On 18 February the ballet Raymonda will be performed in honour of the remarkable Kirov-Mariinsky Theatre prima ballerina and coach Tatiana Terekhova
Tatiana Terekhova on the stage was the embodiment of absolute skill. It was not by chance that her ballet colleagues referred to her as Madame "I Can Do Everything". With ease, she precisely "gave word to" the choreographic quick steps in the incredibly complex classical variations of Gamzatti, Diana, Medora and Odette-Odile, she depicted the refined graphics of oriental poses in the role of Shyrin in The Legend of Love and she confidently danced the double fouettés in Don Quixote. She enchanted audiences with her firework-like virtuoso technique. But regardless of her success in dazzling roles that demonstrated the skills required for these roles, Terekhova herself set the main test to claim the title of prima ballerina by dancing classical works, where it's not so much about "tricks" as it is about the crystal purity of dance that comprises the artistic essence of the image. Her Raymonda and Aurora to this day are recalled as impeccable and impressive examples of the Vaganova technique.
Tatiana Terekhova received her basic training in the Leningrad school from Elena Shiripina, graduating from her class to enter the Vaganova School of Dance in 1970. The ballerina owed the jewel-like finish of her dance to her theatre coach Ninel Kurgapkina. It was she who shared with Terekhova the secrets of pure dance in Kirov Theatre productions, and it was from her that Terekhova inherited the excitement of dance and on-stage joie de vivre. Through the free and infectious energy of her dance, Terekhova created portraits of Kitri and Laurencia, and the charm of her heroines was born not from acting but from dance. The dance phrases, made to dazzle, with cleverly and tastefully placed accents became more eloquent than gestures and pantomime scenes. And the appearance in the late 1980s in the Leningrad repertoire of ballets by Balanchine, where no peripeteia of a story covered the refinement of the choreographic drawing, was to be a great gift for Terekhova. She was named the most "Balanchine-like" ballerina in Russia. And years later the Balanchine Foundation even entrusted her with working on Symphony in C at the Bolshoi Theatre.
Tatiana Terekhova's life on the stage saw her appear in new productions for the time. She danced as Tora in Vinogradov's Fairy of the Rondsky Hills, Esmeralda in Petit's Notre Dame de Paris, the She-Devil in Kasatkina and Vasilyov's Creation of the World and the Firebird in Eifman's eponymous ballet. She also shone in the filigree technique of Bournonville's early choreography, conquering all the underwater flows of Napoli. Already at the sunset of her performing career, Terekhova discovered the choreography of Ratmansky. In his Charms of Mannerism she displayed her gift for comedy, subtly conveying the irony of the choreographer, making the audience smile through purely choreographic language. She was capable of everything in dance.
Today, Tatiana Terekhova is passing on her experience to the next generation of ballet dancers. With her performing determination for the absolute, she inspires her pupils, among them Yekaterina Osmolkina and Alina Somova. Terekhova's position as a coach also includes working on the central female role in the ballet Shurale, in which she herself once staggered audiences, and her other starring roles .
In February Valery Gergiev will be presenting a marathon of works by Sergei Rachmaninoff with the Mariinsky Orchestra and the Münchner Philharmoniker. Soloist – Daniil Trifonov
In February Valery Gergiev will be presenting a marathon of works by Sergei Rachmaninoff with the Mariinsky Orchestra and the Münchner Philharmoniker. Soloist – Daniil Trifonov.
From 10 to 12 February the Mariinsky Orchestra under Valery Gergiev will give three performances at the Philharmonie im Gasteig (Munich) with a programme dedicated to the works of Sergei Rachmaninoff. On 10 February there will be a performance of his First Piano Concerto, First Symphony and Rhapsody on a Theme of Paganini. 11 February will see the Second Symphony and Fourth Piano Concerto, while the Third Symphony and Third Piano Concerto will be performed on 12 February.
