Ballet Nureyev scandal. The scandal that never happened: the long-awaited ballet "Nureyev" at the Bolshoi

Not a single theatrical premiere in the country knew such a tense expectation. And the point is not only that the true reason for the cancellation of the shows five months ago remained unclear: either the Minister of Culture forbade it, considering the production frivolous, or the theater management was reinsured for the same reason, or, according to the official version, the performance turned out to be " Not Ready” by the original premiere date, and it was decided to postpone the performance until better times. Times have not improved. But, to the credit of the Bolshoi Directorate, the performance of the arrested director (I think there is no need to remind the strangeness of the plot of the Seventh Studio case, because of which Kirill Serebrennikov is under house arrest), the theater dared to show the world.

The nervousness around the premiere only grew every day. Simple and not very spectators could not get tickets: the theater box office received only 500 tickets for each of only two performances. And they were sold only upon presentation of a passport, the data of which was entered into some, probably, a special base for spectators. And although at the entrance the guards checked passports, unsinkable speculators traded the opportunity to see the Nureyev for 40-85 thousand rubles per ticket. It is not surprising that the hall was half filled with bureaucratic and secular public.

The artists involved in the performance unanimously claim that the production will soon be sold to one of the European theaters. The management of the Bolshoi promises that Nureyev will be included in the repertoire, and the next series of screenings will take place in May 2018. But according to the Bolshoi's repertoire booklet for the current season, the next performances are scheduled for June 27 and 28.

In such an agitated environment, it is difficult to treat the Nureyev as a pure artifact. However, this is still the world premiere of a two-act ballet by composer Ilya Demutsky, written by him in a creative alliance with Kirill Serebrennikov, who owns the direction, the concept of the ballet, the libretto and set design. Choreography by Yuri Posokhov, conductor Anton Grishanin. In fact, it was not so much a ballet as a multi-genre, bright and modern performance. It should be noted that it was this production team that also worked on Ilya Demutsky's very successful debut ballet at the Bolshoi, A Hero of Our Time.

The Bolshoi troupe, engaged in the ballet Nureyev. Center: Kirill Serebrennikov

But then, two and a half years ago, there were no criminal cases against the authors of the performance, and the plot was classically literary, and not an attempt at a biopic of one of the brightest heroes of the world ballet of the 20th century. But it seems that this is also an attempt to get even with historical injustice: Rudolf Nureyev never danced on the stage of the Bolshoi.

The libretto is based on key episodes in Nureyev's life: studying at the Vaganov School, in whose classes the portraits of leaders from Lenin to Khrushchev change, but the portrait of Agrippina Vaganova reigns over everyone; tour of the Kirov Theater in France, after which he stayed in Paris, making a legendary leap from poverty to freedom and glory; meetings with Eric Brun, with Margot Fonteyn and memories of almost all of his roles. Nureyev danced about 20 parts, and even appeared in the musical "The King and I" by Richard Rogers and Oscar Hammerstein, where he sang from the stage. “When I sing, I know that I kindle a fire in many. I have always managed to get on people's nerves, ”Rudolf Nureyev once admitted.

The idea was large-scale: the performance involved not only a ballet troupe and mimams, but also a choir, opera singers, musicians soloing on stage, the Jazz Band and a dramatic artist as an auctioneer. He lays out the life of the great dancer into expensive lots: in 1995, two years after his death, almost all of his property was sold at the Christie auction.

It was the auctioneer in the exact performance of the artist of the Moscow Art Theater. Chekhov Igor Vernik becomes the main character of the play. He even unnecessarily dominates, often rudely tearing the musical fabric of the performance. But if you think about it, after all, during his lifetime, Nureyev himself, like any idol and idol, essentially became an auction lot.

Finale of the first act: “Lot 875. A note from Mr. Nureyev addressed to Mr. Brun. Written on the letterhead of the Toronto hospital, where Rudolf Nureyev visited Eric Brun before his death in 1986 from lung cancer ... The contents of the note are intimate and confidential and are not subject to publicity. And it appears to be for sale.

