Сontemporary ballet on music by modern composers


27.12 - Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre
25.11 - The Meyerhold Theatre Centre

  • 25.11.18
  • 27.12.18
  • 20:00
  • 19:00

Duration: 1 hour 30 minutes, one intermission
Ticket price: 900-2000 rubles
Age 12+


“Ballet Moskva” and сontemporary Russian choreographers Kirill Simonov, Anastasia Kadruleva and Artem Ignatiev continue to work together. After triumphal neoclassical ballet «Four seasons» staged in February of 2013, creative team presents a new work – two one-act ballets with music of prominent modern Russian composers –Pavel Karmanov and Alexey Aigui.

I part
Music: “Second snow on the stadium” and «Spring in January” by Pavel Karmanov
Choreography: Kirill Simonov

In his new work choreographer Kirill Simonov refers to the ancient Greek myth about Medea – argonaut Yason’s wife Medea who has killed their own children, having learned about her husband’s infidelity.

Simonov ‘s ballet is a story about a woman whose love, family, happiness — virtually everything is in the past. Children have grown up and left her, the husband has found a young mistress, even Medea’s once young and beautiful body has betrayed her becoming old and wrinkled.

Looking back at her life, she suddenly understands – everything she had was just a myth, a fairy tale built with her own hands. And now this creation of her hands is broken into bits of the dreams that never came true. She doesn’t give up though and tries to gather the former victories, abandoned pleasures and unfortunate happiness hoping to recreate her fate.

II part
Music and live performance: Alexey Aigui
Choreography: Anastasia Kadruleva, Artem Ignatiev

«All of us are a little bit horses” – is a famous sentence of the XXth century Russian poet V. Mayakovsky.

Ballet “Eguus” (horse – in Latin) is an insider view of recent dancers, today’s choreographers on the life of the ballet dancers – on hard, everyday, exhausting, “horse” work. Sometimes – with an irony, sometimes – with a sympathy.

Another well-known phrase is remembered too – “They Shoot Horses, Don’t They?” World already knew this feeling while reading the book with the same name by Horace McCoy and watching the movie by Sydney Pollack. “Ballet Moskva” is glad to present new reading of this feeling – in a language of dance.


Кирилл Симонов

Kirill Simonov

Kirill Simonov was born in Petrozavodsk in 1975. Graduated from the Vaganova Academy of Russian Ballet in 1995 (class of Vladilen Semenov) as well as the Academy’s choreography department (course of Professor Belsky). Joined the Mariinsky Theatre in 1995.
Prize-winner at the Vaganova Prix competition in 1998.
Prize-winner at the Fyodor Lopukhov Choreography Competition in 1999 (Special Jury Prize for best musical decision for While You Were Asleep to music by Arvo Part).
At the Mariinsky Theatre he has performed the following roles: Swan Lake (Jester), Romeo and Juliet (Jester), Nutcracker-doll (Simonov and Chemiakin?s staging of The Nutcracker), the Dance of the Jesters (The Legend of Love), Bandit (Roland Petit?s Carmen) and The Four Seasons Divertissement: Autumn (Alexei Ratmansky?s staging of Cinderella).
At the Novosibirsk Theatre of Opera and Ballet he staged the ballet Sonata to music by Scarlatti as well as the dances for Poulenc’s opera La Voix humaine.
At the Mariinsky Theatre he has staged the dances for Giuseppe Verdi?s Otello, directed by Yuri Alexandrov (2001), the one-act ballet Come in! and two ballets based on works by E. T. A. Hoffmann together with Mihail Chemiakin (costumes, sets and staging) – The Nutcracker (2001) and Princess Pirlipat, or Worthiness Punished (2003).
His ballet Madame Lionelli to music by Gavin Bryars and John Adams was premiered at the Albert Hall, London, in 2003. In 2004, he staged the ballet Pulcinella to music by Stravinsky for the Novosibirsk Theatre of Opera and Ballet. In 2004, he staged the dances for Poulenc?s opera La Voix humaine for the Karelia Musical Theatre (Petrozavodsk).

Анастасия Кадрулёва

Anastasia Kadruleva

Anastasia Kadruleva is a talented, extraordinary young choreographer. Graduated from Buryat Republic Choreographic College, danced in the State Academic theatre under the charge of B.J.Eifman (Saint-Petersbourg). Began her career as a ballet artist, but always was interested in contemporary dance. Studied modern, jazz, contemporary dance and fly low, contact improvisation and partnering, afro dance, swing, Gram and Cunningham technique, release technique, Alexandera and body-mind centering, analyse system of Laban dance, Pilates method, improvisation and yoga, tai thi and capoeira. Worked with Iguan theatre. Studied under the charge of the leading teachers of contemporary dance: Bill Yang, Eric Buan (USA), Julian Gamilton (Spain), Russel Malifant (Great Britain).

In 2008 graduated from Russian Ballet Academy named after A.J.Vaganova in a degree with a choreographer/ballet master, G.Aleksidze course. Anastasia continues movement and dance researches. She also works a lot with improvization.



Видео о спектакле

Choreography: Kirill Simonov
Music: Pavel Karmanov
Set design: Emil Kapelush
Costume designer: Stephanie von Graurock (Lithuania)
Light design: Tadas Valeika (Lithuania)

Choreography: Anastasia Kadruleva, Artyom Ignatiev
Music: Alexei Aigui
Set design: Emil Kapelush
Costume designer: Stephanie von Graurock (Lithuania)
Light design: Tadas Valeika (Lithuania)

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One Response to MEDEA/EQUUS

  1. Только что вернулся из Ц.Мейерхольда, смотрел Медея+Эквус – захватывающее зрелище, удивительная, интересная пластика, ни одного пустого мгновения, как в Медее, так и в Эквусе. Великолепна Л.Доксомова, особое ей спасибо. И все-таки Эквус захватил больше, особенно массовыми сценами, удивительной их цельностью при большом разнообразии, иногда четкой и красивой геометрией вроде бы в хаосе. Я не прибалетный человек, но стечение обстоятельств в этом году завело меня в Большой на Нуриева сначала, а потом и на Анну Каренину. Замечательные балеты, много интересных находок, особенно во втором, но там необязательные для меня сцены были, а вот Медею+Эквус принял, как говорится, на одном дыхании, скажу больше – напереживался. Я не знаю толком, кому я пишу, но если балету Москва, то спасибо, дорогие, и даже большое. Да, еще – музыка была хороша, особенно живая Айги – выразительная и “слиплась” с движением.

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