Thereafter, Valery Gergiev will give a further three performances at the same venue with the Münchner Philharmoniker. On 14 February there will be a performance of Claude Debussy's Prélude à l'après-midi d'un faune and Sergei Rachmaninoff's Second Piano Concerto and Symphonic Dances. On 15 and 16 February the Second Piano Concerto will be performed together with Gustav Mahler's First Symphony.
The series of performances continues with a tour by the Münchner Philharmoniker and Valery Gergiev to various European cities. The programme of the concert at the Philharmonie de Luxembourg (17 February, Luxembourg) includes Claude Debussy's Prélude à l'après-midi d'un faune and Sergei Rachmaninoff's Second Piano Concerto and Symphonic Dances. At the Kölner Philharmonie (19 February, Cologne) Claude Debussy's Prélude à l'après-midi d'un faune and Sergei Rachmaninoff's Symphonic Dances will be joined by the composer's Third Piano Concerto. The evening programme at the Alte Oper (20 February, Frankfurt am Main) includes Sergei Rachmaninoff's Third Piano Concerto and Gustav Mahler's First Symphony. On the final day of the tour by the Münchner Philharmoniker the orchestra will appear under Valery Gergiev at the Philharmonie de Paris (21 February, Paris). That programme will feature Sergei Rachmaninoff's Third Piano Concerto, Claude Debussy's Prélude à l'après-midi d'un faune and Gustav Mahler's First Symphony.
On 9 February at 20.00 the Mariinsky II will be hosting the premiere of a new production of Richard Strauss' one-act opera Salome staged by Marat Gatsalov
On 9 February at 20.00 the Mariinsky II will be hosting the premiere of a new production of Richard Strauss' one-act opera Salome staged by Marat Gatsalov. The Mariinsky Orchestra will be conducted by Valery Gergiev.
The roles are being rehearsed by Primorsky Stage of the Mariinsky Theatre soloist Elena Stikhina, Mlada Khudoley, Yevgenia Muravieva (Salome), Yevgeny Nikitin, Edem Umerov, Vadim Kravets (Jokanaan), Andrei Popov, Oleg Balashov, Andrei Zorin (Herodes) and Olga Savova, Larisa Gogolevskaya, Elena Vitman and Natalia Yevstafieva (Herodias).
In 1905 Richard Strauss' one-act opera Salome, innovative in terms of spirit and musical language and based on the play by Oscar Wilde, created a sensation in the music world. The uncommitted review of critics and censors merely served to fire the public's interest, and, regardless of unanimous bans, the opera was staged at many theatres throughout Europe. After one premiere the composer wrote to his wife that "Salome went well, it was a great success, the public applauded for ten minutes until the fire curtain was lowered."
The Russian premiere of Salome took place in 1924 at the State Academic Theatre of Opera and Ballet (the Mariinsky Theatre) and ran for thirty performances (until 1929). Following a lenghty interval, the opera was twice revived in the repertoire under the direction of Valery Gergiev – in 1995 (directed by Julie Taymor) and in 2000 (directed by David Freeman).
The new production at the Mariinsky Theatre has been developed by a team headed by stage director Marat Gatsalov, for whom Salome marks his debut in opera. "In our version of Salome it is not a story about a fornicatress who passionately desires Jokanaan. We see the collision of great ideas, between which the protagonists find themselves as if between a rock and a hard place. Salome's passionate desire to kiss Jokanaan is probably the desire to drown out the voice of new truth," says Marat Gatsalov. The set designs and costumes have been produced by designer Monika Pormale and the design duo MAREUNROL'S comprising Rolands Peterkops and Marite Mastina-Peterkopa. The video graphics are by Katrīna Neiburga.
The first performances of the opera Salome continue on 10 and 28 February.