Photo: Mikhail Logvinov / Bolshoi Theater

The music of Ilya Demutsky is associative and dance. But the performance obviously lacks a director's hand (the investigator did not allow Kirill Serebrennikov to conduct a single rehearsal) so that the scenes merge into a single whole. As for Richard Avedon's famous photograph of naked Nureyev, which made a lot of noise in the summer, at the premiere performance it only bashfully flashed among other photographs of the "God of Dance and Vice".

The image of Nureyev performed by Vladislav Lantratov turned out to be soft, overly romanticized and not as magnetically powerful as his prototype was. In general, it is a difficult and, as a rule, not a rewarding task to embody the images of your outstanding colleagues on stage. Maria Alexandrova represented Margot Fonteyn, and Svetlana Zakharova embodied the collective image of the magnificent ballerinas Alla Osipenko and Natalia Makarova.

It is felt that the authors conceived the performance as a heartfelt homage to the tragic figure of Nureyev. The dramatic spring unwinds from the pathos performance of the “Song of the Motherland” by the choir, tenor (Marat Gali) and mezzo-soprano (Svetlana Shilova) to the exquisite and sad stanzas of Baudelaire and Rimbaud. The voice of the King is the countertenor (Vadim Volkov), the leitmotif of the performance is "Lullaby" in the Tatar language.

Three scenes from the performance make an indelible impression. The first is a solo by Nureyev's student, passionately and masterfully performed by Vyacheslav Lopatin. The second is the duet of Nureyev and Eric Brun (Denis Savin). And the third - final, when Nureyev, defeated by illness, just hovering over the stage, with an senile, unsteady gait, wanders around the stage and descends into the orchestra pit, takes a seat at the console and tries to conduct La Bayadère, as it was dreamed of in reality at the end of 1992 of the year. And on January 6, 1993, Rudolf Nureyev died.

Sergei Korobkov's review of the musical "Nureyev" at the Bolshoi Theater

In Kazan, where the International Festival of Classical Ballet named after Rudolf Nureyev will be held for the 31st time next summer, no, no, and there was talk about staging a performance about an outstanding dancer of the 20th century. In 1992, he gave his name to the prestigious Russian dance forum, founded by the director of the Musa Jalil Theater Raufal Mukhametzyanov. The Bolshoi Theatre, which released the long-awaited premiere by balletomanes, Kazan got ahead of, but did not close the topic, says Sergey Korobkov, Moscow critic and permanent host of the Nureyev festival in the capital of Tatarstan. He outlined his impressions of the Nureyev ballet in an article written specifically for Realnoe Vremya.

Postponed to finalize?

Around the last premiere of the Bolshoi, many spears and feathers were broken. In June, before the closing of the season, the performance was postponed indefinitely, explaining the unprecedented decision of the directorate by the fact that the composition of the composer Ilya Demutsky, librettist, director and author of the set design Kirill Serebrennikov and choreographer Yuri Posokhov needs to be finalized.

In the busy schedule of the country's main music scene, they finally found a few days in December, but Nureyev was released without his inspirer - Serebrennikov, who was placed under house arrest in the infamous case of the Platforma contemporary art project. As a result, when the premiere saw the light of day, many critics and public figures, without hesitation, explained its postponement by purely political considerations and saw in the fate of the main character, who once made his famous leap into freedom, a similarity with the situation that has developed around the production director and continues to stir up civil society.

The transformation of Nureyev the student into Nureyev the soloist of the Leningrad Kirov Theater is indicated by a patter. Photo by Damir Yusupov (vk.com/bolshoitheatre)

Meanwhile, even after its publication, the complex performance raises a number of questions that allow us to believe that it was sent for fine-tuning solely for professional, and not for any other reasons. Complicated and, alas, the image of the main character is not fully disclosed. The dramatic composition is complex, where at first the retrospective action is translated into an on-line format, then it is complicated by the cinematic techniques of flash back (memories of what happened once) and flashforward (sudden transition from a sequential narrative to the future), and all this sometimes leads to confusion of storylines. The very structure of the stage material is complex, where, along with ballet as such, expressive means borrowed from related theatrical types are actively involved, and sometimes prevail.

