MAMT celebrated the anniversary of the ballerina Margarita Drozdova: review of "Swan Lake"

MAMT celebrated the anniversary of the ballerina Margarita Drozdova: review of "Swan Lake"



The Stanislavsky and Nemirovich-Danchenko Musical Theater celebrated the 75th anniversary of the People's Artist of the USSR Margarita Drozdova. In honor of the prima ballerina and teacher-repetiteur, they gave "Swan Lake" staged by Vladimir Burmeister, which played a key role in the life and career of the hero of the day. Tells Tatyana Kuznetsova.

In the festive Swan Lake, a historical production by Vladimir Burmeister, which became a sensation 70 years ago and was the first ballet transferred from the USSR to the stage of the Paris Opera, the main role was played by the three best prima stars of Stasik. All are students of Margarita Drozdova.

She became a tutor in 1987, having worked for the required 20 years as a ballet dancer and earned the title of People's Artist of the USSR with impeccable work. The career of Margarita Drozdova, firmly woven into the history of the Stanislavsky Museum, began right from the top. Even before graduating from the Moscow Choreographic School (where she was taught by Sulamith Messerer, the last teacher of the "pre-Golovkin" era), the long-legged schoolgirl with high cheekbones and the slit of the eyes of the Shemakhan queen danced Odette-Odile in the very "Swan Lake" with which she was honored now. Inspired by her debut, the artistic director of the theater, Burmeister, saw in the young ballerina a chance for renewal - both the theater and the repertoire; hopeful Drozdova found in him her Master with a capital letter. And despite the invitations to the Bolshoi Theater and to the Young Ballet of Igor Moiseev (Ekaterina Furtseva herself persuaded, who called the student to the ministerial office), she insisted on enrolling in Bur, as the Burmeister was called in the theater.

Drozdova managed to work with her idol for less than four seasons: Burmeister died at the age of 66, having managed to give the young prima only one new ballet - Beethoven's Apassionata. And then for many years the theater was headed by a diligent craftsman Alexei Chichinadze, who occasionally allowed aliens of various talents to stage productions, among whom stood out a foreigner - GDR's "avant-garde" Tom Schilling. The main ballerina of the theater danced with everything and everyone, but this stream did not bring her that main, her own role, with which they go down in history. Perhaps only Dmitry Bryantsev, who became the chief choreographer in 1985, gave her an extraordinary Commissar in Optimistic Tragedy, dividing the role into two hypostases (the quivering girl, hiding behind the leather armor of the brave conqueror of the anarchists, was danced by Galina Krapivina). But this ballet has sunk into oblivion, like other productions of decades of stagnation, which accounted for the artistic career of Margarita Drozdova.

In the inconspicuous public of the role of a teacher, the ballerina showed self-denial, amazing for a status prima: even in Soviet times, all her wards - the leading ballerinas of the theater - looked surprisingly diverse on stage, but danced with the same quality. In the festive "Swan Lake" three primas, who came from different schools, only confirmed the gift of the teacher Drozdova to dissolve in her students, without interfering with their self-expression. Predictably, Ksenia Ryzhkova turned out to be the most faded: the finale of the ballet is not rich in dances, and the antediluvian effects of scenography, such as panels depicting a lake emerging from the shores, or fireworks of sparks flaring up at the site of Odette’s fall from a cliff, do not allow us to take seriously the denouement of tragic events. Oksana Kardash (winner of two "Golden Masks" and the main specialist of the troupe in the modern repertoire), with her fractional, extremely graphic manner of dance, seemed like an alien from other worlds in the most canonical, "white" act of the ballet, which gave the usual choreography an unexpected nervous tension. And yet both Odettes were eclipsed by Odile Xenia Shevtsova, the best Moscow prima of all who have not reached 30 years old. Perfectly educated legs, musicality, an unmistakable sense of the actor's measure and form of dance made this imperturbably sexy Odile the epicenter of the whole performance, and not just the phantasmagoric Sabbath, into which the choreographer Burmeister turned the palace ball and the crown of which were Shevtsova's 32 fouettes, unscrewed single, but at a frantic pace and with perfect cleanliness.

Burmeister's once-revolutionary Swan Lake, a rare attempt to introduce choreodrama into traditional classical ballet, today looks as hopelessly academic as other Swans. Having retained the "letter" in the form of choreography and mise-en-scenes, it lost the "life of the human spirit", for which the inspirer of the production, Vladimir Ivanovich Nemirovich-Danchenko, stood up. And only Margarita Drozdova, who managed to reveal the human uniqueness of her students, holds on to the main idea of ​​Burmeister, who tirelessly repeated after Tchaikovsky: “I need people, not dolls.”



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