Slava Samodurov
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Salieri variations

Salieri variations

Salieri variations

Salieri variations

Salieri variations

Salieri variations

Salieri variations

Salieri variations

Salieri variations

Salieri variations

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Music by Antonio Salieri
(Twenty six variations on La Folia de Spagna, 1815)

Conductor Pavel Klinichev
Choreography Vyacheslav Samodurov (2013)
Costume designer Elena Zaitseva
Light designer Christopher Stephen Davy
Assistant choreographer Clara Dovzhik

28 : 06

2013

0 H

25 MIN

0

INTERVAL

12+

:: AWARDS ::

National Theatre Award ‘Golden Mask’ 2014
Ballet / Performance
Contemporary Ballet / Best choreographer (Vyacheslav Samodurov)
Best female role (Elena Vorobyova)

Sverdlovsk Regional Theatre Award ‘Bravo’ 2013
Best Ballet Production
Best Choreographer (Vyacheslav Samodurov)
La Folia, the theme of which Antonio Salieri used, was once a carnival dance, cheerful and crazy: the Portuguese word folia means ‘recklessness’ or ‘passion’. In Salieri Variations under the classicist pathos of music and the austerity of the ‘white ballet’ appear notes of insanity, disobedience, carnival game.
Choreographer Vyacheslav Samodurov admits: «This is my vision of the metamorphosis the classical ballet is going through nowadays, what it transforms into, how the traditions are preserved and what’s new.» And then he adds: «These are the beautiful dances, entertainment with no subtext.»
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Salieri variations
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media
Salieri Variations look like a courtesan game, the director and the performers rush into. Samodurov serves the classical moves (.) but turns them inside out; he accelerates them or changes the angle. Even the most experienced performers cannot remain dead serious here. But they find out that ballet is not a part of ‘classical heritage’, but a natural means of communication.
Anna Galaida
Vedomosti
media
Remember the immortal phrase by Sergei Diaghilev «Jean, étonne-moi!» — so, the artistic director of the Ekaterinburg Ballet, Vyacheslav Samodurov, surprised the audience very much, not only with his twenty-five-minute performance, but also with the fact that in two years of honest work a choreographer can do with a ballet company of not even class B; how he can change its silhouette, give names to the unknown soloists, deprive the corps de ballet of their inferiority complex.
Pavel Gershenzon
Colta.ru