From the drama theater - a character called the Auctioneer / Avedon / Gray, and he constantly comments on what is happening as if from the outside: he conducts an auction that opens the performance, where Nureyev's legacy is put up for sale - from school notebooks and diaries to antiques and Lee Galli Island; reads documents extracted from the KGB archives and letters addressed to the “flying Tatar” from 2017 from Laurent Hilaire, Charles Jude, Alla Osipenko and Natalia Makarova.

A whole choir with a soloist, designated as Mezzo-soprano / Vakhtersha / Wind, was “recruited” from the Museotheatre. Under whose song in the manner of Lyudmila Zykina and to the verses of Margarita Aliger (“They don’t choose their homeland, / They begin to believe and breathe / They receive their homeland in the world / Invariably like a father and mother”), the director translates the action from the class of the choreographic school, where Nureyev’s transformation is indicated with a patter - a student at Nureyev, a soloist of the Kirov Leningrad Theater, to Le Bourget Airport, which ends the domestic period of the artist's biography.

A single and closed scenographic installation (the same class at the Vaganova Leningrad School) is decorated either with video projections or with chronicle photographs of Nureyev himself and his partners. Photo by Pavel Rychkov (vk.com/bolshoitheatre)

The king and them

And immediately - to Paris, shown almost as a caricature, through jazz backing dancers dressed in prêt à porter couples and a picture in the Bois de Boulogne with its inhabitants - tempting transvestites who breathed in the air of freedom rebel. To all this, active comments of a multimedia sense are attached. A single and closed scenographic installation (still the same class at the Vaganova Leningrad School) is decorated either with video projections, or with chronicle photographs of Nureyev himself and his partners, or with Parisian graffiti, in the written labyrinths of which the premiere audience saw the inscription “K. Silver.

The action, built up with fat and forays, burdened by the extended movements of mime artists representing the bourgeois audience of the auction, crowds the dance to the offensive, and the dance often turns into an illustration of texts spoken from the stage, including the letters already mentioned. On the text of Hilaire and Jude Possokhov puts a monologue of a character named as the Apprentice; to the texts of Nureyev's partners - a monologue of a certain Diva, in appearance and appearance reminiscent of Natalya Makarova.

Despite the fact that Serebrennikov frees up space in the center of the performance for the history of the relationship between Nureyev and the Danish dancer Eric Brun and the “male” dialogue staged by Possokhov, many critics declare the height of artistic tact and taste (since the by no means simple relationship of friends bound by tender ties is inscribed in the subtext), interest in the most important the storyline regarding Nureyev's biography of the prima of the London Royal Ballet Margot Fontaine is reduced to a two-minute scene. This is a paraphrase of the duet from "Marguerite and Armand" by Frederick Ashton to the music of Franz Liszt, briefly commented on by a documentary everyday portrait of one of the best couples in the world of choreographic art.

The “male” dialogue staged by Possokhov is declared by many critics to be the height of artistic tact and taste. Photo by Damir Yusupov (vk.com/bolshoitheatre)

Nureyev himself looks at Serebrennikov as an egoist and selfish, who despises his colleagues on the stage and is exclusively concerned with his career. At the beginning of the second act, a lengthy dance sketch is dedicated to the arrogant ballet. A certain troupe (perhaps from those with which the dancer met during his non-stop tours, and, possibly, the troupe of the Paris Opera, which he led and which he nurtured, discovering outstanding talents in the corps de ballet) from ballerinas dressed in black and dressed in costumes of Nureyev roles of gentlemen rehearses or performs a performance, now and then interrupted by the angry exclamations of the protagonist, who in turn snatches partners from his colleagues for himself. “They come to look at me, not at you!” the genius shouts, and this philippic is perceived as his main characteristic.

From here - to the pre-final picture, named by the librettist "The Sun King" and representing a pompous defile of characters in red and gold baroque costumes. Like the triumph of the ballet king, who brought the world to his feet with the power of a delightful dance and - read from the performance - the unbearable character of the conqueror who transgressed the boundaries of conceivable freedom.

