今度は、コメルサント紙の別のインタビュアー版です。すんませんm(__)m、和訳するエネルギーが枯渇してます．．．（マリでは既に上演されている）エチュードなどの新作3部作3月19日初演のこととか、将来的な話が主みたいです：
http://kommersant.ru/doc/3236742
"I am more intelligent answer than you put the question"
Mahar Vaziev its first project at the Bolshoi Theater
03/17/2017
March 19 at the New Stage of the Bolshoi Theater in a program of three one-act ballets held the Moscow premiere of "sketch" to the music of Czerny, staged by Harald Lander and the Russian premiere of "cells" - statement of Jerome Robbins to music by Stravinsky. Mahar Vaziev, artistic director of the ballet, said Tatyana Kuznetsova of repertory updates
This is your first project in the Great - is still a theater implement a plan formed before your arrival to Moscow. Why, of all the heritage of the twentieth century you choose these ballets?
Let's start with the "Etudes". I think it's a terrific - and a beautiful one-piece - ballet and necessary work, it is very useful for the further growth of the troupe for its progress. Another thing is that, you know, it's a dangerous job.
I understand what you mean. This is really beautiful and very difficult class theatrical concert Dane Lander set in 1948 - first in Copenhagen and then, a little reworking it, moved to the Paris Opera. And in my opinion, there is no greater contrast than refined Parisian and powerful Moscow school.
The danger is that all our imperfections can get out in the purest classical ballet. But, basically, you rightly pointed out. In this work participated a huge number of our artists. I will not hide, I am very worried. However, I hope that we will dance worthy of "Etudes."
"Etudes". Statement of Harald Lander
"Etudes". Statement of Harald Lander
Photo: M.Logvinov
The difficulty in the fact that the last two months was Festival Ballet Yuri Grigorovich, and they do not need to clean the classical dance. They require a swing, temperament, gesture latitude ...
And away Tatiana ... I think I can go to drink coffee.
What I mean is that you have three weeks to this expanse of Moscow to enter into the narrow channel of gourmet classics, to get people to move not flourish, but quickly.
Yes, a little bit of time. But we are talking about professionals, about the ballet of the Bolshoi Theater. I hope we still will bring the equipment to very good condition. "Etudes" - from Lander Foundation - brings Johnny Eliasen. Wonderful, demanded all over the world, demanding person. Very meticulous, the emphasis is on foot, on small movements. Another thing that works such as "Etudes", it is necessary to put most of the repertoire that I intend to do.
How can put more often when the two infernal ballet male parts with filigree technique - with a million zanosok, pirouettes in all directions and 32 women fuete? A troupe of the Bolshoi this can do only two: Semen Chudin and Slava Lopatin. Maybe even Artem Ovcharenko.
Of course, it is unusual for us, unusual. With the small appliances we have a problem. Here I spent the whole year almost every day I go to a class. Some have suggested that I have them so in control: Cerberus came watching who goes to class, who can not walk. Nonsense, this is so can be seen by the artist. I check myself: how was that was something to work on, how to work?
Why do Lander class when the repertoire of the Bolshoi is a "Class Concert" Asaf Messerer, the best teacher in Moscow, worked in the theater 70 years? This ballet and comfortable for the artists and the audience love.
You can, of course, always do what is good work. But it is futile. We - a powerful company with a global brand, we have a huge repertoire, we have to improve. For me it is essential. And artists interested in trying new things. Indeed, many are leaving big companies just because they want to dance something else.
Who will dance "Etudes"?
I call the first part: Olga Smirnova, Simon Chudin, Artem Ovcharenko. There are other formulations - Kate Krysanova Igor Tsvirko Vladislav Lantratov ...
A Lopatin, who can dance and all that you are going to make the prime minister, they themselves told me in an interview after the London tour?
And Lopatin in the compositions ... I catch you at your word, and do not. This man - a brilliant dancer, and I'm really happy that he is today in the company of the Bolshoi Theater. Moreover, somewhere about three weeks ago, I told him: "Glory, so if you are continuing to dance, most likely, your status will change soon." He says: "I'll be happy, but not in the status of the matter, the main thing to be able to dance." And for your business status, I feel. For the first time in my long career, I see a man in the person Tatyany Kuznetsovoy, who kept lobbying for a dancer.
Is he not worthy?
Glory - absolutely talented person. It's not often you meet an artist of this caliber. Another thing is that in a difficult situation with the Bolshoi soloists - too many of them. There are people who dance every two months, because not all of the repertoire they can take. But the process has moved now, and I think that by the end of this season ...
You will bring someone from the premiers for retirement and ...
What "and ..."? Not so simple ...
Well, we turn to women. You did not mention in the "Etudes" prima ballerina Svetlana Zakharova.
We discussed this issue with her. She was well danced this ballet in 2004, in the first part of the Mariinsky Theater. And now she frankly said: "I do not know if I have to repeat it again?" We decided it was not necessary.