On 5 February in Washington (USA), the Mariinsky Ballet's annual tour has come to a close amid great acclaim. This year the programme consisted of seven performances of Rodion Shchedrin's ballet The Little Humpbacked Horse with choreography by Alexei Ratmansky, which delighted the critics with its mood, colours and freshness
On 5 February in Washington (USA), the Mariinsky Ballet's annual tour has come to a close amid great acclaim. This year the programme consisted of seven performances of Rodion Shchedrin's ballet The Little Humpbacked Horse with choreography by Alexei Ratmansky, which delighted the critics with its mood, colours and freshness.
"Usually, this is the world’s most beautifully stuffy and elegantly unspontaneous company; here, as when it danced this ballet (...), it bubbles over with impish sweetness. It’s as if Mr Ratmansky had reinvented the Mariinsky," commented critic Alastair MacAulay of The New York Times. His opinion was confirmed by Carolyn Kelemen, columnist for the portal DC Metro Theater Arts: "From the start there were lots of chuckles from the audience and, at times, from the characters onstage as the whimsical tale unfolded. Alexei Ratmansky, the hottest choreographer around plus Rodion Shchedrin, who wrote the dance-friendly score, have created a magical melange of music and dance that will leave you smiling."
In addition to the production itself, the performers also received favourable reviews: "Each brings a high set of skills to their roles, but also a certain casual comedic sense," according to Broadway World. "Dancer after dancer paraded before the Opera House audience in a flourish of youthful talent that no other company, not even its Russian rival, the Bolshoi, could match. What a treat to witness this fairytale come alive in a whirlwind of movement and merriment," wrote Carolyn Kelemen (DC Metro Theater Arts).
The Washington Post's critic Sarah Kaufman commented on the work of the cast which opened the tour: "the Gentleman of the Bedchamber (Yuri Smekalov) – appears without fanfare, but just from the way he wiggles his fingers greedily, as if imagining riches sliding through them, you know he’s a schemer. Yaroslav Baibordin, in the role of the titular horse, has enough bounding energy to run a steeplechase. Vladimir Shklyarov’s Ivan was adorably endearing, and although Anastasia Matvienko had some struggles with Ratmansky’s flowing, spiraling solo as the Tsar Maiden, she was believable as a child at heart who has found her soul mate."
"In no other role is he (Vladimir Shlyarov) so ebulliently, exuberantly fresh. On Tuesday, the Tsar Maiden was Anastasia Matvienko, playing the role with a screwball combination of beauty and tearaway impulsiveness. The title character was danced by the young Yaroslav Baibordin, intoxicatingly frisky," wrote Alastair MacAulay (The New York Times).
Hilary Stroh, columnist for Bachtrack also lavished praise on the performance, awarding it five stars: "Of absolute brilliance were his (Vladimir Shklyarov's) pas de deux with the Horse, Yaroslav Baibordin; their mirroring of each other’s steps was one of the most immaculately timed things I’ve ever seen. From the first jolly fairground music to the last processional apotheosis, Alexei Ratmansky's The Little Humpbacked Horse was the most terrific romp – enormously fun and outrageously charming."
The Mariinsky Ballet's tour took the company to the Kennedy Center from 31 January to 5 February. The roles of Ivan the Fool and the Tsar Maiden were performed by Vladimir Shklyarov and Anastasia Matvienko (31 January and 3 February), Ernest Latypov and Renata Shakirova (1, 4 and 5 February), Maxim Zyuzin and Anastasia Kolegova (2 and 4 February). The role of the Little Humpbacked Horse was performed by Yaroslav Baibordin, Grigory Popov, Vladislav Shumakov, that of the Gentleman of the Bedchamber by Konstantin Zverev and Yuri Smekalov and that of the Mare by Tatiana Tkachenko and Zlata Yalinich.
From 20 to 26 February the Mariinsky Theatre will be hosting the Maslenitsa in Song international choral festival for the second time
From 20 to 26 February the Mariinsky Theatre will be hosting the Maslenitsa in Song international choral festival for the second time. This year the choral forum will introduce audiences to ensembles from Russia, Slovenia, Norway, Germany, Latvia, Lithuania and France, while at the chamber venues of the Mariinsky II there will be further performances by children's and youth ensembles.
