V\u00e1\u0161niv\u00e1 tragick\u00e1 l\u00e1ska Romea a\u00a0J\u00falie m\u00e1 v\u00a0umen\u00ed nespo\u010detne ve\u013ea pod\u00f4b. Patr\u00ed k\u00a0nim aj azda najdramatickej\u0161ie baletn\u00e9 dielo na hudbu Sergeja Prokofieva. Jedine\u010dn\u00fa interpret\u00e1ciu na\u0161iel tento pr\u00edbeh v\u00a0anglickom s\u00fabore Northern Ballet Theatre v\u00a0choreografii Taliana Massima Moriconeho. V\u00a0roku 1991 dostal za t\u00fato choreografiu mno\u017estvo cien: Najlep\u0161ia tane\u010dn\u00e1 produkcia roka, Najlep\u0161\u00ed tane\u010dn\u00edci roka, Royal Philharmonic Music Award, nomin\u00e1cie na Cenu Laurencea Oliviera. Balet Romeo a\u00a0J\u00falia v\u00a0choreografii Massima Moriconeho sa stal hitom a\u00a0umelec si z\u00edskal obdivovate\u013eov zo strany odbornej kritiky aj publika v\u00a0mnoh\u00fdch krajin\u00e1ch. Presved\u010dili sme sa o\u00a0tom aj pri hos\u0165ovan\u00ed anglick\u00e9ho s\u00faboru v\u00a0Slovenskom n\u00e1rodnom divadle (SND) v\u00a0m\u00e1ji 1994.<\/p>\n
<\/p>\n
Na\u0161\u00edm z\u00e1merom je uk\u00e1za\u0165, ak\u00e1 siln\u00e1 m\u00f4\u017ee by\u0165 l\u00e1ska<\/strong><\/p>\n K\u00a0t\u00e9me Shakespearovej trag\u00e9die sa Massimo Moricone vr\u00e1ti op\u00e4\u0165 s\u00a0Baletom SND. Bude to v\u0161ak rozdielne predstavenie: p\u00f4vodn\u00e1 produkcia sa odohr\u00e1vala v\u00a0talianskej Verone, kde milenci z\u00a0rodu Montekovcov a\u00a0Kapuletovcov pod\u013ea liter\u00e1rnej predlohy \u017eili. Tentoraz choreograf Moricone so sc\u00e9nografom Petrom Jank\u016f situuj\u00fa tane\u010dn\u00fa dr\u00e1mu autenticky do \u010dias, ke\u010f ju dramatik nap\u00edsal, a\u00a0na sc\u00e9nu, ktor\u00e1 je replikou lond\u00fdnskeho divadla Globe. Miesta, kde bola hra prv\u00fdkr\u00e1t uvieden\u00e1. A\u00a0hlavnou motiv\u00e1ciou Massima Moriconeho je to, aby sa Shakespeare z\u00a0javiska nevytratil: \u201eSna\u017e\u00edme sa, aby tanec nebol iba pre efekt. Z\u00e1le\u017e\u00ed mi na v\u00fdraznom prepojen\u00ed dr\u00e1my s\u00a0tancom. Z\u00a0tohto h\u013eadiska som sledoval na s\u00e1le aj va\u0161ich tane\u010dn\u00edkov. Som pr\u00edjemne prekvapen\u00fd umeleckou kvalitou mlad\u00e9ho s\u00faboru,\u201c povedal okrem in\u00e9ho. Jeho amb\u00edciou je vytvori\u0165 dielo \u201eplnokrvn\u00e9, svie\u017ee, senzu\u00e1lne, vzru\u0161uj\u00facu romancu horkokrvn\u00e9ho vz\u0165ahu, v\u017edy presved\u010div\u00fd pr\u00edbeh l\u00e1sky\u201c. Tohto v\u00fdznamn\u00e9ho, svetovo uzn\u00e1van\u00e9ho umelca oslovil na spolupr\u00e1cu so Slovensk\u00fdm n\u00e1rodn\u00fdm divadlom riadite\u013e baletn\u00e9ho s\u00faboru Jozef Dolinsk\u00fd.<\/p>\n <\/p>\n Massimo Moricone je meno, ktor\u00e9 pozn\u00e1 a\u00a0s\u00a0re\u0161pektom vyslovuje nielen svet na \u0161pi\u010dk\u00e1ch. Pohybuje sa na najprest\u00ed\u017enej\u0161\u00edch sc\u00e9nach sveta \u2013 bol hercom, tane\u010dn\u00edkom, v\u00a0s\u00fa\u010dasnosti je \u017eiadan\u00fdm choreografom. \u201eChcel som tanec vym\u00fd\u0161\u013ea\u0165, tvori\u0165. C\u00edtil som, \u017ee moj\u00edm poslan\u00edm nie je interpretova\u0165 pr\u00e1cu in\u00fdch \u013eud\u00ed, ale, naopak, tvori\u0165 pre druh\u00fdch. To bol v\u017edy m\u00f4j prvorad\u00fd cie\u013e,\u201c hovor\u00ed Moricone. Ako tane\u010dn\u00edk \u00fa\u010dinkoval v\u00a0dielach popredn\u00fdch tvorcov (Alvin Ailey, George Balanchine a\u00a0\u010fal\u0161\u00ed), tancoval v\u00a0produkcii Franca Zeffirelliho La traviata, vytvoril choreografie do filmovej verzie Monteverdiho Orfea v\u00a0r\u00e9\u017eii Clauda Gorettu aj do filmu Maura Bologniniho Gli indifferenti (\u013dahostajn\u00ed) na