Re nerves, this is the first time they've been back on their actual home stage in six years. Also, much was made in the run up to the reopening of the new stage that has been upgraded, not only acoustically for the opera, but for ballet specifications. There is a new specially engineered floor and surface, that reportedly has more give and bounce to it, in addition to other engineering upgrades, that make the stage easier on the dancers feet and backs
. I think that everyone (singers and dancers), were simultaneously, proud, nervous, and humbled to be apart of this historic occaision. This was a once in a lifetime/career event, and they all rose to the challenge.
I agree with earlier posters that there were alot of moments of dead air, and the flow of stage-traffic was somewhat erratic in strategic spots during the program. These episodes occurred after the huge chorus sections. The high tech backdrops, especially of the, eh hem, previous curtain, (the hammer and sickle & "CCCP") were OTT in some spots. This was particularly jarring during the 18th century themed "champagne party" chorus of Prokofiev's "Betrothal in a Monastery." Also, the powdered wigged and bearded tenor/goblet-xylophonist was the hit of that excerpt. Additionally, one backdrop went straight from afternoon to night then afternoon again in the space of one aria. Okay, we get it: The Bolshoi Theatre can now execute the same state of the art stage tricks and special effects that other modern opera houses can.
The cream of Russia and the world's cultural elite were present; however, very few looked "happy" to be there. This was particularly true of the Schedrins (Maya Plisetskaya and husband Rodion). President Medvedev's opening remarks seemed as if he were speaking extemporaneously,as if he composed it in the limo - at the last minute. It seems to me that he could/should have put more thought into it due to the occaision. But hey, Lincoln's Gettysburg Address made the same first impression when it was first presented.
I also loved the time capsle snippets of Bolshoi greats who are now no longer with us: Lepeshniskaya, Ulanova, Semyonova . . . pics and the comments of conductors, long since passsed on. Of all of these, Maximova was the hardest for me to deal with. The documentary also included Plisetskaya, Vasiliev, Pviako and others.
The strangest interim moment, was the revolving street block with pedestrians. My second nominee for most interesting stagecraft, was the Tchaikovsky quartet of "Nature and Love." Throughout the entire piece, I was waiting for one of the back curtains to come down in front of The Four Sopranos. In fact, at the very beginning of the piece, one of the divas looked up to make sure she didn't get clobbered. Kudos to the prima donna who delivered Liza's powerful aria In "Queen of Spades" (Angela Gheorghiu) with songbook - that was unusual and gutsy, given that everyone else memorized their arias. Also, the revered ushers of the Theatre were given Soviet style rhythmic applause while placing baskets of roses on the stage. However, the grand finale took the cake for Best Biting Nails/Dangerous Moment in the Theatre of 2011: A rip roaring rendition of Tchaikovsky's "Coronation March," during which the entire Bolshoi company and staff march down a steep full-stage mountain of a staircase. They all made it down safely, thank God
!
The Music Corner: The Bolshoi Orchestra was in magnificent form! Brava!
Ballet In Cinema Trivia: Sometimes when you attend a live performance, there is always that person who sits either next to you, or behind you, or close enough where you can hear them humming every note. Well, this morning there was an elderly couple in the movie theatre who felt the need to comment on each and every moment - from the red carpet to the final credits. Charming
.
Brava Bolshoi
!
There were of course a few who were nervous, but on the whole - well done. Zakharova's Odette was surprisingly quite dainty and tentative (nerves?), but that's to be expected. The Bolshoi swans were in the same vain during the entire white pdd. Moreover, the last line of swans on stage right were not in line nor in sync during the arabesque voyages passes. Ivan Vasiliev and the male corps woke up the proceedings with the excerpt from "Spartacus," as did Natalia Osipova in "Flames of Paris."
Re nerves, this is the first time they've been back on their actual home stage in six years. Also, much was made in the run up to the reopening of the new stage that has been upgraded, not only acoustically for the opera, but for ballet specifications. There is a new specially engineered floor and surface, that reportedly has more give and bounce to it, in addition to other engineering upgrades, that make the stage easier on the dancers feet and backs
. I think that everyone (singers and dancers), were simultaneously, proud, nervous, and humbled to be apart of this historic occaision. This was a once in a lifetime/career event, and they all rose to the challenge.I agree with earlier posters that there were alot of moments of dead air, and the flow of stage-traffic was somewhat erratic in strategic spots during the program. These episodes occurred after the huge chorus sections. The high tech backdrops, especially of the, eh hem, previous curtain, (the hammer and sickle & "CCCP") were OTT in some spots. This was particularly jarring during the 18th century themed "champagne party" chorus of Prokofiev's "Betrothal in a Monastery." Also, the powdered wigged and bearded tenor/goblet-xylophonist was the hit of that excerpt. Additionally, one backdrop went straight from afternoon to night then afternoon again in the space of one aria. Okay, we get it: The Bolshoi Theatre can now execute the same state of the art stage tricks and special effects that other modern opera houses can.
The cream of Russia and the world's cultural elite were present; however, very few looked "happy" to be there. This was particularly true of the Schedrins (Maya Plisetskaya and husband Rodion). President Medvedev's opening remarks seemed as if he were speaking extemporaneously,as if he composed it in the limo - at the last minute. It seems to me that he could/should have put more thought into it due to the occaision. But hey, Lincoln's Gettysburg Address made the same first impression when it was first presented.
