Spartacus with Maria Vinogradova – 29.November.2016

…………………………………………………………Link to Русский

Rehearsal

Images by © Владимирова Екатерина (Ekaterina Vladimirova)
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Comments in Instagram

© Владимирова Екатерина (Ekaterina Vladimirova)

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The ballet Spartacus is the pinnacle of the art of ballet! This is my  belief! BRAVO to the Artists!  I want to scream and stomp my feet!
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Simply the best .  From chills and shivers to sinking heart and a lump in the throat, to tears and euphoria. Spartacus – Ivan Vasiliev Phrygia – Maria Vinogradova  Today all was real – it was love, it was death.
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Today, even during breaks at intermission the artists were given a standing ovation and the performers came out to bow.
(wait a minute… standing ovation not just in the final bows? WOW!!!)
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“Spartacus. Dance of the soul. Unending applause…”
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© Владимирова Екатерина (Ekaterina Vladimirova)

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💥🔥⚡🌟 This is off the scale, unbelievable 🙈 but I can’t find words that would describe the hurricane of emotions inside of me, called “Spartacus”🙊 I saw this ballet for the first time. 😵 Looking at Ivan Vasiliev  I realized this Spartacus is 💪✊🙌 powerful, kind and free. 🔥The Phrygia of Maria Vinogradova  is so emotional she makes me cry with her😿 loyalty, fragility and tenderness🌸 Crassus😈 Alexander Volchkov👑shows deceit and passion and is a worthy antithesis to the leader of slaves⛓⚔
And finally Ekaterina Kryzanova is a breathtaking Aegina,🙆🏻 flexible and cunning like a snake, soft as a lynx, a rampant Bacchante💃🏻💥👀
Hands’ palms hurt, voices are hoarse, the audience is wild with enthusiasm. 👏😝👍🗣
BRAVO‼
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A post shared by Natalia Sechina (@nata_sechina)

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Bolshoi, the Great Theatre and great actors! How fortunate that we live at this  time and can just go and see how roles change in different performances of their superb talent! Another Spartacus and I saw so much that was new: some new light inside Ivan and Maria, the roles painted in new and unexpected colours! I love and admire, but do not understand how they do it!
Once again I look at how devastated Phrygia stretches her hands out over the body of defeated Spartacus – Ivan Vasiliev and every time I marvel at how he performs the role as if it was created for him.
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Comments in Russian Ballet Forum

Today (yesterday ) was a wonderful Spartacus!
The role of Spartacus seems as if it was created for Ivan Vasiliev. It fits him like a glove. It is totally suitable. If previously, from my perspective,  some excessive exuberance did hurt my eyes a little, in this performance everything was perfect. It was also perfect from the acting point of view. From my seat facial expressions were clearly visible as well as  the eyes of the performers. Ivan eyes burned, and sometimes it seemed that his eyes flashed and burned, like a black leopard at night. Ivan flew over the scene and on the stage, his partner is his hands who just floated!  The lifts were unusual, risky and he gave very nice support.In a delightful, gentle, sensual pas de deux, Ivan Vasiliev and Maria Vinogradova were the very embodiment of strength, and tenderness, subtlety and grace. They make a beautiful couple!
I also liked Alexander Volchkov and Catherine Krysanova. He was a haughty, imperious Crassus and she a seductive, insidious Aegina. In my opinion, Alexander succeeded in the role and as an actor: his Crassus being cruel outside and a coward inside. He was a multilayered character. Catherine was always delicious.
The performances of all the artists involved were magnificent . It was interesting to see how Igor Tvirsko looked in the background (he played one of the Shepherds). Worthy he looked. I think with time, he will play  Spartacus.
The performance was received with delight!
The audience gave standing ovations!
The artists set a very high standard for this run of the ballet. I look forward to today’s Spartacus I wanted to be there with them, under their banners in a single vortex.
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© Владимирова Екатерина (Ekaterina Vladimirova)