On 20 February the II International Choral Festival Maslenitsa in Song opens with Nikolai Rimsky-Korsakov's opera The Snow Maiden (Mariinsky II, 19:00).
On 21 February the chamber chorus Utopia & Reality (Norway-Slovenia), which specialises in contemporary choral music, will perform works by Scandinavian and Slavic composers (Concert Hall, 19:00). On 22 February the St Petersburg chamber chorus Festino and soloists of the Saarbrücken Kammerchor (Germany) will present a retrospective of German choral music ranging from Johann Hermann Schein (17th century) to Johannes Brahms (19th century) (Concert Hall, 19.00).
23 February will see a special festival event – the Mariinsky Chorus and Orchestra, the Children's Chorus of St Petersburg TV and Radio and the Children's Studio of the Mariinsky Theatre, members of which will be confirmed following a competition for young vocalists, will present Hans Krása's opera Brundibár (semi-staged). The Stage Director is Mstislav Pentkovsky (Concert Hall, 15.00). In the evening the same day the Mariinsky Chorus will appear with Alexander Ramm (cello), a prize-winner at the XV International Tchaikovsky Competition. The programme for the concert A Voice from Heaven includes works for cello and chorus by John Tavener, Anton Arensky, Gregorio Allegri, Alexander Gasparov, Olga Viktorova and Éric Tanguy. Conductor: Andrei Petrenko (Concert Hall, 20.00).
On 24 February at the Stravinsky Foyer (Mariinsky II) there will be an a cappella marathon (12.00), and at 19.00 at the main stage of the Mariinsky II the choruses of the Moscow and St Petersburg State Universities together with the Mariinsky Orchestra under the baton of Edward Krotman will perform Gloria and Magnificat by contemporary classical British composer John Rutter. These works are being performed in St Petersburg for the first time.
On 25 February at the Stravinsky Foyer (Mariinsk II) folk dance, choral, lyrical, wedding, shrovetide songs and ditties will be performed by folklore ensembles of St Petersburg and the Leningrad Region (12.00). In the evening at the Concert Hall the internationally acclaimed French ensemble Le Poème harmonique and the vocal ensemble Intrada will present a programme of French Baroque music (19.00).
The II International Choral Festival Maslenitsa in Song will close on 26 February with a grand gala concert featuring finalists of the World Children's and Youth Choral Championship of 2017: the Spartito boys' chorus (Latvia) and the Academic Chorus Jaunyste (Lithuania), as well as the Children's Chorus of St Petersburg TV and Radio (Concert Hall, 13.00).
Valery Gergiev will be performing with two of Italy's great orchestras – from 2 to 4 February there will be a series of concerts with the Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome, and on 6 February there will be a concert with the Orchestra Filarmonica della Scala in Milan
Valery Gergiev will be performing with two of Italy's great orchestras – from 2 to 4 February there will be a series of concerts with the Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome, and on 6 February there will be a concert with the Orchestra Filarmonica della Scala in Milan.
On 2, 3 and 4 February there will be performances by the Orchestra dell'Accademia Nazionale di Santa Cecilia under Valery Gergiev at the major Italian concert complex Auditorium Parco della Musica (Rome). The programme includes music from the ballet Le Sacre du printemps by Igor Stravinsky, Rodion Shchedrin's Orchestral Concerto No 1 Naughty Limericks and Sergei Rachmaninoff's Piano Concerto No 3. Invited to perform the solo is the outstanding young South Korean pianist Seong-Jin Cho, prize-winner at the XIV International Tchaikovsky Competition and winner of the International Chopin Piano Competition in Warsaw (2015).
The collaboration between Valery Gergiev and the Orchestra dell'Accademia Nazionale di Santa Cecilia began more than twenty-five years ago.
