И н т е р в ь ю    и    О с о б е н н о с т и

 

THE BALLET BAG - январь 2016

 

http://www.theballetbag.com/2016/01/22/interview-mariinsky-first-soloist-xander-parish/

 

 

THE GUARDIAN - ноябрь 2015

 

http://www.theguardian.com/stage/dance-blog/2015/nov/03/xander-parish-mariinsky-ballet-diet-and-training-for-dancers

 

 

POINTE MAGAZINE - ноябрь 2015

 

http://pointemagazine.com/inside-pt/breaking-borders/

 

 

THE FINANCIAL TIMES - май 2015

 

http://www.ft.com/cms/s/0/15576e22-e8e3-11e4-b7e8-00144feab7de.html

 

 

THE SUNDAY TIMES - март 2015

 

http://www.thesundaytimes.co.uk/sto/business/money/fameandfortune/article1530306.ece​

 

 

RUSSIA BEYOND THE HEADLINES - март 2015

 

http://rbth.com/arts/2015/03/23/xander_parish_i_never_imagined_i_would_dance_at_the_mariinsky_44687.html

 

 

TIME OUT NEW YORK - январь 2015

 

http://www.timeout.com/newyork/dance/xander-parish-finds-his-groove-at-the-mariinsky-ballet

 

 

L'HOMO VOGUE ITALIA - январь 2015

 

http://www.vogue.it/en/uomo-vogue/people-stars/2015/01/xander-parish

 

 

THE BALLET BAG - cентябрь 2014

 

http://www.theballetbag.com/2014/09/09/xander-parish/

 

 

BBC NEWS - июль 2014

 

http://www.bbc.com/news/entertainment-arts-28542289

 

 

INDEPENDENT - июль 2014

 

http://www.independent.co.uk/arts-entertainment/theatre-dance/features/xander-parish-from-hull-to-the-mariinsky-ballet-9608247.html

 

 

THE TELEGRAPH MAGAZINE - июнь 2014

 

http://www.telegraph.co.uk/culture/theatre/dance/10928685/Xander-Parish-Who-was-I-to-go-and-join-the-Mariinsky-Ballet.html

 

 

ОНЛАЙН ИНТЕРВЬЮ C 'CLOUD & VICTORY' - февраль 2014

 

http://sessions.cloudandvictory.com/interview-xander-parish/

 

http://sessions.cloudandvictory.com/quickfire-questions-xander-parish/​

 

 

GRAMILANO QUESTIONNAIRE - декабре 2013

 

http://www.gramilano.com/2013/12/xander-parish-answers-gramilano-questionnaire-dancers-edition/

 

 

DANCE MAGAZINE - декабре 2013

 

http://www.dancemagazine.com/issues/December-2013/Why-i-dance-xander-parish

 

 

OPEN DEMOCRACY - май 2013

 

http://www.opendemocracy.net/od-russia/xander-parish/diary-of-dancer

 

 

THE SUNDAY EXPRESS - август 2010

 

http://www.express.co.uk/entertainment/theatre/195031/DANCE-Xander-Parish-in-Chopiniana

 

 

 

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О Б З О Р Ы -

 

 

 

МАРИИНСКОГО БАЛЕТА ГАСТРОЛИ В НЬЮ-ЙОРКЕ 2015, Лебединое Oзеро​

- Бруклинской Aкадемии Mузыки

 

 

"Toward the end of its “Swan Lake” run at the Howard Gilman Opera House of the Brooklyn Academy of Music, the Mariinsky finally did something wise: It made room, on Thursday evening, for a new generation, with its shrewd pairing of Oxana Skorik and Xander Parish. Ulyana Lopatkina’s magnificently seasoned Odette-Odile on Jan. 16 was a marvel; Ms. Skorik, just 25 and a first soloist with the company, and Mr. Parish, 28 and a second soloist, gave the ballet a different charge: of youth, resiliency, sensuality. Just as both are raw, both have the goods."