"Etudes" went to the Mariinsky, when you led the troupe, and it was at its zenith. Now the "Etudes" will go to Moscow. Do you want to follow the path of the Mariinsky Theater 15 years ago?
You're right, it was a good time. Of course, I knew that we had to do at that stage, in that situation. Today the situation is different, the other company. Although not rule out that some of the work that I have done while at the Mariinsky Theater - this is how "Etudes", because they are priceless regardless of the time - will be delivered here. But gradually, I am not going to drive more in the same direction as the Mariinsky. I still proceed from our history, our repertoire of the characteristics of our team - there are a lot of factors.
"Our" - that is, the Bolshoi Theater?
Of course. I came to work here a year ago and I can say that in many respects we are on the same wavelength with the teachers, with the artists. All laid out the most, and - honestly - I'm grateful to them madly. Troupe I am now very well know ...
"Cell". Statement of Jerome Robbins
"Cell". Statement of Jerome Robbins
Photo: Opera National de Paris
But I wonder: the idea of "The Cage" - ballet about a primitive tribe, which at the initiation ceremony the young girl must kill a man - came to your mind when you heard of the Bolshoi Theater of women?
I just like the ballet, and we have someone of his dance. I note, intelligent answer than you put the question.
And who will you dance the female lead? Teenage girl and aggressive leader of?
You know, I have so far not call compositions.
I think this ballet in 1951 now looks a bit archaic. There, in particular, a woman trample a man down and breaks his neck, holding his head between his legs . Are not you afraid that the "cell" will cause a rather comical effect than the opening of delight?
It depends on how we will dance. It can be the same, "La Bayadere" dance as a caricature. You would think that the "cell" is incorrect? I do not think so. But we refresh.
So how? You can not alter the choreography?
You can not. But we can reveal something new to the actress. "Cage" by Robbins Foundation came to put Jean-Per Frolih and Glenn Keenan. Hopefully, they will find our approach to the performers.
How do you assess its work for this year? Generally?
You ask me indiscreet question. I can not judge myself.
I mean, were you able to achieve the goals you have set for ourselves?
Of course, the process has moved. As of today, I am very satisfied. But this is only a stage. We must understand that we are working on a collective result that everyone is responsible for his place. And I believe that the more each in its place must be the master, not the slave.
What awaits us in the next season?
I can not say right now - it would be unfair to your co-workers. Our repertoire plans will be called May 5 at a joint press conference. But I can name the date of the first premiere - 23 November. And just for the next year we will have five ballets - three new and two renewal: we want to return to the repertoire of "Coppelia" and "The Pharaoh's Daughter."
http://kommersant.ru/doc/3236742
"I am more intelligent answer than you put the question"
Mahar Vaziev its first project at the Bolshoi Theater
03/17/2017
March 19 at the New Stage of the Bolshoi Theater in a program of three one-act ballets held the Moscow premiere of "sketch" to the music of Czerny, staged by Harald Lander and the Russian premiere of "cells" - statement of Jerome Robbins to music by Stravinsky. Mahar Vaziev, artistic director of the ballet, said Tatyana Kuznetsova of repertory updates
This is your first project in the Great - is still a theater implement a plan formed before your arrival to Moscow. Why, of all the heritage of the twentieth century you choose these ballets?
Let's start with the "Etudes". I think it's a terrific - and a beautiful one-piece - ballet and necessary work, it is very useful for the further growth of the troupe for its progress. Another thing is that, you know, it's a dangerous job.
I understand what you mean. This is really beautiful and very difficult class theatrical concert Dane Lander set in 1948 - first in Copenhagen and then, a little reworking it, moved to the Paris Opera. And in my opinion, there is no greater contrast than refined Parisian and powerful Moscow school.
The danger is that all our imperfections can get out in the purest classical ballet. But, basically, you rightly pointed out. In this work participated a huge number of our artists. I will not hide, I am very worried. However, I hope that we will dance worthy of "Etudes."
"Etudes". Statement of Harald Lander
"Etudes". Statement of Harald Lander
Photo: M.Logvinov
The difficulty in the fact that the last two months was Festival Ballet Yuri Grigorovich, and they do not need to clean the classical dance. They require a swing, temperament, gesture latitude ...
And away Tatiana ... I think I can go to drink coffee.
What I mean is that you have three weeks to this expanse of Moscow to enter into the narrow channel of gourmet classics, to get people to move not flourish, but quickly.
Yes, a little bit of time. But we are talking about professionals, about the ballet of the Bolshoi Theater. I hope we still will bring the equipment to very good condition. "Etudes" - from Lander Foundation - brings Johnny Eliasen. Wonderful, demanded all over the world, demanding person. Very meticulous, the emphasis is on foot, on small movements. Another thing that works such as "Etudes", it is necessary to put most of the repertoire that I intend to do.