I also loved the time capsle snippets of Bolshoi greats who are now no longer with us: Lepeshniskaya, Ulanova, Semyonova . . . pics and the comments of conductors, long since passsed on. Of all of these, Maximova was the hardest for me to deal with. The documentary also included Plisetskaya, Vasiliev, Pviako and others.
The strangest interim moment, was the revolving street block with pedestrians. My second nominee for most interesting stagecraft, was the Tchaikovsky quartet of "Nature and Love." Throughout the entire piece, I was waiting for one of the back curtains to come down in front of The Four Sopranos. In fact, at the very beginning of the piece, one of the divas looked up to make sure she didn't get clobbered. Kudos to the prima donna who delivered Liza's powerful aria In "Queen of Spades" (Angela Gheorghiu) with songbook - that was unusual and gutsy, given that everyone else memorized their arias. Also, the revered ushers of the Theatre were given Soviet style rhythmic applause while placing baskets of roses on the stage. However, the grand finale took the cake for Best Biting Nails/Dangerous Moment in the Theatre of 2011: A rip roaring rendition of Tchaikovsky's "Coronation March," during which the entire Bolshoi company and staff march down a steep full-stage mountain of a staircase. They all made it down safely, thank God
!The Music Corner: The Bolshoi Orchestra was in magnificent form! Brava!
Ballet In Cinema Trivia: Sometimes when you attend a live performance, there is always that person who sits either next to you, or behind you, or close enough where you can hear them humming every note. Well, this morning there was an elderly couple in the movie theatre who felt the need to comment on each and every moment - from the red carpet to the final credits. Charming
.Brava Bolshoi
!
Edited by Cygnet, 31 October 2011 - 06:52 AM.
#40
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Senior Member
Posted 30 October 2011 - 04:48 PM
I admit I haven't checked out Flames of Paris yet, but wow that excerpt makes me want to buy the DVD ASAP. Awesome, awesome stuff. (I also admired the excerpt from Spartacus, a ballet I haven't seen in ages and maybe should revisit).
Natalia, that is... worse. Did they just not have the budget for new designs? Virsaladze's were very dated (as much of his semi abstract Grigorovich designs for the classics are), but this seems almost a waste, especially for a ballet that really should be at the center of a Russian company. I wonder what, if any, odd little changes he'll make in the staging. Still, as you say, with the cast I am looking forward to seeing it.
Natalia, that is... worse. Did they just not have the budget for new designs? Virsaladze's were very dated (as much of his semi abstract Grigorovich designs for the classics are), but this seems almost a waste, especially for a ballet that really should be at the center of a Russian company. I wonder what, if any, odd little changes he'll make in the staging. Still, as you say, with the cast I am looking forward to seeing it.
#41
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Platinum Circle
Posted 30 October 2011 - 05:00 PM
I'm hoping that ABT at some point will perform Flames of Paris.
#42
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Rubies Circle
Posted 31 October 2011 - 04:06 AM
BRAVO for your detailed & entertaining report, Cygnet!
Yes, the segment with the revolving stage, constantly moving back-and-forth between facade of the Bolshoi to the stage-door entrance on the side, was odd, to say the least. ITA on that huge, treacherous staircase...even bigger than the large staircase in Posokhov's Cinderella for the Bolshoi 3-4 yrs ago.
Yes, the segment with the revolving stage, constantly moving back-and-forth between facade of the Bolshoi to the stage-door entrance on the side, was odd, to say the least. ITA on that huge, treacherous staircase...even bigger than the large staircase in Posokhov's Cinderella for the Bolshoi 3-4 yrs ago.
#43
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Rubies Circle
Posted 02 November 2011 - 06:48 AM
Natalia, on 30 October 2011 - 05:47 AM, said:
It's worse, Eric ....re-hashed Grigorovich with RENTED (or identically recreated?) sets & costumes from the POB (what we see in the DVD starring Dupont/Legris). Those sets & costumes have also been rented by La Scala, seen in the 2000 telecast starring Vishneva. Another error in the article: although this 'new' production open on Nov 18, Hallberg's debut has been announced for Nov 20th (not the 18th). It will be shown 'live in cinemas' on 20 November...at least, it's being publicized in the USA as being the day of his debut with the Bolshoi, opposite Zakharova. Regardless, I'm looking forward to the 20th - great cast!
CLARIFICATION on the Nureyev POB Sleeping Beauty, as it relates to the La Scala and Bolshoi designs: As a friend in Italy reminded me, the current ca-1996/97 staging of Nureyev's SB at the POB was preceded by an earlier edition, with different sets/costumes, in Feb/March 1989. The current POB designs were slightly altered by the same designers for the 2000 La Scala edition -- prettier costumes, I'm told. Hence, there's a small chance that the sets & costumes for the Bolshoi-Grigorovich SB might be slightly different, too? Regardless, Russian-TV news reports on rehearsals of the new SB show what appear to be a very, very similar (if not identical) set and fairy costumes for the Prologue.
A minute or so into this Russian-TV report: http://www.vesti.ru/...html?vid=363622
Also seen in a still photo in this AFP article; photo can be clicked and magnified: http://www.google.co...3dc86e84df8.611
#44
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Silver Circle
Posted 02 November 2011 - 06:56 AM
Natalia, on 02 November 2011 - 06:48 AM, said:
Russian-TV news reports on rehearsals of the new SB
That is a lot to wrap my head around.
#45
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Rubies Circle
Posted 02 November 2011 - 07:05 AM
Just for the visuals, puppy. Don't worry about the language.
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