News

22.02.2020

The first holidays in May will be packed with popular productions featuring the company’s leading soloists: the operas L’elisir d’amore and Die Zauberflöte and the ballets The Bronze Horseman, A Midsummer Night’s Dream and Swan Lake. There will also be two performances of the opera The Snow Maiden, a new production of which will be premiered in April. For the matinee there will be an abridged version for younger audiences while the full version with no musical cuts will be performed in the evening

The first holidays in May will be packed with popular productions featuring the company’s leading soloists: the operas L’elisir d’amore and Die Zauberflöte and the ballets The Bronze Horseman, A Midsummer Night’s Dream and Swan Lake. There will also be two performances of the opera The Snow Maiden, a new production of which will be premiered in April. For the matinee there will be an abridged version for younger audiences while the full version with no musical cuts will be performed in the evening.

In celebration of seventy-five years since the allied victory in World War II the Mariinsky Theatre has prepared a series of commemorative events: the ballets The Young Lady and the Hooligan and Leningrad Symphony, the operas The Dawns Here Are Quiet and Brundibár, the wind concerto Victory Music, a performance of Pyotr Tchaikovsky’s opus The Liturgy of St John Chrysostom and a recital by opera company soloist Sergei Semishkur. Also appearing with a recital programme to mark one hundred and eighty years since the birth of Pyotr Tchaikovsky will be the famed opera singer and Mariinsky Theatre soloist Albina Shagimuratova.

On 17 May the Mariinsky Theatre will be opening its longest and most intense festival of the season – the Stars of the White Nights, which will run for two months and include premieres and appearances by acclaimed instrumentalists and stars of opera and ballet.

18.02.2020

The Mariinsky Theatre's traditional spring festival is emerging as a focal point for admirers of the art of dance on an annual basis. All audiences will find something to suit their tastes in the programme: adherents of the classics, admirers of the legacy of 20th century masters and those who strive never to miss a single premiere or a visit from international stars

The Mariinsky Theatre's traditional spring festival is emerging as a focal point for admirers of the art of dance on an annual basis. All audiences will find something to suit their tastes in the programme: adherents of the classics, admirers of the legacy of 20th century masters and those who strive never to miss a single premiere or a visit from international stars.

One particular section of the XIX festival will be devoted to evenings of ballets by Alexei Ratmansky. At the opening it will be possible to see the duet from the ballet Lost Illusions, which will be presented by Diana Vishneva and Bolshoi Theatre principal dancer Vladislav Lantratov, as well as Mariinsky Theatre repertoire productions. Another evening will feature the St Petersburg premiere of Seven Sonatas to music by Scarlatti. Created in 2009 for American Ballet Theatre, the production is now being brought to the Mariinsky under the supervision of the choreographer who is coming to work with the dancers in person. Returning to the stage will be the one-act Concerto DSCH to the music of Shostakovich’s Second Piano Concerto and Pierrot Lunaire which was created especially for Diana Vishneva using music by Schoenberg – now with a new cast. The prima ballerina herself will be appearing in the title role of Ratmansky’s full-length ballet Anna Karenina.

One of the festival’s great traditions is its artistic evenings of the dancers. These allow a performer to show several ballets to the audience in one evening, and allow the audience to see their favourite soloists in various guises. This year there will be such a gala evening for Vladimir Shklyarov, principal dancer of the Mariinsky Theatre and guest soloist of the Bayerische Staatsballett. Having rejected the role of the classical prince, he has opted for 20th century ballets: Le Jeune Homme et la Mort by Roland Petit and the triumphant Diamonds from George Balanchine’s Jewels. The surprise of the evening will come with the premiere of the ballet Palimpsest to music by Béla Bartók, which Yuri Smekalov is staging especially for Vladimir Shklyarov.

The Young Choreographers’ Workshop – a creative laboratory of the Mariinsky Theatre which brings choreographers together in the name of new discoveries and experiments – will introduce new names. Ilya Zhivoi is collaborating with the popular Russian calligraphy artist Pokras Lampas. For his first experience of working with the Mariinsky Theatre the artist will create a video sequence for a ballet to music by Glass. Vladimir Varnava and Polina Mitryashina, a Workshop debutante, St Petersburg dancer and choreographer known for her collaboration with Varnava and having appeared as his assistant on several projects, will be joining creative forces. A second new name is that of Alina Krasovskaya. For the first time, the Mariinsky Theatre soloist will be presenting a creation as a choreographer at the Workshop. Dancers of the theatre today known also as choreographers include Alexander Sergeev, whose successful debut at the last Workshop was well received not just at the Mariinsky but also on tour to New York, and Maxim Petrov, who this year will be presenting two ballets, one of which will be a continuation of Russian Dead Ends to music by Nastasya Khrushcheva. The first part of the “analytical ballet about Russian life as it is” was shown last year as part of Context Project. Yet another familiar choreographer is Dmitry Pimonov, who recently produced two full-scale works for the Primorsky Stage of the Mariinsky Theatre.