No semblance of reflections, no frank self-confessions, no loneliness showing through the glamorous tinsel of social events - nothing that allows you to feel the complex and contradictory life of one of the largest ballet dancers of our time in the figure drawn by Serebrennikov, alas, is not readable right up to what was started and right there a broken monologue of Lunar Pierrot to music by Arnold Schoenberg (a paraphrase for the performance of the same name by the Danish Royal Ballet, choreography by Glen Tetley) and the final picture of the performance. Only the Tatar song of the so-called Singer of the King and the epilogue give rise to a lively emotion and, from my point of view, reconcile numerous contradictions in the hasty assembly of a performance-show or performance-review.

The pre-final picture, called "The Sun King" by the librettist, is a pompous defile of characters in red and gold baroque costumes. Photo by Mikhail Logvinov (vk.com/bolshoitheatre)

Sad "Shadows"

To the music of Ludwig Minkus, multiplying the famous arabesques of Marius Petipa, shadows from the ballet La Bayadère appear on the stage - the last performance staged by Nureyev at the Paris Opera on the stage of the Palais Garnier. Nuriev himself, dressed in a tailcoat pair and the famous turban, is supported by assistant assistants leading to the proscenium. He descends into the orchestra pit and stands at the podium, from where he conducts this farewell dance, as if climbing to the tops of the snow-capped Himalayan mountains, where the shadows of those with whom fate brought him await. Here, as they say, up to a lump in the throat, and here - almost pure ballet on the stage released for the ballet, cluttered with a long-term biopic in the faces.

What is the result? As a result, the Bolshoi Theater offers the most curious experience of a ballet staged on the territory of a musical and inheriting the ideas of the pioneer of the named genre - Matthew Bourne, known for his retellings of classical ballets in a musical manner. And Serebrennikov, who tried to make a similar transfer from one genre to another, mixing heterogeneous colors on a palette, gets an unusual for the historical stage of the Bolshoi Performance, where the language of the musical chosen for the biographical text works flawlessly.

And in rhythm, and in the restructuring of dramaturgy, and in the musical material of Ilya Demutsky, who abundantly quotes fragments of scores - from Tchaikovsky to Mahler and from Schoenberg to Minkus, and according to the irony characteristic of the Broadway genre, which does not honor lyrics and drama and slightly straightens characters, but invariably bringing the story to the level of a well-structured digest, interesting to any addressee.

To the music of Minkus, multiplying the famous arabesques of Marius Petipa, shadows from the ballet La Bayadère, the last performance staged by Nureyev at the Paris Opera, appear on the stage. Photo by Pavel Rychkov (vk.com/bolshoitheatre)

As for reflections and reflections, no one is ordered in the future to look at Nureyev's biography and his work with a closer and more penetrating look. First of all, on the story in it, in which there is the love of Rudy and Margot and the collapsed world of one without the other - the one about whom he said: "She is the only thing I have in the whole wide world."

Sergey Korobkov

Reference

Sergey Korobkov- Candidate of Art Criticism, laureate of the Prize of the Government of Russia and the Prize to them. Sergei Diaghilev.

Why was the premiere postponed?

The reason for the transfer of the ballet at a meeting of the theater staff was the director of the Bolshoi Theater Vladimir Urin. According to him, the performance is not yet ready, the theater management is to blame for this, which "did not calculate the scale of this performance and the time that it took."

“We looked at the state of readiness of the performance. We understand that today, in the form in which the performance is, it is impossible to show it on the stage of the Bolshoi Theater ”

A recording of Urin's meeting with the theater team appeared on YouTube, but was later deleted.

At a briefing on July 10 Urin that the decision to postpone was made by the entire troupe, including Serebrennikov himself. He also added that not only ballet is present in the performance, but work with extras began in earnest only on July 2. According to him, the claims were on the choreography. “Dance accents are important in Serebrennikov's performance. We have seen that this is not enough, that it has not been brought to a professional level. Serebrennikov himself has nothing to do with choreography. He is a theatrical artist, and Yuri Posokhov is engaged in choreography, ”said the general director of the Bolshoi.

Video: RBC

As the Vedomosti newspaper wrote, the director of the Bolshoi decided to postpone it by visiting the general run on July 7.

