The taming of the shrew
ballet in two acts by Jean-Christophe Maillot based on the play by William Shakespeare to music by Dmitri Shostakovich
in frames of the XIV international ballet festival DANCE OPEN
April 24 and 25, 2015, 19:00. Alexandrinsky theatre
The mutual admiration of the choreographer and the performers overflows in this ensemble ballet, fizzing with physical zest and bound with a web of details both psychologically astute and Homerically funny
Tatyana Kuznetsova, Kommersant
The whole performance brings to mind an interlaced wooden construction made without a single nail
Anna Galayda, Vedomosti
Rather than a macho handbook, The Taming of the Shrew can be construed as an encounter between two strong personalities, who recognize one another at last. If they are abrupt, obnoxious, it stems from their solitude; they are fundamentally different from the society they live in, albatrosses among sparrows, and their excesses signal that they have yet to find a partner to match.
This production of the famous choreographer Jean-Christophe Maillot is a brand new page of his artistic life: for years he was staging ballets only for his company, sometimes commissioning some of them to other companies. The Taming of the Shrew was created exclusively for the Bolshoi Ballet , customized for its dancers.
Jean-Christophe Maillot about his ballet:
I think there is someone for everyone, however, no matter how unattractive they may seem. There are two things I never judge: home interiors and couples’ relationships. They are something of a mystery, a private, intimate secret
Katharina and Petruchio’s relationship seem more complicated than they really are. It only gets complicated when they find themselves in love. Theirs is the kind of love everyone dreams of and yet is afraid of, because it is passionate, dangerous.
The power of Shostakovich’s music lays in its diversity: it embraces everything from tragic to grotesque or even cabaret. I hope my musical concept can make people believe that Shostakovich has indeed created the music for this ballet.
Shostakovich did survive. So does my Katarina. I needed music that could show that accepting the rules doesn’t necessarily mean compromising.
Ekaterina Krysanova, Vladislav Lantratov, Olga Smirnova, Semyon Chudin… They are as much a part of my ballet as the characters themselves, and will always be the benchmark for the roles.
I want the audience to follow the story I’m telling, but like Petruchio, I don’t want to be held back by the stereotypes.
Ernest Pignon-Ernest, set designer, about work with Jean-Christophe Maillot:
I admire the way Jean-Christophe integrates his choreography into this space, adjusting the number of the dancers involved and the dance itself. He sees the scenery as yet another character of the play.
Choreographer: Jean-Christophe Maillot
Assistant to Choreographer: Bernice Coppieters
Set Designer: Ernest Pignon-Ernest
Lighting and video designer: Dominique Drillot
Costume designer: Augustin Maillot
Assistant to Costume Designer: Jean-Michel Laine
Dramatist: Jean Rouaud
Ballet Masters: Yan Godovsky, Viktor Barykin, Josu Zabala Gomez
Music Director: Igor Dronov
General Sponsor of the Bolshoi Theatre
Official Sponsors of the Bolshoi Theatre
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