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29.11.2016 Spartak falls into the treasury of emotional turmoil.
I believed that yesterday’s performance would be a unique show.
There was a special intimacy between Spartacus and Phrygia as if Vasiliev and Vinogradova had decided to share their personal feelings through scenic images.
Vasiliev danced well, technically, emotionally, at the limit of what is possible.
Vinogradova in the last scene of mourning Spartacus looked just shocked. The hall was upset with her, breathless.
Volchkov in the image of Crassus was a worthy opponent: cruel, vindictive, and very dangerous. Crassus dominates the scene. His presence fills the space with hunger for power. Aegina by Krysanova fully obeyed Crassus and tried to please him in everything – in dance and love. The scene does not have enough seduction.
The corps de ballet is great.
Many thanks to all, conductor,  orchestra and chorus, bravo.
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© Владимирова Екатерина (Ekaterina Vladimirova)

Comment in Facebook

(sorry, some phrases were kept in Russian because they resisted all our precarious efforts to translate)
Ballet artists are aliens from other worlds. What they do on the stage has no reasonable explanation. It’s impossible! You can not do that physically, and at the same time influence the audience, making us laugh and cry. And I want to tell you, friends, and I don’t have the words…. Now, if this was live, I could easily express my delight with some gestures and facial expressions, and then just give you my pulse for you to count… In the second act, I was close to a hypertensive crisis. It was hot, and my heart was pounding so that it seemed it could be heard by my neighbors.

I have never concealed that Spartacus is my favorite ballet. It  has everything to bring  you to catharsis. On top of that, the music of Khachaturian is prohibitively  complex, and then viscera. Grigorovich’s choreography creates characters that are real men, sensual women and incredibly spectacular crowd scenes. (goes on below the picture)

© Владимирова Екатерина (Ekaterina Vladimirova)

29 November at the Bolshoi was a fantastic Spartacus. Yes, in the past I wrote, too, that it was great, and Ivan Vasiliev the best in the world. But everything is relative. Something has changed in the year since the last performance. It seemed to me he was purely dance, less trickery, right into the text of Grigorovich but at the same time with his unique inherent power, flight, balonne, and those archs,  I wanted to shout bravo after each diagonal and circle. And some dare to talk about his shape. Let the boys with a perfect ballet figure try to perform such rings, pulling the heel up to their curls. His vortex spins are endless, completed exactly in time with the music. You shake your head asking yourself just one question: “How does he do it?” And with all that, he was also acting today, giving us a great dramatic performance. “На разрыв аорты” – я очень редко в отзывах на драму так пишу, хоть ты кричи на весь зал, и пусть вены на шее с палец, а вот не веришь. And then just one gesture, a hand clenched into a fist, a look at the enemy, and the mighty wave of catharsis sweeps us all.

I can not watch him die! How he beats the knees on the stage, and his chest is a bent wheel, and it seems to me that we now see his heart. And then the “crucifixion”, and tears suffocate even the men, the most powerful of them, that are not afraid to appear weak. And every time I’m hoping for a miracle, maybe the finale has been changed. Spartacus will throw all those spears away from him, and will continue to fight. Unbearable to watch… (goes on below the picture)

© Владимирова Екатерина (Ekaterina Vladimirova)

I used to say that everything a man does he actually does for/in the name of a woman. His woman. And it was very clearly seen that Spartacus and Ivan Vasiliev revolt and dance for a woman. And this woman was a great Phrygia – Maria Vinogradova. It was her first big performance after a year long absence. It is hard to believe that at home 5-month-old Anna waits for Ivan and Maria, because Masha is in perfect shape, incredibly beautiful. It Is obvious that she missed the stage. She danced eagerly, boldly, uninhibited.(goes on below the picture)

© Владимирова Екатерина (Ekaterina Vladimirova)

And when she touched the hand of Ivan, she began to tremble and melt like wax.  The “tent” was one of the key scenes of the play There was love, and despair, and tears, and farewell. In the well-known lift with one hand Ivan lifted his favorite as if she were a feather. And he could not resist again to raise one leg, but not as if in a circus, but so gently as if pushing off from the ground, to soar into the heavens. Maria in the finale was blacker than the night when in mourning, with only the white hands that wanted to raise Spartacus and go along the horizon… This real life couple told us, on stage, an absolutely unique story.
I love Ekaterina Krysanova. Her Aegina was regal, sexy, манкая. About the technique I will be silent. Ей бы под стать Красса. Alexander Volchkov is good, but he is cold, all dance and nothing else. Хотя на поклонах глазами сверкал на Ивана знатно. I dream about a performance with Vlad Lantratov.
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© Владимирова Екатерина (Ekaterina Vladimirova)

9 Jan 2016 – Happy Birthday, Ivan Vasiliev!

Ivan’s year was eventful.