On July 10, TASS, citing a source, reported that the performance was postponed by order of the Minister of Culture Vladimir Medinsky. The same information to RBC is a source close to the department.

“According to Serebrennikov’s plan, most of the actors had to perform their roles naked,” the TASS interlocutor explained. In addition, the minister was not satisfied that the design of the performance uses a photograph of Rudolf Nureyev, in which he is depicted completely naked. The department considered that the production promotes "non-traditional sexual values." The Bolshoi Theater is a message of provocation.

Meanwhile, the ministry confirmed the fact of the conversation between Medinsky and Urin. “A long detailed telephone conversation took place, in which they, among other things, discussed the ballet Nureyev staged by Kirill Serebrennikov,” RBC said in the press service of the department. At the same time, the department emphasized that officials do not censor and do not prohibit performances.

Director Kirill Serebrennikov declined to comment on the decision to postpone the performance.

“I don't want to comment. This is the decision of the theatre. That's how they decided"

On July 9, speaking to the artists of the Gogol Center on the occasion of the closing of the theatrical season, Serebrennikov made a speech in which, among other things, he touched on the transfer of the performance. “All misfortunes pass, regimes change, different figures change, different situations change, art remains. There are a million proofs for this. A performance that does not exist or did not exist ( . — RBC) - it turns out to be more alive than all the living and is played many times with a full house. A performance that will not be will still be. Yesterday it was amazing: I came from a performance that will not be to a performance that was not. And under these hashtags our life passes, ”said the director.

The transfer was commented by the artists of the Bolshoi. So, the lead actor Vladislav Lantratov wrote on his Instagram page: “There are no words ... understanding that you just fell in love with the role, began to get used to the play, everything began to take shape ... and in a second, this is your little life you have root out ... the worst for an artist ... ".

https://www.instagram.com/p/BWSHF1Alvbf/?utm_source=ig_embed

The ballet dancer of the Bolshoi Theater Vera Borisenkova also expressed her regrets about the postponement of the performance. "Incredible! The best! This is a performance that you will most likely never see! This is a gift for all of us, all those who were on stage today! This is space!!! @bolshoi_theatre our failed premiere took place for us! Thank you my colleagues, teachers, Yura, Kirill, Ilya! I sobbed at the beginning, danced at the very end, and shouted Bravo until my throat was hoarse! We are the best! There are no more! It's impossible to forget!!!" wrote She is on her Instagram page.

When will the performance

Instead of Nureyev, on July 11, 12, 13 and 14, the Bolshoi will show the classical ballet Don Quixote. Ticket money will be refunded.

The ballet "Nureyev" will be shown to the audience in May 2018, at a briefing on July 10 Urin. He clarified that in a conversation with Serebrennikov, it was decided not to postpone the performance for the 2018/2019 season. The director himself should be in Munich on May 4-5, 2018, but said that he would try to coordinate his arrival.

How much money will Big lose due to the cancellation of the premiere

At a briefing on July 10, Urin said that since the performance was not canceled, but postponed, the theater had no financial losses.

Speaking about reputational losses, the director of the theater noted that "the quality of the performance is more important, it is important to do everything with high quality so that it is worthy of the Bolshoi Theater stage."

money for ballet

For the first time in the history of the theater, personal funds were invested in the production of the performance. This is the money of Andrey Kostin, President and Chairman of the Board of VTB Bank. The performance was sponsored by the jewelry brand Van Cleef & Arpels, whose contribution is estimated at €100,000.

On December 9 and 10, the Bolshoi Theater hosted the premiere performances of the Nureyev ballet. The author of the production was Kirill Serebrennikov, who is under house arrest in the case of embezzlement. Many politicians and businessmen came to the show, including presidential press secretary Dmitry Peskov. The rain collected the impressions of the audience and artists from the production.