 

http://www.nytimes.com/2015/01/24/arts/dance/in-swan-lake-mariinsky-ballet-shows-off-a-new-generation.html

 

GIA KOURLAS- The New York Times, 23.1.15

 

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МАРИИНСКОГО БАЛЕТА ГАСТРОЛИ В ЛОНДОНЕ 2014,

Ромео и Джульета, Лебединое Oзеро, Аполлон

- Королевской Опере Ковент-Гарден

 

 

"This was not a first night for the Mariinsky’s Romeo and Juliet, but it felt very much like one. As the curtain lifted, a thunderclap of applause met the lone figure of Xander Parish, formerly of the Royal Ballet, and the first Briton ever to join the company that produced Nureyev, Baryshnikov and Makarova. Parish, indeed, is the boy from Hull who defected to St Petersburg."

 

http://www.telegraph.co.uk/culture/theatre/dance/11000236/Romeo-and-Juliet-Mariinsky-Covent-Garden-review-intense.html​

 

LAURA THOMPSON- The Telegraph, 30.7.14

 

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"In general and especially for the sake of this particular performance, I welcome the inclusion both for the sake of narrative clarity and because it showed to the finest advantage the long-limbed, poetic and yearning elegance of Parish’s sublime dancing."

 

"The only person to make a duel look like a fight was Parish in the angry, opening sequence of his revenge bout with Tybalt: and – whether on purpose or accidentally – there was no pathetic sword lamely going between arm and body to signify the death thrust with these two; the steel blade of Parish’s épée literally bent double on it’s impact with Yangurazov’s torso!"

 

http://londondance.com/articles/reviews/mariinsky-ballet-romeo-and-juliet/

 

GRAHAM WATTS- London Dance, 30.7.14

 

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"But it was no less fascinating to watch Parish's performance with Tereshkina. Four years ago, languishing in the Royal's corps de ballet, Parish accepted an offer to join the Mariinsky, the first Briton ever to do so. Last week he returned to Covent Garden as one of the Russian company's stars, delivering a performance that was as confident as it was elegantly shaped. An ardent Romeo, intoxicated by love, he partnered Tereshkina with an almost disbelieving tenderness. It was a fine homecoming."

 

http://www.theguardian.com/stage/2014/aug/03/mariinsky-ballet-romeo-and-juliet-review

 

LUKE JENNINGS- The Guardian, 3.8.14

 

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"She was however lucky in her Siegfried. It must have been an extraordinary feeling for Britain’s Xander Parish to walk out on his home stage, where he was once consigned to the role of spear carrier, as the Prince and he rose beautifully to the occasion. His jumps are light, sharp and generous; his arabesques elegant; his acting detailed and committed (I liked the way he got cross when Rothbart kept him from Odile).

Sometimes, he seems slightly surprised to find himself centre stage, a hesitancy he should shed. His talent and hard work, combined with some wonderful Russian support and training, have made the spotlight a place he should regard as his natural home. It is a delight to see."

 

http://www.telegraph.co.uk/culture/theatre/dance/11012697/Swan-Lake-Mariinsky-Ballet-Royal-Opera-House-review-a-delight.html

 

SARAH CROMPTON- The Telegraph, 5.8.14

 

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"The following day Yulia Stepanova performed the same ballet with Yorkshire-born Xander Parish. Stepanova is a smaller-scale dancer than Skorik, and without the same grandeur of line, but she is gorgeously sleek, and her work has a very appealing musicality. Like Skorik, Stepanova is much more engaging as Odile than Odette. Her white swan has its joyful moments – following the Act 2 adagio she gives Parish a look of the sheerest rapture – but she is too reliant, at moments of high emotion, on the knitted brow and the General Pained Expression. In the role of Odile, Stepanova cuts loose both dramatically and physically, delivering her steps with the creamy exultancy of a cat in a dairy.