Luckily he recovered from a dangerous injury he suffered in December 2014 (thank you Muse! ).

He rocked in his debuts in Swan Lake, Ivan The Terrible, Sheherazade, Messerer’s Corsaire, Mozart and Salieri, besides bringing us all the bravura roles we love so much, as well as the gentle ones that some love even more.

in Spartacus with Maria Vinogradova – Gala La Scala October 2015

with Nicoletta Manni – © Jack Devant

with Alexandr Omar

with Maria Vinogradova

in Don Quixote with Nicoletta Manni – Gala La Scala October 2015

in Swan Lake with Alina Cojocaru – ENB January 2015 – © Arnaud Stephenson

in Laurencia with Natalia Osipova – Mikhailovsky Theater – 2010 – © Mikhailovsky Theater

in Flames of Paris with Elisabetha Cheprasova – Dance Open April 2015 – © Jack Devant

in Facada with Natalia Osipova – © Douglas Gifford

in La Fille Mal Gardée – with Anna Kuligina – Mikhailovsky Theater 2015 – © Emma Kauldhar

in Lost Illusions – with Natalia Osipova – Feb 2012 – @ Alexei Filippov

in La Bayadére – with Irina Perren and Ekaterina Borchenko – May 2015 Mikhailovsky Theater – © Jack Devant

in The Nutcracker with Kristina Kretova – Dec 2015

in Sheherazade with Maria Vinogradova – Kremlin Gala 2015 – © Pankov

in La Sylphide with Maria Vinogradova – © Ekaterina Vladimirova

in Kamarinskaya – Choreography: Ivan Vasiliev – first performed in Vienna, 22 Oct 2015 – © Enrico della Valle

Bright Stream 24 12 2015

And then, there was also the amazing feat of staging Ballet No.1
almost single-handed.

Ballet No.1 Rehearsal

Ballet No.1 Team: Иван Васильев – Мария Виноградова – Денис Савин – Анна Окунева – Александр Смольянинов – Ангелина Карпова – Антон Савичев – Ана Туразашвили – Александра Pакитина – Кристина Кретова

He received this year’s  QG award for “Discovery of the Year” for that, which was well deserved!

He is also a nominee for the “Golden Mask” award
for his Mozart in Mozart and Salieri , well deserved too!!

He launched his own (WOW)site, a new Instagram Page
and a YouTube channel.

AND he got married to beautiful ballerina Maria Vinogradova!!

Happy Birthday to Ivan Vasiliev!
May the future bring fulfillment
of his many dreams –
all of them, one by one!

 

Spartacus – Bolshoi, 8th November 2015

It could be just one more great performance of Ivan’s Spartacus, but it seems it was more than that.

A new depth to Spartacus, a new understanding
of what the character has to deal with.

We have comments of people who were there.