Composer of the ballet "Nureyev" Ilya Demutsky: "Thank you, beautiful ones, for giving us this hard-won miracle"

Director of the Documentary Film Center Sofya Kapkova: “For two days, all thoughts are only about the performance. Some sort of internal conversation. Conversation with Kirill

Actor Igor Vernik, who plays several roles in the play: “I never could have imagined that I could feel this power of audience delight”

Posted by Igor Vernik (@ivernik) Dec 10, 2017 at 6:02 PST

Ballet dancer Olga Marchenkova: "Thank you for this happiness to dance in this world creation"

Posted by Olga Marchenkova (@alex_marchenvayzer) Dec 10 2017 at 11:12 PST

Actress and film director Renata Litvinova: “We clap. A very sad show."

TV presenter Sati Spivakova: "A fantastic performance, penetrating, deep, emotional and infinitely talented"

Posted by sati spivakova (@satispivakova) Dec 10, 2017 at 11:30 AM PST

Director of the Garage Center for Contemporary Art Anton Belov: “Congratulations to @kirillserebrennikov for making breakthroughs for Russia from a parallel reality”

Posted by Anton Belov (@kotomish) Dec 10, 2017 at 2:01 PST

Komsomolskaya Pravda journalist Igor Shnurenko: “Just imagine that you are in the IKEA warehouse during the Christmas sale. Rhythm and clanging is about the same"

TV presenter Zhanna Agalakova: “This is a beautiful mandala, destroyed immediately after creation”

Posted by Zhanna Agalakova (@zhanna_agalakova) Dec 10, 2017 at 4:36 PST

Actor Vladimir Koshevoy: “Kirill! Thank you! We believe and wait! That's it. The truth will surely triumph, but then "

Posted by Kretova Kristina (@kkristinabalerina) Dec 10, 2017 at 1:08 AM PST

Soloist of the Bolshoi Theater Svetlana Shilova:

Dancer Alexei Putintsev:

The premiere of the ballet "Nureyev" directed by Kirill Serebrennikov took place at the Bolshoi Theater. The director himself was not present, he is still under house arrest on charges of embezzlement.

The premiere was attended by Presidential Press Secretary Dmitry Peskov and Tatyana Navka, Minister of Culture Vladimir Medinsky, ex-Finance Minister Alexei Kudrin, head of Rostec Sergey Chemezov, Minister of Transport Maxim Sokolov, Deputy Foreign Minister Grigory Karasin, head of Gazprom Alexei Miller, member of the Russian Olympic Committee Shamil Tarpishchev, Ksenia Sobchak, Sergey Minaev ("Matilda") and many other "high-ranking people". State Duma deputies, oligarchs led by Abramovich, and so on and so forth...

Many then simply squealed with delight on their accounts and congratulated the Bolshoi Theater on such a production. Mass of delight and splashes of champagne. And, of course, Serebrennikov's support, if not in words, then in rubles. More precisely, ten thousand.

One of the near-theater newspapers, directly choking with emotions, painted how everything was warm and lamplike. All of their own, so to speak, gathered.

No, but what, strangers, or what? By personalized tickets? Yours, yours...

And "his" Serebrennikov will now definitely be released. Feeling at the performance. Well, how not to let go, he's his own. Talent…

In general, what is the performance about and what did I, in fact, cling to it?

It's just that we finally began to show the true ideals of our elites. Once admired - so it is.

That Rudolf Nureyev was a truly great dancer, only a fool would dispute. And, perhaps, his name needed to be immortalized somehow. Which, in fact, was the place to be. The choreographic college and the dance festival in Ufa and Kazan, respectively, bear the name of Nureyev.

It's about his skill, and nothing more.

But what is the play about? Maybe some potpourri, an attempt to dance those roles that Nureyev danced so beautifully?

The life of Nureyev was danced and theatrically staged. Well, let's go through the biography. The part that is the most interesting.

Yes, Nureyev was a recognized star. Awards, foreign tours in Bulgaria, East Germany and Egypt. Without any problems, Nureyev was sent to perform at the Paris Opera. And then there was a breakdown. "Zalet", in modern terms.

After several performances, the KGB demanded to remove Nureyev from all performances and send him back to the USSR.

According to the official version, Nureyev "violated the regime of being abroad." Some members of the troupe believe that the KGB learned about the unconventional orientation of Rudolf Nureyev. I wonder how?