 

As her prince, Parish is nothing short of superb. He has come a long way in the four years since he departed the Royal Ballet for the Mariinsky, and Fateyev has turned him, as he promised to do, into a Russian danseur noble. Parish's Black Swan variation – soaring grand jetés, effortlessly stylish tours en l'air – won him a huge roar of applause from the home crowd. His partnering is tender and self-effacing, his bearing aristocratic, his stage manners impeccable."

 

http://www.theguardian.com/stage/2014/aug/10/mariinsky-ballet-swan-lake-review-skorik-parish

 

LUKE JENNINGS- The Guardian, 10.8.14

 

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"Xander Parish has certainly come back in style. Born and trained in Britain, he was stuck in The Royal Ballet’s corps until St Petersburg’s world-famous Mariinsky Ballet snapped him up. With his long limbs, strong technique and assured stage presence, Parish is proving the Mariinsky right.

 

In George Balanchine’s Apollo, he dances with clean elegance and an eye for the ballet’s edge. Created in 1928 to Stravinsky’s score, Apollo took ballet forwards into a new age: there’s a twist of jazz to its classicism. Parish has pure line and a high jump, but he’s good in the quirky details too – the young god walking on his heels, or swinging an arm like a Pete Townshend guitar hero."

 

http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/the-mariinsky-ballet-royal-opera-house-london-review-xander-parish-dances-with-clean-elegance-9661918.html

 

ZOË ANDERSON- Independent, 10.8.14

 

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"A very different reading was offered on Saturday afternoon by Xander Parish, a former Royal Ballet corps dancer who joined the Mariinsky four years ago, and is now a second soloist (two rungs under principal) with the company. He has also danced Romeo and Prince Siegfried this season, and his ascent has been hailed by the British critics with patriotic pride. (And a hint of schadenfreude as they reflect on how his talent was spotted by the Mariinsky deputy director Yuri Fateyev, while remaining unnoticed at home.)

 

Mr. Parish is tall and handsome with a perfectly proportioned, danseur noble physique, a lovely line and a soaring jump. As Apollo, he offered a sterner, more formal — indeed Apollonian — reading of the character, but he also conveyed a pent-up intensity that forcefully resonated through every gesture."

 

http://www.nytimes.com/2014/08/12/arts/dance/a-taste-of-russian-dance-in-london.html?_r=0

 

ROSLYN SULCAS- The New York Times, 11.8.14

 

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РУССКИЕ СЕЗОНЫ XXI ВЕКА, Видение Розы, Шехерезада​ 

- Лондонский Колизей

 

"Xander Parish as Scheherazade’s Golden Slave gave this otherwise troubled evening its value."

 

"Four years ago, in a Royal Ballet performance of The Sleeping Beauty, there came the entrance of the cavaliers attendant on the fairies at Aurora’s christening. Not the most exhilarating of moments, but – as the Lilac Fairy’s partner – we saw a young dancer boasting cleanly placed movement and beautiful feet. “Xander Parish” said the programme and, almost before we could absorb the fact, came the news that he had accepted an invitation from Yury Fateyev, acting head of the Mariinsky Ballet, to go to St Petersburg. There have been happiest reports of Parish’s progress, and now he is back briefly in London as guest artist – and the only matter of interest – in the unlikely Russian Seasons of the XXI Century, which occupies the Coliseum this week."

 

http://www.ft.com/cms/s/2/c0a54074-eec1-11e2-98dd-00144feabdc0.html#ixzz2bhCQ6WU9

 

CLEMENT CRISP- Financial Times, 17.7.13

 

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"It provided a fascinating opportunity to see former Royal Ballet dancer, Xander Parish, now with the Mariinsky Ballet, dancing as the rose and his was a well-judged, suitably ethereal and lyrically delicate performance. Parish is tall and handsome but with the softness and nobility of a poetic danseur, very much in the mould of Anthony Dowell or, more recently, Roberto Bolle. On this evidence, his emigration to Russia is a huge loss to British ballet and I hope we see him back on the UK with a principal’s contract in his back pocket before too long.