Olga Smirnova wrote (bad Google translation, Russian original at the end!)
“Yesterday, 08.11.2015 watched “Spartacus” with Ivan Vasiliev. Well what can we say when the genius of dance is on stage? In this game even a blind man – or only too blinkered and prejudiced person does not see the perfect match of the role, the individual artist and the image of the hero. I would say more, it seems to me that the identity of the young Ivan was formed under the influence of this role … This performance was the last in the series, I would love to see all three Bolshoi Spartaki (and Crassus of Vladislav Lantratov), but the pricing policy of the theater does not allow this in any way. I believe your beautiful impressions of other shows and I am glad and proud of our (still our Bolshoi))) is great in the three grand spectacle compositions! Artists protagonists and antagonists of them were a match for each other. Catherine was a real kurtizankoy – Shipulina semolina, seductive, amazingly, once a snake, flexible and corruptly beautiful duet with Yuri Baranov took place completely, they interacted well, especially the scene where failed broken Crassus and celebration after their victory. I was pleasantly surprised by Yuri Baranov in the dramatic flow – while imperfect, nevertheless, depressions filled and jumping such certainty and viciousness of his hero; not only in scenes of orgies, but also in the fight scene with Spartacus, he was the epitome of meanness and treachery, how low, broken, muddy cowardly he appeared in his next episode! To transfer all this plasticly, you will agree, is difficult, more difficult than the grandeur of Rome and its glory. Nina Kaptsova was a beautiful Phrygia, embodied femininity, weakness, tenderness and softness. Her really bubbly `Pas de Bourret, lianoobraznye hands wrapped around Spartacus, idealnoslozhennaya miniature – a speaker and appropriate contrast with muscled embodied courage and  will of her Spartacus. Slightly quieter than Maria in the duet, was the subject of love and sensuality of the two Adagio (from the cloak and the “tent”) that obsnimo well, and I had enough of those moments that were there.
And the main thing now –  what was this Spartacus! Now calmer, I can watch this great show, and see more: for example, violent oscherennost teeth Spartacus as he bounces from supervisors chains involuntary (sort of), but a necessary gesture, closing his eyes from the sudden light when lanista removes his helmet, real tears in his eyes when in the monologue he curses himself for the murder of his friend. Otherwise, when played the final scene of the fight with Crassus, he was almost ready to plunge a dagger into the villain-patrician, but stopped at the last moment. What for? Because it is written in the libretto!  And I thought for a long time why it is written, why Spartacus releases Krassus – to show the contrast between two characters? On the one hand – generosity, forgiveness, the other -nizost and deceit? But the leader of the rebel slaves spares simple legionnaires in battle and can not understand the danger of saving the life of the main enemy? This is a new interpretation of the role of leader of the rebels, and this is it almost stopped trying to kill you like a dog , Crassus, and painfully, as the Agony in the Garden, a monologue after the discord in the camp of the rebels, some of sobbing spasms ran through the beautiful face of Spartacus! both hands clenched convulsively, addressed to heaven!

I must admit the fact of the complicated support in the tent Pdd – Ivan raised his leg, but I will argue with future opponents in advance that the combination of these multiple multidirectional diagonal support in its diagonal leg did not seem alien element. I note that all the support and Nina were superperfect and executed without the slightest effort, it did not break the fabric of the narrative preparation and approaches, just throwing Phrygia, for her Spartakus, he picks her up and vzdeval to the sky as a symbol of divine love, freedom, happiness, or circling in a passionate embrace.

 

In her blog, Anna_G writes:
“In general I have several Aeginae – Zakharova, and Alexandrova and Allash – but perhaps Shipulina I liked most of all – it was so brilliantly and brazenly intelligent, cynical and corrupt. And efficiet. In contrast to the simple, gentle and artless Phrygia Nina Kaptsova. And once again it was a fantastic way of getting into! I saw Anna Nikulina’s Phrygia, and Maria Vinogradova. Anna turned Anastasia into a crystal, aristocrathic virgin, that does not get ignited from the heat of Spartacus. Maria is exactly the opposite – a sensual “harem” Odalisque, a bird of paradise, oriental spices among the rough stones. The Phrygia of Nina – a thin light chamois, a child of the stones, but graceful, reverent and sincere child. It is natural and open, breathing the air of freedom, no exaggerated feelings, it plays on the midtones. She gasps and languishes in captivity, and all her love – sincere credulity with which she seeks the support of Spartacus, and which hovers like a natural in her element. The real force of nature and character of this girl wakes up in mourning – where it rises to the heights of the priestess, speaking with the gods, and her frail arms uplifted to the sky, promising to bring down all the curses on the head of the Romans.
As for the hero – and he was forced to become the only principal in the absence of confrontation with Crassus – he had to fight not with a person but with the system. But it did not reduce the scope of any of his suffering, or the glow of his struggle. It just became less personalized. I already wrote, I really want to Ivan danced Grigorovich to deepen part of the dramatic images. I want to demonstrate his extraordinary texture and technical capacity is not an end in itself, that his fantastic jumping and flying are only his tools, language for the disclosure of the role. This time I caught myself on the fact that I did not expect “elements”, and did not notice and did not want them. Ivan existed in such absolute dramatic organics, the plastic ground where his monologues spoke were no less than flight calls for freedom, and they, in turn, were only plastic tools, with them he tells about the feelings of his hero. It was a very courageous, sustained performance, in which his former crazy energy of instinctual impulses began to give way to the verified conscious power. And I so liked to see this dramatic work of Ivan is supported and appreciated by the audience…
But, alas, many people came for the circus. How misplaced were the applauses after each jump after each diagonal! This is not the choreography, which give spectacular fuete or circle jetés as the culmination of a number or attraction divertissement of inhuman possibilities!
The artist at this moment speaks dance phrases of actions, emotions – and he was slapped in the middle of the phrase like a circus monkey, performing tricks. Just so obvious that some do not care about the story going on – we have come to look at jumping! They do not let go from Ivan’s trickery towards games, and almost complied! Almost – because he still made ​​ the second leg up on Phrygia’s lifts, inappropriate foppish, but…low and short – like a brand mark, but then not really…
In general, he is luxurious in this role. Spartacus’ drama turned out real, powerful, without discounts for ballet convention. It throbbed all the nerve, the whole leitmotif the struggle that drew the whole tragic curve of his destiny – the pangs of bondage, through the murder of a friend, the loss of his beloved, to a personal protest, but from a personal protest – to the feeling of the strength to lead the mass protest, and in flight – a ghostly ideal – despair, the understanding it was a flight to nowhere, that the system will crush, make fall and break, but no – this is not the end, it is a flight into the future, it becomes a symbol for the tens of successive generations of the same dreamers … Thanks, it was great.”