In fact, everything is simple. The free air of Paris hit Nureyev in the head, and he simply “lit up” his orientation. For which, let me remind you, in the USSR there was a very specific article of the Criminal Code.

It is clear that the prospect of an early return to their homeland, followed by being sent to places very distant from the theater stage, did not impress Nureyev.

And he just ran away. Almost immediately he requested political asylum in France and became one of the most famous "defectors" in the history of the Soviet Union. So no politics, just the fear of sitting down for homosexuality.

There were few fools in France in 1961, so Nureyev was denied asylum. The same goes for citizenship. The same thing happened in Denmark and after Denmark - in the UK.

That is, dance dance, but with citizenship it’s not worth it. To quarrel with Khrushchev over a defector, even if it was a classy dancer, was too much in those days.

Austria bailed out in 1975. Prior to this, the great dancer was actually a Eurobum.

It should be noted that Nureyev never touched politics. He was a ballet star, he was interested in ballet and relaxation in the form of gay and transgender covens in the Bois de Boulogne, which all Paris was talking about. Outrageous, but absolutely apolitical.

According to the Western media, at various times Nureyev had love relationships with such stars as rock musician Freddie Mercury, fashion designer Yves Saint Laurent and singer Elton John. But the main love in Nureyev's personal life for almost all his life remained the Danish dancer Eric Brun.

Brun and Nureyev were together for 25 years, until Eric's death in 1986. Then there was the American Wallace Potts, and in the last decade of Rudolf's life, Robert Tracy.

Well, the final point in his career and life is set by AIDS. Probably the most honorable death for a representative of bohemia.

In general, nothing special, except for the ability to dance beautifully. Well, he ran away. Did you run away a little? Well, the homosexual was Nureyev. We didn't have many of those? Or even brilliant? The same Pyotr Ilyich Tchaikovsky.

In general, there are no complaints about Nureyev. The man lived his life the way he wanted to. Above any lofty ideals such as the Motherland, but at least he did not spit in the direction of his former Motherland.

Let's go back to ours. To the ballet, to his grades.

In general, pornography, both externally and internally. And spitting on everything that the “brilliant” Serebrennikov and Demutsky could reach.

Internal pornography - I'm talking about music. The pseudo-composer Demutsky (have you even heard of him before?) is proud of the fact that he created a parody of the song “You don’t choose your own homeland”. Words by Margarita Aliger. Let me quote these words.

They don't choose their families.
Starting to see and breathe
They receive a homeland in the world
Immutable, like father and mother.

The days were gray, slanting ...
Bad weather chalk street ...
I was born in autumn in Russia,
And Russia accepted me.

Motherland! Both joys and sorrows
Were inextricably merged in it.
Motherland! In love. In battle and dispute
You were my ally.

Motherland! Tender than the first caress
You taught me to take care
Golden Pushkin's fairy tales.
Gogol's captivating speech,

Clear, spacious nature,
The horizon for hundreds of miles around,
True liberty and freedom
A caring hand is a generous gesture.

Drunk with restless blood
By the waters of a living spring,
Like frost, burned with love
Russian crazy man.

I love rolling thunderstorms
Crisp and knurled frost,
Sticky life-giving tears
morning shining birches,

Nameless rivers of the bend.
Quiet evening fields;
I stretch out my hands to you
My homeland is one.

And Demutsky simply cheated these words. He made a parody, according to him, and used all this as a musical accompaniment to the scene of Nureyev's flight from the dungeons of Soviet reality.

And Demutsky's fame began with a laureate at a foreign composers' competition, where he presented as a "work" the words of the last performance in court by Alyokhina, one of the "Pussy Wright", set to music.

I'm sure you don't need more strokes for the portrait? Enough?

Well, the fact that the main thing in the performance for Serebrennikov was precisely the escape and tender homosexual relationships, there’s nothing to be done about it. Or rather, don't dance.

Oh, how the press applauds! “How tenderly, platonically, without touching each other, the actors who play the role of Brun and Nureyev convey emotions!”

Exactly. There, platonicity, judging by the finale, bloomed like a rose garden. Blue chrysanthemums.