On 6 February Gergiev will be conducting the Orchestra Filarmonica della Scala, with which the maestro also has long-standing ties dating back over thirteen years. The concert programme at the legendary Milan opera house includes Modest Musorgsky's Pictures at an Exhibition (orchestrated by Maurice Ravel) and Pyotr Tchaikovsky's Piano Concerto No 1. The soloist will be the young pianist Alexander Malofeev, a prize-winner at international competitions for whom this marks his debut at La Scala.
On 2 February the opera Eugene Onegin and on 8 February the ballet Swan Lake will be performed in honour of Ariy Pazovsky to commemorate the one hundred and thirtieth anniversary of his birth. The Dress Circle foyer of the historic Mariinsky Theatre will host an exhibition of documents and photographs from the theatre's archives
On 2 February the opera Eugene Onegin and on 8 February the ballet Swan Lakewill be performed in honour of Ariy Pazovsky to commemorate the one hundred and thirtieth anniversary of his birth. The Dress Circle foyer of the historic Mariinsky Theatre will host an exhibition of documents and photographs from the theatre's archives.
2 February marks one hundred and thirty years since the birth of Ariy Moiseyevich Pazovsky (1887–1953) – Principal Conductor of the Mariinsky (Kirov) Theatre from 1936–1943.
Born in Perm, Pazovsky began his music career as a violinist, studied at the St Petersburg Conservatoire under the renowned Leopold Auer and conversed with Anatoly Lyadov. In 1905 he began his conducting career in his native Perm, subsequently conducting operas in Kazan, Saratov, Minsk, Vilnius, Tbilisi and Baku among other cities. From 1908–1910 he collaborated with the Zimin Private Opera in Moscow, where he made his debut with Serov's Judith. His rich impressions from his Moscow years formed the conductor's artistic views. His years of travelling (Kharkov, Odessa, Kiev and Tbilisi) once again brought Pazovsky back to St Petersburg – Petrograd, where in 1918 he worked at the Petrograd House of the Peoples and became close friends with Samuil Samosud and Fyodor Chaliapin. The 1920s were a time for new tours and working at the Bolshoi Theatre, where Pazovsky conducted, among other productions, Boris Godunov (1927), as part of which the previously censored scene at St Basil's Cathedral was performed for the first time. Pazovsky directed opera houses in Sverdlovsk (1931–1933); here he remains well-remembered for his performances of The Tale of Tsar Saltan, The Tsar's Bride and Prince Igor) and in Kiev (1933–1936). In 1936, following the resignation of Vladimir Dranishnikov, Pazovsky was appointed Principal Conductor of the Kirov Theatre in Leningrad. Here he conducted new productions of The Tale of Tsar Saltan, Carmen and Ivan Susanin, and there also came the premiere of Oles Chishko's Battleship Potemkin (1937). Pazovsky had the honour of reviving Tchaikovsky's The Enchantress on the Russian stage (1941).
While Pazovsky was working, a difficult period in Leningrad's history began because of WW II. Evacuation was on the threshold: the theatre, like the Philharmonic, was to be sent to Novosibirsk. Pazovsky convinced Party leaders to leave the company in Molotov (as Perm was known at the time), where theatre life was resumed, reviving almost the entire opera and ballet repertoire. In September 1941 Pazovsky conducted the first performance by the Kirov Theatre during its evacuation – Glinka's Ivan Susanin. Here in 1942 came the premiere of the opera Yemelyan Pugachev by Marian Koval and Dmitry Rogal-Levitsky, and in late 1943 came a new production of Rimsky-Korsakov's Christmas Eve.
Soon Pazovsky was to be appointed Principal Conductor of the Bolshoi Theatre – the only conductor to have held this post at the country's two most important theatres. Due to illness in 1948 Pazovsky ended his conducting career, ceding his position at the Bolshoi Theatre to Nikolai Golovanov. The conductor's work was preserved for posterity in numerous recordings.