UFFFF!!!! Do you, like me, wish so much you were there to see it?

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Ivan Vasiliev’s roles are never crystallized, defined, ready. They are never played on automatic pilot. He works constantly on them. They get more interesting, more  consistent, more believable, deeper or more entertaining as time goes by! And he raises the bar in all aspects of his work not just in his physical feats! His roles are constantly evolving.

 HAIL to a great artist. THANK YOU!!!

We pity so many ballet lovers who are form-obsessed, and see just jumps, lifts and turns, missing completely the dramatic content. It’s like looking at a Van Gogh, and seeing just the bright colours – and missing all else that is there.

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Gala des Étoiles – La Scala, 30th October 2015

This Gala featured an amazing Spartacus Pdd, maybe the most amazing ever. Several things concurred. In Phrygia’s solo Maria Vinogradova was as flawless as she was an aesthetic gift – light as a feather, passion and sense of doom in long delicate lines.
The splendid Spartacus we love since Ivan’s first performance, had a new depth in his concern and love.
Their partnership was so smooth and sure, all you could see was beauty, two dancing as if they were one, (a seemingly) lack of effort, (a false) easiness – in such a difficult piece! wow, wow, WOW!
That they are both beautiful themselves, the contrast of powerful Ivan with dainty Maria like archetypical images becoming real, is only the final touch to this goose-bumps-creating engine.

in Spartacus Maria Vinogradova – Gala La Scala October 2015

in Spartacus Maria Vinogradova – Gala La Scala October 2015

in Spartacus with Maria Vinogradova – Gala La Scala October 2015

in Spartacus with Maria Vinogradova – Gala La Scala October 2015

in Spartacus with Maria Vinogradova – Gala La Scala October 2015

in Spartacus with Maria Vinogradova – Gala La Scala October 2015

in Spartacus with Maria Vinogradova – Gala La Scala October 2015

in Spartacus with Maria Vinogradova – Gala La Scala October 2015

in Spartacus with Maria Vinogradova – Gala La Scala October 2015

in Spartacus Maria Vinogradova – Gala La Scala October 2015

in Spartacus with Maria Vinogradova – Gala La Scala October 2015

Let’s hope the link to this video keeps working!