It will be possible to appraise the work of one of the Workshop’s participants outside the actual workshop itself by attending a recent Mariinsky Theatre premiere during the festival – Vladimir Varnava’s ballet Daphnis et Chloé to music by Ravel.

Guest soloists will take care of the variety of choreographic traditions being presented. The ballet-féerie The Sleeping Beauty will be performed with a British flavour – the lead roles will be danced by Lauren Cuthbertson, principal dancer with London’s Royal Ballet, and Xander Parish, a graduate of the Royal Ballet School and now Mariinsky Theatre principal. In Swan Lake Oxana Skorik will be appearing together with Germain Louvet, premier danseur of the Opéra de Paris. This is a special ballet for him – it was in 2016 following a performance of Swan Lake that Louvet was named a danseur étoile. A regular guest at Mariinsky Theatre festivals, St Petersburg trained Moscow prima Olga Smirnova will be appearing this year as Giselle.

The festival will conclude with a rich and intense Gala Concert at which Mariinsky Theatre soloists will again be joined by Vladislav Lantratov and Germain Louvet, as well as by Maria Alexandrova and Opéra de Paris étoiles Eleonora Abbagnato and Léonore Baulac.

In addition to dance events, this year audiences will be able to attend an  “off-programme”: creative meetings with artists, public talks with choreographers whose ballets will be performed at the festival, autograph sessions and much more besides.

18.02.2020

On 20 February at the Concert Hall soloists of the Academy of Young Opera Singers directed by Larisa Gergieva will be presenting Gaetano Donizetti’s rarely-performed opera Gemma di Vergy. Federico Santi will be conducting

On 20 February at the Concert Hall soloists of the Academy of Young Opera Singers directed by Larisa Gergieva will be presenting Gaetano Donizetti’s rarely-performed opera Gemma di Vergy. Federico Santi will be conducting.

As a musician with a broad education, in his work on his operas Donizetti dedicated a great deal of attention not just to the musical components but also to the libretti, preferring to take works by Victor Hugo and Walter Scott among others as the foundations for his opuses. The theme of Gemma di Vergy was a Parisian novelty – Alexandre Dumas-père’s play Charles VII chez ses grands vassaux (1831). The events of the opera take place during the Hundred Years’ War in the home of the French Earl of Vergy, though their historical veracity is conditional in the extreme.

Written according to the canons of the time, in so-called solita forma or “conventional form”, the opera has a typical framework: a recitative, a slow songful cavatina, a transition rich in events and – to crown it all – a virtuoso cabaletta and chorus. The genre, too, was popular – tragedia lirica, the most serious of all types of opera that existed at that time, in which the heroes are noble and the passions frenetic. These two factors, coupled with Donizetti’s beautiful music, made Gemma a “hit” in its day and its international success, which subsequently endured almost sixty years, spread like lightning from St Petersburg to New York. With the dawn of the 20th century the work gradually began to depart from theatre stages until, in the 1980s, it saw a brief return thanks to the amazing Montserrat Caballé. It is a great thing indeed to hear a live performance of this rare opera today.

15.02.2020

On 14 February Valery Gergiev unveiled a new chamber hall in the south wing of the Concert Hall of the Mariinsky Theatre to Olga Lyubimova, Minister of Culture of the Russian Federation. St Petersburg has become the first city to be granted a working visit by the minister. Under the baton of maestro Gergiev there was an acoustic test of the new hall, which saw a performance by Mariinsky Opera soloists and the Mariinsky Orchestra as well as by grant-recipients of the Atkins Program

On 14 February Valery Gergiev unveiled a new chamber hall in the south wing of the Concert Hall of the Mariinsky Theatre to Olga Lyubimova, Minister of Culture of the Russian Federation. St Petersburg has become the first city to be granted a working visit by the minister.
Under the baton of maestro Gergiev there was an acoustic test of the new hall, which saw a performance by Mariinsky Opera soloists and the Mariinsky Orchestra as well as by grant-recipients of the Atkins Program.