Once again, Parish impressed as the Golden Slave alongside the Mariinsky’s Yulia Makhalina, now 45 but still incredibly impressive with her high cheekbones and haughty beauty. Makhalina played both the young girl in Spectre and Zobeide in this tragic tale of Schéhérazade. Parish is over 20 years’ her junior but here was yet another example of a younger male dancer enjoying a strong partnership with an older, mature ballerina in a relationship that seems as natural as vodka and caviar blinis."

 

http://londondance.com/articles/reviews/russian-seasons-of-xxi-century-prog-1/

 

GRAHAM WATTS- LondonDance.com, 17.7.13

 

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"What has the Royal Ballet let slip through its fingers? On a night intended to showcase the legends of Russian Ballet, it was no small irony that an English dancer stole the show.

Xander Parish was tempted away from the Royal Ballet three years ago by St Petersburg’s Mariinsky Ballet, who spotted an underused talent. He has blossomed into a dancer able to command a stage brimming with talent from a clutch of Russian companies, brought together for this short season of reconstructed Russian classics. With his tall, lean physique and an easy athleticism, Parish has echoes of former RB star Jonathan Cope. His partnering with Mariinsky co-star Yulia Makhalina had subtle chemistry, their duets the highlights of a night that opened with disappointment – the cancellation of the only recent work, Cleopatra, due to injury. There was no disguising the overdose of kitsch on stage. Fokine’s The Firebird is celebrated for its iconic central character (a spritely Alexandra Timofeeva) but the full ballet is an over-stuffed mess of hammy acting and warring tribes that ends with an exploding egg and a Disney parade. Scheherazade has aged better but it was Parish and Makhalina who brought it sizzling to life, an exotically erotic touch of class amid a sea of museum pieces."

 

http://metro.co.uk/2013/07/18/englishman-xander-parish-steals-the-show-in-russian-seasons-of-the-21st-century-3887054/

 

KEITH WATSON- The Metro, 18.7.13

 

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"The bright spot was British-born guest star Xander Parish, dancing with bold conviction. Parish, born and trained in Britain, danced small roles with The Royal Ballet for five years before being headhunted by the Mariinsky Ballet – a very rare example of a foreigner joining the celebrated St Petersburg company. Since then, his career has taken off, with acclaimed performances in leading roles. Parish’s guest appearance comes a week after Sergei Polunin, another ex-Royal dancer, returned to London, and days after Alina Cojocaru joined English National Ballet, following her own sudden departure from The Royal Ballet. It’s a lot of fine dancers for one company to lose. 

Watching Parish now, even in this programme, there’s no doubt that he’s one who got away. His lines are lyrical and clear; he spins in the air, and flows out of the turn into a perfect pose. The jumps are high and strong, with beautifully pointed feet. Parish’s Mariinsky repertory has tended to be lyrical, but here he plays “exotic” roles, the Slave and the fantasy figure ofLe Spectre de la rose. The elegance is still there, but he brings real authority to these new roles, dancing the curling lines and flourishes with attack."

 

http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/ballet-review-russian-seasons-of-xxi-century-london-coliseum-8713491.html

 

ZOË ANDERSON- Independent, 17.7.13

 

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"With a company formed from the Kremlin Ballet and guests from the Mariinsky and the Bolshoi, the dancing is of a generally high standard, even if the sets and costumes are circling round the edges. As the Rosey Youth, he flowed and moved with mercurial ease around Yulia Makhalina's dreaming Girl.All eyes were on Xander Parish, the British boy headhunted by the Mariinsky who is rapidly making a name for himself. 

Much is redeemed by Scheherazade. Everyone throws themselves into it with abandon, from Makhalina, exuding the overheated sex of a Sixties' Italian movie starlet as Zobeide, to the buff Parish swashbuckling and sensual as The Golden Slave. Their pas de deux is tantalisingly erotic. Swirling around them the slaves, eunuchs and harem girls keep the thing pulsating with sexual energy."

