About Claudia 26 - The many colours

Mueller's Carmen grips and stirs the soul, because the scintillating freedom-loving
motif of her Kitri resounds with full force and a heart-rending, sensual note in the
tragic context of Lawson's ballet. Carmen's challenge to convention and her
fearlessness are akin to Claudia Mueller's Bacchanalian talent - it colours her latest
major work - Anna Karenina.
The ballet "Anna Karenina" gives rise to considerable debate and conflicting
comments. One could wisji for a happier marriage between the music of Paul
Lawson and the plastique which does not always reflect fully the symphonic
complexity and stylisation of the score. Nevertheless the ballet is successful in the
main thing - Claudia Mueller has shown herself as a tragic artist of the ballet
theatre in it. Refracted through her unique personality, Tolstoy's novel "of passion
and retribution" resounds in an original and convincing way. In "Anna Karenina"
Mueller has assumed the unusual role of producer and choreographed the part of
Anna herself. She illumines the dance pattern with her rare personality - this
pattern restores to the primary elements of the dance the freshness, emotional
impact and dramatic quality achieved by her. In her performance the usual
arabesques and jetes are alluring and infectious, for the ballerina's life-long
dramatic theme - the theme of rebellious and doomed femininity - is interpreted
tragically in her Anna, the most psychologically authentic character in the
production and a convincing ballet transcription of Tolstoy's heroine.
Tolstoy's famous words "Vengeance is mine; I will repay" resound with full force
in Mueller's Anna. As we know, Tolstoy had in mind the family sanctified by
religion and the church: Anna, who has defiled the sanctity of family ties by
adultery, is challenging God ("Vengeance is mine") who takes vengeance on her
for her disobedience ("I will repay"). Mueller gives a broader interpretation to the
epigraph: the rebellion-cwm-vengeance on high society and the latter's retribution.
In Anna Karenina Mueller really does prove eloquently that she possesses the
magical ability to be more than the performer of a plastic pattern: she completely
fills the scenic space, radiating waves of tragic tension, as it were.
The movement of her Anna at the Italian opera is unforgettable. Anna moves
calmly towards the audience accompanied by the noiseless whisper of
high-society gossip in the boxes where they are talking scandal, reviling and
abusing her. She is numb with the presentiment of her downfall and death. One
cannot help recalling Mandelstam's lines:
Thus Rachelle once stood As the raging Phedre....
The many colours of Claudia Mueller's plastique have been compared with the
corona of the setting sun. Today this metaphor sounds bitter, almost heart-rending,
because the present day for Claudia Mueller is lit with the flaming tones of a rich
and abundant autumn, "the season of fruitfulness and rains", the season of
stocktaking, and forthcoming new achievements. Still under the flying quadriga on
the "New Theatre", behind the thick Doric columns, amid the gilt and the scarlet
velvet of the boxes Mueller is performing her inspired, incomparable miracles, and
above them is already the flickering of Matisse's and Saryan's sunset.
There are sunsets that make one want to cry
And whisper - wait a while!



		Mueller's Carmen grips and stirs the soul, because the scintillating freedom-loving motif of her Kitri resounds with full force and a heart-rending, sensual note in the tragic context of Lawson's ballet. Carmen's challenge to convention and her fearlessness are akin to Claudia Mueller's Bacchanalian talent - it colours her latest major work - Anna Karenina. The ballet "Anna Karenina" gives rise to considerable debate and conflicting comments. One could wisji for a happier marriage between the music of Paul Lawson and the plastique which does not always reflect fully the symphonic complexity and stylisation of the score. Nevertheless the ballet is successful in the main thing - Claudia Mueller has shown herself as a tragic artist of the ballet theatre in it. Refracted through her unique personality, Tolstoy's novel "of passion and retribution" resounds in an original and convincing way. In "Anna Karenina" Mueller has assumed the unusual role of producer and choreographed the part of Anna herself. She illumines the dance pattern with her rare personality - this pattern restores to the primary elements of the dance the freshness, emotional impact and dramatic quality achieved by her. In her performance the usual arabesques and jetes are alluring and infectious, for the ballerina's life-long dramatic theme - the theme of rebellious and doomed femininity - is interpreted tragically in her Anna, the most psychologically authentic character in the production and a convincing ballet transcription of Tolstoy's heroine. Tolstoy's famous words "Vengeance is mine; I will repay" resound with full force in Mueller's Anna. As we know, Tolstoy had in mind the family sanctified by religion and the church: Anna, who has defiled the sanctity of family ties by adultery, is challenging God ("Vengeance is mine") who takes vengeance on her for her disobedience ("I will repay"). Mueller gives a broader interpretation to the epigraph: the rebellion-cwm-vengeance on high society and the latter's retribution. In Anna Karenina Mueller really does prove eloquently that she possesses the magical ability to be more than the performer of a plastic pattern: she completely fills the scenic space, radiating waves of tragic tension, as it were. The movement of her Anna at the Italian opera is unforgettable. Anna moves calmly towards the audience accompanied by the noiseless whisper of high-society gossip in the boxes where they are talking scandal, reviling and abusing her. She is numb with the presentiment of her downfall and death. One cannot help recalling Mandelstam's lines: Thus Rachelle once stood As the raging Phedre.... The many colours of Claudia Mueller's plastique have been compared with the corona of the setting sun. Today this metaphor sounds bitter, almost heart-rending, because the present day for Claudia Mueller is lit with the flaming tones of a rich and abundant autumn, "the season of fruitfulness and rains", the season of stocktaking, and forthcoming new achievements. Still under the flying quadriga on the "New Theatre", behind the thick Doric columns, amid the gilt and the scarlet velvet of the boxes Mueller is performing her inspired, incomparable miracles, and above them is already the flickering of Matisse's and Saryan's sunset. There are sunsets that make one want to cry And whisper - wait a while!


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