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And then Ivan as his unbeatable Don Quixote – with Nicoletta Manni. After several months, some were already missing Basilio…

in Don Quixote with Nicoletta Manni – Gala La Scala October 2015

in Don Quixote with Nicoletta Manni – Gala La Scala October 2015

in Don Quixote with Nicoletta Manni – Gala La Scala October 2015

in Don Quixote with Nicoletta Manni – Gala La Scala October 2015

in Don Quixote with Nicoletta Manni – Gala La Scala October 2015

in Don Quixote with Nicoletta Manni – Gala La Scala October 2015

in Don Quixote with Nicoletta Manni – Gala La Scala October 2015

in Don Quixote with Nicoletta Manni – Gala La Scala October 2015

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#Spartacus in Rio de Janeiro – 17th June, 2015

It was an outstanding performance, even when you consider how frequently this word has been used regarding Ivan Vasiliev.  But alas, we are running out of fitting adjectives.

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Photographer: Mário Assis Veloso

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Photographer: Francisco Patrício 

Impressions

Full house. Very bad orchestra. Nina Kaptsova as Phrygia was delicate with beautiful lines… Shipulina was excellent!! Volchkov should make his Crassus more impressive, though.
Ivan Vasiliev delivered a first-rate performance, in all aspects. Expressive, believable, great impact. Tecnically brilliant, jumps and turns amazing, solid and gentle partnering and beautiful monologues. His Spartacus was a strong presence every single tiny second, regardless of being in action or not.

with Nina Kaptsova

Facial expression cannot be seen in the last seats and the gallery, but with Ivan there is no need. There is emotion and meaning embedded in every movement, in every gesture, easy to understand and recognize. To recognize, this is a key word. His acting, despite the great dramatic charge, despite being imparted sometimes through extreme physical feats, is somehow grounded in our actual body language and is very natural.
The more conventional acting of other dancers pales in comparison. Ballet as a whole, I believe, could profit from the kind of acting Ivan uses so competently. His dancing is enough to elicit many bravos, but add his acting, and you have the audience screaming approval and loving him.

It was Spartacus danced with confidence, intensity, great skill and attention to detail – you felt you could trust Ivan Vasiliev, relax and fully enjoy the magic and excellence on display. It exceeded my expectations – and they were anything but small, believe me!

Magda Mundt

#Spartacus in Novosibirk – 22.05.2015

One of us,  Galina Apushtina, writes about her impressions.

The Russian text is followed by English translation.

КАРАВАН ИДЕТ

Этот отзыв я написала под влиянием Спартака-Ивана Васильева. И также под влиянием разной критики на нашем балетном форуме.

Мозг и эмоции – интересные вещи. Один артист пробуждает работу мозга. а другой пробуждает эмоции. Вот танцует наш замечательный Красс-Михаил Лифенцев. Мой мозг говорит: хорошо, но можно у Зеленского поучиться. В целом Михаил – большой молодец. Хотя Зеленский для меня остался непревзойденным Крассом. Вот Эгина- Анна Одинцова. Она мне очень понравилась, была очень музыкальна. Ее образ совпал с образом Эгины в моей голове. К сожалению, Фригию танцевала не Анна Жарова. Для меня она – непревзойденная Фригия. Очень сильный образ, а ноги Анны просто поют. Мария Виноградова местами была похожа на испуганную девочку. Мне не хватало в ней внутреннего стержня как у Анны. Надеюсь, со временем он у нее появится. У Марии мне понравились совершенно бесшумные и высокие, красивые прыжки, широкий шаг.

И вот появился Спартак-Иван Васильев. Мой мозг сразу отошел в сторону, ожили эмоции. Я забыла, что сижу в кресле, забыла про технику. Мои глаза широко раскрылись, я невольно стала улыбаться, кроме трагических моментов. Иван в нашем “Спартаке” – не мятущийся юноша, а муж. Мужская преданность любимой женщине, мужская забота о ней в каждой жилке, в каждом жесте, в каждом повороте головы и каждом взгляде на нее. Очень много таких акцентов.

Я вспомнила другой “Спартак” в сентябре с другими исполнителями. В начале спектакля пленные идут парами друг за другом. Спартак с Фригией тогда шли как пара школьников в пионерлагере. Напротив, Васильев в этой сцене – сильный мужчина. Он заботится о своей женщине и оберегает ее. Становится зверем, когда над любимой надругались. Я думала, что Иван поубивает там всех, хотя по сценарию это не положено. Это было очень сильно. Из него шел столб отчаяния и энергии! Фригию забрали у него насильно. он не сам ее отдал.

