“ BALLET, WHEN YOU WANT MORE MORE Delight, admire the beauty and elegance of the dance, its design, performance, like admiring a porcelain figurine or elegantly carved cameo. You are not only waiting for the magic, plunging into what is happening, when you don’t select patterns and details, are absorbed in his emotions, phrases, breathe and hear the dance without experiencing language barriers. At such moments, the libretto is not necessary, as you understand and speak in one language, the language of image and emotion. Coming to the Russian ballet, whether modern, classical, filled with expectations of beauty and perfection. Russian ballet, as well as Russian, is poetic, melodic and perfect. Like the Russian language, Russian ballet has such a magnificence of means of expression and description of images that no other language in the world has. As in Russian, in Russian ballet, changing sometimes “insignificant” signs, phrases acquire different meanings. See the music. Hear the breath of dance. Revel in poetics. Expectations of magic. I waited for this and enjoyed it on a succession of one-act ballets, built on the evening of modern ballets “The Architecture of Sound” of the “Ballet Moscow” Theater. A pleasant surprise was the intermission, which made it possible to comprehend what was seen in the first part with a cigarette and switch from the former to the future. I admire the skill and courage of the production team. Sometimes poised peaks seem to be unattainable, to which the director's vision should be lifted. People, their feelings and emotions, being an instrument for expressing the director's idea, are not always permanent, disrupting the artistic intent and reducing the fruits of painstaking work to nothing ... The first interlude that reminded gymnastic exercises didn’t fall in love with itself. You should not rely on modern dance, the rhythm and sequence of movements is not yet a dance, but only a drawing, maybe just a sketch of an image ... But then, according to the laws of drama, it became all addictive and fascinating. Music, detached from images, became a continuation of the movement. Not forming the beginning of the dance, but its reflection. Continuing the bends of the hips and plexus hands. Forming a special language, its melody, its sound. Sometimes you think about erotica, what should it be, how to express it? How to be reflected in the dance, not going to symbolism or gender monotony? How should express feelings penetrated by eroticism? Stage eroticism, which is formed not by tight-fitting costumes and muscular bodies, not by hints and movements, but by choreographic images. One global picture, consisting of plastics of many bodies and large emotional images. Kirill Radev bowed to classical ballet, synthetically weaving into it the irregularity of his vision. Lighting solutions that enhance the perception of the drawn images, created by artists Luis Perdigero and Rebecca Vicente Arnaldos. Slawna Martinovic, costume designer, succinctly added the finishing touches to this magnificence.

“ Recently, I was able to once again come into contact with the beautiful in the face of the Ballet Moscow Theater. This time I watched Sound Architecture. This turned out to be completely new to me impressions. A small ballet connoisseur, so far I have limited myself to “plot” performances — for example, the Kreutzer Sonata here. This time I went to neoclassical ballets, in which the content, plot, narration of events is not the main thing. All that was known to us, the audience, was that the first act was Konstantin Semenov’s labyrinth to music by Boris Tchaikovsky, and the second was Kirill Radev’s Three Poems to the music of Yury Abdokov. It turned out that such a "plotless" ballet is incredibly beautiful, subtle and sensual. The beauty of the human body, the harmony of music and movement, the accuracy of the lines and incredible energy. There is no live music here, of course, but the sound quality is excellent. And in the first part, in “Labyrinth”, the recording of the concert is used, in which the author of music is the soloist - Boris Tchaikovsky. By the way, this music has never been interpreted before on the ballet scene! Hayato Nasijima is the soloist in the Labyrinth, whom I remembered from the Sonata. Very very beautiful! Still, ballet is a universal art, its language is clear to everyone. Makes you immerse yourself in music, feel every movement ... I start to love "Ballet Moscow" :)