“This hall is not an imitation of those located within the Mariinsky II. It has tremendous significance both for orchestral musicians and for young singers – the theatre’s already busy schedule now has additional possibilities to hand. We see this hall as one of the most interesting in terms of the variety of programming, first and foremost its programmes for children and young people.”

“There are absolutely amazing acoustics here, created by top specialists of international repute. Today we have been given the opportunity to hear and appraise these acoustics,” commented Olga Lyubimova.

The creation of the acoustics has been supervised by the internationally renowned Japanese expert Yasuhisa Toyota, who has designed for more than fifty theatre and concert venues, among them the Concert Hall of the Mariinsky Theatre and the Zaryadye concert hall. This new hall, which seats some two hundred people, is destined to be a venue for programmes of chamber and choral music, recitals, concerts for small ensembles, master-classes and rehearsals.
The opening of the Mariinsky Theatre’s new chamber hall is scheduled for May 2020.

10.02.2020

Elena Pankratova, Ekaterina Gubanova, Yusif Eyvazov, Plácido Domingo and Ildar Abdrazakov – these names regularly appear on the playbills of the world's great venues, and in the coming months the performers will be appearing at the Mariinsky Theatre

Elena Pankratova, Ekaterina Gubanova, Yusif Eyvazov, Plácido Domingo and Ildar Abdrazakov – these names regularly appear on the playbills of the world's great venues, and in the coming months the performers will be appearing at the Mariinsky Theatre.

On 10 February under the baton of Valery Gergiev there will be a performance of Wagner's triumphant stage mystery Parsifal. The opera, which appears on the playbill just a few times each season, will afford the rare opportunity to hear the role of Kundry performed by Elena Pankratova – a star of the Bayreuth Festival who has now been singing the role for four years in every performance of Parsifal at this glorious venue.

The Verdian repertoire will also be packed with well-known names. On 11 February there will be a performance of one of the Italian genius of musical drama's deepest works – his Requiem. For that concert performance Valery Gergiev has assembled a magnificent cast of soloists: Tatiana Serjan, Yulia Matochkina, Otar Jorjikia and Ildar Abdrazakov.

On 16 February the title role in the opera Simon Boccanegra will be sung by Plácido Domingo, Valery Gergiev again conducting. The great lirical-dramatic tenor, who in recent years has expanded his repertoire to include baritone roles, has sung with the Mariinsky Opera both in St Petersburg and internationally, as well as having conducted the Mariinsky Orchestra on numerous occasions.

Yet another masterpiece by Verdi – Don Carlo – will be presented in the coming three months with three different casts, also to feature guest stars. In February this opera will feature an appearance by Ekaterina Gubanova, one of the finest mezzo-sopranos of her generation. Having made her debut at the Mariinsky Theatre in the role of Princess Eboli, the singer has returned to the St Petersburg stage in that role on several occasions, every time demonstrating new features in its structure. The title role will be sung by Hovhannes Aivazian, the ensemble being completed by leаding soloists of the opera company: Tatiana Serjan (Elisabeth of Valois), Vladislav Sulimsky (Rodrigo) and Stanislav Trofimov (Filippo II). The vocalists will also be participating in an April performance to be conducted by Valery Gergiev, where the roles of Don Carlo and Filippo II will be sung by Yusif Eyvazov and Ildar Abdrazakov.

10.02.2020

Valery Gergiev and the staff of the Mariinsky Theatre would like to express their sincere condolences to the family, friends, colleagues and pupils of Sergei Mikhailovich Slonimsky – an outstanding composer, pianist and professor at the St Petersburg Conservatory

Valery Gergiev and the staff of the Mariinsky Theatre would like to express their sincere condolences to the family, friends, colleagues and pupils of Sergei Mikhailovich Slonimsky – an outstanding composer, pianist and professor at the St Petersburg Conservatory.

Having spent his entire life in the city on the Neva, Sergei Mikhailovich was a true composer of St Petersburg. He was known as the patriarch of the St Petersburg school of composition, while he thought of himself as a “Petersburg dreamer”. He became a classic during his own lifetime, retaining his creative faculties and often responding through his new opuses to the demands of society and the age, and he composed because “he could not not compose.”

Sergei Slonimsky’s works were often performed at the Mariinsky Theatre, particularly in recent years. In the mid-2000s it was here that there came Mihail Chemiakin’s ballet The Magic Nut (a unique “prequel” to The Nutcracker), the music for which Slonimsky composed following a commission from the theatre. Members of the Mariinsky Company performed symphony and chamber music by the composer. In October 2019 at the Concert Hall of the Mariinsky Theatre the orchestra of the St Petersburg Conservatory presented the world premiere of Symphonic Chant – one of Sergei Mikhailovich’s final creations.