Образ вождя у Ивана более сильный, чем образ любящего мужчины. Это не просто вождь, это ЛИДЕР. ЛИДЕР на основе принципов, а не собственных желаний. На основе служения людям, которых он повел за собой. Лидер – ГЕРОЙ. который отдает жизнь в страстной борьбе. СТРАСТЬ в борьбе, как танцует Иван, это беспрецедентно.

После спектакля я была в настоящей эйфории длительное время. Именно этого я всегда жду в театре – эмоций, эйфории. Чтобы мозг был выключен. Я обожаю наш новосибирский театр. Я всегда испытываю эйфорию от его спектаклей, но в разной степени. Бывает больше, бывает меньше. “Спартак” с Иваном Васильевым дал мне наивысшие эмоции. Каждый раз я иду брать автограф у Ивана. Мой муж, как настоящий папарацци, делает фото на память. Иван изменился. Он всегда был веселым. Его широкая улыбка никогда не сходит с лица. Дарит он людям позитив. В этот раз меня поразила собранность Ивана. Он был сконцентрированный, сфокусированный, даже улыбаясь. Я поняла, что цели, планы и действия этого человека не сокрушить. Собаки лают, а караван идет. И будет идти. Я получила от Ивана чувство уверенности. Он дал мне крылья и уверенность в завтрашнем дне. А что может быть лучше?

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I have written this feedback under the influence of Spartak performed by Ivan Vasiliev, as well as under the influence of different critics in our ballet forum.
Brain and emotions are interesting things. One artist awakens the work of the brain, and another artist awakens emotions. Here is our magic Crassus dancing impersonated by Mikhail Lifentsev. My brain says: good, but it would be nice to learn from Zelenskiy. On the whole, Mikhail is great, although Zelenskiy for me remained unbeaten as Crassus. Here is Aegina by Anna Odintsova. I really liked her, she was very into music. Her image coincided with the image of Aegina in my head. unfortunately, Frigia was not danced by Anna Zharova. For me she is unbeaten Frigia. A very strong image. Anna’s legs are just singing. Maria Vinogradova at times looked like a frightened girl. I could see the inner rod in her as in Anna. I hope with time, she will get it. I liked Maria for absolutely soundless and high, beautiful jumps and wide steps.
And then comes Spartakus – Ivan Vasiliev. My brain stepped aside at once and emotions woke up. I forgot I was sitting in an armchair, I forgot about the technique. My eyes opened wide, I started to smile subconsciously, except for tragic moments. Ivan in our “Spartakus” is not an undefined youth, but a husband. A man’s devotion to a beloved woman, a man’s care about her in every fiber, in every gesture, in every turn of the head and in every look at her. Very many accents like this. I was also remembering another “Spartakus” in September with other dancers. In the beginning of the performance, the captured people walk in pairs one by one. Spartakus and Frigia were walking as a couple of pupils. On the contrary, Vasiliev is this scene is a strong man. He cares about his woman and protects her. He becomes wild when his wife gets vandalised. It seems to me that he would terminate them all, although it is not in the plot. That was very strong. A column of despair and energy was coming out of him. Frigia was taken away from him by force. He did not give her by himself.
The image of a leader that Ivan has is stronger than the image of a loving man. He is not just a head, he is a LEADER. He is a LEADER by his principles, not by his own wish, based on serving the people whom he leads. A leader is a HERO, who sacrifices his life in a rigorous fight. Passion in fight, the way Ivan dances, it is unprecedented.
After the performance I was in a real euphoria for a long time. This is what I am always looking for in a theatre – emotions, euphoria. My brain to be switched off. i adore our Novosibirsk theatre. I always feel euthoria from its performances but to different degrees. It can be more, it can be less. “Spartakus” with Ivan Vasiliev gave me highest emotions.
I ask for signature from Ivan every time. My husband as a real paparazzi, takes pictures. Ivan has changed. He has always been cheerful. The smile never leaves his face. He gives positive to people. This time I was amazed by how concentrated Ivan was. He was concentrated, focused even when smiling. I realised that it is impossible to ruin the goals, plans and actions of this person. The dogs are barking but the caravan is moving on. And it will move on. I got a feeling of confidence from Ivan. He gave me wings and confidence in tomorrow. What can be better?