Do you know what surprised you the most? And I was surprised by the complete zero reaction. Do we remember Matilda and everything connected with it? Stormy appeals, appeals, even vandalism. Well, they spat at the king-father ...

Although, indeed, in the Minaevsky brew from Nikolai Romanov there was nothing that would even slightly resemble the truth. Therefore, the living Romanovs were not particularly offended. They did not see Nikolai Alexandrovich there.

They are wise, the Romanovs. Royally wise...

And when they spit in the whole country, it turns out, nothing, you can. Even necessary, given that this country is the Soviet Union. Well, in those who lived in it, at the same time. Who did not choose their homeland.

Mr. Peskov betrayed that he did not see anything so provocative in the Nureyev coven.

Strange, I saw it, but there was no Peskov. Well, we are definitely from different countries. I am from a country where, besides Nureyev, there were great ballet dancers, about whom it is possible and necessary to make films and stage ballets.

The whole problem is, probably, that Anna Pavlova, Galina Ulanova, Ekaterina Maksimova and Maya Plisetskaya were not feminists and lesbians. But Maris Liepa, Mikhail Baryshnikov and Vladimir Vasiliev were not homosexuals.

Apparently unworthy.

In order to become a guiding star for today's ballet directors and connoisseurs, one must betray one's country, flee to the West, cohabit with a fellow dancing homosexual, and die of AIDS. Both eternal memory and applause are provided.

Apparently, it's time for a roll call praise. To clearly dot the letters.

Who will be the next hero of the "miracle production"? If you look like that, then, probably, Solzhenitsyn. Or Vlasov.

If that is the question, why not? Both are fighters against the hated Soviet regime. Both cared for a bright future for us. True, they awarded one with a rope, but five more years - and it will be quite a sacrifice. Worthy of a show.

Well, as they continue to stubbornly shove the bearded, clever traitor today with some "Solzhenitsyn readings", so I just keep quiet. They are also concocting a monument in Moscow now.

I recommend to anyone who disagrees with me to read one cycle of his creations. There is on the Internet, it was actively published during the Cold War in the United States. "Prussian Nights" Read, read. You will discover a lot for yourself. And, if you don’t agree with me that it’s rare that someone so spoiled our grandfathers and great-grandfathers, then I don’t even know what else to advise you.

I understand that this couple is on the way somewhere. Waiting sir…

I looked, okay, to be honest, I flipped through the homo-performance (there are already on torrents), I read with pleasure the reviews of those who tomorrow will teach us how to love the Motherland and manage us. I'm not kidding, the State Duma was almost in full force there.

Much has become clearer. Thank you.

By the way, I understand what caused the delay in the premiere. Apparently, they urgently redid the scenery, retouched the front and back of Nureyev from his candid photographs. Normally retouched, do not undermine.

And they were very impressed by the artists who came out to bow in T-shirts, where, along with a portrait of Serebrennikov, there was a demand for his release.

We are on the right path, gentlemen! In a unanimous impulse, our masters of minds and wallets showed us their true values ​​by their presence at the premiere and applause in the hall and on the Internet.

The main thing is to love the Motherland, as Nureyev did. Honest and unselfish, to the core. Or something lower.

To be an example for the younger generations, as the pederast Nureyev is being made.

In general, as Serebrennikov planned, as a backdrop on the stage, show the apron of naked Nureyev in full growth. I even bought the right to display this photo from the Richard Avedon Foundation. Thank God, it was forbidden to demonstrate like that. And thanks for that.

In general, the usual anti-Soviet coven. Right in the spirit of the nineties. Only with bare bottoms and fronts as a tribute to freedom and emancipation. Another "Citadel" and "Matilda", and again at our expense. Thank you Mr Medinsky.

Yes, they also say that Nureyev was financed by the famous jewelry brand Van Cleef & Arpels, and the chairman of the board of VTB Andrey Kostin also threw money for the ballet "from personal savings". Apparently, out of a special love for a special art: the art of spitting on history and distorting the past.

The humiliation of the very idea that one can love the Motherland. You don't need to love her. You need to live the way you want, taking everything from life, as Nureyev took.

Gentlemen ministers, deputies, oligarchs, politicians, your message is quite clear and understandable.

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