 

http://www.express.co.uk/entertainment/theatre/415929/Dance-Review-Russian-Season-Of-XXI-Century

 

NEIL NORMAN- The Daily Express, 19.7.13

 

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АЛИНА КОЖОКАРУ "ВЕЧЕР ДЛЯ ХОСПИСЫ НАДЕЖДЫ" - Балет​ 101

- Садлерс Уэллс, Лондон

 

"The gala had several coups - fielding a battle of male hotties, for one thing, if you'll pardon my French. No fewer than nine leading men (and a boy) answered Alina's call, and chaps don't come more photogenic than Sergei Polunin, Xander Parish and violinist Charlie Siem, to start with. The appearances of the elusive Polunin as well as Parish, the Englishman whom the Mariinsky poached, were not the only potential balletomane treats - there were glimpses of Christopher Wheeldon’s new Cinderella and an omen for the Royal Ballet’s trepidatious new production of Don Quixote next autumn.

A high-wattage international selection, they all had their spotlight moment: Parish’s appearance being particularly intriguing. What in the world happened to let him slip through the Royal Ballet’s fingers in 2009? Tall, dark and handsome, he resembles Roberto Bolle in statuesque grace, but he has wit and mental deftness too, demonstrated in a genial gala number sending up ballet vocabulary, Eric Gauthier's101."

 

http://www.theartsdesk.com/dance/evening-hospices-hope-sadlers-wells-theatre

 

ISMENE BROWN- TheArtsDesk.com, 14.5.13

 

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МАРИИНСКИЙ БАЛЕТЖизель,

-Мариинский театр

 

"В Мариинском театре состоялся очередной интернациональный спектакль. Воспитанник лондонской Королевской балетной школы Ксандер Париш дебютировал в главной мужской партии балета "Жизель". ОЛЬГА ФЕДОРЧЕНКО не нашла в нем ни следа традиционной британской сдержанности.

 

Ксандер Париш провел в кордебалете Royal Ballet три года. Когда начался четвертый, мистер Париш спросил английское руководство о возможных перспективах. С точки зрения начальства Royal Ballet, перспективы были нулевыми — тогда танцовщик обратил взор на Санкт-Петербург и переехал на берега Невы, где обретается уже три года. 

 

У британца вызывающе романтический вид — высокий, ладный, с мягкими ногами и изумительно красивым подъемом. Впрочем, возможностей продемонстрировать эти ножки в Мариинском театре у Ксандера Париша было немного: он отметился лишь в немногих партиях корифеев (двойках, тройках и четверках "Лебединого озера", "Раймонды", "Бахчисарайского фонтана", "Сильфиды", "Щелкунчика") и в единственной безоговорочно сольной — Юноши в "Шопениане". 

 

Несмотря на заранее объявленный дебют, первое выступление Ксандера Париша в партии Альберта имело черты экстренного ввода: накануне спектакля получила травму его Жизель — Светлана Иванова, на место которой в срочном порядке заступила Екатерина Осмолкина. Неожиданная смена партнерши не выявила в дебютанте смятения или нервозности. Конечно, было в нем традиционное позерство, призванное выявить повышенную духовность героя (утрированно романтические позировки во 2-м акте), но странно предъявлять красивому танцовщику упреки в том, что и на сцене он красив. Тем более за внешней безупречностью и танца, и манер читалась внятная и продуманная концепция образа. 