How can put more often when the two infernal ballet male parts with filigree technique - with a million zanosok, pirouettes in all directions and 32 women fuete? A troupe of the Bolshoi this can do only two: Semen Chudin and Slava Lopatin. Maybe even Artem Ovcharenko.
Of course, it is unusual for us, unusual. With the small appliances we have a problem. Here I spent the whole year almost every day I go to a class. Some have suggested that I have them so in control: Cerberus came watching who goes to class, who can not walk. Nonsense, this is so can be seen by the artist. I check myself: how was that was something to work on, how to work?
Why do Lander class when the repertoire of the Bolshoi is a "Class Concert" Asaf Messerer, the best teacher in Moscow, worked in the theater 70 years? This ballet and comfortable for the artists and the audience love.
You can, of course, always do what is good work. But it is futile. We - a powerful company with a global brand, we have a huge repertoire, we have to improve. For me it is essential. And artists interested in trying new things. Indeed, many are leaving big companies just because they want to dance something else.
Who will dance "Etudes"?
I call the first part: Olga Smirnova, Simon Chudin, Artem Ovcharenko. There are other formulations - Kate Krysanova Igor Tsvirko Vladislav Lantratov ...
A Lopatin, who can dance and all that you are going to make the prime minister, they themselves told me in an interview after the London tour?
And Lopatin in the compositions ... I catch you at your word, and do not. This man - a brilliant dancer, and I'm really happy that he is today in the company of the Bolshoi Theater. Moreover, somewhere about three weeks ago, I told him: "Glory, so if you are continuing to dance, most likely, your status will change soon." He says: "I'll be happy, but not in the status of the matter, the main thing to be able to dance." And for your business status, I feel. For the first time in my long career, I see a man in the person Tatyany Kuznetsovoy, who kept lobbying for a dancer.
Is he not worthy?
Glory - absolutely talented person. It's not often you meet an artist of this caliber. Another thing is that in a difficult situation with the Bolshoi soloists - too many of them. There are people who dance every two months, because not all of the repertoire they can take. But the process has moved now, and I think that by the end of this season ...
You will bring someone from the premiers for retirement and ...
What "and ..."? Not so simple ...
Well, we turn to women. You did not mention in the "Etudes" prima ballerina Svetlana Zakharova.
We discussed this issue with her. She was well danced this ballet in 2004, in the first part of the Mariinsky Theater. And now she frankly said: "I do not know if I have to repeat it again?" We decided it was not necessary.
"Etudes" went to the Mariinsky, when you led the troupe, and it was at its zenith. Now the "Etudes" will go to Moscow. Do you want to follow the path of the Mariinsky Theater 15 years ago?
You're right, it was a good time. Of course, I knew that we had to do at that stage, in that situation. Today the situation is different, the other company. Although not rule out that some of the work that I have done while at the Mariinsky Theater - this is how "Etudes", because they are priceless regardless of the time - will be delivered here. But gradually, I am not going to drive more in the same direction as the Mariinsky. I still proceed from our history, our repertoire of the characteristics of our team - there are a lot of factors.
"Our" - that is, the Bolshoi Theater?
Of course. I came to work here a year ago and I can say that in many respects we are on the same wavelength with the teachers, with the artists. All laid out the most, and - honestly - I'm grateful to them madly. Troupe I am now very well know ...
"Cell". Statement of Jerome Robbins
"Cell". Statement of Jerome Robbins
Photo: Opera National de Paris
But I wonder: the idea of "The Cage" - ballet about a primitive tribe, which at the initiation ceremony the young girl must kill a man - came to your mind when you heard of the Bolshoi Theater of women?
I just like the ballet, and we have someone of his dance. I note, intelligent answer than you put the question.
And who will you dance the female lead? Teenage girl and aggressive leader of?
You know, I have so far not call compositions.
I think this ballet in 1951 now looks a bit archaic. There, in particular, a woman trample a man down and breaks his neck, holding his head between his legs . Are not you afraid that the "cell" will cause a rather comical effect than the opening of delight?
It depends on how we will dance. It can be the same, "La Bayadere" dance as a caricature. You would think that the "cell" is incorrect? I do not think so. But we refresh.
So how? You can not alter the choreography?
You can not. But we can reveal something new to the actress. "Cage" by Robbins Foundation came to put Jean-Per Frolih and Glenn Keenan. Hopefully, they will find our approach to the performers.
How do you assess its work for this year? Generally?
You ask me indiscreet question. I can not judge myself.
I mean, were you able to achieve the goals you have set for ourselves?
Of course, the process has moved. As of today, I am very satisfied. But this is only a stage. We must understand that we are working on a collective result that everyone is responsible for his place. And I believe that the more each in its place must be the master, not the slave.
What awaits us in the next season?
I can not say right now - it would be unfair to your co-workers. Our repertoire plans will be called May 5 at a joint press conference. But I can name the date of the first premiere - 23 November. And just for the next year we will have five ballets - three new and two renewal: we want to return to the repertoire of "Coppelia" and "The Pharaoh's Daughter."