Grigorovitch y su Bolshoi

Escribí y disfruté este reportaje para la revista Por la Danza con motivo de la reapertura del Teatro Bolshoi de Moscú tras su remodelación, aprovechando que poco después de la Gala inaugural, estaría trabajando allí con el Ballet Nacional de España y podría recorrerlo libremente. [Actuamos en el escenario “pequeño”, pero tuve la satisfacción de impartir clase en la emblemática sala grande de ensayos; qué emocionante fue.]

La eficaz jefe de prensa del teatro -Katya Novikova- me acompañó en un largo y agradabilísimo paseo por todos los rincones del Bolshoi y me inundó de información para escribir el reportaje, pero cuando al día siguiente me dijeron que además, los miembros del BNE estábamos invitados a hacer un recorrido por el teatro escoltados por una de nuestras intérpretes, quise repetir la experiencia. En el escenario se ensayaba con vestuario, a piano, el Cascanueces de Grigorovitch que iba a volver a representarse por primera vez en muchos años en Moscú, así que nos invitaron a entrar en el patio de butacas y nos sentamos felices en las últimas filas, en absoluto silencio.

Sin embargo, algo debió de cruzarse en la cabeza del señor Grigorovitch que, de pronto, se giró y dando gritos, paró el ensayo; la intérprete, aterrada, no sacó al pasillo para recriminarnos que nuestra actitud irrespetuosa (???!!!) había irritado al coreógrafo y había que cancelar el resto de la visita. Aterrorizada por las consecuencias que podría tener para ella, la pobre mujer nos devolvió de malas formas a nuestros camerinos y si nos descuidamos, nos encierran con siete llaves. Tal es el poder dictatorial del exdirector del Ballet Bolshoi aún hoy en el teatro.

Menos mal que nunca me interesaron ni él sus coreografías, porque si no, se me habría desbaratado un mito.

[Para ver el artículo completo pinchar aquí]

I both wrote and enjoyed this article for the magazine Por la Danza to celebrate the reopening of the Bolshoi Theater in Moscow after its refurnishment; we’d be perfoming there with the Ballet Nacional de España shortly after the opening gala, so I could walk around easily. [We performed on the “small” stage, but I was pleased to teach a company class at the famous big rehearsal studio, which was really exciting!]

The efficient press officer of the Bolshoi -Katya Novikova- took me to a long and very pleasant walk through every corner of the theater, and she flooded me with information to write the article, but when the next day someone told me that all the members of the BNE were invited to take a tour through the theater escorted by one of our interpreters, obviously I decided to repeat the trip. There was a dress-rehearsal (with piano) of Grigorovitch‘s Nutcracker on stage, which would be performed again after a long absence in Moscow; we were invited to enter into the hall, and we sat happily in the back rows of the orchestra, in absolute silence.

However, something happened to Mr. Grigorovitch because he suddenly turned around and screaming, he stopped the rehearsal. Our interpreter, terrified, pulled us out to the hallway and reproached that our disrespectful behaviour (???! ) had angered the choreographer… so our visit was canceled at once. She was so terrified by the consequences it could have for her, that the poor woman took us back to our dressing rooms and almost under lock and key. Such is still the power of the dictatorial former director of the Bolshoi Ballet in the theater.

Luckily I was never interested either in him or his ballets because otherwise, my idol would have taken a nice fall.

[To read the full article, click here. Only in Spanish.]

☞ “El Bolshoi”. Elna Matamoros, Por la Danza, nº 94 · primavera 2012, pp. 50-55.

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