The programme for the new evening of one-act ballets will include Ksenia Ternavskaya’s “Vorga”, Pavel Glukhov’s “The Last Session” and Maxim Sevagin’s “Class Concert”.
The idea of the ballet by Ksenia Ternavskaya is to show the way to oneself in the current postmodern reality through the archetypal images of Russian fairytales that are hidden inside every person as a magic driving force for inner reincarnation (growing up). The choreographer’s artistic concept is based on “eternal constants – love, death, friendship, love and hate, war and life – that even postmodernism cannot change. The composer is Konstantin Chistyakov.
Pavel Glukhov offers the audience “The Last Session”, a psychological thriller with elements of spice and the motif of a labyrinth at the heart of its plot. A young girl is at the centre of the events. Her imagination is running wild: time changes its course and space becomes distorted. Opening door after door, hypnotizing her mind, the heroine plunges deeper and deeper into her past, to the place where a key event in her life happened. Will she be able to escape, understand where is the illusory and where is the present, make the right choice and free herself. The spectator finds herself in a seance of transformation and, perhaps, this seance will be the last… Nastasia Khrushcheva composed the music for the performance.
The final performance of the evening, The Class Concert, by Maxim Sevagin, the Ballet Company’s Artistic Director, to music by D. Auber and J. Offenbach, is inspired by the aesthetic of classical ballet art. Mirrors, easel, white tutus, tights, and the structural elements of a classical lesson will become the main means of visual embodiment of the performance. According to Sevagin’s idea, the music by Auber will be reserved for conventionally modern dancers – the ballerina, the premiere, the corps de ballet, and the dancers in the corps de ballet. They will have the difficult task of demonstrating their mastery of the academic school. Offenbach’s suite inspired the choreographer to turn to the images of Anna Pavlova and Enrico Cecchetti, whose characters perform the inset pas de deux in a style that differs from the rest of the production. The performance will conclude with the distinctive feature of the class-concert format – a demonstration of the virtuoso technique of the company’s ballet dancers.