Ariy Pazovsky won the Stalin Prize on three occasions and was awarded the title of People's Artist of the USSR.
The XVII annual international ballet festival will run at the Mariinsky Theatre from 30 March to 9 April 2017
The XVII annual international ballet festival will run at the Mariinsky Theatre from 30 March to 9 April 2017.
In line with tradition the opening will see a premiere – Édouard Deldevez' Paquita with additional musical numbers by Ludwig Minkus and Riccardo Drigo. Yuri Smekalov is working on the new production, while Marius Petipa's choreography of the Grand pas is being reconstructed by Yuri Burlaka. The St Petersburg premiere of the ballet Paquita in 1847 (a transfer of the Paris production at the Bolshoi (Stone) Theatre was Marius Petipa's first work as a choreographer in Russia. Having undergone several revivals, which saw the addition of individual dance numbers, the ballet remained on the playbill for a long time. In the Soviet period the full version of the ballet vanished from the repertoire – only the bravura Grand pas was retained, to this day remaining a "jewel in the crown" of ballet evenings.
The first performances will take place at the historic Mariinsky Theatre on 30 and 31 March and 6 April.
For the fifth year in a row the festival will present works by the Creative Workshop of Young Choreographers. As part of the workshop, ballet impresario Sergei Danilian came up with the initiative for running the project Dreamers – beloved by St Petersburg audiences, the talented choreographers Vladimir Varnava, Ilya Zhivoi and Maxim Petrov will present a co-production to music by the French group Daft Punk. The costumes, in a first collaboration with the Mariinsky Theatre, are being created by the famous Russian designer Igor Chapurin.
The cast of the workshop's participants will be supplemented by American choreographer Garrett Smith, Brazilian dancer Guilherme Maciel and Olga Vasilieva, winner of the young choreographers' competition as part of the festival Context. Diana Vishneva (2016). Maxim Petrov will also present his second work Incantations set to music by Alexander Rabinovich-Barakovsky (4 April, Mariinsky II).
Once again the festival will host the Perm Tchaikovsky Opera and Ballet Theatre. The guest company will be performing Tchaikovsky's Swan Lake, staged by Alexei Miroshnichenko (5 April, Mariinsky Theatre).
The festival's playbill will feature Mariinsky Theatre repertoire productions with guest dancers from the Bolshoi Theatre and the Dutch National Ballet – Romeo and Juliet by Sergei Prokofiev with choreography by Leonid Lavrovsky (1 April, Mariinsky II), La Bayadère by Ludwig Minkus staged by Marius Petipa and revised by Vladimir Ponomarev and Vakhtang Chabukiani with individual dances by Konstantin Sergeyev and Nikolai Zubkovsky (2 April, Mariinsky Theatre), Don Quixote by Ludwig Minkus with choreography by Alexander Gorsky after motifs of the production by Marius Petipa (7 April, Mariinsky Theatre) and Jewels by George Balanchine to music by Gabriel Fauré, Igor Stravinsky and Pyotr Tchaikovsky (8 April, Mariinsky II).
On 9 April the XVII International Ballet Festival Mariinsky will conclude with a Gala Concert, as part of which the company will present Anton Pimonov's new work, as well as a classical Divertissement featuring lead Mariinsky Theatre dancers and guest stars (Mariinsky II).
On 1 and 2 February at the Mariinsky II the Astana Opera will be presenting Maurice Jarre's ballet Notre Dame de Paris with choreography by Roland Petit
The lead roles will be performed by Bakhtiyar Adamzhan (recipient of the Grand Prix at international competitions) and Rustem Seitbekov (Honoured Artist of Kazakhstan) as Quasimodo, Aigerim Beketayeva and Madina Basbayeva (both Honoured Artists of Kazakhstan) as Esmeralda, international competition prize-winners Olzhas Tarlanov and Arman Urazov as Phoebus and international competition prize-winners Gaziz Ryskulov and Serik Nakyspekov as Claude Frollo. The Mariinsky Orchestra will be conducted by Arman Urazgaliev.