n\u00e1met rom\u00e1nu Alberta Moraviu. Massimo Moricone spolupracuje s\u00a0prest\u00ed\u017enymi tane\u010dn\u00fdmi spolo\u010dnos\u0165ami a\u00a0divadlami (nieko\u013eko rokov \u017eil v\u00a0Japonsku). Z\u00a0novej produkcie spome\u0148me premi\u00e9ru baletu Don Juan na za\u010diatku aktu\u00e1lnej divadelnej sez\u00f3ny v\u00a0Teatro di San Carlo v\u00a0Neapole. Na\u0161tudova\u0165 Romea a\u00a0J\u00faliu je z\u00a0tane\u010dnej i\u00a0v\u00fdrazovej str\u00e1nky mimoriadne n\u00e1ro\u010dn\u00e9. Je preto c\u0165ou z\u00edska\u0165 pre baletn\u00fd s\u00fabor SND Massima Moriconeho \u2013 umelca svetov\u00e9ho form\u00e1tu, ktor\u00fd kv\u00f4li hlavn\u00fdm postav\u00e1m oslovil aj dvoch v\u00fdnimo\u010dn\u00fdch tane\u010dn\u00edkov, Taliana Alessandra Macaria a\u00a0alb\u00e1nsku baletku Anbetu Toromani, ktor\u00e1 je u\u017e nieko\u013eko rokov v\u00a0Taliansku hviezdou. Pre tane\u010dn\u00edkov SND je vz\u00e1cnou pr\u00edle\u017eitos\u0165ou sk\u00fa\u0161a\u0165 s\u00a0t\u00fdmto skvel\u00fdm p\u00e1rom.<\/p>\n <\/p>\n Te\u0161\u00edme sa na udalos\u0165 tejto divadelnej sez\u00f3ny \u2013 premi\u00e9ru baletu Romeo a\u00a0J\u00falia na hudbu Sergeja Prokofieva, ktor\u00e1 bola v\u00a0apr\u00edli 2013 v\u00a0Slovenskom n\u00e1rodnom divadle. Ver\u00edme, \u017ee zaujme aj div\u00e1kov v\u00a0R\u00edme a\u00a0\u010fal\u0161\u00edch talianskych mest\u00e1ch, kde sa v\u00a0lete predstav\u00ed baletn\u00fd s\u00fabor SND pr\u00e1ve s\u00a0touto inscen\u00e1ciou.<\/p>\n","protected":false},"excerpt":{"rendered":" V\u00e1\u0161niv\u00e1 tragick\u00e1 l\u00e1ska Romea a\u00a0J\u00falie m\u00e1 v\u00a0umen\u00ed nespo\u010detne ve\u013ea pod\u00f4b. Patr\u00ed k\u00a0nim aj azda najdramatickej\u0161ie baletn\u00e9 dielo na hudbu Sergeja Prokofieva. Jedine\u010dn\u00fa interpret\u00e1ciu na\u0161iel tento pr\u00edbeh v\u00a0anglickom s\u00fabore Northern Ballet Theatre v\u00a0choreografii Taliana Massima Moriconeho. V\u00a0roku 1991 dostal za t\u00fato choreografiu mno\u017estvo cien: Najlep\u0161ia tane\u010dn\u00e1 produkcia roka, Najlep\u0161\u00ed tane\u010dn\u00edci roka, Royal Philharmonic Music Award, nomin\u00e1cie […]<\/p>\n","protected":false},"author":7,"featured_media":2964,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[48],"tags":[],"class_list":["post-2963","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-umenie-a-kultura","eq-blocks"],"_links":{"self":[{"href":"https:\/\/www.slovaklinesmagazin.sk\/cms\/wp-json\/wp\/v2\/posts\/2963","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.slovaklinesmagazin.sk\/cms\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.slovaklinesmagazin.sk\/cms\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.slovaklinesmagazin.sk\/cms\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www.slovaklinesmagazin.sk\/cms\/wp-json\/wp\/v2\/comments?post=2963"}],"version-history":[{"count":3,"href":"https:\/\/www.slovaklinesmagazin.sk\/cms\/wp-json\/wp\/v2\/posts\/2963\/revisions"}],"predecessor-version":[{"id":3168,"href":"https:\/\/www.slovaklinesmagazin.sk\/cms\/wp-json\/wp\/v2\/posts\/2963\/revisions\/3168"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.slovaklinesmagazin.sk\/cms\/wp-json\/wp\/v2\/media\/2964"}],"wp:attachment":[{"href":"https:\/\/www.slovaklinesmagazin.sk\/cms\/wp-json\/wp\/v2\/media?parent=2963"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.slovaklinesmagazin.sk\/cms\/wp-json\/wp\/v2\/categories?post=2963"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.slovaklinesmagazin.sk\/cms\/wp-json\/wp\/v2\/tags?post=2963"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}