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Без слез смотреть не могу.

Полунин. Как это было.

by: Clement Crisp

There is a particular exhilaration in watching a young dancer claim a role with an assurance that says: “This is mine!” There is neither arrogance nor hubris in the matter, simply an identification, an awareness of a proper inheritance and a divine right – not of kings, but of talent that cannot help but assert itself. So with Sergey Polunin in his first appearance in Ashton’s Rhapsody on Thursday night.
Ashton made Rhapsody, which is set to Rachmaninov’s Paganini Variations, to celebrate the gifts of Mikhail Baryshnikov, and it is a work of the most skilled construction, subtle musicality, felicitous imagination. Baryshnikov, all Kirov nobility and youthful power, was a marvel in it. And so, by any standards, is Polunin. About his princely manner, his clear and boldly scaled classic style, his unassailably beautiful dancing, there can be no doubts. The machinery is impeccable, and the central simplicity with which he presents dance is unerring: aristocracy may be a naughty word in our telly-prole age but Polunin dances with an elegant clarity that proclaims the virtues of classic dance as a noble activity for humanity. He takes the stage in Rhapsody and burns its dance on our senses, phrases of movement admirably shaped, bravura dashingly controlled, emotion (which saturates the later moments of the work) beautifully stated.
His muse in the ballet, the impeccably musical Laura Morera, so fleet in dance, so unfailing in artistry, so sure in utterance and understanding, was no less a joy. Here was superb, heart-lifting artistry. Excellent performances from the supporting ensemble too. My one nagging moment: the women soloists do not need to smile with such determination. We love this ballet: there is no need to sell it to us.
The programme also brings a revival of Alastair Marriott’s subtle, Debussy-inspired Sensorium, about which I hope to report, and David Bintley’s “Still Life” at the Penguin Café, which I detest for its chattering, whimsical Simon Jeffes score and flag-day morals. More anon. Royal Opera House

I. "Шопениана"

II. "Вариации на тему рококо"

III. Дивертисмент.


Я таких концертов не припомню. Горячий прием с первой минуты и до самого конца.  Цветы, крики браво, идеальная тишина во время исполнения и до полного истаивания последнего звука.
Прелестные девы- Елена Безгодкова и Любовь Мавлянова.

Ужасный рояль.


David Hallberg
· 5 мая ·

November 2015 - This is me, just having arrived to Melbourne on a one-way ticket with a freshly shaved head. I heard that the Rehabilitation Team @ausballet were one of the most comprehensive teams in the dance world and @davidmcallisterausballet, Artistic Director of the company and Sue Mayes, the Principal Physio Therapist, agreed to help me figure out if I could ever get back on stage again, which was a big unknown at that point. The team got straight to work on my foot, which was swollen, red, and stiff. What you see in this picture was one of the first exercises I learned to begin the complete overhaul of my instrument: the “soft ball reach and press," activating the small metatarsals in the tiniest parts of the foot. This was the space where I would spend 5 hours a day on exercises in the first three months; I didn’t even see the inside of a ballet studio. The team (who I will introduce later on) brought me in as one of their own, and everyone in the building, from Admin to dancers, welcomed me unconditionally. This became my home, my refuge, my hiding place and the people inside became my family and friends. They gave me my career back.

Вот всё против. А он на сцену рвется. И ему не скучно снова и снова в "Жизель" входить. The man.
И в Большой хочет вернуться. Слышала сплетню, что артисты его не хотят и Вазиеву говорят. А ведь теперь и поверить в это могу.

David Hallberg
16 мая в 20:18 ·

This was the most time-consuming but important exercise I was given. I arrived with insertional Achilles tendonopathy; extreme pain when I tried to run, jump, or push off the foot. The team, with years of research on tendons behind them, began loading it on a quarter demi-pointe with a weight belt and weighted backpack. I held it for 45 seconds, rested for 2 minutes, and repeated 5 times; twice a day. Every couple weeks I added weight and capped off finally at 40kgs.
I still do this twice a day religiously. If I cut it out my tendon pain returns. Tendons don't like rest, they like to be loaded the same every day; no surprises! When I arrived I couldn't run without pain, now I can execute Albrecht's 32 six's and sprint across the stage thanks to incremental loading.


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