The ballet Notre Dame de Paris was created in 1965 for the ballet company of the Opéra de Paris. Librettist and choreographer Roland Petit, who turned to the novel by Victor Hugo, focussed his attention on four characters - Esmeralda, Quasimodo (a role he himself performed at the premiere), Claude Frollo and Phoebus, and he also made the crowd one of the protagonists in the ballet. The music by Maurice Jarre, specially written for the production, the costumes by couturier Yves Saint Laurent and the choreography by Roland Petit made Notre Dame de Paris one of the key ballet events of its time. In 1978 the choreographer brought the production to the Kirov Theatre (now the Mariinsky), and in 2003 the ballet was staged at the Bolshoi Theatre. At the Astana Opera the premiere took place on 24 June 2016 on the initiative of Altynai Asylmuratova, Artistic Director of the ballet company and a former Mariinsky Theatre prima ballerina who also worked for several years with Roland Petit and performed lead roles in his ballets.
"We hope that Notre Dame de Paris will be interesting for St Petersburg's audiences. In this truly 'ballet city', with the noble public of Russia's cultural capital who love art and know a great deal about it, there is the opportunity to value the creative efforts not just of the brilliant home company of the Mariinsky Theatre but also leading international companies. Our appearance will be a kind of exam that we will try to pass with honours. It gives me a triple sense of responsibility and a particular sense of trembling," said Altynai Asylmuratova.
The Mariinsky Theatre has already enjoyed several years of successful collaboration with the Astana Opera. In the spring of 2014 St Petersburg hosted the first international tour by the Kazakh company. At that time there were performances of the opera Birzhan and Sara by Mukan Tulebayev, Attila by Giuseppe Verdi and a ballet gala. Soloists of the Mariinsky Theatre as well as the chorus and orchestra under Valery Gergiev paid a return visit, appearing at the I Silk Road international festival in 2014, during which the Astana Opera hosted performances of two parts of Richard Wagner's tetralogy Der Ring des Nibelungen. In 2015 Astana was a stopping-point for the Mariinsky Orchestra and Valery Gergiev's tour as part of the XIV Moscow Easter Festival, while in the 2015-16 season under Valery Gergiev at the Concert Hall of the Mariinsky Theatre there was a performance by the Symphony Orchestra of the Astana Opera.
From 31 January to 5 February the Mariinsky Ballet will be on its annual tour to Washington (USA). The programme of the fifteenth visit by the St Petersburg company to the prestigious John F. Kennedy Center for the Performing Arts includes Rodion Shchedrin's ballet The Little Humpbacked Horse with choreography by Alexei Ratmansky
From 31 January to 5 February the Mariinsky Ballet will be on its annual tour to Washington (USA). The programme of the fifteenth visit by the St Petersburg company to the prestigious John F. Kennedy Center for the Performing Arts includes Rodion Shchedrin's ballet The Little Humpbacked Horse with choreography by Alexei Ratmansky.
The roles of Ivan the Fool and the Tsar-Maiden will be performed by Vladimir Shklyarov and Anastasia Matvienko (31 January and 3 February), Ernest Latypov and Renata Shakirova (1, 4 and 5 February) and Maxim Zyuzin and Anastasia Kolegova (2 and 4 February). The Little Humpbacked Horse will be performed by Yaroslav Baibordin, Grigory Popov and Vladislav Shumakov, the Gentleman of the Bedchamber by Konstantin Zverev and Yuri Smekalov and the Mares by Tatiana Tkachenko and Zlata Yalinich. The Mariinsky Ballet's tour performances will be accompanied by the Opera Orchestra of the Kennedy Center under Alexei Repnikov.