Brilliant Performance of Solo Parts in the Ballet "Cholpon"
The role of Nurdin in the latest stage version of the ballet is performed by Uran Sarbagishev. Nurdin-Sarbagishev is an unusual character. The son of a khan who falls in love with a simple girl, thereby breaking the grim custom of olden times.
The artist creates a poetic image of a young man who is alien to the calculation and haughty pride of his noble ancestors.
Nurdin's feelings are boundless. At the same time, a magical evil force that darkens his consciousness causes discord in his soul. But he engages in a struggle with it and emerges victorious.
In U. Sarbagishev's dance, sincerity captivates. His movements are devoid of false pathos and external beauty. Everything the artist does is natural and logical. We feel this in the powerful jump, energetic step, and restrained gesture. And one more quality that U. Sarbagishev endows his hero with is strength, which helps him cope with the enemy.
Other performers in the ballet ensemble also shine, particularly S. Abdujalilov (jinn). The artist managed to create the image of a loyal servant of the evil will of the magical ruler. He spins before her like a top, eagerly gazes into her eyes, and unconditionally agrees to commit wrongdoing.
A little later, the artist B. Alimbaev performed this role, whose mastery is steadily growing. As a dancer, he possesses grace and plasticity, agility, and flexibility. He has transitioned from supporting roles to leading roles.
The brilliant performance of solo parts in the ballet "Cholpon" is a testament to the maturity that Kyrgyz dance art has achieved. However, a ballet performance is unthinkable without the corps de ballet. It can be said that for the first time, mass dances, as required by a ballet performance, truly unfolded in this production. There are quite a few of these dances in "Cholpon." In the first scene, the numerous entourage of Aydai performs a dance, the main motif of which is the expression of submission to the powerful ruler. In the second scene, this same entourage performs a warlike dance. Dressed in black tights, with spears in hand, they create an impression of grim strength. Two themes — submission and warlike spirit — distinguish the group dances of Aydai's courtiers. These dances are characterized by sharp movements, swift jumps, and precise rhythms.
In contrast to all this is the concluding mass waltz, which astonishes with its lightness, bright color palette, abundance of sunlight, and sense of joy. In place of the grim magical palace, a wonderful garden grows. Against the backdrop of blooming trees, the youth in paired dance expresses the joy of life.
Based on national motifs, the waltz is distinguished by extraordinary smoothness and lightness, expressing the overall joy and happiness in a plastic manner.
The mass scene of the second act — the ceremony of presenting the brides — is also integral to the architecture of the performance. Each of them reveals her temperament — sometimes passionate, sometimes tender, sometimes submissive, but all together in a rhythmically coordinated dance express what unites them all — love, the desire to be the chosen one.
This scene concludes with the flight of the enraged khans after Nurdin rejects all the brides. Even those who had just recently maintained composure and importance flee. And in this detail of the director's conception, there is much irony that debunks the haughty and proud khans. The scene is colorful, inventively staged, although it lacks a sufficiently expressive musical characterization.
Reine Chokoeva and Bibisara Beyshenalieva as Aydai