Russia
theartsdesk
Born in Stockport in 1959, Tibor Fischer is the son of two Hungarian basketball players who fled their homeland during the 1956 revolution; his 1992 Booker-nominated debut novel, Under the Frog, revisited this subject in wonderfully fleshy, blackly comic form. In 1993 Fischer was included in Granta's influential list of the 20 best young British writers, and in the ensuing two decades he has fulfilled that promise with a series of richly rewarding novels and short stories.
I’m just finishing the latest issue of Glas magazine, Squaring the Circle. Glas is devoted to translating contemporary Read more ...
alexandra.coghlan
From Russian “avant-garde constructivism” to Estonian minimalism via a jazz-inspired French concerto and the defiant originality of Scriabin – last night’s Prom from Esa-Pekka Salonen and the Philharmonia Orchestra had a lot of ground to cover. I can imagine few pieces more antithetical – in spirit as much as style – as the self-reflexive indulgence of Scriabin’s The Poem of Ecstasy and Arvo Pärt’s Symphony No 4 with its meditative asceticism; it says much of Salonen’s persuasive energy that it was a dialogue rather than a squabble that ensued amongst this rag-bag of the 20th and 21st Read more ...
Ismene Brown
In the first of a short summer series in which artists and performers tell theartsdesk about what they're reading, ballerina Tamara Rojo talks about the books she's taken with her on holiday, and what she's enjoyed reading. We run short extracts from two of them.Born in Canada of Spanish parents in 1975, Rojo came to the UK to join Scottish Ballet briefly, before becoming English National Ballet's star in the late 1990s. She joined the Royal Ballet in 2000, and since then has become a global star, as famous for her intelligence as for her supreme technical virtuosity and powers as a Read more ...
igor.toronyilalic
Russians can often get away with murder in concert. It's so ingrained within our Western psyche to believe that the Slav has culture, musicality, an innate aesthetic sensitivity pouring out of every toe that you could get a Russian to do the chicken dance and we'd all be ooh-ing and ah-ing about the passion of each wing flap, the brooding darkness of each wiggle, the searing, sarcastic quality of each clap. Not all Russians have a Russian soul. And some, like pianist Nikolai Lugansky at last night's Prom, display little sign of any soul at all. That's not to say that last night's Read more ...
neil.smith
With no Bonds or Bournes on the immediate horizon, no more Bauer with the end of 24, and the future of the Mission: Impossible series reportedly hanging in the balance, there appears to be an opening for a new secret agent franchise. It remains to be seen if Salt will plug the gap, though I for one will be more than happy if it does.None of the above could be any more preposterous than Phillip Noyce’s film, which started out as a Tom Cruise vehicle before undergoing gender re-assignment surgery. No doubt there’s a thoughtful treatise in here somewhere about the interchangeability of Hollywood Read more ...
David Nice
How did they do it? This was another Prom which looked almost too much on paper but worked hair-raisingly well in practice. It was a Vladimir Jurowski special: whizzing, clamorous demons versus introspective reveries, church bells bringing one witches' sabbath to an end, alarm bells kicking off another. And from the first rapid crescendo of the Musorgsky-Rimsky Korsakov Night on a Bare Mountain to the truly great Julia Fischer's much slower build of a cadenza in Shostakovich's First Violin Concerto and on to the final wind-up of Prokofiev's hellish Third Symphony, the performers held nearly Read more ...
David Nice
Nobody knows any real happiness, and human kindness is rarely to be found, in Dmitri Tcherniakov's Bolshoi production of Tchaikovsky's "lyric scenes" - the most disciplined and real piece of operatic teamwork I've seen ever to come from the Russian establishment. Hollow laughter and senseless mirth envelop the traumatised, semi-autistic Tatyana of Ekaterina Shcherbachenko, one of two perfect heroines in this double-cast run and worthy of the fuss that surrounded her dewy triumph as 2009 Cardiff Singer of the World. Yet here you think not, what a marvellous singer - which she is - but instead Read more ...
javier.defrutos
There is a moment when you see dancers at their absolute peak that notches a bit of history in your memory - you never forget when you see it happen. In my area of contemporary choreography you can’t measure it in those terms but you can with classical ballet, and a Don Quixote performance like I saw at the Bolshoi last night sets the bar. This level of performance is Olympic-sized, it erases everything else you have seen.Of course it’s the pair of them that this ballet is about, Natalia Osipova and Ivan Vasiliev, the two of them uniting their fabulous youth and abilities in a click with Read more ...
Ismene Brown
When the words "commercial" and "art" come together - as they do with the Bolshoi season currently at the Royal Opera House - odds are the glue between them is a three-word phrase "Victor Hochhauser presents". Victor and Lilian Hochhauser are the impresarios behind most Russian ballet seasons UK-wide, and they have a reputation for solid box-office commercial taste, which is easily dismissed as the safe option. But they are in their eighties now, and conservatism is forgivable. In younger, bolder, Cold War days, these cultural buccaneers brought Britain Richter, Oistrakh, Rostropovich, Read more ...
Ismene Brown
Confirmation today of the astonishing news from Russia - Nacho Duato will indeed become the new director of the Mikhailovsky Ballet, St Petersburg’s second company, from the New Year. The Spanish contemporary choreographer will be the first foreigner to lead a Russian ballet company for more than a century.The Mikhailovsky General Director, fruit tycoon Vladimir Kekhman, said at today's press conference in St Petersburg: "Engaging an internationally known choreographer in the prime of his strength and talents is incredibly significant not only for the Mikhailovsky Theatre, but for Russian Read more ...
theartsdesk
Charlotte MacMillan took these exclusive pictures last week of the Bolshoi corps de ballet in class. The pictures brought back memories of his training to English National Ballet's Kirov-trained principal dancer Dmitri Gruzdyev, as he prepares to perform Michael Corder's Cinderella at the Coliseum next month. A regular coach for younger dancers after 17 years in the company, he has a keen eye for the training differences between his native land and his adopted country.DMITRI GRUZDYEV: "Looking at the pictures I see some familiar things from my training - the open shoulders, standing tall, and Read more ...
Ismene Brown
We’re getting used to expecting the extraordinary from Natalia Osipova - and then getting some more. With her impish face and farouche capriciousness, with a spring like a high-jumper and shoulders like a swimmer, she is without doubt the most explosively delightful comedienne and virtuoso around at the Bolshoi, but could she be a Giselle? A weak-hearted innocent, a sorrowing ghost, an angel of pleading mercy? Doubt it not. Last night Osipova proved her versatility breathtakingly, weaving the supernatural magic of Giselle in a wholly individual way, defying her own image, and she was Read more ...