 

Основой роли стала ленинградская традиция, сформулированная Константином Сергеевым и свято оберегаемая на мариинской сцене: Альберт, холеный аристократ, изначально лишь увлечен Жизелью, но под влиянием искреннего чувства перерождается. Однако Ксандер Париш уже в первых эпизодах, подавая предписанные ролью пластические реплики, "актуализировался", представ не романтическим героем вообще, которого когда еще преобразит великая сила любви, а избалованным юнцом из обеспеченной семьи, волочащимся за бедной одноклассницей. Свойственная молодому поколению определенная доля цинизма сочетается с легкой влюбленностью. Герой Ксандера Париша взволнованно выглядывает из-за домика, убеждаясь, что на крыльцо вышла именно Жизель, а не ее мамаша; на правах близкого друга интимно целует девушку в шейку; с деланой невинностью садится рядом с ней на скамейку, иронизируя над застенчивостью своей пассии. Откровенно хохотнув в сторонку, он вскидывает руку в клятве верности и с нарочито сочувственным вниманием, как взрослые наблюдают за игрой ребенка в куклы, следит за гаданием Жизели на ромашке. В сцене сумасшествия Жизели этот Альберт, как нашкодивший школьник, не знает, куда спрятаться, у кого искать сочувствия — не то у Батильды, не то у друга-оруженосца. 

 

Второй акт Ксандер Париш провел словно в окаменении. Наверное, так оно и было — осознание собственной вины сковало сердце Альберта, не допуская никаких других эмоций, кроме раскаяния. Этот второй акт был удивительно личным: Альберт Париша общался лишь с Жизелью и только к ней обращался. Его герой не видел виллис, не молил их о прощении, их и не существовало для Альберта. Могила, крест и призрак — таким был символ веры для героя Париша в последнюю ночь его жизни. В том, что это была последняя ночь Альберта, сомневаться не приходится: мало кто из нынешних исполнителей так безжалостно швыряет себя на пол по окончании вариации и коды, не заботясь о заключительной позе изнемогающего от смертельной усталости любовника. И давно, со времен Фаруха Рузиматова, никто так отчаянно не полз к могиле в лучах восходящего солнца под шум опускающегося занавеса."

 

Ольга Федорченко. "Коммерсант" 16.2.13

 

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МАРИИНСКИЙ БАЛЕТ, Лебединое Oзеро

-Зал Зеллербах, Беркли, Калифорния

 

"Я хочу сообщить здесь одну первостепенную новость: в дневном спектакле па де труа исполнял Ксандер Париш. Я часто видела его в этой партии, но в этот раз было поразительно, насколько изысканнее стала его работа, насколько стало больше внимания к переходам от одного движения к другому. Его невероятные ноги во время прыжков выписывали прекрасно бесконечные линии (он высокого роста). Одним словом, все переходы, перемены, мельчайшие детали в позициях головы и рук - все это было чрезвычайно отшлифовано. Закономерен вопрос, а как все будет, если однажды он будет заявлен в партии Зигфрида."

 

Кэтрин Паулик. www.ballet-dance.com, 13.10.12

 

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МЕЖДУНАРОДНЫЙ ФЕСТИВАЛЬ БАЛЕТА "МАРИИНСКИЙ" 2011, Шопениана, 

-Мариинский театр

 

"Мужскую партию в этом балете вообще за партию не считают: по крайней мере, так казалось в последние годы. Александр Париш в партии Юноши удивил редкой хореографической трогательностью и какой-то интимностью танца. Его герой не то чтобы пребывал в мире грез, он сам казался туманным призраком. В нелегкой нудноватой вариации его мягкие ноги выпевали мелодию. В дуэтах господин танцовщик был нежен до благоговения. Падение занавеса прервало тихую иллюзию романтического одиночества - ибо господин Париш был практически единственным в "Шопениане", кто более или менее внятно представлял себе нечаянность поэтического существования."

 

Ольга Федорченко. "Коммерсант" 22.4.11

 

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THE ROYAL BALLET, Спящая красавица

Королевской Опере Ковент-Гарден

 

"Я также должен отметить появление Ксандера Париша Кавалером Феи сирени, не та партия, о которой можно и должно много говорить, но его элегантные линии и красноречивые стопы заслуживают уже пару лавровых венков, а в будущем, я надеюсь, и больше."

 

Клемент Крисп. "Financial Times" 20.11.09

 

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