But the composer was famous not just for his classical music. For many compatriots, his name was inextricably linked with the cinema, for which he wrote with equal passion. And there his recognisable artistic signature took on fresh colours, his melodies enjoying tremendous popularity with the public.

A modest yet deep-thinking man, Sergei Mikhailovich always considered the greatest gift to him to be any performance of his works. This music and his numerous pupils preserve the memory of the composer, without whom it would be impossible to imagine St Petersburg.

05.02.2020

On 17, 18 and 19 April the Mariinsky Theatre will be inviting patrons to the premiere of a new production of Rimsky-Korsakov's springtime tale The Snow Maiden based on the eponymous play by Alexander Ostrovsky. For the first time, the theatre will be presenting not one but two productions of the opus: the full as well as an abriged version for younger audiences

On 17, 18 and 19 April the Mariinsky Theatre will be inviting patrons to the premiere of a new production of Rimsky-Korsakov's springtime tale The Snow Maiden based on the eponymous play by Alexander Ostrovsky. For the first time, the theatre will be presenting not one but two productions of the opus: the full as well as an abriged version for younger audiences.

The production team includes names familiar to St Petersburg audiences. The Stage Director will be Anna Matison, for whom this will be her third opera at the Mariinsky Theatre, and her second in the course of the 2019-20 season. The premiere of Pelléas et Mélisande by Debussy, held at the Concert Hall in October 2019 was also staged by Matison. She will be joined by the acclaimed tandem of Set Designer Alexander Orlov and Costume Designer Irina Cherednikova, who have designed around a dozen productions at the Mariinsky Theatre, and the choreographer Radu Poklitaru, who is known for his bold and unexpected interpretations of classical music. At the Mariinsky Theatre he has already staged his stand-alone ballet production – Symphony in Three Movements, where Anna Matison appeared as Costume Designer, though this will be his first opera production at the Mariinsky Theatre.

Anna Matison, who not only will be presenting her characters in a new temporal and plot setting, but will also be creating entire new worlds for them, sees the premiere of the production as an opportunity to view the Kingdom of Berendei and the female protagonist in a new light. "The Snow Maiden merely pretends to be an often-told tale with a simple plot," says the director, "but as soon as you begin to delve into it you very quickly abandon the notion that this is a children's tale. To such a degree there are secondary and even tertiary plots that you can regard Snegurocka as anyone you care to imagine, even Greta Thunberg. This is no fairy story, it is a parable in which people are transformed into a crowd and in no sense do they see any problems within themselves, because it is always easier to seek an enemy from without. Even if the enemy is Snegurochka, proffered to the peaple as a chance of redemption."

And for Valery Gergiev, Music Director and conductor of the premiere, this new production represents another chance to return to the beautiful score of one of the theatre's most significant composers. It is not by chance that the Mariinsky Theatre is known as the "house of Rimsky-Korsakov".

04.02.2020

On 5 February at 21.00 at the Concert Hall of the Mariinsky Theatre the ensemble will be appearing with vivid young soloists whose names today are on the mouths of all music lovers – the pianist Mao Fujita, the violinists Sergei Dogadin and Marc Bouchkov and the cellist Zlatomir Fang, prize-winnners at the XVI International Tchaikovsky Competition

On 5 February at 21.00 at the Concert Hall of the Mariinsky Theatre the ensemble will be appearing with vivid young soloists whose names today are on the mouths of all music lovers – the pianist Mao Fujita, the violinists Sergei Dogadin and Marc Bouchkov and the cellist Zlatomir Fang, prize-winnners at the XVI International Tchaikovsky Competition.

Since appearing at the competition, they have performed to great acclaim at several international venues, most recently delighting German audiences at the Münchner Philharmoniker Festival MPHIL 360 Degrees, which took place in Munich from 31 January to 2 February. The festival, founded five years ago coinciding with the appointment of Valery Gergiev as Music Director of the Münchner Philharmoniker, is run in the Bavarian capital on an annual basis. This time its participants included prize-winners of the Tchaikovsky Competition, the success of their chamber evening performances surpassing all expectations.

Valery Gergiev has awarded the musicians the opportunity to repeat the same programme of ensemble works for the St Petersburg audience which it presented a few days ago in Germany. Moreover, the Mariinsky Theatre audience will hear the virtuoso pianist Mao Fujita, he having already appeared here as a soloist and with orchestra, in his new emplois as a chember musician as well as discovering for itself the cellist Zlatomir Fang, who until now has only been heard at competitions.

