March, 4, 2014. Issue No. 246"Carmen". New cast members March 5 - Dmitry Ulyanov will perform the part of Escamillo for the first time March 6 - the famous Spanish singer Nancy Fabiola Herrera will perform at the Bolshoi for the first time; the singer successfully performs the role of Carmen at such theatres as Metropolitan-Opera, Paris National Opera, Royal Opera House, Arena di Verona, The Gran Teatre del Liceu (Barcelona) and others. Alexei Pashiev will make his debut with the role of Escamillo, Alina Yarovaya - with the role of Frasquita and the Bolshoi Young Opera Artists Program soloist Bogdan Volkov - with the role of RemendadoThe Bolshoi Theatre presented premiere performances of "The Tsar's Bride". Photo: Damir YusupovThe ballet "Kvartira" by the Swedish choreographer Mats Ek was nominated for "The Golden Mask" Award"The Tsar's Bride" at the BolshoiJ. Pevzner presented the premiere of "The Tsar's Bride" at the Bolshoi Theatre The long-awaited premiere took place at the Bolshoi Theatre. The audience was presented with "The Tsar's Bride" by N. Rimsky-Korsakov, staged by the Israeli director Julia Pevzner. This is the seventh interpretation of this piece. The first time this opera was staged at the theatre was in 1916. It has been performed for almost 100 years in different interpretations for the total of almost a 1000 times. The set design was based on the set of the legendary Fedor Fedorovsky; however, this time it was dimensional. Anastasia Logvinova, the reporter of "24. The World" went to the premiere.Maestro Sokhiev says: "This opera at different times starred such great artists as Obraztsova, Vishnevskaya and Atlantov. I am glad that the Bolshoi Theatre young singers participate in the production. The fact that today this opera is staged for them demonstrates that we are thinking about the future". The renewed costumes that are now authentic make this production even more posh. There are velvet Russian kaftans and kokoshniks, embroidered with pearls. Each scene is a real work of art; it has been created in a reverent and thorough manner. As everything at the Bolshoi, it has been created to last for centuries. Objects with human faces "Kvartira" and "The Rite of Spring" at "The Golden Mask" Award Photo: Yuri Martyanov/KommersantNewsletter Mass media about the TheatrePerformances of the avant-garde ballet productions that were nominated for "The Golden Mask" Award took place at the Bolshoi Theatre New Stage. They were: "Kvartira" by the Swedish choreographer Mats Ek and the dance version of "The Rite of Spring" created by Tatiana Baganova, the choreographer from Yekaterinburg. "Kommersant" reporter Ekaterina Istomina explains what has brought together these two productions for centuries to come. "Kvartira" was staged by Mats Ek in 2000 for the Paris National Opera; without any doubts, this mimic ballet is of Western European origin and quality. Meanwhile, it is enough to take a look at the layout of this "Kvartira" to realize, how well an ordinary Russian (or former Soviet) citizen can relate to the plots, created by the Swede. The ballet "Kvartira" is a collection of short novels about everyday life: "Bidet", "TV", "Pedestrians", "Stove", "Odd Play", "Waltz", "Vacuum Cleaners", "Embryos", "Door", "Orchestra" and "Ensemble". Comic and drama characters of "Kvartira" are to some extent our Russian "little men"; they can be compared to characters from stories by Mikhail Zoshchenko, plays by Alexander Vampilov and even screen plays by Vasily Shukshin. Cool musicians of the Swedish "Fleshquartet" stay at the far side of the stage; we see props that can be called Soviet classics. There is a toilet, a sagged armchair, a smoky stove, an unpainted door or a cheerful gang of vacuum cleaners. But if someone wants to compare the toilet from "Kvartira" with the toilet-manifesto of "Marcel Duchamp himself", this revolutionary fantasy needs to be crushed at once. This porcelain object from "Kvartira" came rather from a huge communal apartment somewhere on the 8 lane of the Vasilievsky Island. A toilet is a Russian object that is dear to our hearts, just like a sagged armchair, a rusty stove and a peeling door. Photo: Yuri Martyanov/Kommersant The ballet by Mats Ek is airy: out of all novels one can choose several favorites. This is what happens. This tiny production has such a great success that many spectators come to see it several evenings in a row and are waiting for their favorite part. Some prefer the stinging love pas de deux in the novels "Stove" or "Door": there couples become psychological duelists, while the props that give titles to the novels turn out to be a third character. The stove is smoking: in this endless fire the family couple is clearing the air. Their relations have long ago disappeared in the hustle of everyday life; a charred baby in the stove is the result of this communal-family-love fight. "Door" is no less touching (Denis Savin, who is the soloist in this novel, was nominated for "The Golden Mask" in a tough section "Ballet/Contemporary Dance. March, 42014Newsletter Digest has been compiled by The Bolshoi Theatre Press Office Photos: Damir Yusupov and Mikhail Logvinov Design layout: Vladimir AndrusenkoAll materials used in the digest are the public domain of information agencies, mass media, civil society organizations and government Photo: Yuri Martyanov/Kommersant This face is said to be either the composer Igor Stravinsky himself, or the second prosecutor of the USSR Andrei Y. Vyshinsky, or simply a bureaucrat who has put this crowd in this stone prison and deprived it of water. Anyway, the fly-gallery is torn into pieces by the protestant and the only thing left from the portrait is the wooden carcass. There is a tap and the fly-gallery, the red trenches-graves with numbers, the experimental wooden table with the blinding Lenin light-bulb, the long hood with grey dust; the muscular human dance with broken geometry is staged as the only confrontation to these objects. "Kvartira" and "The Rite of Spring" are so much different, but when put together they turn out to be twins: not only because the dance here is addressed to soulless objects and is centered round them. They are also united by something utterly Soviet, be it the popular uprising or passion in the worn-out communal apartment.
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