HomeNewsNews for May 2014The Opening Night of the Ballet Yell (“Krik”). Photo coverage and feedback

18 May

The Opening Night of the Ballet Yell (“Krik”). Photo coverage and feedback

The 15th and 16th of May are marked with brilliant premiere of the ballet Yell (“Krik”) produced by Andrei Merkuriev, the ballet celebrity of the Bolshoi Theatre of Moscow. The third opening show is today, on 18 May. The leads are the Odessa Ballet soloists Stanislav Skrynnik (He), Catherina Kalchenko (Goddess) and Honoured Artist of Ukraine Sergiy Dotsenko (Antipode).

Please enjoy the photo coverage and feedback from the spectators who visited the opening night of the ballet Yell (“Krik”).

 

Anna Golubovskaya, a photographer and designer: "I would like to share an unexpected holiday. I have just seen a ballet in the Odessa Opera. There was an opening night for the ballet Yell (Krik) after the novel Go to Golgotha by Alexander Zinoviev. It was wonderful. It was a beautiful dance, a light dance, a contemporary dance. There was a minimalistic concept in setting. There was magnificent Andrei Merkuriev. All this takes your breath away. And the depth... I have not read Go to Golgotha but I read Yawning Heights long ago. So I had some light… I cannot say prejudice but some certain skepticism…a ballet based on a novel... However, I have been charged both esthetically and emotionally that is a rare case for me. I do recommend the ballet to everyone." 

Elena Pavlova, former Deputy Mayor of Odessa, community activist: "It is brilliant. It is a fantastic production. They are young, contemporary, strong. I have seen for the first time in many years when the spectators did not leave after the performance but were standing stricken and boiling with gestures and emotions joined in one pulsed movement. “How great it was!”

 

Eugene Zhenin, critic: “I have always been a conservative and retrograde and nevertheless I am delighted with the brilliant production where avant-gardism is based on the fundamental knowledge of classics and, thus, is justified. Mr. Merkuriev’s art of performance just strikes…”

Radmila Aitova, ballerina: “Every visitor in the auditorium could experience a whole range of feelings, from the lightest and the most high-flown to the most infernal and darkest, could draw some personal parallels and make their own associative conclusions.”

 

Elena Boyarintseva, spectator: “The Yell pierced all myself and kept shivering in a nervous echo somewhere deep in the chest. The performance seemed to have brought me to the deeper understanding of the concept that the ancient Greek aesthetics called “catharsis”. However, I do not know a lot about it… I know only that I was leaving the theatre with the feeling that one hour and a half was not enough for me and I know that I will go and see the ballet for the second time.”

Eugene Golubovskiy, Vice-President of the World’s Club of the Odessa Residents: “I will not exaggerate if I say that the performance has stricken me. I was stricken both with the production, that was the first in the artistic life of the Bolshoi Theatre soloist, Honoured Artist of the Russian Federation Andrei Merkuriev, and with the brilliant contemporary chorography of the Odessa Ballet. Nevertheless, the most important thing is that I have not seen such minimalistic art on the Odessa stage for a long time...”

 

 

Maria Gudyma, journalist: “Contemporary ballet turns to philosophical prose without interpreting it literary. It could have been weird to see a ballet dancer conveying the contents of philosophical tractates with the help of gestures. It is not happening. The idea of a poet and preacher Ivan Laptev, the main character, being exclusive has been taken from the novel Go to Golgotha. This exclusiveness is expressed in full in the style of the main hero’s part. It has a lot of discreet movements, pushed gestures as if illustrating the arguments with self. Other performers appear on stage in a more expected format, in particular, one can notice shades of a social dance, from the “sailor’s dance “yablochko” up to tango.”

Nelli Ivanova-Georgiyevskaya, ballet connoisseur, director for the Igor Tchernyshev Research Center for the Dancing Art: “…as it happens at the theatrical miracle: I clapped together with the audience up to the red palms enjoying the contemporary choreographic language in the production of our repertory. We are grateful to the producers and our theatre! The corps de ballet was wonderful. Pavel Grits and Nikolai Vorivodin, Maria Ryazantseva and Oksana Shirokova turned up to be at the right place, both in a dance way and in expressiveness. Maria Polyudova was beautiful, of perfect dancing technique and of convincing acting. Vladimir Statny absorbed “alter Ego” of the main hero and managed to show spiritual conflict in his personality. Andrei Merkuriev felt the most the character of created by him plastics that helped him to be extraordinarily expressive and emotional. It is great that the Odessa Ballet appears to be open to the contemporary choreographic search and sensitive to the new for them plastic language.”

Photos: ©Kirill Stoyanov and ©Yuri Litvinenko