On 5 February at the Concert Hall there will be a performance of Ravel's Sonata for Violin and Cello, Popper's Hungarian Rhapsody, the Introduction and Polonaise Brillante for Cello and Piano by Chopin and one of Franck's most famous works – the Violin Sonata. The violinist and composer Marc Bouchkov will also be performing his own opus to a St Petersburg audience – the Fantasia for Solo Violin, the concert to conclude with Ravel's Piano Trio.

02.02.2020

Due to the international situation, the decision has been made to move back the performance by the China National Opera and Dance Drama Theatre to 11 February, a more suitable time when the audience will be able to attend the performance without experiencing personal anxiety

Dear Patrons,

Due to the international situation, the decision has been made to move back the performance by the China National Opera and Dance Drama Theatre to 11 February, a more suitable time when the audience will be able to attend the performance without experiencing personal anxiety.

The Mariinsky Theatre will be glad to present its audiences with a new concert programme featuring its own leading soloists. The theatre's orchestra will perform Rimsky-Korsakov's symphonic suite Schéhérazade, while the chorus and soloists of the opera company Viktoria Yastrebova, Yekaterina Krapivina and Yefim Zavalny will perform highlights from Puccini's opera Madama Butterfly. Tickets remain valid.

The China Orchestra of the National Theatre of Opera and Dance Drama, familiar to St Petersburg's Mariinsky Theatre audiences for its staging of Confucius, presented in December 2019, will be returning on tour to St Petersburg and will of course be met by St Petersburg audiences closer to the end of the 2019-20 season.

30.01.2020

From 31 January to 2 February Munich will play host to Valery Gergiev’s MPHIL 360 Degrees festival. This year the theme of the forum, which combines various art forms, is Paris of the 1920s. The intense programme features performances by the Münchner Philharmoniker, the Kammerorchester of the Münchner Philharmoniker, the Odeon Jugendsinfonieorchester and prize-winners of the XVI International Tchaikovsky Competition. The Mariinsky Ballet will be presenting Vladimir Varnava’s ballet Daphnis et Chloé and an evening of modern dance, which will include works by young choreographers

From 31 January to 2 February Munich will play host to Valery Gergiev’s MPHIL 360 Degrees festival. This year the theme of the forum, which combines various art forms, is Paris of the 1920s. The intense programme features performances by the Münchner Philharmoniker, the Kammerorchester of the Münchner Philharmoniker, the Odeon Jugendsinfonieorchester and prize-winners of the XVI International Tchaikovsky Competition. The Mariinsky Ballet will be presenting Vladimir Varnava’s ballet Daphnis et Chloé and an evening of modern dance, which will include works by young choreographers.

Vladimir Varnava’s ballet Daphnis et Chloé to music by Maurice Ravel (the premiere at the Mariinsky Theatre took place in the 2019-20 season) has been selected for the opening of the festival, the ballet to be performed by young soloists of the company and the Münchner Philharmoniker under the baton of Valery Gergiev. This first part of the concert features Berg's cycle Seven Early Songs performed by the soprano Anja Harteros. On 31 January at 22.00 (Moscow time, GMT+3) the concert will be broadcast live on medici.tv.

Yet another evening of the festival programme will be entirely dedicated to modern dance. Lead soloists of the Mariinsky Ballet will be presenting productions by young choreographers, many of which, following their St Petersburg premieres, have been staged at major international venues, among them Closure by Juliano Nuñes, Divertimento by Dmitry Pimonov, Keep by Maxim Petrov and A Flashback by Ilya Zhivoi. The gala concert will open with a new work by Ilya Zhivoi, staged especially for the MPHIL 360 Degrees festival – the ballet Beneath the Cupola to music by Mahler.

The forum's playbill also includes programmes for all the family at the Concert Hall: the five pieces for children Ma Mère l’Oye by Ravel and L’Histoire du Soldat by Stravinsky. The characters of these musical tales will be brought to life by German actors and the renowned opera and jazz singer Thomas Quasthoff.

At the close of the festival Valery Gergiev will present prize-winners of the latest Tchaikovsky Competition to German audiences: Sergei Dogadin (violin), Mao Fujita (piano), Marc Bouchkov (violin), Zlatomir Fung (cello) and Sofia Viland (flute). At the matinee concert on 2 February they will be performing works by Chopin and Ravel, and at the festival's closing evening performance they will appear with a programme of chamber music with the musicians of the Munich orchestra. On 4 February Valery Gergiev will again be conducting the Münchner Philharmoniker during its tour of towns and cities in Germany and France.

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