26 January at 18:00 Moscow time will start the live broadcast of “Giselle” by Adolphe Adam in 60 countries. 1700 cinemas will show one of the most prominent classical ballets in the new version. In Russia live broadcast of the ballet will be available on the website of the Bolshoi theatre (requires simple registration), recording performance available within 24 hours.
“Giselle” by Alexei Ratmansky waiting all over the world: critics called the show a major success of the season. One of the most in demand choreographers, known for the restorations of “Swan lake” and “La Bayadere” by Marius Petipa, was used in various historical materials. As an archaeologist he dug, cleaned, studied, compared, and then restored the lost places logic and read notation French choreographer Henri Justaman the mid-nineteenth century, Director of the St. Petersburg ballet company Nicholas Sergeyev at the beginning of XX and looking musical score with the notes.
And this is the new Giselle. Not a young lady-the peasant, grabs his heart, not painful creation, which can not work, but which often at the same time in dance (“dissonance leads to confusion”). Giselle Ratmansky — a girl with character, alive, strong.
a Fragment of an interview with choreographer Alexei Ratmansky of the Bolshoi theatre booklet issued for the premiere of “Giselle” in November 2019, “Justman is the scene when the Wilis, dropping into the lake Hilarion, discover the eye and push it from behind the scenes. Giselle rushes behind them in a semicircle, can not to it to break, then runs over, grabs albert and pulls him to the cross. And then in the notation of remark, which led me to confusion: “They slide”. And this remark reflects a glissando in music. So, actually, it was a trick. Giselle and albert slid on the opposite side of the stage to the cross, still standing on the rail in position. She fingers and he supported her waist. Here Gizeuxeh the power of his love overcame all things earthly and other-worldly laws. Reaching the cross, they both jumped up on the tombstone, and they both held on to the cross. Began a Fugue, in which all of the Wilis tried to attack them, but could not do, could not overcome the power of the cross that protects lovers. This scene had in the nineteenth century, Sergeev it is not recorded. And although we really have no such strips and such machinery, as in the theatres of the XIX century, we will try somehow to restore: she is so beautiful.”
