Diana Vishneva: Beauty in motion

PIERROT LUNAIRE
one act ballet
Music by Arnold Shönberg
Choreography by Alexei Ratmansky
Assistant of choreographer: Elvira Tarasova
Set design and costumes by Tatyana Chernova
Assistant of set and costume designer: Olga Alexandrova

Diana Vishneva stands alone as a ballerina, equally brilliant both in the classical repertoire and in contemporary dance. In Pierrot Lunaire, I have tried to use this very duplicity of her dance technique and demonstrate her inherent sense of theatricality.
Alexei Ratmansky

F.L.O.W. (For Love of Women)
ballet in three parts
Music: 'nanO' from the album 'ozOne', 'Space Weaver' from the album 'Silver Tree', 'The Moola Mantra'
(Performed to recorded music)
Choreography and Direction by Moses Pendleton
Props design by Michael Curry
Costume design by Phoeby Katz

I first saw Diana Vishneva on stage at the Staatsballett in Berlin when she danced as Giselle. I was quite simply staggered by the nature of her plastique, which could be compared to legato in musical terms, or with malleability in the world of inanimate objects. Later I told her that her plastique filled me with velvety sensations of the Milky Way in terms of its weightlessness.
Moses Pendleton

THREE POINT TURN
one act ballet
Music by David Rozenblatt
(Performed to recorded music)
Choreography by Dwight Rhoden
Costume design by Isabel Rubio
Lighting design by Antonio Marques

The plastique construction of Three Point Turn is called on to express the mutual interlacing of consciousness, of body and soul at that time when man becomes a captive of love and submits to Fate and the inevitability of all possible circumstances on life’s path that can cast him now this way, now that way, spinning him in a whirlwind of love and drawing him in an unforeseen direction.
Dwight Roden